R E N T A L Hollywood 818-761-4440 Vancouver 604-984-4563 w w w. c l a i r m o nt . co m C A T A L O G Toronto 416-467-1700 • Albuquerque 505-227-2525 E f fe c t i ve 1 J u n e Montreal 514-525-6556 1 , 2 0 1 1 Welcome and thank you so much for your interest in our company and equipment! The following pages contain Clairmont Camera’s Rental Catalog. This catalog will be continually updated on our website (check for updates). If you don’t see what you’re looking for, please give us a call, our inventory is constantly growing. Prices are not listed so please call for an estimate tailored to your shoot’s requirements. If you are new to Clairmont Camera and would like to establish an account, our account application can be directly downloaded from our website. Hope to be hearing from you and Happy Shooting! Hollywood 818-761-4440 Vancouver 604-984-4563 Toronto 416-467-1700 2 Albuquerque 505-227-2525 Montreal 514-525-6556 Table of Contents Digital Cameras..................................................................4-10 Arriflex Alexa Plus & Digital.......................................... 4 Arriflex D-21....................................................................... 4 Sony F35 HD Cinealta..................................................... 5 Sony F23 HD Cinealta..................................................... 5 Sony F900/3 HD................................................................ 6 Sony PMW-EX3 HD.......................................................... 6 Red Epic............................................................................... 7 Red One............................................................................... 7 Weisscam HS-2 MK2........................................................ 8 Canon EOS-1D................................................................... 8 Canon EOS-7D................................................................... 8 Iconix HD-RH1................................................................... 9 Panasonic AJ-HDC27F/27H........................................10 Digital Accessories......................................................... 11-12 Digital Recording Systems/ Playback & Media Storage........................................... 13-14 Engineering Stations..................................................... 15-16 Digital Monitors.............................................................. 17-19 Digital Lenses & Accessories...................................... 20-22 Film (35mm Sound) Cameras..................................... 23-28 Arricam Studio................................................................23 Arricam Lite......................................................................23 Arriflex 535A....................................................................24 Arriflex 535B.....................................................................24 Arriflex BL-4 and BL-4S.................................................25 Arriflex BL-3......................................................................25 Moviecam SL MK2..........................................................26 Moviecam Compact......................................................26 Moviecam Super America MKII.................................27 Moviecam Super Lite....................................................27 Film (35mm MOS) Cameras........................................ 29-32 Aaton 35-III.......................................................................29 Arriflex 235.......................................................................29 Arriflex 35-3 .....................................................................30 Arriflex 435 ES, Advanced, Xtreme.................... 30-31 Universal Camera Accessories................................... 33-34 Film (16mm) Cameras..........................................................35 Arriflex 416 Camera.......................................................35 Arriflex 16SR3 Camera..................................................35 Arriflex 16SR3 High Speed Camera.........................35 Specialty Cameras (35mm & 16mm)....................... 36-38 Magazines................................................................................39 Time Code & Special Format.............................................40 Film Camera Video Accessories........................................41 Accessories for Video Taps.................................................42 Matte Boxes.............................................................................43 Camera Body Optical Accessories...................................44 Camera Electronic/Mechanical Accessories................45 Clairmont Strobes.................................................................46 Streadicam Accessories.......................................................47 Camera Water Accessories.................................................48 35mm Prime Lens Sets........................................................49 35mm Prime Lenses...................................................... 50-53 35mm Zoom Lenses...................................................... 54-55 35mm Anamorphic Zoom Lenses...................................56 35mm Anamorphic Prime Lenses...................................57 35mm Anamorphic Telephotos.......................................58 16mm Prime Lenses.............................................................59 16mm Zoom Lenses.............................................................60 Telephoto Lenses..................................................................61 Macro Lenses..........................................................................62 Specialty Lenses.............................................................. 63-68 v3 MOE®............................................................................63 Image Shaker...................................................................63 Baby Periscope................................................................64 InfinFX K2..........................................................................65 Squishy..............................................................................65 Revolution........................................................................66 35” Pure Reach.................................................................67 Pinhole...............................................................................68 Microscope.......................................................................68 Optical Accessories & Relay Lenses......................... 69-71 Heads.........................................................................................72 Tripods......................................................................................73 Support Accessories & Jib Arms................................ 74-75 Filters.................................................................................. 76-77 Batteries....................................................................................78 Ground Glass / Fiberscreen................................................79 Testimonial Ads............................................................... 80-97 The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 3 Digital Cameras Arriflex Alexa Plus Camera The Alexa Plus is an upgrade that has all the features of the Alexa, as well as a built-in wireless remote control, the Arri Lens Data System (LDS), additional Video Out and RS power outputs, lens synchronization for 3D and built-in position and motion sensors. Quick switch BNC sockets are also included. It share’s the Alexa’s exceptional image performance, simplicity of operation, reliability in extreme environments and workflow versatility. Package Includes: • Arriflex Alexa Plus Camera • Electronic Viewfinder with Mounting Brackets • Balance Plate: Top and Bottom • Low Bridge Lens Support • Support Rods: Long and Short • Shoulder Pad • Lexar 2gb SD Memory Card • (2) 14.4V IDX Batteries with Charger Arriflex Alexa Plus Arriflex Alexa Digital Camera Arriflex raised the bar with the introduction of the Alexa, a lightweight and versatile high resolution digital camera that provides an efficient workflow through simultaneously recording Apple ProRes files, outputting uncompressed HD-SDI video (Log or Linear ITU 709 formats) and uncompressed ArriRaw data. It features a big 35mm CMOS sensor, a 14-stop dynamic range and adjustable framerate from .075-60 fps. It boasts very low noise and natural color rendition. Package Includes: • Arriflex Alexa Camera • Electronic Viewfinder with Mounting Brackets • Balance Plate: Top and Bottom • Low Bridge Lens Support • Support Rods: Long and Short • Shoulder Pad • Lexar 2gb SD Memory Card • (2) 14.4V IDX Batteries with Charger Arriflex Alexa Digital Arriflex D-21 Camera System Film camera icon Arriflex’s refined entry into the digital world combines the ergonomic familiarity cinematographers have come to embrace along with a contemporary digital workflow. The combination is hard to beat, and the imagery is film-like in quality. The D-21 has a standard PL mount and can use a full range of 35mm prime, zoom and specialty lenses. It has a swing-over reflex viewing system, which provides a greater field of view than the sensor is capturing (much appreciated by camera operators). • Large 35mm CMOS sensor • Outputs 4:4:4, 4:2:2 and/or LOG • Frame rate adjustable from 1 to 30 fps (up to 60 fps optional FOS) • Uses 35mm motion picture lenses • Remote or onboard recorders • Uses all Arri 435 accessories Package Includes: • Arriflex D-21 Camera • Swingover Finder • Balance Plates: Top and Bottom • Support Rods Long and Short • Low Bridge Lens Support • 12” Extension Eyepiece • Astro 6” HD Waveform/Picture Monitor • Sony SRW-1 Recorder • SRPC-1 HD Processor • (2) 24V Batteries • (2) 24V Battery Chargers Arriflex D-21 Options: • Low Mode Bracket w/Handle • Low Mode Dovetail • Steadicam Viewfinder Cover Plate • Fiber Optic System The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 4 Digital Cameras Clairmont Enhanced Sony F35 HD CineAlta Camera System The F35 is Sony’s 35MM film style digital camera that is designed for shooting both television drama and movies for the big screen. This camera is equipped with an Invar Stainless Steel Arriflex PL mount which allows changing the lenses without the need to adjust back focus on the lenses. This camera will accept the lenses with the mount for 35MM Arriflex film cameras allowing the depth of field of 35MM motion pictures. The included Sony SRW1 VTR can be docked on top of or on the back of the F35 or used remotely, providing the flexibility for use in studio, handheld or Steadicam modes. The F35 is virtually noiseless at a high gain dB setting. ❂ Features one sensor 12 mega pixel the size of the Motion Picture format. ❂ Records 4:4:4 up to the cameras top speed of 50 frames per second. ❂ Frame rate and ramping adjustable from 1 to 50 fps ❂ Accepts 35MM Arriflex PL mounted film camera lenses ❂ Weighs 54 lbs. fully equipped in studio mode and 32 lbs. in hand-held mode ❂ VTR can be docked on camera or used remotely. Includes: • Sony F35 HD CineAlta Camera • SRW 1 Recorder • Assistants Remote Panel • Color Electronic Finder • Balance Plates: Top and Bottom • Support Rods 17” and 8” • Low Bridge Lens Support • (2) 14V Block Batteries • (2) 14V Battery Chargers Sony F35 Options: • Mini-Handles for Steadicam and hand-held use. • Sony Fiber Interface System • SRPC-1 HD Processor Sony F23 HD CineAlta Camera System The F23 is Sony’s first digital camera specifically designed for motion picture work. It has film-style indicators and controls, and is equipped with a hardened B4 lens mount, which allows changing of lenses without the need to back-focus. The included Sony SRW1 VTR can be docked on top of or on the back of the F23 or used remotely, providing the flexibility for use in studio, handheld or Steadicam modes. The F23 is virtually noiseless at a high gain dB setting. ❂ Features three 2/3” CCD sensors (2.2 mega pixel) ❂ Records 4:4:4 from 1-60 fps ❂ Frame rate and ramping adjustable from 1 to 60 fps ❂ Uses HD video lenses ❂ Weighs 54 lbs. fully equipped in studio mode and 32 lbs. in hand-held mode ❂ VTR can be docked on camera or used remotely. Includes: • Sony F23 HD CineAlta Camera • SRW 1 Recorder • On-Board HD Monitor that includes internal wave form monitor • Assistants Remote Panel • Color Electronic Finder Sony F23 Options: • Balance Plates: Top and Bottom • Mini-Handles for Steadicam and Hand-Held Use • Support Rods 17” and 8” • Sony Fiber Interface System • Low Bridge Lens Support • SRPC-1 HD Processor • (2) 14V Block Batteries • (2) 14V Battery Chargers The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 5 Digital Cameras Clairmont-Modified Sony F900/3 HD Camera When the Sony F900 first became available, Clairmont’s engineers made a number of important modifications to the camera to better suit it for use in the HD television and commercial world. This included reconfiguring the lens mounting system to incorporate a reinforced front plate, hardened stainless steel lens mount and improved optical block alignment—allowing lens changes without needing to back-focus and improved stability under a wide range of temperatures. Clairmont has also enhanced the viewing system, controls, and added numerous power outlets. It has proven to be an outstanding workhorse. ❂ Uses Zeiss B4 mount lenses, including zooms ❂ Reinforced carry-handle w/Steadicam mounts and improved controls ❂ Uses compact Evertz HD-SDI F9 down converter ❂ Convenient Paglock onboard batteries ❂ Relocated menu, shutter and white balance controls ❂ Support rods to allow use of follow-focus and matte box ❂ Optional motors for remote focus and iris control Includes: • Sony F900/3 HD Camera • B/W Electronic Viewfinder • Quick Release Balance Plate: Top and Bottom • Support Rods 17” and 8” • Low Bridge Lens Support • Memory Stick • (2) 13.2V Paglock Batteries and Charger Sony PMW-EX3 HD Camcorder We also have the versatile Sony PMW-EX3 HD Camcorder to our inventory. It has the same basic features as the popular PMW EX1, but boasts a removable / interchangeable lens. The viewfinder has been enhanced with a Monocular conversion to improve viewing and image quality. Another bonus is that you have the ability to instantly overcrank / undercrank at variable frame rates from an external control instead of using a menu option. Includes: • High Quality Full HD Image Acquisition (1920 x 1080) • 3.5” High Resolution LCD Panel • Removable / Interchangeable 14x Fujinon Lens • Depth of Field LCD/EVF Display • Expanded Focus • Continuous, Uninterrupted Recording on Multiple Cards • Lens Grip Rotation Mechanism • SDI Output • (2) 14.4V Batteries • (2) 14.4V Battery Chargers Sony PMW-F3 HD Solid State Memory Camcorder The latest addition to Sony’s CineAlta lineup is the remarkable PMW-F3, which shares its DNA with the top-of-the-line F35. It features the newly-developed Exmor™ Super 35 CMOS image sensor, a PL lens mount, and SxS card for 1920 x 1080 full HD recording. The PMW-F3’s file-based workflow capability adds to its versatility. Includes: • Sony PMW-F3 Camera • Remote Control • DC Output Cable • Balance Plate: Top and Bottom • Support Rods: Long and Short • (2) 14.4V L-Ion Batteries The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 6 Digital Cameras Red Epic Camera The newest addition to the RED family, the EPIC boasts a 5K Mysterium-X CMOS sensor and a 27-layer ASIC processor enabling the EPIC to capture up to 120 frames-per-second, each a full 14MP resolution. It has 13 stops Native Dynamic Range and 18 stops with HDRx. A modular camera, the EPIC can be set up in almost limitless possible configurations to suit every shooting need. ❂ 30mm x 15mm CMOS Sensor (5120 x 2700 pixels) ❂ 5K resolution from 1 to 120 fps (up to 225 fps @ 2K) ❂ 1080p to 5K recording on CF cards ❂ 1/3 size of the Red One ❂ 800 ISO rated ❂ 60 minutes recording on 256GB SSD Includes: • Red Epic Camera • Red-EVF™ High Resolution Viewfinder • Balance Plates (top 15mm) • Support Rods (15mm) • Universal Mount (19mm) • 7” LCD Red Pro • Flash Card (8GB) • (2) 14.8V Lithium-Ion Battery • (1) 14.8V Battery Charger Red One Camera w/Mysterium MX Sensor The popular Red One camera is in stock and readily available at Clairmont Camera. It combines a lightweight, compact design with outstanding resolution (4520 x 2540 active pixel array) from its large 24.4mm x 13.7mm single imager and can record 2540 progressive at up to 30 fps. Delivering an outstanding dynamic range, the Mysterium™ boasts a greater than 66db Signal to Noise ratio. ❂ 12 Mega pixel Mysterium™ CMOS sensor ❂ Records from 720 x 1280 4:2:2 up to 12-bit RAW 4K ❂ Frame rate adjustable up to 120 fps ❂ Uses 35mm motion picture lenses ❂ Red Drive™ (Raid) 320 GB hard disk drive ❂ Compact Flash (8GB or 16GB) Includes: • Red One Camera with Mysterium X Sensor Chip • Red-EVF™ High Resolution Viewfinder • Balance Plates (top 15mm) • Support Rods (19mm & 15mm) • Universal Mount (19mm) • 7” LCD Red Pro • Flash Card (8GB) • (2) 14.8V Lithium-Ion Battery • (1) 14.8V Battery Charger Red One Options: • Gates “Deep Red” Underwater Housing • Red One RAID Drive - 320GB • Red One RAID Drive - 640GB • Cheese Plate: Top side • Cheese Stick • Iso Plate/Single Drive mount • Red DC Module The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 7 Red Epic Camera Digital Cameras Weisscam HS-2 MK2 Digital Camera The remarkable Weisscam HS-2 MK2 Digital Camera has been engineered to provide cinematographers with a wide range of speed options at HD resolution. It is extremely versatile and offers excellent flexibility on the set. Optimized Image Quality Innovative Dark Reference Adjustment function with latest noise reduction enhances and stabilizes blacks and low light areas while providing an extended dynamic range. ❂ High Speed & Normal Cinematographic Speed Rates for Motion Picture Standards Various new frame rates for 720p up to 4,000 fps, 1080p up to 2,000 fps, and 2K up to 1,400 fps in RAW ❂ RAW & HD Workflows Acquisition and playback of uncompressed RAW data (fast and standard) and HD signals ❂ Ready for High Speed s3D Multi Camera Synchronization capability for future proofed stereoscopic 3D standard speed and high speed applications ❂ Different Recording Modes & customizable Segments Predefined Recording Modes and customizable Segments for different settings ensure latitude and flexibility on set ❂ Two parallel Dual Link HDSDI Outputs Parallel recording and monitoring of 12 bit RAW and 10 bit HD signals via HDSDI (RAW in HDSDI) Includes: Click here for Weisscam Demo • Weisscam HS-2 Digital Camera • HU-2 Hand Unit with Cables • Camin Wireless Receiver • Electronic Color Viewfinder with Cable • Arri 15mm Bridge/Balance Plates • AC Power Supply with Cables (supplies power for camera and recording unit) • (2) 24V 25A Batteries • (2) 24V Battery Chargers Weisscam Options: • DM-2 Digi Mag • Weisscam Debayer Box Canon EOS-1D Mark IV Digital SLR Camera with PL Mount Includes: • Mini Riser wtih Adapter • Mini Rod Bracket • (2) Rods • Mini to Studio Rod Bracket • CF Card: 8gb • (3) Batteries with Charger • Mini USB to A/V Cable • PL mount Canon EOS-7D Digital SLR Camera with PL Mount Includes: • Mini Riser with Adapter • Mini Rod Bracket • (2) Rods • Mini to Studio Rod Bracket • CF Card: 8gb • (3) Batteries with Charger • Mini USB to A/V Cable • PL mount • AJA HA5 Converter • Balance Plates: Top and Bottom Options: • Viewfinder Power Cage The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 8 Digital Cameras ICONIX HD-RH1 1/3” Camera The tiny Iconix remote head POV camera is about the size of an egg, but it delivers a big image. This multi format powerhouse is capable of 1080x1920 resolutions at 23.98, 24, 25, 29.97 and 30 PsF frame rates, as well as 1080p/i and 720p formats. The companion Iconix CCU offers HD-SDI video output in either 4:4:4 or 4:2:2. sampling, and is compatible with virtually all tape or tapeless recording systems. Clairmont Camera has added to the versatility of the Iconix by developing a support system based on a K-Tek carbon fiber telescoping boom. An articulated ball mount allows the camera to be locked in virtually any position required for the shot. Weighs only 1-1/3 lbs. with lens. ❂ Resolution up to 1080 x 1920 ❂ Outputs 4:4:4 or 4:2:2 ❂ Uses special lenses (2.8mm to 25mm T2.2 or 5.5-88mm T1.4 zoom) ❂ Remote recorder ❂ Perfect for tight quarters Includes: • Iconix HD-RHI Camera • CCU (Camera Control Unit) • Fish Pole” Telescoping Boom • C-clamp • Mounting Bracket with Ball Swivel Mount (for On-Board Monitor) Iconix Options: • 12V 2.7a Battery • Panasonic AJ-HPM 110 P2 Recorder/Editor • Remote Pan/Tilt Head with Joystick Conroller • Sony SRW-1/SRPC-1 HD Processor • 7” Marshall HD/SDI Monitor • 12V Battery Charger • 2.8mm HD T2.2 Lens • 4mm HD T2.2 Lens • 8mm HD T2.2 Lens • 15mm HD T2.2 Lens • 25mm HD T2.2 Lens • 5.5-88mm HD T1.4 Zoom Lens ICONIX HD-RH1 1/3” Camera w/On-Board Monitor Clairmont has added to the versatility of the Iconix POV camera by offering a package that includes a remote monitor that attaches to the “fish pole” boom on the operator’s end, which the battery attaches to a special bracket and serves as an effective counterweight for the monitor. Iconix Monitor Package Includes: • Iconix HD-RH Camera package as listed above • 7” Marshall HD/SDI Monitor • (4) 12V Batteries • Quad Battery Charger Panasonic AG-HVX200 HD Preset & Syncro Scan Shutter Speeds Includes: • 4.2-35mm F1.8 Leica Dicomar Zoom Lens • Optical Image Stabilizer • Wide-Angle .75X Lens Adapter • Sunshade • LMB-5 Adapter Rings • CCI-Studio Riser • Balance Plate - Long and Short Rods • (2) USB Cables • (2) Component Video Cables • (1) Firewire Cable • (1) 4GB Storage Card • (1) SD Memory Card • (2) 7.2V Batteries & AC Charger • (1) AC Mains Adapter • (1) Remote Control The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 9 Digital Cameras Panasonic AJ-HDC27F/27H HD Camera The same exclusive upgrades that Clairmont developed for the Sony F900 cameras have also been incorporated in all of our Panasonic Varicams. One key feature of the Varicam is its ability to record HD images at progressive frame rates from 4 fps to 60 fps for “in camera” under-crank and over-crank effects. Includes: • Panasonic AJ-HDC27F/27H HD Camera • Electronic Viewfinder • Quick Release Balance Plate: Top and Bottom • Support Rods 17” and 8” • Low Bridge Lens Support • SD Card • (2) 13.2V Paglok Batteries and Charger GoPro Motorsports HERO Camera Includes: • Rechargeable Battery • Waterproof Quick Release Housing • Vehicle Mount • Helmet Mount • Quick Release Buckle • Verticle Surface “J” Hook • 3-Way Pivoting Side Arm USN Cable • Component Cable • Composite Video and Audio Cable • (1) 16gb SD Memory Card Options: • Suction Cup Mount • Rechargeable Battery • 16gb SD Memory Card Camcorder Accessories Chrosziel Mattebox Chrosziel LtWt Follow-Focus FOXI Wireless FI+Z Control for HVX-200 HL-79 Video Adapter Plate Cartoni Laser Fluid Head - 100mm Ball Includes: • Tripod, Spreader and Rubber Feet juicedLink DT454 System O’Connor 10/30 Fluid Head - 100mm Ball Includes: • Tripod, Spreader and Rubber Feet Splash Bag: Ewa--Marine HVX-200 P&S TECHNIK ADAPTORS PRO35 B4 TO PL HVX200 MINI35 ADAPT. WT/LBS 4 lbs 7.50 lbs LENGTH 6-3/4” 15” P&S Technik Pro35 Digital Image Converter (For use with 2/3 inch HD or SD Video Cameras) P&S Technik Mini-35 Digital Image Converter (For use with 1/3 inch Panasonic HVX-200P) Includes: • (2) 7.2V Batteries and AC Charger The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 10 Digital Accessories AJA Fido Transmitter/Receiver AJA HD10A A/D Converter AJA HD10MD3 Down Converter AJA HDMI / HD-SD Converter-HA5 Ambient ACL202CT Clock Time Code/Sync BNC Cable - 3’ Precision / HD BNC Cable - 5’ Precision / HD BNC Cable - 10’ Precision / HD BNC Cable - 15’ Precision / HD BNC Cable - 25’ Precision / HD BNC Cable - 50’ Precision / HD BNC Cable - 100’ Precision / HD BNC Cable - 125’ Precision / HD BNC Cable - 150’ Precision / HD BNC Cable - 200’ Precision / HD BNC Precision Jumpers / HD Color Viewfinder for Sony F900/3 Camera Chrosziel Finder for Sony F900/3 Camera Dual Link Bundle Cable - 25’ Dual Link Bundle Cable - 50’ Dual Link Bundle Cable - 100’ Dual Link Bundle Cable - 125’ Dual Link Bundle Cable - 150’ Dual Link Bundle Cable - 200’ Evertz 12x12 Router Evertz 7700ADA Analog Audio DA Evertz 7700DA-HD HD/SD-SDI Relocking DA Evertz 7701FR-C 3RU Multiframe Evertz 7701FR 1RU Multiframe Pizza Box Evertz 7701PS Power Supply Evertz S7701FR/S7702FR One Slot Frame Candy Box Evertz 7710DCDA Down Converter Evertz 7767VIP4 HD/SD Quad Splitter Evertz 7750/7751TG2-HD Test Signal Generator Evertz X-0401H or X-HD9504 4x1 4:2:2 Router Evertz X-0601H 6x1 4:4:4 Router Evertz F9 Down Converter - Sony Evertz A-2410 Down Converter - Panasonic Evertz HD9155Q-AUD Afterburner Evertz HD-9590 4:2:2 GRAT Generator Evertz 9690 4:4:4 GRAT Generator Evertz 5600MSC Time Code Master Evertz 7732DVP LUT Card Evertz ECAS Fiber-Optic System Fiber-Optic Dual link TX/RX for Arri D-21 Fiber Cable (Hybrid) - 10m, 20m, 100m Fiber Cable (Hybrid) - 8’ Steadicam Fiber Cable (TAC2) - 500m Firewire/USB 400GB External hard Drive for NAC HD Extension Eyepiece HD SDI / RMB Cable Bundles 25’ HD SDI / RMB Cable Bundles 50’ HD SDI / RMB Cable Bundles 100’ HD Video Cart 30” x 60” or 24” x 48” IDX Wireless Transmission System The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 11 Digital Accessories Intervalometer for Sony F900 Leader LV 5330 Multi SDI 6.5” Monitor/WFM/VS Leader 5700/5700A WFM/VS Leader 5800 4:4:4 WFM/VS with Cinelite Software Panasonic Hand Held Bracket Panasonic Frame Rate Converter Panasonic Vari Speed Control Panasonic EC-3 Remote Control Preston V+F Lens Control Preston Focus/Iris Unit single channel Includes: • DM-2 motor V+F wireless lens control P+S Technik Mini 35 Adapter P+S Technik Pro 35 Adapter Rain Dust Cover Sony CNU-500 Command Network Unit Sony MSU-750 Master Setup Unit Sony RM-B150 Remote Paintbox Sony SRPC-1 HDCAM-SR Processor Only Steadicam Adapter Plate for Sony/Panasonic Steadicam Low-mode Plate for Arri D-21 TrueLight Color Corrector Erased Content Disclaimer: Content remaining on media returned to Clairmont Camera shall be permanently erased upon return check in. Clairmont Camera is not responsible for the loss of such data or images nor any consequential loss or damage whatsoever. Tri-Link Bundle Cable - 25’ Tri-Link Bundle Cable - 50’ Tri-Link Bundle Cable - 100’ Tri-Link Bundle Cable - 125’ Tri-Link Bundle Cable - 150’ Truelight On-Set Providing a vital link between on-set shooting and post production, the Truelight On-Set allows cinematographers and directors to establish and maintain the “look” of their shows, color-correct on-set and share the corrections with the post team. It is the primary processing unit which applies color transforms to an SDI or DVI video signal. Control software runs on a laptop, communicating with the box via Ethernet.Truelight On-Set uses a color management engine that can take images from one medium—video, film, HD camera data and CGI—and generate matching images in another medium. For monitoring while shooting, the Truelight On-Set box applies a color transform between the camera and monitors. Color grades—set in preproduction or on previous shoots—can be applied and then further adjusted at the time of shooting. The Truelight On-Set uses the American Society of Cinematographers Color Decision List (ASC CDL) standard color correction to make it compatible with a wide range of other devices. During a review of dailies, color correction done by a colorist at a post-production house can be applied in the Truelight On-Set box. The creative team can make further adjustments and send the new settings back to post. While this technology is primarily aimed at the digital world, the Truelight On-Set could be employed in conjunction with the ARRI HD Video Assist for film applications. The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 12 Digital Recording Systems/Playback & Media Storage Digital Recording Systems/Playback & Media Storage Panasonic AJ-HPM-110 Recording/Editing System Regarded as the most versatile full production-quality HD field recorder on the market today, Panasonic’s rugged and reliable AJ-HPM-110 mobile recorder/player is ideal for use in the field, mobile unit or studio. It offers master quality recording and playback in a wide range of high-definition formats, including 1080PsF/i and 720p - plus standard definition. The unit records independent-frmae DVCPRO HD/50/25 and DV formats, as well as full-raster 1920 x 1080 AVC-Intra. It also offers the flexibility of up/ down/cros and aspect conversion. The AJ-HPM-110’s six P2 card slots allow user continuos, extended clips in sequence onto high capacity P2 cards or output an extended play-list from five mounted cards to the sixth card slot. Panasonic P2 - Store Unit Includes: • Panasonic P2 Storage 60GB Hard Drive • CD-ROM w/Drivers and Instructions • (2) USB Cable, Type A-B • 7.2V Battery Charger/AC PS • (2) 7.2V Lithium-Ion Battery • Written Instruction Manual Additional Recorders/Playback & Storage Systems: AJA KI Pro Mini HD Recorder Card Download Tower Codex Desktop Transfer System Codex Portable Recorder Codex Portable Pack Codex F23/F35 Active Mount Codex Studio Recorder Codex Studio Pack: Large Convergent Designs Gemini 4:4:4 Recorder Doremi V1U HD Hard Drive Doremi XDVI-20S Cross Converter Evertz Fiber Optic System Fusion F2 Raid Storage System Firestore FS-3 w/1 80GB hard Drive Firestore 80GB Hard Drive nanoFlash™ HD/SD Portable Recorder/Player Omni Flash Card Reader Panasonic AJ-HPM-110 Recording/Editing System Panasonic 4GB P2 Card Panasonic 8GB P2 Card Panasonic 16GB P2 Card Panasonic 32GB P2 Card Qio Pro Universal Media Reader Red One RAID Drive 320GB Red One RAID Drive 640GB SanDisk Memory Card (16GB) Sony JH-3 Playback Deck Sony PDW-U1 Professional Disk Drive Sony SxS USB Reader/Writer Sony SxS Memory Card 8GB Sony SxS Memory Card 16GB Sony SxS memory Card 32GB Sony SRPC-1 HD Processor Sony SRW-1 Recorder with SRPC-1 Processor Erased Content Disclaimer: Content remaining on media returned to Clairmont Camera shall be permanently erased upon return check in. Clairmont Camera is not responsible for the loss of such data or images nor any consequential loss or damage whatsoever. The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 13 Digital Recording Systems/Playback & Media Storage Codex Desktop Transfer Station This package contains everything you need to download files from CODEX Onboard Datapacks and compile the data on an external RAID drive that can be delivered to post—while maintaining back-up files on the host computer. Exported file types include dpx, DNx, mov, avi, ARI and many more. File transcoding adds to the unit’s versatility. The Mac Pro is also equipped with ARRIRAW and DPX plug-ins from Glue-Tools to allow real-time viewing of sequences. Base package includes: • (1) Apple MacPro Tower with 4TB internal RAID-5 storage, Keyboard, Mouse • (1) G-Speed external SAS hard drive with 3TB RAID-5 storage • (1) CODEX Desktop Transfer Station (Onboard Datapack Reader) • (1) Apple 27” LED Cinema Display • (1) UPS (Un-interruptible Power Supply) Additional G-Speed external hard drives are available at additional cost. Codex Onboard Recorder Given its data capacity, speed and versatility, the Codex Onboard Recorder has quickly become a favorite among DPs and DITs. Designed for use with a wide range of cameras, including the Sony F23, F35, Arri D-21 and Alexa, the Codex can record uncompressed or wavelet cinema-quality HD images, plus audio and metadata, onto a single removable data pack (128 capacity). The Codex supports all popular video formats and speeds, from 1920 x 1080/PSF through 1280 x 720p plus 12-bit. It has two 4:4:4 or four 4:2:2 inputs, as well as two 4:2:2 or one 4:4:4 output.There is 4-channel audio interface with AES/EBU digital audio I/O, with supported audio formats including 16/24-bit AT 48 KHZ, AES or HD-SDI embedded. And because the Codex can offload material faster than real time, it clearly expedites workflow. Controlling the Codex is quite easy, given that the touchbased control surface can be hand-held, or mounted on the left or right side of the recorder.The user interface can be run locally, or can be run remotely on a computer. There is a Bluetooth remote control. Portable Transfer Station Designed to facilitate quick downloading of SxS, CF and P2 storage media to an external RAID hard drive while on location or in the studio. The RAID is delivered to post, while the storage media can be returned to service. All files remain in their original format (no transcoding option). The files can be “BYTE” verified during transfer to ensure that no data corruption has occurred. Base package includes: • (1) Apple 17” MacBook Pro with 750MB internal storage • (1) Sonnet QIO Professional Universal Media Reader/Writer • (1) Sonnet Fusion F2 external eSata hard drive with 500MB RAID-1 Storage The specifications shown in this catalog were provided by the manufacturers and are subject to change without notice. 14 Engineering Stations Clairmont Camera has developed a highly efficient basic Engineering Station for 1, 2, or multiple camera applications - including copper cable or fiber optic systems. Of course many projects are better served with a custom-configured engineering station, and here’s where Clairmont excels. Our experience technicians can take any production and configure an engineering station for optimal workflow. HD Engineering Station -Standard 1 Camera System Includes: • (1) Leader Waveform Monitor/Vectorscope • (1) Evertz 4-1 Routing Switcher • (1) Evertz Afterburner (Downconvertor/Audio/Time Code) (1) Evertz Pizza Box: includes • (1) Evertz 7700 ADA (Analog Distribution Amp) • (2) Evertz 7700 DA-HD (HD Distribution Amp) • (1) Evertz 7750 TG-HD (Test Signal Generator) • Sony MSU-750 (Master Setup Unit) • (1) Ambient Clockit (Tri-Level Sync and Time Code) • (1) 30-Meter Cable Bundles (HD-SDI and Camera Control) • (1) Film Tools Video Cart • Location Cabling Package HD Engineering Station - F23/F35 1 Camera System Includes: • (1) Leader Waveform Monitor/Vectorscope • (1) Evertz 4-1 Routing Switcher (1) Evertz Pizza Box: includes • (1) Evertz 7750 TG-HD (Test Signal Generator) • (1) Evertz 7710 DCDA (Downconvertor/Distribution Amp) • Sony RM-B750 Remote Controller • (1) Ambient Clockit (Tri-Level Sync and Time Code) • (1) 30-meter Cable Bundle (HD-SDI and Camera Control) • (1) Film Tools Video Cart • Location Cabling Package HD Engineering Station -Standard 2 Camera System Includes: • (1) Leader Waveform Monitor/Vectorscope • (1) Evertz 4-1 Routing Switcher • (2) Evertz Afterburners (Downconvertor/Audio/Timecode) (1) Evertz Pizza Box: includes • (2) Evertz 7700 ADA (Analog Distribution Amp) • (2) Evertz 7700 DA-HD (HD Distribution Amp) • (1) Evertz 7750 TG-HD (Test Signal Generator) • Sony MSU-750 (Master Setup Unit) • Sony CNU-500 (Camera Network Unit) • (2) Ambient Clockit (Tri-level Sync and Time Code) • (2) 30-Meter Cable Bundles (HD-SDI and Camera Control) • (1) Film Tools Video Cart • Location Cabling Package 15 Engineering Stations HD Engineering Station - F23/F35 2 Camera System Includes: • (1) Leader Waveform Monitor/Vectorscope • (1) Evertz 4-1 Routing Switcher (1) Evertz Pizza Box: includes • Evertz 7750 TG-HD (Test Signal Generator) • (2) Evertz 7710 DCDA (Downconvertor/Distribution Amp) • (2) Sony RM-B750 Remote Controller • (2) Ambient Clockit (Tri-Level Sync & Time Code) • (2) 30-meter Cable Bundle (HD-SDI & Camera Control) • (1) Film Tools Video Cart • Location Cabling Package HD Engineering Station - Standard Multiple Camera System Includes: Similar equipment as shown above, with additions as required to support extra cameras. HD Engineering Station - F23/F35 Multiple Camera System Includes: Similar equipment as shown above, with additions as required to support extra cameras. HD Fiber Optic Station - Standard 1 Camera System Includes: Similar to standard 1 camera system shown above, but comes with 50-meter length of fiber optic cable and related equipment. HD Fiber Optic Station - F23/F35 1 Camera System Includes: Similar to F23/F35 1 camera system shown above, but comes with 50-meter length of fiber optic cable and related equipment. HD Fiber Optic Station - Standard 2 Camera System Includes: Similar to standard 2 camera system shown above, but comes with 2 50-meter length of fiber optic cable and related equipment. HD Fiber Optic Station - F23/F35 2 Camera System Includes: Similar to F23/F35 2 camera system shown above, but comes with 2 50-meter length of fiber optic cable and related equipment. HD Fiber Optic Station - Standard Multiple Camera System Includes: Similar to standard multiple system as shown above, but comes with 3 50-meter length of fiber optic cable and related equipment. HD Fiber Optic Station - F23/F35 Multiple Camera System Includes: Similar to F23/F35 multiple camera system shown above, but comes with 3 50-meter length of fiber optic cable and related equipment. Erased Content Disclaimer: Content remaining on media returned to Clairmont Camera shall be permanently erased upon return check in. Clairmont Camera is not responsible for the loss of such data or images nor any consequential loss or damage whatsoever. 16 Monitors - HD LCD Digital Monitors 5.6” Small DP6-SDI Monitor Includes: • (1) Israeli Bracket • (2) BNC - 3ft. Precision / HD 6” Astro 3005 Monitor Includes: • (1) Hoodman • (1) Israeli Bracket - Jumbo • (2) RGB Bundles - Mini • (2) BNC - 3ft. Precision / HD 6” Astro 3004 & 3014 Monitor with Waveform/Vectorscope Includes: • (1) Hoodman • (1) Israeli Bracket - Jumbo • (2) RGB Bundles - Mini • (2) BNC - 3ft. Precision / HD 6” CineMonitor HD Superbright Includes: • (1) Hoodman • (1) Rain Cover • (1) CineArm or custom Israeli Bracket • (2) Power Cables • (2) BNC Jumper Precision / HD Cables 6” Transvideo HD6-SBL Evolution Monitor Includes: • (1) Hoodman • (1) Israeli Bracket • (2) Power Cables • (2) BNC Jumper Precision / HD Cables 6.5” Leader LV 5330 HD On-Board Monitor/WFM/VS Includes: • (1) Israeli Arm • (2) Power Cables • (2) BNC Jumper Precision / HD Cables 7” Marshall HD/SDI LCD Monitor Functions as an on-board monitor compatible with the Iconix camera system. Includes: • (2) Power Cables • Mounting Brackets 8” Panasonic LCD Monitor Includes: • (1) Hoodman • (1) Israeli Bracket • (2) Power Cables • (2) BNC Jumper Precision / HD Cables 17 Digital Monitors 17” TV Logic HD/SD LCD Monitor LVM-173W-3G Includes: • 17” 1366 x 768 Resolution • Matte Finish Panel • Supports TVLogic Color Calibration Utility for proper color alignment • Firmware update using Ethernet or USB • GPI (RJ45) • Waveform/Vector Scope (Y/Cb/Cr, RGB, Wide Type, Line Waveform and Range Error) • Marker • User Aspect • Blue Only/Mono • X3 Zoom(PBP) • Key lock • Selectable 3 function keys • H/V Delay • Timecode Display • UMD support (ANC, Manual, Dynamic and User) • Closed Caption: CEA- 608/708 (SDI) • Monitor control using RS422/Ethernet 17” Panasonic 1700WP LCD Monitor Includes: • (1) Hoodman • (1) Monitor Stand • (1) Visa Mount • (1) Rain Cover • (2) RGB Bundles • (2) BNC - 25ft. Precision / HD 23” Cinetal LCD Full Feature Monitor 4:4:4 Capable Includes: • (1) Keypad • (1) Monitor Stand • (2) Power Cables • (2) BNC - 25ft. Precision / HD 23” eCinema LCD Monitor Includes: • (2) RGB Bundles - Mini • (2) BNC - 25ft. Precision / HD 23” Sony BVM-L230 HD LCD Monitor Includes: • (1) Monitor Stand • (1) BKM-16R Monitor Control • (1) 12V AC Adapter • (2) HD/SDI Input Adapters 18 Digital Monitors 24” Cinemage 2000 LCD Monitor Includes: • (1) Control Panel • (1) Monitor Stand • (1) Visa Mount • (1) USB Cable • (1) Mouse • (2) Power Cables 26” Panasonic 2600WP LCD Monitor Includes: • (2) RGB Bundles - Mini • (2) BNC - 25ft. Precision / HD Cables Monitors - CRT Sony 9” Multiformat Monitor Technical Information Additional Information 9” Sony Multiformat Monitor Includes: • (1) Hoodman • Choice of Input Cards: HD-SDI Input Card, HD Analog Input Card, or NTSC Analog Input Card • (2) BNC - 25ft. precision / HD Cables 14” Sony Multiformat Monitor Sony 14” Multiformat Monitor Technical Information Additional Information Includes: • (1) Hoodman • Choice of Input Cards: HD-SDI Input Card, HD Analog Input Card, or NTSC Analog Input Card • (2) BNC - 25ft. Precision / HD Cables 20” Sony Multiformat Monitor Sony 20” Multiformat Monitor Technical Information Additional Information Includes: • (1) Hoodman • Choice of Input Cards: HD-SDI Input Card, HD Analog Input Card, or NTSC Analog Input Card • (2) BNC - 25ft. precision / HD Cables 24” Sony Multiformat Monitor Sony 24” Multiformat Monitor Technical Information Additional Information Includes: • (1) Hoodman • Choice of Input Cards: HD-SDI Input Card, HD Analog Input Card, or NTSC Analog Input Card • (2) BNC - 25ft. Precision / HD Cables Erased Content Disclaimer: Content remaining on media returned to Clairmont Camera shall be permanently erased upon return check in. Clairmont Camera is not responsible for the loss of such data or images nor any consequential loss or damage whatsoever. 19 Digital Lenses & Accessories Canon Zoom Lenses CANON HD ZOOMS 4.7-52mm CANON 4.7-52mm CANON ENG 7.5-158mm CANON 7.7-131mm CANON ENG 5.5-44mm CANON T-STOP T2.1/16 T1.9/16 T2.1/16 T1.8/16 T2.1 MIN. FOCUS 23” 23” 45” 30” MOUNTS B4 B4 B4 B4 WT/LBS 3.5 lbs 4 lbs 5.25 lbs 4.5 lbs LENGTH 9.5” 9.5” 10.25” 8.75” FRONT DIA. 95mm 95mm 130mm 98mm 4.7mm-52mm Canon T2.1 Technical Information 7.5mm-158mm Canon T2.1 Technical Information Fujinon HD Zoom Lenses CANON HD ZOOMS 4.5-59mm Fujinon HD 5.5-88mm Fujinon HD 5-50mm Fujinon HD 6-30mm Fujinon HD 7.8-133mm Fujinon 10-100mm Fujinon HD T-STOP T2 T1.4 T2.4 T1.8 T1.9 T1.8 MIN. FOCUS MOUNTS WT/LBS LENGTH FRONT DIA. 5-50mm Fujinon HD Zoom T2.4 Technical Information 20 Digital Lenses & Accessories Fujinon HD Prime Lenses FUJINON C-SERIES PRIMES 5mm FUJINON C 8mm FUJINON C 12mm FUJINON C 16mm FUJINON C 20mm FUJINON C 34mm FUJINON C 40mm FUJINON C 54mm FUJINON C T-STOP T2/16 T1.5/16 T1.5/16 T1.5/16 T1.5/16 T1.5/16 T1.5/16 T1.6/16 MIN. FOCUS 20” 20” 16.5” 16.5” 18” 16” 20” 23.5” MOUNTS B4 B4 B4 B4 B4 B4 B4 B4 WT/LBS 5 lbs 3 lbs 2.5 lbs 2.5 lbs 2.5 lbs 2.5 lbs 2.5 lbs 2.5 lbs LENGTH 8” 6” 5.5” 5.5” 5.5” 5.5” 5.5” 5.5” FRONT DIA. 120mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm FUJINON E-SERIES PRIMES 5mm FUJINON E 8mm FUJINON E 10mm FUJINON E 12mm FUJINON E 16mm FUJINON E 2Omm FUJINON E 34mm FUJINON E 40mm FUJINON E 54mm FUJINON E T-STOP T1.7/16 T1.5/16 T1.5/16 T1.5/16 T1.5/16 T1.5/16 T1.5/16 T1.5/16 T1.6/16 MIN. FOCUS 20” 16” 20” 16” 16” 18” 16” 20” 24” MOUNTS B4 B4 B4 B4 B4 B4 B4 B4 B4 WT/LBS 4.8 lbs 3.5 lbs 3.5 lbs 3.5 lbs 3.5 lbs 3.5 lbs 3.5 lbs 3.5 lbs 3.5 lbs LENGTH 7 1/8” 5.75” 5.75” 5.75” 5.75” 5.75” 5.75” 5.75” 5.75” FRONT DIA. 95mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 8mm Fujinon Lens HD “C” Series T1.5 8mm Fujinon Lens HD “E” Series T1.5 Technical Information 10mm Fujinon Lens HD “E” Series T1.5 12mm Fujinon Lens HD “C” Series T1.5 16mm Fujinon Lens HD “C” Series T1.5 12mm Fujinon Lens HD “E” Series T1.5 16mm Fujinon Lens HD “E” Series T1.5 Technical Information Technical Information 20mm Fujinon Lens HD “C” Series T1.5 20mm Fujinon Lens HD “E” Series T1.5 Technical Information 34mm Fujinon Lens HD “C” Series T1.5 40mm Fujinon Lens HD “C” Series T1.5 34mm Fujinon Lens HD “E” Series T1.5 40mm Fujinon Lens HD “E” Series T1.5 Technical Information Technical Information 54mm Fujinon Lens HD “C” Series T1.6 54mm Fujinon Lens HD “E” Series T1.6 Technical Information 5mm Fujinon Lens HD “C” Series T2 5mm Fujinon Lens HD “E” Series T1.7 Technical Information 21 Digital Lenses & Accessories Leica Summilux C Prime Lenses: 21mm, 35mm, 40mm, 50mm, 75mm T1.4 “PL” Leica Summilux C Prime Lenses Zeiss DigiPrimes ZEISS DIGI-PRIMES 3.9mm ZEISS 5mm ZEISS 7mm ZEISS 10mm ZEISS 14mm ZEISS 20mm ZEISS 28mm ZEISS 40mm ZEISS 70mm ZEISS close focus 3.9mm Zeiss DigiPrime T1.9 T-STOP T1.9/16 T1.9/16 T1.6/16 T1.6/16 T1.6/16 T1.6/16 T1.6/16 T1.6/16 T1.6/16 MIN. FOCUS 20” 20” 20” 20” 20” 20” 20” 20” 13” MOUNTS B4 B4 B4 B4 B4 B4 B4 B4 B4 WT/LBS 4.5 lbs 3.5 lbs 3.5 lbs 3.5 lbs 3 lbs 3 lbs 3 lbs 3.5 lbs 4 lbs LENGTH 9” 6.5” 6.5” 6.5” 6.5” 6.5” 7.25” 6.5” 8.5” FRONT DIA. 117mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 5mm Zeiss DigiPrime T1.9 Technical Information 7mm Zeiss DigiPrime T1.6 Technical Information 10mm Zeiss DigiPrime T1.6 Technical Information 14mm Zeiss DigiPrime T1.6 Technical Information 20mm Zeiss DigiPrime T1.6 Technical Information 40mm Zeiss DigiPrime T1.6 Technical Information Zeiss DigiZoom ZEISS DIGI-ZOOMS 6-24mm ZEISS 17-112mm ZEISS T-STOP T1.9/16 T1.9/16 MIN. FOCUS 22” 30” HD ACCESSORIES FUJINON 1.4 EXT. 1 STOP LOSS OPTEX 2X EXT. 2 STOP LOSS CENTURY 2X EXT. 2 STOP LOSS CENTURY COLOR CORRECTOR FOR TELEPHOTOS CENTURY HD COLLIMATOR 22 MOUNTS B4 B4 WT/LBS 6.1 lbs 9 lbs LENGTH 9.8” 11.8” FRONT DIA. 95mm 95mm Film (35mm Sound) Cameras Note: All 35mm film cameras come in 4-perforation unless otherwise requested Arricam Studio Camera 1-60 FPS Forward, 1-32 FPS Reverse, 180° - 11.2° Electronic Variable Shutter Includes: • Color Video Tap • Lens Data System • LDS Onboard Monitor • Speed Control Box (also TV Sync Function) • Speed Control Box Extension Cable • Manual Control Box • Heated Swingover Eyepiece • Arriglow Ground Glass • ST Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Right Hand Grip and Shoulder Pad • (2) Power Cables • (2) 24V Block Batteries Arricam Studio Camera Additional Information * Can be configured in Tri-Perf or 2-Perf Arricam Lite Camera 1-48 FPS Forward, 1-32 FPS Reverse (Reverse only with Studio Mag) 180° - 11.2° Electronic Variable Shutter Includes: • Color Video Tap • Lens Data System • LDS Onboard Monitor • Speed Control Box (also TV Sync Function) • Speed Control Box Extension Cable • Arriglow Ground Glass • LT Extension Eyepiece • Eyepiece Leveling Rod • Mag Adapter for ST Mags • Balance Plate - Long and Short Rods • Right Hand Grip and Shoulder Pad • (2) Power Cables • (2) 24V Block Batteries • Manual Control Box with adapter Arricam Lite Camera Additional Information * Can be configured in Tri-Perf or 2-Perf Arricam Magazines: 1000’ Magazine for Studio 400’ Magazine for Studio 400’ Magazine for Lite Steadicam 400’ Magazine for Lite Hand-Held Arricam Accessories: Anamorphic Extension Eyepiece for Arricam ST Anamorphic Viewfinder - Arricam ST Anamorphic Extension Eyepiece - Arricam LT only Dual Mag Adapter for Arricam ST: 45° Dual Mag Adapter for Arricam ST: 90° Extension Eyepiece - Long Extension Eyepiece - Medium HD IVS Video Tap MCB Extension Cable and Adapter Shutter Timing Shift Box (Use with Arricam LT requires rental MCB Extension Cable and Adapter listed above) Steadicam 100% Optics & Low Mode Bracket (specify ST or LT) Universal Finderblock for Arricam LT 23 Film (35mm Sound) Cameras Arriflex 535 Camera 3-50 FPS Forward, 24 or 25 FPS Reverse 180° - 11.25° Electronic Variable Shutter (4-Perf only) Includes: • Color CCD Video • Arriglow Ground Glass • CCU (Camera Control Unit) • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • (2) Power Cables • (2) 12V Dual Block Batteries Arri 535 Camera Arriflex 535B Camera 3-60 FPS Forward, 24 or 25 FPS Reverse 180°, 172.8°, 144°, 135°, 120°, 105°, 90°, 75°, 60°, 45°, 30°, 15°, 11.2° Shutter Includes: • Color CCD Video • Arriglow Ground Glass • Eyepiece Leveling Rod • Heated Eyepiece • Extension Eyepiece • Balance Plate - Long and Short Rods • Right Hand Grip • (2) Power Cables • (2) 12V Dual Block Batteries Arri 535B Camera Arri 535 Magazines: 1000’ Magazine - 535 400’ Magazine - 535 Lightweight/Steadicam 400’ Magazine - 535 Coaxial Arri 535 Accessories: Anamorphic Viewfinder Arri Remote Control (RCU-1) Extension Eyepiece - Medium Film/Video Synchronizer - Arri External Sync Unit Film/Video Synchronizer - CE Iris Control Unit - Arri ICU Steadicam 100% Optic and Low Mode Bracket 535 Steadicam 100% Optic and Low mode Bracket 535B/IVS Time Code Module (SMPTE) for Arri 535/535B 535 Hand-Held Optics-535 HH Brace * Can be configured in Tri-Perf or 2-Perf 24 Film (35mm Sound) Cameras Arriflex BL-4 or BL-4S Camera 24/25 FPS Crystal, 3-43 FPS Variable Forward Only. 180°, 172.8°, 144° Shutter Includes: • Arriglow Ground Glass • Variable Speed Control 3-43 FPS • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Right Hand Grip • (2) Power Cables • (2) 12V Dual Block Batteries Arriflex BL-4S Camera * Can be configured in Tri-Perf or 2-Perf (BL-4 only) Arriflex BL-3 Camera 24/25 FPS Crystal, 3-43 FPS Variable Forward Only. 180°, 172.8°, 144° Shutter (2-Perf ) Includes: • Ground Glass • Variable Speed Control 3-43 FPS • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Right Hand Grip • (2) Power Cables • (2) 12V Dual Block Batteries Arriflex BL-3 Camera * Can be configured in Tri-Perf or 2-Perf Arri BL Options: Color CCD Video Eyepiece Color CCD Video Tap with Optics 1000’ Magazine - BL 400’ Magazine - BL Arri BL Accessories: Arri BL Variable Speed Control Barney - BL Magazine Barney - BL Full Camera Extension Eyepiece - Long Film/Video Synchronizer - CE Iris Control Unit - Arri ICU Precision Speed Control TV/HMI Box (7.5, 15, 24, TV, 30, 40, 60, 120 fps) 25 Film (35mm Sound) Cameras Moviecam SL MK2 Camera 12fps. to 40 fps. without speed box, 1 fps to 50 fps. with speed box. Clairmont introduces the industry’s lightest 35mm sync sound camera (22.5 lbs. in Steadicam mode). This versatile 35mm camera has an updated Tri-Perf movement and the ability to easily change to 4-perf mode. It’s adjustable from 1-50 fps (with an external speed box). And at <20 dB it’s exceptionally quiet. Our Moviecam SL MK2 cameras feature an advanced viewfinder block, integrated Movielite with slides, and updated electronics.They come equipped with the new IVS Color Video Assist, as well as an external ramping system. Moviecam SL MK2 Left Side Clairmont’s Moviecam SL MK2 cameras are the only ones of their kind in North America, and we’re excited about sharing another amazing tool for the art of cinematography. Includes: • Anamorphic Optics with ST Eyepiece • Arricam LT Optics • W/A Heater Eyecup • MCSL MKII Speed Control Box • MCSL MKII IVS • Carrying Handle • MCSL Studio Mag Adapter • Arricam ST Ext. Eyepiece • Eyepiece Leveling Rod • MCC Right Handgrip • MCSL Right Handgrip Ext. • MCC Left Handgrip • Shoulder Pad • Balance Plate: Top and Bottom • Rods: Long and Short • (2) Arricam Heater Cables • (2) 24V Power Cables • (2) 24V Batteries with Chargers • Case Moviecam SL MK2 Right Side Optional Items: Low Mode Cage Steadicam 100% Optic and Low Mode Bracket * Can be configured in Tri-Perf Moviecam Compact Camera 3-50 FPS Forward, 12-32 FPS Reverse 180°, 172.8°, 144°, 120°, 90°, 45° Shutter Includes: • Color CCD Video • Movieglow Ground Glass • Swingover Finder with Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Left and Right Hand Grips • Shoulder Pad • Top and Rear Load Adapter • (2) Power Cables • (2) 12V Dual Block Batteries Moviecam Compact * Can be configured in Tri-Perf 26 Film (35mm Sound) Cameras Moviecam Compact Camera with Evolution Optics 3-50 FPS Forward, 12-32 FPS Reverse 180°, 172.8°, 144°, 120°, 90°, 45° Shutter Includes: • Color CCD Video • Movieglow Ground Glass • Evolution Optics • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Left and Right Hand Grips • Shoulder Pad • Top and Rear Load Adapter • (2) Power Cables • (2) 12V Dual Block Batteries * Can be configured in Tri-Perf Moviecam Super America MKII Camera 3-40 FPS Forward, 12-32 FPS Reverse 180°, 172.8°, 144°, 120°, 90°, 45° Shutter Includes: • Color CCD Video • Movieglow Ground Glass • Moviespeed Control Unit • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Right Hand Grip • Shoulder Pad • (2) Power Cables • (2) 12V Dual Block Batteries Moviecam Super Lite Camera 12-32 FPS Forward 180°, 172.8°, 144°, 120°, 90°, 45°, 22.5° Shutter Includes: • Color CCD Video • Ground Glass • SL Handheld Finder with Heated Eyepiece • MCC Magazine Adapter for Studio • Shoulder Plate - Short Rods • Left and Right Hand Grips • Shoulder Pad • (2) Handheld Power Cables • (2) 12/24V Battery Belts Moviecam Super Lite Optional Items: MCSL Color CCD Video MCSL CCD Video for Hand-Held Optics 27 Film (35mm Sound) Cameras Moviecam SL Studio Package Allows 2-40 FPS Forward, 12-32 FPS Reverse (Reverse only with compact mags) Includes: • Movieglow Ground Glass • Swingover MCC Finder and Movielite • Tachometer and Footage Counter • Moviespeed Control Unit and Interface • Balance Plate - Long Rods • Extension Eyepiece • Eyepiece Leveling Rod • (2) Power Cables • (2) 12V Dual Block Batteries Moviecam Magazines: 1000’ Magazine - Compact Lightweight 400’ Magazine - Compact Lightweight 400’ Magazine - Compact Steadicam 400’ Magazine - Super Lite Hand-Held 400’ Magazine - Super Lite Steadicam Arri 35-3 Magazines: 1000’ Magazine - Super America Aluminum 500’ Magazine - Super America Aluminum Moviecam Accessories: Anamorphic Short Eyepiece for MCC Evolution Optics: MCC Film/Video Synchronizer - Moviecam Synco Box Iris Control Unit - Moviecam Iris Control Handwheel - Moviecam Iris Control Unit - Scorpio/Moviecam Remote Start Unit - Moviecam (with display) Steadicam 100% Optic and Low Mode Bracket (specify MCC or MCSL) Time Code Module (Aaton) for Compact Master Time Code Clock - Origin C++ 28 Film (35mm MOS) Cameras Aaton 35-III Camera 3-32 FPS Crystal Forward Only 180°, 172.8°, 150°, 144° Shutter Includes: • Ground Glass • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Mini Rod Bracket with Extension Rods • Right Hand Grip • Loop Tool • (2) Power Cables • (2) 12V On-Board Batteries Aaton 35-III Camera Technical Information Aaton Accessories: Color CCD Video Anamorphic Viewfinder - Aaton 35-III Master Time Code Clock - Origin C++ 400’ Magazine - Aaton 35-III Arriflex 235 Camera 1-75 FPS Forward, 25 FPS Reverse 180°, 172.8°, 150°, 144°, 135°, 120°, 105°, 90°, 75°, 60°, 45° Shutter Includes: • Color IVS CCD Video • Ground Glass • Universal (Spherical-Anamorphic) Finder • Heated Eyepiece • Medium Extension Eyepiece • Eyepiece Leveler • Carry Handle • Right Hand Grip and Shoulder Pad • Clairmont Power Accessory Riser Block • Balance Plate - Long and Short Rods • EXD-1 External Display Unit • (2) Power Cables • (2) 24V On-Board Batteries * Can be configured in Tri-Perf Arri Magazines: 200’ Magazine - 235 Shoulder 400’ Magazine - 235 Shoulder 400’ Magazine - 235 Steadicam Arri 235 Accessories: Extension Eyepiece - Medium for Arri 235 235 Iris Control Unit Low Mode Bracket JJ’s Cane or Polo Stick 29 Film (35mm MOS) Cameras Arriflex 35-3 PL Camera 4-125 FPS Forward and Reverse 180° Fixed Shutter (2-Perf ) 180°, 172.8°, 144°, 135° Shutter 180°, 172.8°, 144°, 135°, 120°, 105°, 90°, 75°, 60°, 45°, 30°, 15° Shutter Includes: • Ground Glass • C.E. Crystal base • Swivel/Orientable Door • W/A Eyepiece • Standard Eyecup • Balance Plate - Long and Short Rods • Right Hand Grip • (3) Power Cables • (2) 12V Dual Batteries * Can be configured in Tri-Perf or 2-Perf Arri Options: Color CCD Video on Orientable Door Eyepiece Color CCD Video Tap with Optics Arri 35-3 Magazines: 1000’ Magazine - Arri 35-3 (no reverse) 200’ Magazine - Arri 35-3 / Arri II-C (no reverse) 400’ Magazine - Arri 35-3 / Arri II-C 400’ Magazine - Arri 35-3 / Arri II-C Steadicam 400’ Magazine - Arri 35-3 / Arri II-C Shoulder (no reverse) Arri 35-3 Accessories: Anamorphic Orientable Video Door - Arri 35-3 Anamorphic Extension Eyepiece for Arri 35-3 Debris/Explosion Housing for Arri 35-3 Extension Eyepiece 7”, 9” or 12” with Eyepiece Leveling Rod Firebox for Arri 35-3 Water Cooled Hand-Held Door Intervalometer Norris Includes: Capping Shutter, Camera Bag Underwater Housings - see Camera Water Accessories Arriflex 435 ES Camera 1-150 FPS Forward & Reverse 180° - 11.2° Electronic Variable Shutter Includes: • Color CCD Video • Arriglow Ground Glass • RCU-1 (Remote Control Unit) • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Carry Handle • Right Hand Grip • (2) Power Cables • (2) 30V Batteries Arriflex 435ES Camera * Can be configured in Tri-Perf or 2-Perf 30 Film (35mm MOS) Cameras Arriflex 435 Advanced Camera .1-150 FPS Forward & Reverse 180° - 11.2° Electronic Variable Shutter Includes: • Color CCD Video • Arriglow Ground Glass • RCU-1 (Remote Control Unit) • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Carry Handle • Right Hand Grip • (2) Power Cables • (2) 30V Batteries Arriflex 435 Advanced Camera * Can be configured in Tri-Perf or 2-Perf Arriflex 435 Xtreme Camera .1-150 FPS Forward & Reverse 180° - 11.2° Electronic Variable Shutter Includes: • Color CCD Video • Arriglow Ground Glass • RCU-1 (Remote Control Unit) • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Carry Handle • Right Hand Grip • (2) Power Cables • (2) 30V Batteries • FEM-1 Module Arriflex 435 Extreme Camera * Can be configured in Tri-Perf or 2-Perf Arriflex Magazines: 1000’ Magazine - 435 400’ Magazine - 435 200’ Magazine - 435 Low-Profile (SL Cine) 400’ Magazine - 435 Low-Profile (SL Cine) 400’ Magazine - 435 Steadicam Arri 435 Accessories: 435 Advanced Kuper Interface Kit Anamorphic Viewfinder Extension Eyepiece - Medium Intervalometer System with Door Iris Control Unit Remote Control Unit (RCU-1) Remote Control Unit 4 (RCU-4) Shutter “Out Of Phase” Chip and RU-1 Unit - 435ES Shutter Timing Shift Box - 435 Advanced/Xtreme Steadicam IVS 100% Optics and Low Mode Bracket 31 Film (35mm MOS) Cameras Eyemo (Crystal) - Nikon Mount Camera 12, 15, 17, 143, 20, 24, 30, 34.286, 40, 48 FPS 165° Shutter Includes: • Ground Glass in Sportfinder • Crystal Motor • Remote On-Off Cable • (2) 8’ Power Cables • (2) 12V Batteries Eyemo (Reflex) - Nikon Mount Camera 4-50 FPS Crystal 165° Shutter Includes: • Ground Glass • Remote On-Off Cable • Remote On-Off Extension • (2) 8’ Power Cables • (2) 12V Batteries Eyemo Accessories: Eyemo Crash Housing Eyemo “Geronimo” Crash Ball Fries Mitchell 35R3 PL Camera 12 to 120 FPS 170° Fixed Spinning Mirror Reflex Shutter Includes: • Ground Glass • C.E. Crystal Base • Swivel Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Intervalometer (Norris) for 35R3 • (2) Power Cables • (2) 30V Block Batteries Fries Mitchell 35R3 PL Mitchell 35NC Rackover PL Camera Single Frame Only 170°-0° Blanking Shutter Includes: • Ground Glass • Swivel Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • (2) Power Cables • (2) 30V Block Batteries Mitchell Magazines: 400’ Mitchell Magazine 1000’ Mitchell Magazine Mitchell Accessories: Color CCD Video Fries Variable Speed Control (includes Capping Shutter, Camera Bag) Richardson Motor & Intervalometer (Norris) for 35NC (includes Capping Shutter, Camera Bag) 110V Synchronous Motor (camera can run at 24 fps with motor) Barney - Full Camera 32 Universal Camera Accessories Barney - Mag or Full Camera Camera/Projector Synchronizer Camera/Projector Sync Cables Camera/Projector Hansard Pick-up Changing bag Cinetape - see Camera Electronic/Mechanical Accessories Eyepiece - Standard with Iris Eyepiece - Wide Angle with Heater Film/Video Synchronizer - Arri ESU Film/Video Synchronizer - Moviecam Synco Box Film/Video Synchronizer - CE Gyro Stabilizer - see Support Image or Camera Shaker - see Optical Accessories Intervalometers - see Camera Descriptions Iris Control Units - see Camera Descriptions Lens Light Obie Light Power Cables - 8’ Power Extension Cables - 10-15’ Power Extension Cables - 25’ Power Extension Cables - 50’ Power Converter: CCI 12V to 24V Power Converter: CCI 24V to 12V Power Splitter: 12V CCI Power Splitter: 24V CCI Power Splitter: 12V Fisher 11 pin “Y” Box Precision Speed Control Preston F/X Box Remote Start Switch - 10-20’ Remote Start Switch - 25-50’ Remote Start Switch - 100’ Remote Start Extension Cable - 25’ Remote Start Extension Cable - 50’ Remote Start Extension Cable - 100’ Remote Start Switch - Long Distance (controls 5 cameras with 11pF connectors, inc. 12V Battery) Remote Start Unit - Moviecam with display Shutter Pulse Distribution Box (Slaves 4 cameras) Note: Must use with Film Video Synchronizer or Arri ESU or Moviecam Synco Box Slate Slate - Denke Time Code 33 Universal Camera Accessories Squishy Lens - see Specialty Lenses Clairmont Sunbrella Sun Cover for Magazines Synco Mark Laser Kit (CE) Timing Shift Box for Arricam Timing Shift Box for 435 Xtreme (only) Varicon - see Optical Accessories 34 Film (16mm) Cameras Arriflex 416 Camera 12-75 FPS Forward Only 180°, 172.8°, 144°, 135°, 90°, 45° Shutter Includes: • IVS Color CCD Video • Arriglow Fiberscreen • 24/12V Converter Block • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Right Hand Grip • Shoulder Pad • (2) Power Cables • (2) 24V On-Board Batteries Arri 416 Options: 400’ Magazine - 416 Shoulder Steadicam Riser: 416 Arriflex 16SR3 Camera 5-75 FPS Forward 180°, 172.8°, 144°, 135°, 90°, 45° Shutter Includes: • Color CCD Video • Arriglow Fiberscreen • 24/12V Converter Block • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Right Hand Grip • (2) Power Cables • (2) 24V On-Board Batteries Arri 16SR3 Arriflex 16SR3 High Speed Camera 12-150 FPS Forward Only 180°, 172.8°, 144°, 135°, 90°, 45° Shutter Includes: • Color CCD Video • Arriglow Fiberscreen • 24/12V Converter Block • Heated Eyepiece • Extension Eyepiece • Eyepiece Leveling Rod • Balance Plate - Long and Short Rods • Right Hand Grip • (2) Power Cables • (2) 24V On-Board Batteries 16SR3 Hi-Speed 400’ Magazine - 16SR3 Hi-Speed 400’ Magazine - 16SR3 (Std or Time Code) 800’ Magazine - 16SR3 (Time Code) 16mm Accessories: Iris Control Unit SR3 Intervalometer with Capping Shutter and Camera Bag SR3 Low Mode Bracket 35 Specialty Cameras (35mm & 16mm) 35mm Specialty Cameras Arriflex II-C Handcrank 165° Shutter Includes: • Ground Glass • Hand Crank • Balance Plate - Short Rods Arri II-C Magazines: 400’ Magazine - Arri 35-3 / Arri II-C 400’ Magazine - Arri 35-3 / Arri II-C Steadicam 400’ Magazine - Arri 35-3 / Arri II-C (no reverse) Arri II-C Options: Color CCD Video Eyepiece Color CCD Video Tap with Optics Anamorphic Fixed Door - Arri II-C Eyemo (Crystal) on a STICK Includes: • Crystal 35mm Eyemo on a Stick • 2” Mini Monitor (Watchcam) • Action Tracker • Servo-Remote Follow Focus Unit • (2) 12V Batteries - Weighted Eyemo (Crystal) on POGOCAM Includes: • Crystal 35mm Eyemo • Pogocam Rig • Monitor - Pogocam • Boresight - Pogocam • Servo-Remote Follow Focus Unit • Sony GV8 Monitor-Playback Unit • Docking Module for Pogocam Fries / Mitchell Low Profile 35R3 PL Camera 12 to 120 FPS 170° Fixed Spinning Mirror Reflex Shutter This camera is only 6 3/4” tall, 28” long and 11 1/2” wide including viewfinder and the video tap. It is only 8 1/2” wide without the viewfinder. Includes: • Ground Glass • C.E. Crystal Motor • (2) Power Cables • (2) 30V Block Batteries Fries Low Profile Camera Fries / Mitchell Magazines: • 200’ Low Profile Magazine 36 Specialty Cameras (35mm & 16mm) 16mm Specialty Cameras Arriflex 16SR3 Handcrank Handcrank Option and 5-75 FPS Forward 180°, 172.8°, 144°, 135°, 90°, 45° Shutter Includes: • Arriglow Fiberscreen • 24/12V Converter Block • Heated Eyepiece • Extension Eyepiece • Balance Plate - Long and Short Rods • Right Hand Grip Arriflex 16SR2 Handcrank Regular 16 Gate Handcrank Option and 3-75 FPS Forward 180° Fixed Shutter Includes: • Arriglow Fiberscreen • Heated Eyepiece • Extension Eyepiece • Balance Plate - Long and Short Rods • Right Hand Grip Arri Handcrank Magazines: 400’ Magazine - 16SR3 400’ Magazine - 16SR2 Arri Handcrank Options: Color CCD Video Filmo Crystal Nikon Mount and C-Mount 12, 15, 16, 20, 24, 30, 32, 40, 48 FPS 180° Shutter Includes: • Fiberscreen in Sportfinder • Crystal Motor • 50’ Remote On-Off Cable • (2) 8’ Power Cables • (2) 12V Batteries Filmo Crystal on Pogocam Nikon Mount and C-Mount 12, 15, 16, 20, 24, 30, 32, 40, 48 FPS 180° Shutter Includes: • Crystal Filmo 16mm • Pogocam Rig • Monitor - Pogocam • Boresight - Pogocam • Servo-Remote Follow Focus Unit • Sony GV8 Monitor-Playback Unit • Docking Module for Pogocam 37 Specialty Cameras (35mm & 16mm) C-Mount Lenses for Filmos T-Stop 5.9mm Angenieux 9.8mm Angenieux 10mm Angenieux 15mm Angenieux 25mm Angenieux 50mm Angenieux T1.8 T1.8 T1.8 T1.3 T1.4 T1.8 Nikkor Lenses - see Lens Section Super 8mm Sound Camera Beaulieu 7008Pro Camera - C Mount 4, 9, 18, 24, 25, 36, 80 FPS Fixed 2 Position Shutter (Effective Angle 90° or 145°) Includes: • 6-70mm T1.4 Schneider Zoom Lens • Remote On-Off Cable • (2) 8.4V On-Board Battery Packs Beaulieu 7008Pro Camera 38 Magazines 200’ Magazines: 200’ for Arri 35-3 or Arri 2C 200’ for Arri 235 Shoulder 200’ for Low Profile Fries / Mitchell 400’ Magazines: 400’ for Aaton 400’ for Arri 2C SL Cine Low Profile 400’ for Arri 16SR2 400’ for Arri 16SR3 400’ for Arri 16SR3 Hi-Speed 400’ for Arri 35-3 or Arri 2C 400’ for Arri 35-3 SL Cine Low Profile 400’ for Arri 35-3 Shoulder 400’ for Arri 35-3 or Arri 2C / Steadicam 400’ for Arri 235 Shoulder 400’ for Arri 235 Steadicam 400’ for Arri 416 Shoulder 400’ for Arri 435 400’ for Arri 435 SL Cine Low Profile 400’ for Arri 435 / Steadicam 400’ for Arri 535 400’ for Arri 535B / Light Weight 400’ for Arri 535 / Steadicam 400’ for Arri BL 400’ for Arricam LT Hand Held 400’ for Arricam LT / Steadicam 400’ for Arricam ST 400’ for Fries / Mitchell 400’ for MCSL Hand Held 400’ for MCC / Steadicam 400’ for MCSL / Steadicam 400’ for Moviecam Compact / Light Weight 500’ Magazine: 500’ for Moviecam Super America - Aluminum 800’ Magazines 800’ for Arri 16SR3 with Time Code 1000’ Magazines: 1000’ for Arri 35-3 1000’ for Arri 435 1000’ for Arri 535 1000’ for Arri BL 1000’ for Arricam ST / LT 1000’ for Fries / Mitchell 1000’ for Moviecam 39 Time Code and Special Format Aaton Time Code Module: For Moviecam Compact Master Time Code Clock Special Formats: Super 35, Super 1:85 Three perforation movements for Arri BL or Arri 35-3 40 Video Accessories Aaton: Color CCD - Flicker Less Arri 2C: Includes: 7” Jurgens Extension and Eyepiece Leveler Arri 35-3: Swivel door with Color CCD - Flicker Less Arri-3 Jurgens Color CCD: Includes: 7” Jurgens Extension and Eyepiece Leveler Arri 16SR2 and 3: Color CCD - Flicker Less Arri 435 ES / Advanced / Xtreme: Color CCD - Flicker Less Arri 435 Steadicam Low Mode Arri 535 and 535B: Color CCD - Flicker Less Arri 535B Steadicam Low Mode Arri BL: Color CCD - Flicker Less Arricam: HD IVS with HD On-Board Monitor Arricam Steadicam Low Mode Eyemo: Reflex Crystal Eyemo Parallex Color CCD with 3 Lenses & 2” Monitor Fries / Mitchell Low Profile: Color CCD - Flicker Less Moviecam Compact: Color CCD - Flicker Less Moviecam Compact Steadicam Low Mode Moviecam Super America: Color CCD - Flicker Less Moviecam Super Light: Color CCD - Flicker Less Moviecam Super Light Low Mode 41 Accessories for Video Taps BNC or RCA Cables - 25’ or less BNC or RCA Cables - 25’ to 50’ BNC or RCA Cables - 100’ or longer 3” Handheld Monitor - Sony Watchcam (Hardwire) 3” Handheld Monitor/Reciever - Sony Watchman 9” JVC NTSC Color Monitor 9” Sony PVM8045 NTSC Color Monitor 9” Sony NTSC Color Monitor/Reciever 9” Sony Combi-8 NTSC Color Monitor/8mm Recorder 14” Sony NTSC Color Monitor 15” Sharp 4x3 SD LCD Flat Panel with Tuner 640x480 Monitor 26” Panasonic LCD Flat Panel Monitor “Lipstick” Color Video Camera On-Board LCD Mini Monitor - Color 4”, 5” or 6.5” On-Board LCD SuperBright Mini Monitor - Color 5” Sony STD-8 “Clamshell” Handheld Color Monitor/Recorder Sony EVO-220 Hi-8 Handheld Color Recorder Only Sony DV “Clamshell” Handheld Color Monitor/Recorder Transmitter - Wireless Tuner with Antenna Tuner - Diversity with (3) Antennas Frameline Generator Witness Mark B&W Video Camera with Lens Clairmont “Video Village” Cart Video Goggles - PT-01 42 Matte Boxes MB-14 MB-14W MB-15 MB-16 MB-16C MB-17 MB-18 MB-19 MB-20 6.6x6.6 6.6x6.6 5x6 4x4 4x4 4x5.65 4x5.65 4x5.65 4x5.65 2, 3, 4, 6 Stages with 138mm Zoom Ring and Bellows 2, 3, 4, 6 Stages with 138mm Zoom Ring and Bellows 2, 3 Stages with 138mm Zoom Ring and Bellows 2, 3 Stages with 138mm Zoom Ring and Bellows 2, 3 Stages with 138mm Zoom Ring and Bellows 2 Stage (Mini Rod only) with Bellows 2, 3 Stages with 138mm Bellows 2 Stage (Mini and Studio Roll) with 138mm Bellows 2 Stage with 138mm Bellows 6x6 5x6 4x4 4x4 4x5.65 2, 3, 4, 6 Stages with 138mm Zoom Ring and Bellows 2, 3 Stages with 138mm Bellows 2, 3 Stages with 4.5” Bellows Chrosziel 2 Stage Chrosziel 2 Stage (to be used with Hawk Lenses) 6.6x6.6 4x5.65 4x5.65 4x4 Clip-On Matte Box: LMB-4 Clip-On Matte Box: LMB-5 2-Stage Clip-On Matte Box: LMB-5 3-Stage Clip-On Matte Box: LMB-3 Hard Matte Set - Anamorphic Hard Matte Set - Spherical Eyebrow - 1 piece Eyebrow - 3 piece (MB-14 and MB-18 only) 6.6x6.6 6.6x6.6 Wide Angle Filter Holder 2-Stage Wide Angle Filter Holder 3-Stage Filter Trays/Filter Reduction Trays Double/Triple Filter Tray Motorized “Blink” 535 Matte Box 4-Stage Includes: Micro Force Controller, 12V Dual Block Battery 43 Camera Body Optical Accessories Anamorphic optics for: Anamorphic/Video PosiLock Door for Arri 35-3 - Color Anamorphic Fixed Door for Arri 2C Anamorphic Fixed Door for Arri 35-3 Aaton 35 Arri 35BL with Conversion Arri 435 Arri 535 Moviecam - All Types 6” to 8” Extension - 435 7” Jurgens Extension for Eyepiece 9” Anamorphic Extension for Eyepiece 9” Extension for Eyepiece 12” Extension for Eyepiece Hand Held Door for Arri 35-3 Hand Held Optics for Arri 535 Low Mode Optics Bracket - 435 Low Mode Optics Bracket - 535 Low Mode Optics Bracket - 535B Low Mode Optics Bracket - Arricam Low Mode Optics Bracket - MCSL Low Mode Optics Bracket - MCC Periscope Finder Straight Door A3/II-C 44 Camera Electronic/Mechanical Accessories Arri Lens Control System (ICU) - Hardwire Arri Remote Control Unit (RCU-1) Arri Remote Control Unit 4 (RCU-4) Chrosziel Fluid Zoom Control Cinetape Cinetape Remote Sensor - Hardwire Cinetape Transmitter - Wireless Dual Hardwire Follow Focus for 2-Camera Rig Follow Focus - WillyTec Follow Focus - Arri Follow Focus - Cinetech Follow Focus - Chrosziel Follow Focus - Hand Held Follow Focus - Mini for 16SR Follow Focus - Whips 3”, 6”, 9”, 12”, 15”, 36” Micro-Force Zoom Control and Motor Micro-Force Digital Zoom Control and Motor Micro-Force Extension Cable Micro-Force Control Only Micro-Force Zoom Motor Only Moviecam EasyFocus This remarkable device from the fertile mind of Fritz Gabriel Bauer (best known for creating the much-loved Moviecam and his design work on the Arricam) is a distance-measuring tool using a video target allocation display to provide real-time lens focusing. A simple calibration process after the initial set-up will allow the user to track any object with accurate focus (when employing a programmed lens) using a mouse cursor or touch-screen. By clicking on an object in the viewscreen the EasyFocus will display the distance from the focal plane to that point. The EasyFocus has a focusing range of 6’ (1.80M) to 450’ (137M) and can operate in five modes to provide a variety of focus options.The operator can select the Auto Focus mode, a Ramp mode (adjustable from .05 to 9.9 seconds), Tracking mode,Manual mode or a Mapping mode—which can be employed to create a topographical map of the set and is very helpful to set designers and CGI creators. It is especially handy in rigging and crane applications. It can be used Hardwire or Wireless (using Cmotion technology) and mounted to the most popular cameras in the Clairmont Camera inventory, including the Alexa, Sony F35, Arricam Studio, Arricam Lite and Arriflex 435 with more applications currently under development. Remote Hardwire Follow-Focus (Preston Micro Servo) Remote Servo Iris Control Speed Aperture Computer - MK III Synco Mark Laser - see Camera Accessories Remote Wireless Systems Arri Wireless Remote Unit (WRC-1) Bartec Single Channel cMotion Wireless Receiver Focus-Iris-Zoom Control fStop Wireless Receiver with iTouch Fl+Z MK3 to Remote Cine Tape Display Preston FI+Z Focus/Iris Unit - Single Channel Preston FI+Z MK1 (Focus-Iris-Zoom) - MDR-1 Preston FI+Z MK2 (Focus-Iris-Zoom) - MDR-2 Preston FI+Z MK3 (Focus-Iris-Zoom) - MDR-2 HU3 Preston F/X Box for MK2 and MK3 Scorpio Includes: Motion Generator Auto Repeat of Pre-Sets 45 Clairmont Strobes * Camera and strobe must be tested at Clairmont to insure compatibility. ** Speed range up to 300 flashes per second = 150 fps on spinning mirror camera. Clairmont Strobe Light Kit - All Arriflex, Panaflex, Panastar, Moviecam, Aaton 16mm and 35mm and Clairmonts Fries Mitchell. Includes: • (3) Strobe Heads • (3) AC Powered Strobe Packs • Camera Interface bBox • Minolta Strobe Light Meter • Connecting Cables • Modeling Box Strobe accessories: Additional Strobe Head and Pack Additional 25’ Extension Cables for Head 24 frame Variable Synchronizer Timed Firing Sync Box ** Any non-CCI Camera must be tested with the strobes at a Clairmont facility prior to rental. These strobes do not require a technician. 46 Steadicam and Hand Held Accessories Hand Held Brace Hand Held Brace - CCI Dual Hand Held Brace - Digital Hand Held Brace - Easy Rig 400 4 Vario Hand Held Brace - Easy Rig 600N Hand Held Brace - Easy Rig 700N Hand Held Brace - Mantis Hand Held Brace - Spidergrips Hand Held Follow Focus Hand Held Follow Focus - Arri and Arri Lite Hand Held Follow Focus - Chrosziel Hand Held Follow Focus - WillyTec Garfield Mount Low Mode Plate - Aaton Low Mode Plate - Arriflex (all camera types) Low Mode Plate - Moviecam Low Mode Plate - Panasonic Low Mode Plate - Sony Shoulder Pad/Braces - Arriflex Steadicam Western Horse Saddle 47 Camera Water Accessories Harrison Weather Protectors Hydroblaster System Gates “Deep Red” Underwater Housing Clairmont Camera makes it easy to take the Red One HD digital camera down to a depth of 450 feet (137 meters) with complete reliability.The Gates “Deep Red” housing features a compact, hardanodized aluminum shell, stainless steel hardware and measures 21.5” x 19.5” x 16.5” fully assembled (with handles and 8” dome). It has adjustable buoyancy and trim, plus convenient, ergonomic controls that makes it easy to operate underwater. The Gates “Deep Red” underwater housing features Precision Ports™ dome port optics to provide unobstructed clarity,and has ample room to accommodate most prime and macro lenses. External knobs allow for focus and iris adjustment.The external viewfinder monitor case is designed for the 5.6”LCD monitor from Red™ and a 100’umbilical cable allows topside viewing. Complete with the Red One™ camera, Red Brick™ battery, Red-Raid™ or Red Ram™ plus lens, the package weighs approximately 55 lbs. on land and can be virtually weightless underwater. Gates “Deep Red” Underwater Housing for Red One camera - Max 450’ Depth Hydroflex Surf Housing - MKI - Max 3’ Depth for Arri 35-3 with Prime Lens, 400’ Mag, CCD Video Tap Hydroflex Shallow Water Housing - MKII - Max 15’ Depth for Arri 35-3 with Prime Lens, 400’ Mag, CCD Video Tap Hydroflex Deep Water Housing - Max 200’ Depth for Arri 35-3 with Prime Lens, 400’ Mag, CCD Video Tap Rain Deflector - Fromm - 12V Rain Deflector - SE Small - 24V Rain Deflector - SE Med Z1 MKII - 24V Rain Deflector - SE Large W/A Ultra 10- 24V Rain Deflector - Spintec 105mm Rain Deflector - Spintec 80mm Rain Deflector - Sprayoff Giga (works on MB-14 Matte Box) Rain Deflector - Sprayoff Micro 24V (works on LMB-5 Matte Box) Condom - Probe Condom - CP Periscope Condom - Revolution Splash Housing - Prime Underwater 4” Video Monitor Underwater 50’ Video Cable Underwater Light Meter Underwater Remote Start Switch 48 35mm Prime Lens Sets BLURTAR LENSES 28mm BLURTAR 40mm BLURTAR 50mm BLURTAR 75mm BLURTAR T-STOP T2.3/16 T2.6/16 T3/16 T3.8/22 MIN. FOCUS 2’ 2’ 2’ 5’ MOUNTS PL PL PL PL WT/LBS 1 lbs 1lbs 1 lbs 1 lbs LENGTH 2-1/2” 2-1/2” 2-1/2” 3-1/2” FRONT DIA. 80mm 80mm 80mm 80mm COOKE PANCHROS 18mm COOKE PANCHROS 25mm COOKE PANCHROS 32mm COOKE PANCHROS 40mm COOKE PANCHROS 50mm COOKE PANCHROS 75mm COOKE PANCHROS 100mm COOKE PANCHROS T-STOP T2.2/22 T2.2/22 T2.3/22 T2.3/22 T2.3/22 T2.3/22 T2.8/22 MIN. FOCUS 12” 12” 12” 12” 1’6” 2’ 3’ MOUNTS PL PL PL PL PL PL PL WT/LBS 1.25 lbs 1 lbs 1 lbs 1 lbs 1 lbs 2 lbs 2.5 lbs LENGTH 1-7/8” 2-1/8” 2-1/2” 2-5/8” 2-5/8” 3” 4-3/8” FRONT DIA. 80mm 80mm 80mm 80mm 80mm 80mm 80mm COOKE CF PANCHROS 18mm COOKE CF PANCHROS 25mm COOKE CF PANCHROS 32mm COOKE CF PANCHROS 40mm COOKE CF PANCHROS 50mm COOKE CF PANCHROS 75mm COOKE CF PANCHROS 100mm COOKE CF PANCHROS T-STOP T2.2/22 T2.2/22 T2.3/22 T2.3/22 T2.3/22 T2.3/22 T2.8/22 MIN. FOCUS 5.5” 5.5” 6.5” 7” 8” 1’3” 1’5” MOUNTS PL PL PL PL PL PL PL WT/LBS 1.25 lbs 1.25 lbs 1 lbs 1.5 lbs 2 lbs 2 lbs 3 lbs LENGTH 2” 2” 2-1/8” 2-5/8” 3-1/4” 3-1/4” 4-1/4” FRONT DIA. 80mm 80mm 80mm 80mm 80mm 80mm 80mm SUPER BALTAR 20mm SUPER BALTAR 25mm SUPER BALTAR 35mm SUPER BALTAR 50mm SUPER BALTAR 75mm SUPER BALTAR 100mm SUPER BALTAR T-STOP MIN. FOCUS T2.3 T2.3 T2.3 T2.3 T2.3 T2.3 MOUNTS PL PL PL PL PL PL LENGTH FRONT DIA. LEICA SUMMILUX C 18mm LEICA SUMMILUX C 21mm LEICA SUMMILUX C 25mm LEICA SUMMILUX C 35mm LEICA SUMMILUX C 40mm LEICA SUMMILUX C 50mm LEICA SUMMILUX C 75mm LEICA SUMMILUX C 100mm LEICA SUMMILUX C T-STOP MIN. FOCUS T1.4 T1.4 T1.4 T1.4 T1.4 T1.4 T1.4 T1.4 MOUNTS PL PL PL PL PL PL PL PL WT/LBS LENGTH FRONT DIA. ZEISS SUPER SPEED 18mm ZEISS Super Speed 25mm ZEISS Super Speed 35mm ZEISS Super Speed 50mm ZEISS Super Speed 85mm ZEISS Super Speed T-STOP MIN. FOCUS T1.3 T1.3 T1.3 T1.3 T1.3 MOUNTS PL PL PL PL PL WT/LBS LENGTH FRONT DIA. ZEISS STANDARD 16mm ZEISS Standard 24mm ZEISS Standard 32mm ZEISS Standard 50mm ZEISS Standard 85mm ZEISS Standard T-STOP MIN. FOCUS T2. 1 T2. 1 T2. 1 T2. 1 T2. 1 MOUNTS PL PL PL PL PL WT/LBS LENGTH FRONT DIA. Click here for Blurtar Lens Demo 49 WT/LBS 35mm Prime Lenses Fisheye & Wide Angle Lenses WIDE ANGLE LENSES 6mm NIKKOR (FISH EYE)* 7.5mm CENTURY (FISH EYE) 8mm NIKKOR (FISH EYE) 9.8mm KINOPTIC 10.5mm OPTEX 12mm TECHNO * 220° Angle of View T-STOP T2.8/22 T5/22 T2.8/22 T2.3/22 T2.1/22 T2.1/22 MIN. FOCUS 12” 3’ 9” 8.5” 6” 8” MOUNTS PL PL PL PL PL PL WT/LBS 14 lbs 1 lbs 3.5 lbs 4.25 lbs 2.25 lbs 4 lbs LENGTH 8-1/2” 2-3/4” 6” 5-1/4” 3-1/2” 4” FRONT DIA. 238mm 80mm 120.5mm 89mm 120.5mm 155.5mm T-STOP T4 T2.8 T2.8/22 MIN. FOCUS 13” 15” 20” MOUNTS PL PL PL WT/LBS 2 lbs 2.5 lbs 3 lbs LENGTH 4” 4.5” 5-1/4” FRONT DIA. 87mm 87mm 87mm MIN. FOCUS 9” 9” 9” 9” 9” 9” 10” 12” 14” 16” 20” 27” 30” 36” 30” 42” 51” MOUNTS PL PL PL PL PL PL PL PL PL PL PL PL PL PL PL PL PL WT/LBS 6.5 lbs 4.8 lbs 5.4 lbs 3.85 lbs 4.4 lbs 3.5 lbs 3.55 lbs 4 lbs 4.2 lbs 4.4 lbs 3.3 lbs 3.55 lbs 3.85 lbs 4.4 lbs 4.95 lbs 7.7 lbs 9.45 lbs LENGTH 5” 5” 5” 4.5” 4.5” 4.5” 4.5” 5” 5” 5.5” 4.9” 4.9” 4.9” 5.5” 7.3” 6.2” 7.3” FRONT DIA. 156mm 110mm 110mm 110mm 110mm 110mm 110mm 110mm 110mm 110mm 110mm 110mm 110mm 110mm 110mm 125mm 136mm Arri Slant-Focus Lenses ARRI SLANT FOCUS LENSES 24mm ARRI 45mm ARRI 90mm ARRI Cooke S4 / S4 LDS / S4i Series Primes COOKE S4/i LENSES 12mm S4i 14mm S4 and S4 LDS 16mm S4i 18mm S4 and S4 LDS 21mm S4, S4 LDS and S4i 25mm S4 and S4 LDS 27mm S4, S4 LDS and S4i 32mm S4 and S4 LDS 35mm S4i 40mm S4 and S4 LDS 50mm S4 and S4 LDS 65mm S4, S4 LDS and S4i 75mm S4, S4 LDS and S4i 100mm S4 and S4 LDS 135mm S4, S4 LDS and S4i 150mm S4i 180mm S4i T-STOP T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 T2/22 50 35mm Prime Lenses Cooke 5i Prime Lenses - Cooke 5i Lighting Control Instructions These true T1.4 aperture lenses cover a Super 35mm format and offer the superb optical and mechanical performance Cooke has been known for. However, the most unique aspect of this new 5/i series is a focus ring that illuminates, allowing the focus puller to see in the dark and not have to rely on any outside light sources. A dimmer enables the level of illumination to be adjusted. Clairmont Camera is the first rental house in the nation to have these advanced technology lenses. Available in 18, 25, 32, 40, 50, 65, 75, 100 and 135mm sizes, the Cooke 5/i are color balanced and compatible with other Cooke lenses, including the S4/i, Panchro by Cooke, 18-100mm T3.0 and 25-250mm T3.7 and the SK4 16mm lenses. The Cooke 5/i lenses offer an exposure range from T1.4 to T22, have a closer minimum focus than S4 lenses, and come with independent metric and footage scales. COOKE 5i LENSES T-STOP 18mm COOKE T1.4/22 25mm COOKE T1.4/22 32mm COOKE T1.4/22 40mm COOKE T1.4/22 50mm COOKE T1.4/22 65mm COOKE T1.4/22 75mm COOKE T1.4/22 100mm COOKE T1.4/22 3 135mm COOKE T1.4/22 ** Cooke 5i Control Unit included with lens package MIN. FOCUS 14” 14” 14” 16” 20” 24” 27” 0” TBD MOUNTS PL PL PL PL PL PL PL PL PL WT/LBS TBD TBD TBD TBD TBD TBD TBD TBD TBD LENGTH 6.85” 4.61” 4.61” 4.61” 4.61” 4.61” 4.61” 7.20” TBD FRONT DIA. 110mm 110mm 110mm 110mm 110mm 110mm 110mm 110mm TBD MIN. FOCUS 9” 8” 12” 10” 10” 10” 12” 15” 11” 12” 12” 21” 18” 24” 10” 15” MOUNTS NIKON NIKON NIKON NIKON NIKON NIKON NIKON NIKON NIKON NIKON NIKON NIKON NIKON NIKON NIKON NIKON WT/LBS 3.5 lbs 1.5 lbs 1.25 lbs 1 lbs 1 lbs 0.50 lbs 0.50 lbs 1.25 lbs 1 lbs 1 lbs 0.50 lbs 1 lbs 0.50 lbs 0.25 lbs 0.50 lbs 1 lbs LENGTH 6” 3-1/2” 3-1/4” 2-3/8” 2-1/2” 1-5/8” 2-1/8” 3-1/8” 2-3/8” 2-1/2” 2-1/8” 2” 1-3/4” 1-1/4” 2-1/2” 3 1/4” FRONT DIA. 120.5mm 87mm 89mm 80mm 76mm 63.5mm 54mm 76mm 54mm 54mm 54mm 54mm 54mm 54mm 54mm 57mm Nikon Primes for Eyemo & Filmo EYEMO/NIKKOR LENSES 8mm NIKKOR (FISH EYE) 14mm NIKKOR 15mm NIKKOR 18mm NIKKOR 18mm NIKKOR 20mm NIKKOR 24mm NIKKOR 28mm NIKKOR 28mm NIKKOR 35mm NIKKOR 35mm NIKKOR 50mm NIKKOR 50mm NIKKOR 50mm NIKKOR 55mm NIKKOR 105mm NIKKOR T-STOP T2.8/22 T2.8/22 T3.5/22 T2.8/22 T3.5/22 T2.8/22 T2/22 T1.4/16 T2/22 T1.4/16 T2/22 T1.2/16 T1.4/16 T1.8/22 T2.8/32 T2.8/32 Nikkor Macro Bellows System - PL to Nikon (for use with either 55mm or 105mm Nikkor Lens) 51 35mm Prime Lenses ZEISS STD PRIMES 10mm ZEISS 12mm ZEISS 14mm ZEISS 14mm ZEISS 16mm ZEISS 20mm ZEISS 24mm ZEISS 28mm ZEISS 32mm ZEISS 40mm ZEISS 50mm ZEISS 85mm ZEISS 100mm ZEISS 135mm ZEISS T-STOP T2.1/22 T2.1/22 MKI T2/22 MKII T2/22 T2.1/22 T2.1/22 T2.1/22 T2.1/22 T2.1/22 T2.1/22 T2.1/22 T2.1/22 T2.1/22 T3/32 MIN. FOCUS 14” 10” 2’ 9” 10” 8” 1’2” 11” 2’ 1.4” 1’5” 3’ 3’4” 5’ MOUNTS PL PL PL PL PL PL PL PL PL PL PL PL PL PL WT/LBS 7.5 lbs 3 lbs 4 lbs 4 lbs 2 lbs 2 lbs 1 lbs 2 lbs 1 lbs 1 lbs 1 lbs 1.5 lbs 2 lbs 3 lbs LENGTH 6” 3-3/4” 4-3/4” 4-1/2” 2-1/8” 2-1/4” 2-1/8” 3-1/8” 2-1/8” 2-1/4” 2-1/8” 2-1/8” 3” 5” FRONT DIA. 156mm 135mm 108mm 114mm 80mm 80mm 80mm 80mm 80mm 80mm 80mm 80mm 80mm 80mm ZEISS HIGH SPEED PRIMES 18mm ZEISS 25mm ZEISS 35mm ZEISS 50mm ZEISS 65mm ZEISS 85mm ZEISS T-STOP 1.3/16 T1.3/16 T1.3/16 T1.3/16 T1.3/16 T1.3/16 MIN. FOCUS 10” 10” 14’ 2’4” 2’4” 3’ MOUNTS PL PL PL PL PL PL WT/LBS 3 lbs 2.5 lbs 2.25 lbs 2 lbs 2.5 lbs 2.75 lbs LENGTH 3-3/4” 2-3/8” 2-3/8” 2-3/8” 2-5/8” 2-3/8” FRONT DIA. 80mm 80mm 80mm 80mm 80mm 80mm ZEISS CLOSE FOCUS PRIMES 16mm ZEISS Close Focus 18mm ZEISS Close Focus 24mm ZEISS Close Focus 25mm ZEISS Close Focus 32mm ZEISS Close Focus T-STOP T2.1/22 T1.3/16 T2.1/22 T1.3/16 T2.1/22 MIN. FOCUS 6” 9” 6” 9” 9” MOUNTS PL PL PL PL PL WT/LBS 2 lbs 3 lbs 1 lbs 2.5 lbs 1 lbs LENGTH 2-1/8” 3-3/4” 2-1/8” 2-3/8” 2-1/8” FRONT DIA. 80mm 80mm 80mm 80mm 80mm ZEISS MASTER PRIMES - LDS 12mm LDS Master Primes 14mm LDS Master Primes 16mm LDS Master Primes 18mm LDS Master Primes 21mm LDS Master Primes 25mm LDS Master Primes 27mm LDS Master Primes 32mm LDS Master Primes 35mm LDS Master Primes 40mm LDS Master Primes 50mm LDS Master Primes 65mm LDS Master Primes 75mm LDS Master Primes 100mm LDS Master Primes 150mm LDS Master Primes T-STOP T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 T1.3/22 MIN. FOCUS 16” 14” 14” 14” 14” 14” 14” 14” 14” 16” 20” 2’3” 2’9” 3’6” 4’11” MOUNTS PL PL PL PL PL PL PL PL PL PL PL PL PL PL PL WT/LBS 6.4 lbs 5.3 lbs 4.8 lbs 4.8 lbs 5.3 lbs 5.1 lbs 4.8 lbs 5.1 lbs 4.8 lbs 5.1 lbs 5.9 lbs 5.7 lbs 6 .2 lbs 6.4 lbs 8.8 lbs LENGTH 9.8” 8.8” 8” 8” 8” 8” 8” 8” 8” 8” 8” 8” 8” 8” 10.3” FRONT DIA. 156mm 114mm 114mm 114mm 114mm 114mm 114mm 114mm 114mm 114mm 114mm 114mm 114mm 114mm 134mm Master Prime Diopter Application Chart (specific to Zeiss Master Prime - LDS Lenses) FOCAL LENGTH DIOPTER TYPE 18mm NO DIOPTER 0.5 1 2 25mm NO DIOPTER 0.5 1 2 35mm NO DIOPTER 0.5 1 2 FOCAL LENGTH DIOPTER TYPE 50mm NO DIOPTER 0.5 1 2 75mm NO DIOPTER 0.5 1 2 100mm NO DIOPTER 0.5 1 2 M.O.D. FRONT OF LENS 5-1/2” 4-1/2” 4-1/2” 3-3/4” 5-1/2” 5” 4-1/2” 4” 5-1/2” 4-1/2” 4-1/2” 4” 52 M.O.D. FRONT OF LENS 11” 9-1/4” 8-1/4” 7” 22-1/2” 17” 14-1/2” 10-1/2” 30-1/2” 21-1/2” 17” 11-1/2” 35mm Prime Lenses Zeiss Ultra Primes ZEISS ULTRA PRIMES 8mm ZEISS Ultra Prime RECTILINEAR 10mm ZEISS Ultra Prime 12mm ZEISS Ultra Prime 14mm ZEISS Ultra Prime 16mm ZEISS Ultra Prime 20mm ZEISS Ultra Prime 24mm ZEISS Ultra Prime 28mm ZEISS Ultra Prime 32mm ZEISS Ultra Prime 40mm ZEISS Ultra Prime 50mm ZEISS Ultra Prime 65mm ZEISS Ultra Prime 85mm ZEISS Ultra Prime 100mm ZEISS Ultra Prime 135mm ZEISS Ultra Prime 180mm ZEISS Ultra Prime T-STOP T2.8/22 T2.1/22 T2/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 MIN. FOCUS 1’3” 15” 15” 9” 12” 12” 12” 12” 15” 15” 2’ 2’3” 3’ 3’3” 5’ 8’6” MOUNTS PL PL PL PL PL PL PL PL PL PL PL PL PL PL PL PL WT/LBS 3.5 lbs 7.5 lbs 5 lbs 4.5 lbs 4 lbs 4 lbs 4 lbs 4 lbs 4 lbs 4 lbs 3.5 lbs 4 lbs 4 lbs 4 lbs 5 lbs 5 lb LENGTH 5-1/2” 6” 5-1/2” 4-1/2” 4” 4” 4” 4” 4” 4” 4” 4” 4” 4” 5” 7 1/2” FRONT DIA. 134mm 156mm 156mm 114mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 114mm T-STOP T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 T1.9/22 MIN. FOCUS 9” 12” 12” 12” 12” 15” 15” 2’ 2’3” 3’ 3’3” 5’ MOUNTS PL PL PL PL PL PL PL PL PL PL PL PL WT/LBS 4.5 lbs 4 lbs 3.50 lbs 3.50 lbs 3.50 lbs 3.50 lbs 3 lbs 3 lbs 3 .50 lbs 3.50 lbs 4 lbs 5 lbs LENGTH 5” 4” 4” 4” 4” 4” 4” 4” 4” 4” 4” 5” FRONT DIA. 114mm 104mm 104mm 104mm 104mm 104mm 104mm 104mm 104mm 104mm 104mm 104mm Zeiss LDS Ultra Primes ZEISS LDS ULTRA PRIMES 14mm ZEISS LDS Ultra Prime 16mm ZEISS LDS Ultra Prime 20mm ZEISS LDS Ultra Prime 24mm ZEISS LDS Ultra Prime 28mm ZEISS LDS Ultra Prime 32mm ZEISS LDS Ultra Prime 40mm ZEISS LDS Ultra Prime 50mm ZEISS LDS Ultra Prime 65mm ZEISS LDS Ultra Prime 85mm ZEISS LDS Ultra Prime 100mm ZEISS LDS Ultra Prime 135mm ZEISS LDS Ultra Prime 53 35mm Zoom Lenses Angenieux, Optimo, Compact Optimo 35mm ZOOM LENSES ANGENIEUX OPTIMO T-STOP MIN. FOCUS MOUNTS WT/LBS LENGTH 15-40mm ANGENIEUX OPTIMO T2.6/22 2’ PL 4 lbs 7-1/2” 17-80mm ANGENIEUX T2.2/22 2’ PL 11 lbs 13” 17-102mm ANGENIEUX 20-120mm ANGENIEUX 24-290mm ANGENIEUX OPTIMO T2.8/22 4’ PL 24.5 lbs 18” 25-250mm ANGENIEUX HR 28-76mm ANGENIEUX OPTIMO T2.6/22 2’ PL 4.5 lbs 7-1/2” 45-120mm ANGENIEUX COMPACT OPTIMO FRONT DIA. 114mm 136mm 162mm 114mm Extenders EXTENDERS CENTURY 1.4X EXTENDER CENTURY 2X EXTENDER ANGENIEUX 1.4X EXTENDER OPTIMO ANGENIEUX 2X EXTENDER OPTIMO 1 STOP LOSS 2 STOP LOSS PL PL 0.50 lbs 1 lbs 1-1/4” 2” 1 STOP LOSS PL 0.50 lbs 1-1/4” 2 STOP LOSS PL 0.50 lbs 1-1/4” Arri VARIABLE PRIMES 16-30mm 29-60mm 55-105mm T-STOP VP T2.2/22 VP T2.2/22 VP T2.2/22 MIN. FOCUS 2’ 2’9” 2’9” MOUNTS PL PL PL WT/LBS 9.5 lbs 13.75 lbs 12.5 lbs LENGTH 6.8” 9.6” 8.5” FRONT DIA. 150mm 150mm 150mm T-STOP MIN. FOCUS MOUNTS WT/LBS LENGTH FRONT DIA. MIN. FOCUS MOUNTS WT/LBS LENGTH FRONT DIA. Century 17-35mm CENTURY 28-70mm CENTURY 23-460mm CENTURY/ANGENIEUX T3 T3 T8 Cooke 14-70mm COOKE 18-100mm COOKE 20-60mm COOKE 20-100mm COOKE 25-250mm COOKE - MK III T-STOP T3.1 T3 T3.1 T3.1 T3.7 54 35mm Zoom Lenses ISCO T-STOP MIN. FOCUS MOUNTS WT/LBS LENGTH FRONT DIA. MIN. FOCUS MOUNTS WT/LBS LENGTH FRONT DIA. 140-420mm ISCO Matte Box and 58mm Internal Filter Kit T2.7 Optar 25-80mm Optar T-STOP T3.3 2.2lbs Technovision/Cooke 18.5-55.5mm Technovision/Cooke T-STOP MIN. FOCUS MOUNTS WT/LBS LENGTH FRONT DIA. MIN. FOCUS MOUNTS WT/LBS LENGTH FRONT DIA. T2.4 Clairmont/Canon 150-600mm Clairmont/Canon Zoom T-STOP T8 55 35mm Anamorphic Zooms Angenieux/Cooke/Clairmont-Canon ANAMORPHIC ZOOM LENSES 28-140mm COOKE 34-204mm ANGENIEUX 36-200mm COOKE 40-120mm COOKE 40-200mm COOKE 50-500mm COOKE MKII 50-500mm COOKE MKIII 50-500mm ANGENIEUX HR 300-1200mm CLAIRMONT-CANON T-STOP T4.5/32 T4.5/32 T4.5/32 T4.5/32 T4.5/32 T5.6/32 T5.6/32 T5.6/32 T11/64 MIN. FOCUS 2’4” 2’6” 2’4” 2’4” 2’4” 5’6” 5’6” 5’7” 10’ NEW! Clairmont/Optimo 48-590mm T4.2 Anamorphic 56 MOUNTS PL/BNCR PL/BNCR PL/BNCR PL/BNCR PL/BNCR PL/BNCR PL/BNCR PL/BNCR PL/BNCR WT/LBS 17 lbs 20 lbs 13 lbs 12.5 lbs 7.5 lbs 12.5 lbs 19 lbs 11.5 lbs 17 lbs LENGTH 15-3/4” 16-1/4” 13-1/2” 9 3/4” 13-1/2” 12-5/8” 15” 12-3/4” 19” FRONT DIA. 197mm 155mm 149mm 120mm 142mm 120mm 152mm 133mm 120mm 35mm Anamorphic Primes Clairmont CCI ANAMORPHICS 32MM CLAIRMONT 40MM CLAIRMONT 50MM CLAIRMONT 75MM CLAIRMONT 100MM CLAIRMONT T-STOP T2.3/22 T2.3/22 T2.3/22 T2.8/22 T3.4/22 MIN. FOCUS 2’6” 3’ 3’ 3’ 5’ MOUNTS PL PL PL PL PL WT/LBS 5 lbs 3 lbs 3 lbs 4 lbs 4.5 lbs LENGTH 6-1/8” 4-1/8” 4-1/2” 5-3/8” 7” FRONT DIA. 130mm 80mm 80mm 80mm 80mm ANAMORPHIC PRIME LENSES T-STOP MIN. FOCUS MOUNTS WT/LBS LENGTH 30mm HAWK C-SERIES T2.2/16 3’6” PL 11 lbs 6-3/4” 40mm HAWK C-SERIES T2.2/16 3’6” PL 4.8 lbs 5-1/2” 50mm HAWK C-SERIES T2.2/16 3’6” PL 4.6 lbs 6” 60mm HAWK C-SERIES T2.2/16 3’6” PL 4.6 lbs 7” 75mm HAWK C-SERIES T2.2/16 3’6” PL 5.2 lbs 7-1/2” 100mm HAWK C-SERIES T3/16 3’6” PL 5.9 lbs 8-1/2” 135mm HAWK C-SERIES T3/16 3’6” PL 12 lbs 12” 180mm HAWK C-SERIES FRONT DIA. 142mm 110mm 110mm 110mm 110mm 110mm 110mm Hawk 25mm HAWK V-SERIES 35mm HAWK V-SERIES 50mm HAWK V-SERIES 60mm HAWK V-SERIES 100mm HAWK V-SERIES 135mm HAWK V-SERIES 180mm HAWK V-SERIES 250mm HAWK V-SERIES 28mm HAWK V-LITE SERIES 35mm HAWK V-LITE SERIES 45mm HAWK V-LITE SERIES 55mm HAWK V-LITE SERIES 80mm HAWK V-LITE SERIES 110mm HAWK V-LITE SERIES T2.2/16 T2.2/16 T2.2/16 T2.2/16 T2.2/16 T3/22 T3/22 T3/16 3’6” 2’6” 2’ 2’ 3’6” 3’6” 6’6” 6’6” PL PL PL PL PL PL PL PL 6 lbs 12.3 lbs 8.1 lbs 8.8 lbs 14.5 lbs 13.8 lbs 16.5 lbs 18 lbs 5” 7.4” 8” 8.4” 12.8” 12.8” 16” 17-3/4” 142mm 156mm 125mm 125mm 125mm 125mm 142mm 142mm MIN. FOCUS 5’ 2’6” 3’ 1’6” 3’ 1’6” MOUNTS PL PL/BNCR PL PL/BNCR PL/BNCR PL/BNCR WT/LBS 3 lbs 8 lbs 5 lbs 4.5 lbs 5 lbs 4 lbs LENGTH 2-7/8” 7-3/8” 5” 6-1/2” 6-3/8” 6-5/8” FRONT DIA. 124mm 130mm 124mm 95mm 98.5 mm 80mm T2.3 T2.3 T2.3 T2.3 T2.3 T3 NOTE: 1.3X Squeeze and 2X Squeeze Todd-AO TODD AO ANAMORPHICS 28mm TODD AO 35mm TODD AO 38mm TODD AO 55mm TODD AO 75mm TODD AO 100mm TODD AO macro T-STOP T3.9/22 T1.4.16 T2.3/22 T1.4/22 T2.5/22 T4/32 Also available are Blue Streak and Double Fog Filters for additional effects 57 35mm Anamorphic Telephotos NIKKOR TELEPHOTO ANAMORPHICS 400mm NIKKOR 600mm NIKKOR 800mm NIKKOR 1000mm NIKKOR 1200mm NIKKOR 1600mm NIKKOR T-STOP T4/22 T4/32 T5.6/32 T6.8/32 T6.3/32 T9/32 MIN. FOCUS 9’ 13’ 13’2” 15’6” 25’ 27’ MOUNTS PL/BNCR PL/BNCR PL/BNCR PL/BNCR PL/BNCR PL/BNCR WT/LBS 7.5 lbs 19 lbs 15 lbs 11 lbs 15 lbs 14 lbs LENGTH 8 7/8” 13-1/2” 15” 15-1/4” 18-1/8” 21-1/4” FRONT DIA. 120mm 178mm 158mm 133mm 172mm 158mm CANON TELEPHOTO ANAMORPHICS 600mm CANON 800mm CANON 1000mm CANON 1200mm CANON 1600mm CANON T-STOP T4.5/32 T5.6/32 T8/32 T6.3/32 T9/32 MIN. FOCUS 9’9” 12’3” 15’6” 25’ 45’ MOUNTS PL/BNCR PL/BNCR PL/BNCR PL/BNCR PL/BNCR WT/LBS 10 lbs 13 lbs 8 lbs 11 lbs 11 lbs LENGTH 9-1/2” 13-5/8” 15-1/4” 18” 22-5/8” FRONT DIA. 124mm 162mm 124mm 152mm 152mm CLAIRMONT TELEPHOTO ANAMORPHICS T-STOP 2000mm CCI ANAMORPHIC T8/32 MIN. FOCUS 60’ MOUNTS PL/BNCR WT/LBS 51 lbs LENGTH 37” FRONT DIA. 216mm 58 16mm Prime Lenses SUPER 16MM PRIME LENSES T-STOP MIN. FOCUS MOUNTS WT/LBS 4.5mm ELITE T2.2/22 6” PL 1.50 lbs 6mm CENTURY T1.9/16 12” PL 3 lbs 7mm OPTAR T1.3/16 8” PL 3.5 lbs 8mm OPTAR T1.3/16 10” PL 2 lbs 20mm ELITE T1.3/22 10” PL 2 lbs 35mm PANTHER T1.3/16 24” PL 2 lbs 9.5mm ZEISS T1.3/16 10” PL 1.5 lbs 12mm ZEISS T1.3/16 8” PL 1.5 lbs 16mm ZEISS T1.3/16 10” PL 1.5 lbs 25mm ZEISS T1.3/16 10” PL 2 lbs 50mm ZEISS T1.3/16 2’4” PL 2 lbs 6mm ZEISS ULTRA 16 T1.3/16 8” PL 2.2 lbs 8mm ZEISS ULTRA 16 T1.3/16 12” PL 2.2 lbs 9.5mm ZEISS ULTRA 16 T1.3/16 12” PL 2.2 lbs 12mm ZEISS ULTRA 16 T1.3/16 12” PL 2.2 lbs 14mm ZEISS ULTRA 16 T1.3/16 12” PL 2.2 lbs 18mm ZEISS ULTRA 16 T1.3/16 12” PL 2.6 lbs 25mm ZEISS ULTRA 16 T1.3/16 12” PL 2.6 lbs 35mm ZEISS ULTRA 16 T1.3/16 14” PL 2.4 lbs 50mm ZEISS ULTRA 16 T1.3/16 14” PL 2.6 lbs 6mm Sk4 COOKE T2/22 8” PL 3.5lbs 9.5mm Sk4 COOKE T2/22 8” PL 3.5lbs 12mm Sk4 COOKE T2/22 8” PL 3.5lbs LENGTH 2.5” 5-1/2” 3” 2-1/4” 2-3/4” 4” FRONT DIA. 70mm 85.75mm 104mm 80mm 80mm 80mm 2-1/2” 2-1/2” 2-1/2” 2-3/4” 2-3/4” 80mm 80mm 80mm 80mm 80mm 3.6” 3.6” 3.6” 3.6” 3.6” 3.6” 3.6” 3.6” 3.6” 95mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 95mm 6.5” 6.5” 6.5” 110mm 110mm 110mm LENGTH FRONT DIA. 4mm OPTEX 5.9mm ANGENIEUX 6mm CENTURY W/A Adaptor to 4.5mm 35mm CINAR T-STOP MIN. FOCUS T2 T1.9 (S16) T1.3 (S16) 59 MOUNTS WT/LBS 16mm Zoom Lenses SUPER 16mm ZOOM LENSES 6.6-66mm CANON 7-81mm ANGENIEUX 7-63mm CANON 8-64mm CANON 10.6-180mm CANON 11-110mm ZEISS 11.5-138mm ANGENIEUX 11-165mm CANON 15-300mm ANGENIEUX T-STOP T2.7/16 T2.4/22 T2.6/22 T2.4/22 T2.7/16 T2.2/16 T2.3/22 T2.5-2.8/22 T5/22 MIN. FOCUS 24” 2’ 2’ 1’10” 40” 5’ 5’ 3’5” 5’ MOUNTS PL PL PL PL PL PL/B PL PL PL WT/LBS 4.7 lbs 5 lbs 5 lbs 5 lbs 3.6 lbs 4.5 lbs 7 lbs 5 lbs 5.5 lbs LENGTH 7-3/4” 9-1/2” 9” 7-7/8” 9” 6” 7-3/4” 7-1/2” 8-3/4” FRONT DIA. 110mm 100mm 95mm 95mm 95mm 87mm 114mm 95mm 98.5mm STD 16mm ZOOM LENSES 9-50mm COOKE 9.5-57mm ANGENIEUX 10-30mm COOKE T-STOP T2.5/22 T1.9-2.8/22 T1.6/16 MIN. FOCUS 1’6” 2’ 2’4” MOUNTS PL/B PL/B PL WT/LBS 4 lbs 2.5 lbs 6.5 lbs LENGTH 6-3/4” 5-3/4” 8” FRONT DIA. 83mm 67mm 121mm CENTURY 2X EXTENDER 2 STOP LOSS PL 60 Telephoto Lenses TELEPHOTO LENSES 200mm CANON 200mm NIKKOR 300mm CANON 300mm NIKKOR 300mm ZEISS 400mm CANON 400mm NIKKOR 500mm CANON 500mm NIKKOR 600mm CANON 600mm NIKKOR 800mm CANON 800mm NIKKOR 1000mm CLAIRMONT T-STOP T2/22 T2/16 T2.8/32 T2/16 T3/32 T2.8/22 T2.8/22 T4.5/32 T4/32 T4.5/32 T4/32 T5.6/32 T5.6/32 T4.5/22 MIN. FOCUS 10’ 9’ 9’9” 13’ 11’6” 12’3” 13’2” 15’3” 15’6” 25’ 25’ 45’ 27’ 60’ MOUNTS PL PL/BNC/NK PL/BNC/NK PL/BNC/NK PL/BNC/NK PL/BNC/NK PL/BNC/NK PL/BNC/NK PL/BNC/NK PL/BNC/NK PL/BNC/NK PL/BNC/NK PL/BNC/NK PL/BNC/NK WT/LBS 7.5 lbs 6.5 lbs 9 lbs 18 lbs 7 lbs 12 lbs 14 lbs 7 lbs 10 lbs 10 lbs 14 lbs 10 lbs 13 lbs 50 lbs LENGTH 9” 8-7/8” 9-/2” 13-1/2” 9-5/8” 13-5/8” 15” 15-1/4” 15-1/4” 18” 18-1/8” 22-5/8” 21-1/4” 37” PL PL 0.50 lbs 1 lbs 1-1/4” 2” Matched 1.4x or 2x Extender EXTENDERS CENTURY 1.4X EXTENDER CENTURY 2X EXTENDER 1 STOP LOSS 2 STOP LOSS 61 FRONT DIA. 120mm 120mm 124mm 178mm 120mm 162mm 158mm 124mm 132mm 152mm 172mm 152mm 158mm 216mm Macro Lenses MACRO LENSES 16mm ARRI 24mm ARRI 32mm ARRI 40mm ARRI 50mm ARRI 60mm MACRO 60mm ZEISS 100mm ARRI 105mm NIKKOR 152mm COOKE Macro 200mm NIKKOR Macro T-STOP MIN. FOCUS T2.1/22 5.5” T2.1/22 6.5” T2.1/22 7.5” T2.1/22 9” T3/64 7.5” T3/32 11” T3.5/22 T3/64 13.5” T2.8/32 1’4” T3.2/22 2’3” T4/32 2’4” MOUNTS PL PL PL PL PL PL PL PL NK PL/BNCR PL/NK/BNCR WT/LBS 2.5 lbs 2.5 lbs 2 lbs 2 lbs 3.5 lbs 2 lbs 2 lbs 4 lbs 1 lbs 5.5 lbs 2 lbs LENGTH 3 -/4” 3-1/4” 3-1/4” 3-1/4” 4-1/2” 3-1/2” 3-1/4” 6-1/2” 3-1/4” 10-5/8” 7” FRONT DIA. 80mm 80mm 80mm 80mm 80mm 80mm 84mm 80mm 52mm 85.75mm 52mm OPTEX/NIKKOR C.F. 15mm OPTEX/NIKKOR 20mm OPTEX/NIKKOR 24mm OPTEX/NIKKOR 28mm OPTEX/NIKKOR 35mm OPTEX/NIKKOR T-STOP T3.5/32 T2.8/22 2.8/22 T2.8/22 T2.8/22 MIN. FOCUS 7” 6” 6” 6.5” 8” MOUNTS PL-BNCR PL-BNCR PL-BNCR PL-BNCR PL-BNCR WT/LBS 2 lbs 1.5 lbs 1.5 lbs 1.5 lbs 1.5 lbs LENGTH 3-1/4” 2-1/2” 2-3/4” 3” 3” FRONT DIA. 100mm 89mm 89mm 89mm 89mm T-STOP T22/64 T22/643 T22/64 T22/64 T22/64 MIN. FOCUS 1.9”-2.3” .9”-5.1” 5.9”-8.7” 12”-28” 16”-79” MOUNTS PL/NK/BNC PL/NK/BNC PL/NK/BNC PL/NK/BNC PL/NK/BNC WT/LBS 5 lbs 5 lbs 5 lbs 5 lbs 5 lbs LENGTH 18” 18” 17” 17-3/4” 17-1/2” FRONT DIA. 29.50mm 58mm 58mm 58mm 58mm Infinity FX Infinity FX Long Distance Macro LONG DIST. MACRO OBJ. 10X-7.8X MAGNIFI. OBJ. 5.3X-3.9X MAGNIFI. OBJ. 3.9X-2.4X MAGNIFI. OBJ. 2.1X-0.8X MAGNIFI. OBJ. 1.6X-0.3X MAGNIFI. Macro Swing/Shift Lenses - see Optical Accessories Clairmont Swing/Shift Kit 62 Specialty Lenses v3 MOE® Lens Depth-Enhancing v3 MOE® Lenses Now Available From Clairmont Dramatic depth-enhanced imagery that approaches 3D, but does not require special viewing devices, can be obtained by using patented v3 MOE® lenses with digital parallax scanners is now available for rental from Clairmont Camera. The v3 MOE® lens adds realism, depth and shape to scenes or products, and provides a vivid improvement over conventional 2D film and telecast imagery—effects are especially powerful in scenes shot with a moving camera. The innovative v3® image technology, which has been perfected over the past 12 years, is based on a moving optical element (MOE) lens that captures different points of view relative to the plane of focus. These slight shifts cause the viewer to interpret depth in such a manner that it enhances the realism of the shot and makes it more life-like. Technically, the iris of the v3 MOE® lens rotates in a simple circle, with the amplitude (distance off center) and frequency (cycles per second) adjustable by the camera operator. The normal frequency is 4.3 cycles-per-second, which can be changed in relation to the capture speed of the camera. Changes in amplitude provide a different “look” and open up a range of creative options that cannot be achieved with normal fixed-iris lenses; one is the ability to create multiple depth layers in a scene by displacing objects from one another. T-stop and focus are also set with the remote controller. Clairmont Camera offers a 5-lens package that includes the controller, cabling, and 24mm, 35mm, 50mm, 85 mm and 135mm lenses. The v3 MOE® lenses are equipped with PL mounts, and can be used with a wide range of film and digital cameras. Click here for v3 MOE® Demo - Digital 24p Click here for v3 MOE® Demo - 35mm Film Click here for v3 MOE® Demo - Digital 30p v3 MOE® LENSES 24mm v3 MOE® 35mm v3 MOE® 50mm v3 MOE® 85mm v3 MOE® 135mm v3 MOE® T-STOP T2.3 T1.6 T1.4 T2.1 T2.8 MIN. FOCUS 2’ 2’3” 2’3” 2’6” 4’3” MOUNTS PL PL PL PL PL WT/LBS 5.5 lbs 5.5 lbs 5.5 lbs 5.5 lbs 5.7 lbs LENGTH 3-3/4” 3-3/4” 3-3/4” 3-3/4” 4-1/4” FRONT DIA. Clairmont Camera Image Shaker Clairmont Camera’s collection of proprietary lenses includes the uniquet Image Shaker, which was designed to provide camera safe shaking effects in a space-saving, quiet package. The Clairmont Image Shaker accomplishes this not by moving the whole camera, but, by using modern computerized controlled actuators and captive custom formulated optical materials to move the image the camera sees. You can independently adjust on both X and Y axis enabling you to simulate, for instance, a bouncing off-road vehicle by crating moderate side to side motion and vigorous up and down shaking, or you can go all out in all directions. It’s your choice! The advanced micro controller provides truly random motion, which is completely under your control. You control the horizontal, you control the vertical. Because the system is stationary, the operator is now actually able to view through the eyepiece while the image is shaking. The Clairmont Image Shaker provides instant results, on the set, now. No more post production “cookie cutter” effects. The unit is compact, weighing 9 lbs. It mounts on 15mm Arriflex rods in front of the lens, and accepts a matte box on the front. Because it is quiet and provides a great amount of shaking without damaging the camera or lens, it is compatible with sound cameras as well as MOS cameras. It covers prime focal length lenses from 18mm to 180mm. NOTE: Requires 12V DC Click here for Image Shaker Demo 63 Specialty Lenses Baby Periscope Clairmont Camera has developed the unique, compact Clairmont Baby Periscope. It was designed to be much shorter than the existing Century 2000 Periscope, and therefore, it can get into places that were not previously possible. Like its counterpart, it was designed to allow the user to extend the lens away from the camera to get viewpoints that could not otherwise be accomplished. It can be configured with a straight relay as well as with a right angle attachment. At a right angle it is possible to achieve shots that are actually above, below, to the right or to the left side of the camera. It contains integrated focus and iris gears for use with follow focus systems and iris control systems. It’s linear iris markings make it perfect for using with automatic iris systems. The iris “T” stop range is T5.6 - T32. Setting the iris is simple. You set the lens itself to wide open and make the iris setting directly on the Clairmont Camera Baby Periscope iris ring. No matter which configuration you use, there will be no light loss. Simply set your marks just as your light meter indicates. Easy! The Clairmont Baby Periscope holds two 40.5 filters. It is available in “PL” mount only and is compatible with all of the same lenses that the Century 2000 Periscope accepts. The Clairmont Baby Periscope measures 8 inches from the camera mount to the bottom of the prism housing and weighs 4.5 pounds. For a demonstration or for further details please contact the Clairmont Camera Rental Department. PERISCOPE/BORESCOPE LENSES T-STOP MIN. FOCUS MOUNTS WT/LBS LENSES: 10, 14, 16, 24, 32, 50mm BABY PERISCOPE T5.6 VARIES PL/BNCR 4.50 lbs CENTURY CP2000 T4/22 VARIES PL/BNCR/B4 11.50 lbs CENTURY CP2000 T4/22 VARIES PL/BNCR/B4 12 lbs WITH STRAIGHT RELAY Periscope T5.6 - Clairmont Baby - PL Periscope 2000 T4 - PL (Century Precision) Periscope - Pure Reach CLOSE FOCUS SHIMS 10 20 30 40 50 75 00 16MM 7/8” 3/4” 5/8” 1/2” 3/8” 1/4” 1/8” FRONT DIA. 8” + Prime 21-1/4” 22-1/2” + PRIME LENS VARIES VARIES VARIES Periscope Straight Relay - PL (Century Precision) Periscope Condom 20MM 1-3/8” 1-1/4” 1” 3/4” 1/2” 1/4” 1/8” 32MM 4” 3-3/4” 3-1/4” 3” 2-1/2” 1-3/4” 1-1/2” Probe MKII Plus T6.3 - PL (Innovision) Includes: • 9, 12, 16, 20, 32, 40mm Lenses • 90 Degree and Straight Relay PROBE 2+ WITH 90° RIGHT ANGLE PROBE 2+ WITH LOW ANGLE PRISM LENGTH Probe 45° Low Angle Prism Probe Condom T-STOP T6.3/32 MIN. FOCUS SEE BELOW MOUNTS PL/BNCR/NK WT/LBS 4.5 lbs+LENS LENGTH 17 1/4”+LENS T6.3/32 1/3 stop loss SEE BELOW PL/BNCR/NK 6 lbs 25” LENSES: 9mm 12mm 16mm 20mm 32mm 40mm LENGTH 1/4” 1/2” 1-1/4” 2” 5” 11” FRONT DIA. 46mm 46mm 44mm 44mm 44mm 44mm INNOVISION PROBE MK I INNOVISION PROBE MK II T16/64 T6.3/32 SEE BELOW PL/BNCR/B4 PL/BNCR/NK 2 .50 lbs 5 lbs+LENS 20-1/2” 20”+LENS Innovision Probe MKII + includes 9, 12, 16, 32, and 40mm Lenses as well as 90° and Straight Relays. 64 FRONT DIA. Specialty Lenses InfinFX K2 Long Distance Macro Lens A handy component of Clairmont Camera’s creative arsenal is the InfinFX K2™ Long Distance Macro Lens. This lens allows for shooting a macro image while having the camera and lens at a much greater distance from the subject than has been previously possible. This improvement over macro lenses currently on the market, makes the InfinFX K2™ Long Distance Macro Lens the tool to use to light subjects properly. Most of the time you’ll be 30” to 48” away from the subject. The lens itself has a maximum aperture of T22 and a minimum aperture of T77. Keep in mind that these deep stops are necessary to get a reasonable depth of field at 5x or 10x magnification. Included with the kit is a 2x extender, which has a maximum aperture of T45. The 2x extender, as well as an optional 2x zoom, are accessories that can be added that will double the magnification of the subject but will not change the distance from the front of the lens to the subject. This is yet another impressive improvement over existing macro lenses which limit the image magnification to 1x the object being photographed. This 1x (1:1) magnification with existing macro lenses, allows only a few inches between the front of the lens and the subject making it very hard to light the scene and difficult to operate the camera. With this same 1x (1:1) magnification using the InfinFX K2™ Long Distance Macro Lens there will be a distance of 2’ to work. 2x magnification is impossible with other macro lenses but with the InfinFX K2™ Long Distance Macro Lens 2x (2:1) magnification is not only possible but there will be 12” between the lens and the subject in which to work! But the improvements don’t stop there. Until now, 10x magnification (10:1) was only possible with a microscope. Amazingly, the InfinFX K2™ Long Distance Macro Lens can not only magnify 10x but it can do so while leaving 1.9” between the lens and the subject! Integral to the system are the interchangeable objectives which attach to the front of the lens. The objectives have the following properties: Objective Lens #1 #2 #3 #4 #5 #6 Minimum Focus 17” 16” 12” 6” 4” 1.9” Magnification 1.3x 1.6x 2.1x 3.9x 5.3x 10x Maximum Focus 80” 79” 28” 9” 5” 2.3” Magnification 0.25x 0.3x 0.8x 2.4x 3.9x 7.8x * Please note that all distances quoted are from the front of the lens, not the film plane. In addition, two rear filter holders accept two 40.5 filters each. The lens with objective weighs 3.5lbs. and is 15” long. Clairmont Camera Squishy Lens Clairmont Camera’s innovative Squishy Lens has been designed to generate unique “distortion” effects that could only be achieved through use of a flexible lens element. The Clairmont Squishy Lens achieves this by using a remote-controlled device that compresses the specially formulated flexible supplemental element (generating over 200 pounds of force) to achieve the infinitely adjustable effects.. As the forward plate compresses the squishy element, it creates an area where light rays entering the taking lens, are undisturbed, while the area around the “clear zone” is curved, defocusing the entering rays. The director or cinematographer can give life to his/her vision via the joystick. From an actress’s point of view, she can be made to look manic, a monster can have a point of view of the world unlike any we have ever seen, or a car can be given the illusion of increased speed. Computer controlled actuators accept input from the 3 axis joystick translating the coordinates into motor commands, which in turn, squeeze the squishy element. As the squishy element is compressed more, the “clear zone” increases in diameter, allowing more rays to reach the film undisturbed, creating a variable tunnel effect. The location of the “clear zone” can also be changed via the joystick. The Clairmont Squishy Lens gives immediate effects that can be viewed on the set now! No waiting for dailies to see if the effect works! The unit is compact, weighing 15 pound. It mounts on 15mm matte box rods in front of 16mm through 65mm prime lenses. It will accept 138mm or 4x5.65” filters in the back. Because it’s quiet, it is compatible with sound cameras as well as MOS cameras. NOTE: Requires 24V DC Click here for Squishy Lens Demo 65 Specialty Lenses Revolution Lens System Clairmont Camera now offers Cine Magic International’s new Revolution Lens System. It’s the world’s first snorkel lens system that allows live panning of the objective lens while maintaining a level horizon. The built in image orientation optics allow the image to be rotated to any position within a 360 degree circle. Spinning images can also be accomplished by continuously rotating the image rotation ring. When using the Horizon Tracker module, the horizon can be set to the desired position and locked. This innovation allows the objective lens of the snorkel to be panned while the horizon remains in the level or dutched position that you have chosen. A six or seven inch diameter is all that is needed to achieve the 360 degree pan making this device ideal for tabletop or miniature shots! The Dual Swivel module adds a second pan axis to the lens system. In this case, the horizon lock is not used. The horizon can be adjusted manually or electronically. The Preston FI+Z focus system available at Clairmont Camera, can be programmed to automatically correct the horizon while panning with the Dual Swivel module. This ability to control the horizon angle while aiming the camera and snorkel at any angle, in any direction, gives the Revolution a distinct advantage over previous snorkel systems that limit the control over camera movement in order to maintain the horizon line. Whether using the Horizon Tracker module or the Dual Swivel module, infinite shooting angles can be achieved without requiring specialized and time consuming rigging equipment. The Revolution Lens System includes 9.8mm, 12mm, 16mm, 20mm, 24mm, 32mm, 40mm and 60mm Revolution lenses plus interchangeable “PL” mount for use with selected “PL” mounted prime and zoom lenses. The “T” stop range is T7.5 to T64. The “PL” mount at the camera end of the Revolution will accept one 40.5mm filter at the rear and two 40.5mm filters screwed into the front of the mount. The Revolution lenses can be filtered directly by attaching the 2” x 3” clamp on filter holder. This holder can be used either in a horizontal or vertical position on the lens. When using “PL” mounted lenses, filters can be attached to the front of the lens in the conventional manner. Click here for Revolution Lens Demo REVOLUTION SYSTEM T-STOP CONFIGURATIONS: REVOLUTION + PL SWIVEL REVOLUTION + MINI-PL SWIVEL T7.5/45 REVOLUTION + PL HORIZON TRACKER T7.5/45 REVOLUTION + MINI-PL HOR. TRACKER T7.5/45 REVOLUTION + PL BORESCOPE T7.5/45 REVOLUTION + MINI-PL BORESCOPE T7.5/45 MINI-PL LENS MIN. FOCUS WT/LBS T7.5/45 VARIES VARIES VARIES VARIES VARIES VARIES 12 lbs 11 lbs+PRIME 10.50 lbs 11 lbs+PRIME 1O lbs ACCESSORIES: NIKON TILT FOCUS ATTACHMENT, and MODULE AXIS LOCK PL LENSES 9.8mm PL 12mm PL 16mm PL 20mm PL 24mm PL 32mm PL 40mm PL 60mm PL LENGTH 2” 1 3/4” 2” 3” 2/1/4” 2” 2” 2” WT/LBS 0.50 lbs 0.50 lbs 0.50 lbs 0.50 lbs 0.50 lbs 0.50 lbs 0.50 lbs 0.50 lbs Revolution Options: Revolution Borescope - PL and Mini PL Revolution Large Snorkel - PL Revolution Multi Mount Relay Revolution Straight Relay - PL and Mini PL Revolution 90° Snorkel - PL 66 LENGTH 14 lbs+ PRIME 23-1/2” +PRIME 18-1/2” +MINI-PL LENS 28-3/4” 23-1/2” 25”+ PRIME LENS 21-3/4” + Specialty Lenses 35 Inch Pure Reach Periscope Clairmont Camera has added the Praxis Pure Reach Periscope to its arsenal of periscopes. Developed by Star Wars Oscar winner Robert Blalack’s Praxis Films, the 35 inch long Pure Reach is a T5 diffraction-limited relay lens, designed to be used with either Arriflex Master or Ultra Prime motion picture lenses. The design goal of Pure Reach was a periscope allowing cinematographers to use world class Motion picture lenses without any image quality compromise. Pure Reach delivers 1:1 transparent image quality, equivalent on film to mounting the prime lens directly on the camera. Pure Reach shots inter-cut seamlessly with non-periscope footage. No other periscope employing world-class motion picture prime lenses produces this pristine level of image quality. Unlike other similar periscopes, the focal length of an Arriflex Master or Ultra Prime is unaffected by Pure Reach. A 24mm lens is delivered to the film or digital sensor as a 24mm, not a 23 or 25mm, as in the case with the few periscopes that relay prime lenses. Center-to-edge illumination and resolution are outstanding, and geometric distortion is imperceptible. Focus and f-stop are controlled at the Arriflex lens, using standard control mechanisms. Pure Reach was used extensively for miniature photography on all three Lord Of The Rings, as well as King Kong. Putting almost three feet between the camera and the lens, Pure Reach helps the cinematographer wrestling with camera-shadow lighting issues. Pure Reach is useful for miniature, car, table-top photography, and any periscope shot that requires full resolution, feature film quality images. Pure Reach can be deployed on all of Clairmont film cameras, as well as third-party motion control rigs. PRAXIS PURE REACH 35” T5 PERISCOPE RELAY SYSTEM T-STOP MIN. FOCUS MOUNT WT/LBS LENGTH “T5 (no stop loss)” “Dependent the taking lens” on PL 15 lbs 35” BREATHING AND RAMPING: Dependent on the taking lens. COMMENTS: Periscope is PL mount only at both ends. Focus and Iris functions are performed by the taking lens. Periscope works in both 90° and straight probe mode. The periscope does not have Focus, Iris or Zoom functions. 67 FRONT DIA. 4” at 900 knucle 3-1/2”” the tube” Specialty Lenses Pinhole Lens Available at Clairmont Camera is the Clairmont Pinhole lens set. The image making ability of the pinhole was first demonstrated long before the invention of photography as part of the camera obscura, a darkened room whose only light source is a small hole in the wall. The small concentration of light rays coming through the hole on the opposite wall form an image of the scene outside. The Clairmont Pinhole lens set is based on this principle. The Clairmont Pinhole lens gives an image that is more like the human eye with an infinite depth of field. Due to the tiny opening, so little light is admitted that very long exposures are needed to register an image on the film. The aperture range is from F48 to F143. But if this is the look that you desire, Clairmont is the only place to find it! For further information contact the Clairmont Camera Rental Department. Microscope Lens The Clairmont Microscope lens is a standard laboratory microscope whose eyepiece has been outfitted with a positive lock (PL) mount. When attached to a PL mounted camera, you will see a slide from the scientist’s or doctor’s point of view. The lenses are 4x, 10x and 40x magnification with a T stop range of T51 to T60. OPTICS FOR SPECIAL APPLICATIONS MICROSCOPE LENS magnifications: 4x, 10x, 40x T-STOP WT/LBS LENGTH T51/54/60 9.5 lbs 13-1/2” Custom Camera Mount: PL, STD, BNCR 68 Optical Accessories and Relay Lenses OPTICS FOR SPECIAL APPLICATIONS 135mm HASSELBLAD BELLOWS T-STOP WT/LBS LENGTH B-4 Sony Video Lens Mount Color Corrector - HDTV “Color Wheel” includes Arri II-C Spd Base, Strobe Gun (requires rental of F/V Synchronizer) Daredevil Lenses (set of 8) DIRECTORS FINDERS 35MM DIRECTOR FINDERS KISH CCI ARRIFLEX - ORIGINAL STYLE ARRIFLEX - NEW STYLE FRIES ISCO COMPACT FINDER BIRNS & SAWYER 35MM ANAMORPHIC FINDERS KISH ARRIFLEX - ORIGINAL STYLE 16MM FINDERS KISH ISCO COMPACT FINDER BIRNS & SAWYER FINDERS WITH VIDEO ASSIST KISH FRIES OPTICS FOR SPECIAL APPLICATIONS KALEIDOSCOPE LENS T3 T-STOP T2.8/16 WT/LBS 3.50 lbs LENGTH 10” + PRIME LENS WT/LBS 14 lbs LENGTH 7” Lensbaby 2.0 F2.8, F4, F5.6, F8, F11, F16, F22 Lensbaby 3G F2, F2.8, F4, F5.6, F8, F11, F16, F22 Includes: • 0.6 W/A 37mm lens, 1.6x Telephoto 37mm Lens and Disc OPTICS FOR SPECIAL APPLICATIONS LOW ANGLE PRISM T-STOP 1/2 STOP LOSS Click here for Mesmerizer Demo Mesmerizer - Front Mesmerizer - Rear (will work with certain Zooms or Swing/Tilts not included) OPTICS FOR SPECIAL APPLICATIONS MESMERIZER ZOOM MESMERIZER T-STOP TAKING LENS 1-1/3 STOP LOSS OPTICS FOR SPECIAL APPLICATIONS T-STOP NIKKON BELLOWS TAKING LENS PLUS BELLOWS EXTENSION 69 WT/LBS 5 lbs 1 lbs LENGTH 5” 1-1/4” WT/LBS 2 50 lbs LENGTH 9-1/2” Optical Accessories and Relay Lenses Optex Lenses Optex Excellence 16mm Lens Optex Excellence 35mm Lens Optex Lens HD/Film Lens Partial Mirror - Small: 8”H x 12”W Pivots horizontally & vertically. Includes: • (2) 50:50 (1) 80:20 Mirrors Partial Mirror - “Innerspace”: 14”H x 18”W Pivots on vertical axis. Includes: • (2) 50:50 (1) 80:20 Mirrors Partial Mirror - “Hideaway”: 16”H x 18”W Fixed on horizontal axis. Includes: • (2) 50:50 Mirrors and Diffusion Frames Partial Mirror - “Critters”: 17”H x 24”W Pivots on horizontal axis. (2) 50:50 (1) 80:20 mirrors PEEPHOLE EFFECT: 6mm ELEMENT PEEPHOLE LENS N/A PINHOLE LENSES f48/54.3/68/84/93/114/133/143 PINHOLE T-STOP MIN. FOCUS F48 F54 F78 F89 F93 F114 F133 F143 Approximately 60mm Focal Length OPTICS FOR SPECIAL APPLICATIONS RIFLE SCOPE T-STOP N/A MOUNTS PL PL PL PL PL PL PL PL MOD 2-1/2” 1” MOD 1” 1” 1” 1” 1” 1” 1” 1” WT/LBS 4 lbs Shakers: Camera Shaker (requires 12V DC ) 70 FRONT DIA. LENGTH 12” Optical Accessories and Relay Lenses SKATER SCOPE T-STOP T5.6 MIN. FOCUS PL / B4 MOUNT 7.3lbs+LENS WT/LBS 13.2”+LENS LENGTH Spy EFX Lens Use 85mm (35f) on 35mm camera, 50mm (35f) on 16mm camera. Includes: • C-Mount to Nikkor Lens Adaptor OPTICS FOR SPECIAL APPLICATIONS T-STOP SPY EFX LENS WT/LBS TAKING LENS LENGTH 1.50 lbs Clairmont Swing/Shift Kit SWING AND TILT LENSES 14mm CENTURY (CANON) 18mm NIKKOR 20mm NIKKOR 20mm CENTURY 24mm OLYMPUS 28mm PENTAX 35mm CANON 50mm ZEISS 60mm ZEISS 80mm ZEISS 105mm CENTURY 110mm ZEISS 120mm ZEISS (MACRO) 135mm ZEISS (MACRO) 150mm ZEISS T-STOP T7.1 T-REX LENSES: 5.5-20mm 8-18mm 17-36mm 32-70mm OPTIONAL T-REX SYSTEM T-REX SYSTEM WITH STRAIGHT BORESCOPE MOUNT S&T MOUNT S&T MOUNT S&T MOUNT S&T MOUNT S&T MOUNT S&T MOUNT S&T MOUNT S&T MOUNT S&T MOUNT S&T MOUNT S&T MOUNT S&T MOUNT PL PL S&T MOUNT WT/LBS 1.50 lbs 1.50 lbs 1.50 lbs 1.50 lbs 1..50 lbs 2 lbs 1.50 lbs 2 lbs 2 lbs 1.50 lbs 1..50 lbs 2 lbs 5 lbs 5 lbs 2 lbs LENGTH 3-3/4” 3-1/4” 3-1/4” 3-1/4” 3” 3” 3-1/2” 3-3/4” 3-1/4” 2-1/2” 3-3/4” 3-1/2” 5” 5” 3-3/4” FRONT DIA. 85mm 93mm 93mm 85mm 84mm 84mm 84mm 84mm 84mm 84mm 84mm 84mm 84mm 84mm 84mm WT/LBS 21 lbs+LENS LENGTH 28-1/2”+LENS FRONT DIA. 1 lbs 1 lbs 1 lbs 0.50 lbs 2-1/4” 4” 4” 2-1/2” 68mm 84mm 75mm 63mm WT/LBS 16 lbs+LENS LENGTH 33-1/4”+LENS 120mm Macro T4 Swing/Shift Kit 135mm Macro T5.6 Swing/Shift Kit Includes: • Choice of 3 Swing/Shift Lenses T-Rex Relay System T7.1 Includes: • Taking lens 5.5-20mm • Taking lens 8-18mm • Taking lens 17-36mm Click here for Swing Shift Demo T-STOP T2.8/22 T3.8/22 3.2/22 3.2/22 T3.8/22 T3.8/22 T3.2/22 T4/32 T3.5/22 T2.8/22 T2.4/16 T2.4/22 T4/32 T5.6/45 T2.8/16 T-REX SYSTEM T-REX SYSTEM WITH RIGHT ANGLE ATTACHMENT 5-1/2” + PRIME LENS T-STOP T5.6 MIN. FOCUS SEE BELOW MOUNT PL LENS FRONT LENS FRONT LENS FRONT 4” MIN. FOCUS SEE BELOW • Taking lens 32-70mm • Taking lens 55-112mm • Internal ND & 55-ND filter set (52mm) MOUNT PL T-Rex 18-35mm Swing/Tilt Lens T-Rex 20-44mm Ball Mount Lens Varicon Light Unit (Arri) (requires AC Power Supply / 24V DC) WIDE ANGLE ADAPTORS ASPHERE 16mm FORMAT: ASPHERON ADAPTOR - CENTURY KINOPTIC 6mm CENTURY DOUBLE ASPHERE ATTACHMENT: DOUBLE ASPHERE 35mm FORMAT: DOUBLE ASPHERE 16mm FORMAT: FISH EYE ADAPTOR 16mm FORMAT: FISH EYE ADAPTOR 35mm FORMAT: CENTURY SUPER .7X WIDE ANGLE ATTACHMENT 9.5mm=5.6mm, 12MM=6.6mm 9.8mm Kinoptic - 6.5mm 6mm=4.5mm 16mm=12mm, 18mm=13.5mm 8mm=6mm, 9.5mm=7mm,12mm=9mm 8mm=5mm, 9.5mm=6mm, 12M=7mm 16mm CF=10.5m (TV SAFE ONLY), 18mm=11.5mm 71 Heads Geared & Fluid Heads Arrihead Geared Head Arrihead Counter Weight Arrihead Reduction Gears Cartoni C-40 Fluid Head Cartoni Lambda Head Cartoni Lambda Third Axis Kit Cartoni Laser Z105 Fluid Head Cartoni Sigma Fluid Head Dutch Head Motorized Pan Unit for Arri or Mitchell Gear Head Nodal Point Fluid Head - CCI O’Connor 120EX Fluid Head O’Connor 25/75 Fluid Head O’Connor 100 Fluid Head O’Connor 150 Fluid Head O’Connor DV Head Pearson Fluid Head Ronford 7 Fluid Head Ronford 30 (15+15) Fluid Head Ronford 20/15 Fluid Head Sachtler 65 Studio Fluid Head Sachtler 80 Studio II Fluid Head Sachtler 7+7 Studio II Fluid Head Sachtler 9+9 Studio Fluid Head Swing Head (Tango Head) Swing Head Motorized - requires 24V DC Weaver-Steadman Two Axis Fluid Head Weaver-Steadman Third Axis Kit Extra Panhandle: O’Connor or Sachtler Micro-Force Pan Handle 72 Tripods Hi-Hat: Dexter Hi-Hat: Mitchell or Ball Lo-Hat: Mitchell Tripod - Gimble Standard or Baby (includes Weights) Tripod - O’Connor 125L Tripod - Ronford Standard or Baby: Mitchell or Ball Base Tripod - Sachtler Standard or Baby: Mitchell or Ball Base Tripod - Schultz Standard or Baby: Mitchell or Ball Base Spreader - Cartoni Rolling Spreader - Gary Integrated Spreader - Metal Spreader - Ronford Integrated Bungee Spreader - Ronford Integrated Off-Ground Spreader - Ronford Rolling Spreader - Sachtler Rubber Spreader - Sand/Cloth Spreader - Schultz Spreader - Schultz Rolling Super Bazooka 73 Support Accessories and Jib Arms Anti-Vibration Head (CCI) Balance Plates (Top & Bottom Sliding Baseplates) Balance Plates with Rods Balance Plate - 6”, 12”, 15”, 18”, or 24” (Bottom Lower) Camera Shaker - see Shakers in Optical Accessories Cardellini Head Lock Cine Saddle “Crazy Horse” Dual Camera Rig - see “Over/Under” below Dual Camera Plate (requires Innerspace Partial Mirror Kit) Easy Rig: specify 600N (26-35 lbs.) or 700N (33-44 lbs.) or 400 4 Vario (40 lbs. max.) Geared Wedge Gyro Stabilizer: Kenyon K-8 (requires Dual 12V) Linear Tracking Base Lock-Off Head - CCI Low Angle Head - CCI M.I. Underslung Bracket for MC Compact Mini Crane “Doggy Crane” Mitchell to 150mm Sachtler Ball Adapter O’Connor Leveling Unit “Over / Under” Dual Camera Rig Click here for “Crazy Horse - Over/Under” Demo Dual Hardwire Follow Focus for 2-Camera Rigs Pogocam Ronford/Vinten Quick Release Base (“Plate “) Quick Release Plate Roundy Round (requires 24V DC) Shoulder Brace (various camera types) Shoulder Pad (various camera types) Slider Plate - 6’ Skate Cam - Ice Skate Cam Skate Cam - Roller Skate Cam Super Rocker Tarantual Tilt Table Weaver Steadman Jib Arm 6’ or 8’: Includes W-S 2-Axis Fluid Head - requires center mount for use on dolly Weaver Steadman Jib Arm 6’ or 8’ Third Axis Kit 74 Support Accessories and Jib Arms Power Pod Package: Includes: • MK-3 with Fiz Unit • Gear Head Wheel Controls • Pana. Zoom Interface (if required) • Electronic Remote Focus Control • Electronic Remote Zoom Control • Electronic Remote Iris Control • (1) B&W 9” Monitor • (1) Color 9” Monitor • (2) 12V Batteries for Monitor • (2) 30V Batteries • (3) 24V Batteries • Rolling Cart with Brakes • All Connecting Cables and Spares Power Pod Accessories: Power Pod Joystick Splash Bag - Power Pod ** Clairmont does not provide a power pod technician. The Power Pod can only be rented if your camera assistant has been trained and approved at Clairmont. 75 Filters Clairmont Camera has long recognized the importance of filters in a cinematographer’s creative arsenal. Our company co-founder, the late Terry Clairmont, went to great lengths to make sure that DPs had exactly what they needed. And today, we carry forward that tradition by stocking a wide variety of filters from a dozen manufacturers, including those specially made to our specifications. At present there are some 165 filter styles/types available for your use. Sizes Square/Rectangular Round 1-1/2" x 2-3/4" 40.5mm 4" x 5.65" Series 9 4" x 4" 4-1/2" 2" x 2" 2" x 3" 138mm 6" 5" x 6" 6.6" x 6.6" Types Filter Manufacuturers: Bogen Cokin Filter Gallery Formatt Harrison & Harrison Panchro Schneider Spectrate Tiffen Vantage Wilson Filter Styles/Types: ND (Neutral Density) 81 82 85 812 80A 80B 80C 80D 81A 81B 81C 81D 81EF 81EF ND .3 81EF ND .6 81EF ND .9 82A 82B 82C 85 ND .3 85 ND .6 85 ND .9 85 ND 1.2 85 Polarizer 85B 85B ND .3 85B ND .6 85B ND .9 85B ND 1.2 85C Achromatic Diopter Antique Suede 1 Antique Suede 2 Antique Suede 3 Antique Suede CM Black Diffussion FX Black Dot Textured Screen Black Frost Black Net Black Promist Black Supa Frost Blender ND Blender Horizontal Blender ND Blender Vertical Blue Blue Attenuator Blue Grad Hard and Soft Edge Blue Grey Grad Blue Streak Effect Blue Vision Medium Blue Vision Ultra Fine Chocolate Chocolate Grad Hard & Soft Edge Classic Black Soft Classic Soft Clear Color Correction Magenta Color Correction Yellow Color Grad Attenuator Cool Blue Grad Coral Coral Attenuator Coral Grad Hard and Soft Edge Cranberry Cranberry Grad Cyan Cyan Attenuator Cyan Grad Day 4 Night Day 4 Night Cool Day 4 Night Mono Diffusion Diopter Double Fog Double Fog Grad Soft Edge E66-E EK 87 Enhancer FLB 76 FLD Flesh Net Glimmer Glass Gold Gold Diffusion FX Golden Sepia Grape Grape Grad Green Green Attenuator Green Grad Green/Yellow Haze HD Soft HD UV Hollywood Black Magic Holywood Star Hot Mirror IR Hyper Star LLD Low Contrast Magenta Attenuator Magenta Grad NBRA ND .3, ND .6, ND .9, ND 1.2 ND Attenuator Grad ND Corona 1” Spot ND Corona 2” Spot ND Eliptical 1” Spot ND Eliptical 2” Spot ND Grad Hard and Soft Edge North Star Optical Flat Orange Pink Attenuator Pink Grad Hard and Soft Edge Plum Grad Polarizer Polarizer Linear Polarizer True Circular Polarizer Ultra Promist Red Red Attenuator Red Grad Red Net Regular Fog Scenic Fog Sepia Sepia Grad Skin Net Sky Sky Blue Skyfire Smoque Soft Centric Soft Contrast Soft FX Split Diopter Star 4 Point (2mm, 3mm, 4mm) Star 6 Point (2mm, 3mm, 4mm) Star 8 Point (2mm, 3mm, 4mm) Storm Blue Storm Blue Grad Straw Straw Grad Hard and Soft Edge Streak Sunset Sunset Grad Supa Frost Tangerine Tangerine Grad Texture Screen Tobacco Tobacco Grad Tropical Blue Grad True Cut 750 IR Twilight Ultra Contrast Ultra Polarizer UV 16 Vector Star Warm Black Promist Warm Pola Warm Promist Warm Soft FX White Frost White Net White Supa Frost Yellow Yellow Grad Filters Enhancers: 6.6x6.6 Square 5x6 Square 4x5.65 Rectangular 4x4 Square 138mm Round Series 9 Round 4-1/2 Round 40.5mm or 2 x 3 Blink Filters: 6.6”x6.6” 6”x12” Blue Streak Filters: 6.6x6.6 Filter Gallery Blue Streak Set 4x5.65 Filter Gallery Blue Streak Set 6.6x6.6 Vantage Blue Vision Set 4x5.65 Vantage Blue Vision Set Diopter Kits: • 6.6”x6.6” Sliding Mitchell Diffusion Kit • 4”x6” Split Diopter Kit • 3”x4” Split Diopter Kit • 25-250mm Techno Diopter Kit Rota Pola Trays: 6.6x6.6 Rota Pola Tray • Linear 85 Polarizer - Tiffen • Circular True Polarizer - Schneider • Rota Polarizer - Schneider 4x5.65 LMB-5 Rota Tray • Ultra Polarizer - Tiffen • Circular True Polarizer - Schneider • Circular True 85 Polarizer - Schneider 77 Batteries 6V On-Board 7.2V HVX-200 On-Board: L-Ion 7.4V L-Ion 12V Mini-Block - 1.8 Amp/Hr 12V 1.2 Amp/Hr NiMH FIZ 12V On-Board Aaton - 4 Amp/Hr 12V Super Dual Block - [email protected] Amp/Hr 12V Super Triple Block - [email protected] Amp/Hr 12V Video Deep-Cycle Battery - 50 Amp/Hr 12/24V Nicad Battery Belt - 3 Amp/Hr 13.2V Paglok On-Board Battery 7.5 Amp/Hr 13.2V NiMH Battery Backpack 18 Amp/Hr 13.2V NiMH Block 18 Amp/Hr 14V “BC” Block 25 Amp/Hr 14.4V IDX L-Ion On-Board 88 Watt 14.4V NiMH Battery Backpack 30 Amp/Hr 14.4V NiMH Block 30 Amp/Hr 14.4V NiMH Block 40 Amp/Hr 14.4/28V Anton Bauer Cine VCLX 560 Watt 14.4/28V NK Cine Block 840 Watt 14.8V RED L-Ion On-Board 140 Watt 24V Arri 235 NiMH On-Board 2.7 Amp/Hr 24V Arri 416 NiMH On-Board 2.7 Amp/Hr 24V Arri 16SR3 NiMH On-Board 2.7 Amp/Hr 24V Arri 16SR3 NiMH On-Board 4 Amp/Hr 24V NiMH Battery Backpack 4.5 Amp/Hr 24V NiCad Battery Backpack 7 Amp/Hr 24V NiMH Battery Backpack 10 Amp/Hr 28.8V NiMH Battery Belt 4.7 Amp/Hr 30V Block 12 Amp/Hr 30V Block 17 Amp/Hr 48V Block 17 Amp/Hr 78 Clairmont Ground Glass / Fiberscreen Guides Ground Glass Information Our Ground Glass Information is in Adobe Acro Reader format. You must have Adobe Acrobat Reader to view this information. 35mm, 4-3-2 Perf and D21 Ground Glass Information - to download, right mouse click on the Ground Glass picture, choose the Save-Target-As option, and save the pdf document to your desktop folder or local drive. Open the document using Adobe Acro Reader. Click Here For Clairmont Ground Glass Guide File Size approx 2.2mb 16mm Fiberscreen Information - to download, right mouse click on the Fiberscreen picture, choose the Save-Target-As option, and save the pdf document to your desktop folder or local drive. Open the document using Adobe Acro Reader. Click Here For Fiberscreen Information File Size approx 3.5mb 16mm Full Aperture Fiberscreen 79 Here are kind words from some of our valued customers... 80 “Over 100 episodes with Clairmont and still counting.” Marshall Adams www.clairmont.com Why do I like to get my camera equipment from Clairmont? Because I know and like the people who work there, and have a long relationship with them. They go out of their way to make sure I get the gear I need. Because I know the equipment will be new, wellserviced, and backed up by a large inventory. Because they buy the newest film and HD equipment, and often modify it to work better than when it comes straight from the manufacturer. Because Clairmont has been very helpful in educating my colleagues and me on the newest digital equipment - demonstrating both the benefits and limitations, and giving us an honest assessment of what they like and don't like. Whether a project calls for film or digital, 16 or 35 mm, high budget or low, Clairmont has always been very supportive. And support is something we all appreciate, whether from production, crew, or rental house. I would like to thank Denny and everyone at Clairmont Camera for all the help and support they’ve given me over the years. Michael Bonvillain, ASC www.clairmont.com Hollywood 818-761-4440 Vancouver 604-984-4563 Toronto 416-467-1700 Albuquerque 505-227-2525 Montreal 514-525-6556 Always and Forever “From the first moment I walked through Clairmont Camera’s doors nearly 25 years ago, I was struck by the friendliness and respect the staff extended to me and especially from Terry and Denny. The whole crew goes above and beyond the call of duty. On my first anamorphic show, we had extensively tested our lens package. But when the dailies came back they looked odd; something was wrong. The lab assured us that everything was right on their end. Denny immediately flew up and proceeded to go through the entire chain –from film stock, to the camera, lenses, to processing where he discovered that a lens in the optical printer was slightly out of alignment. We switched printers and everything looked crisp. I think that without Clairmont’s assistance I would not have been able to break through the stonewall thrown up by the lab. Thanks for saving my job Denny! Another thing I really like about Clairmont Camera is their ability to take a DP’s crazy idea and turn it into reality. For me, it was being able to create an identical image to two strands of different negative —one B&W and one color—and dissolving back and forth between the two. I made a drawing of the rig and showed it to Denny, and then Clairmont built it for me! Over the years I’ve used a huge variety of Clairmont’s equipment. One of my favorites is their Blurtar lens set; when you shoot wide open they make the best soft focus, blurry effects. Naturally, I’ll vouch for their gear always being topnotch. It’s always properly serviced, updated, and works as well —if not better— than the day it was manufactured. I’ll gladly recommend Clairmont always and forever.” Thomas Burstyn, CSC www.clairmont.com Hollywood 818-761-4440 Vancouver 604-984-4563 Toronto 416-467-1700 Albuquerque 505-227-2525 Montreal 514-525-6556 My Favorite Places I was sitting in a favorite Hollywood restaurant recently and couldn’t believe how many years I’ve been going there now, but the reason is simple: trust. I can go in anytime, in the middle of anything, and get the same consistent and excellent care and attention no matter what. equipment —be it film or digital — and the personal side at the same time. When it comes to rental houses and Clairmont Camera, I’ve been going there for as long as I’ve been eating in that restaurant. From my earliest experience as a PA returning gear and subsequently my transition from documentaries to Hollywood, the thing that always amazed me was the treatment I received from Clairmont. It was the “above and beyond” support that I figured was years down the road, if ever. And it never ceases to amaze me how the experience and vision of Denny Clairmont and his staff is applied to their wares in order to make them just that bit more perfect and ready, well before we take them on the road. That alone sets Clairmont apart in a serious way. In the course of a long and fortunate career, I’ve experienced a lot of other places to both eat and work. I’ve seen how other rental houses do things on almost every continent, and I can easily say that none of them have the same command of both the technical side of cinematography and H o l l y w o o d 8 1 8 - 7 6 1 - 4 4 4 0 Vancouver 604-984-4563 They’ll also answer plenty of what I call dumb questions; I’m happy to say I still come up with more than my share. I love the fact that these calm and professional hearts and minds are there for us, as if they were always a part of our crew, just a little farther away than the camera truck. For me, and other friends in the industry, Clairmont is very much like a lighthouse providing guidance. We can always trust that no matter what we’re up against or what we’re in the middle of, we’ll have the best stuff and the best support no matter what. David Darby Toronto 416-467-1700 www.clairmont.com Albuquerque 505-227-2525 M o n t r e a l 5 1 4 - 5 2 5 - 6 5 5 6 Feliks Parnell Cinematographer Marshall Adams Cinematographer Expectations! We all have them but not everyone meets them. Clairmont Camera continually surpasses all of our expectations. Feliks and Marshall H o l l y w o o d 8 1 8 - 7 6 1 - 4 4 4 0 Vancouver 604-984-4563 Toronto 416-467-1700 w w w. cl a i r m o n t . c o m Albuquerque 505-227-2525 Montreal 514-525-6556 An Eye On The World Mark Irwin, ASC, CSC, reflects on advantages of global resourcing “The thing I like the most about cinematography is the ability to use people who can understand my shooting conditions and discover an Austrian camera with a French zoom lens on an Italian fluid head new equipment—film or digital—to meet those needs. I can’t get to with an English tripod and also rely on a set of German prime lenses. Germany, France, Japan or the UK to find the next best thing so I rely The reason I get my gear from Clairmont Camera is very simple. To me, on Denny Clairmont, Alan Albert, Tom Boelens, Andree Martin and Mike it’s not a rental house—it’s a portal into the World of Cinematography. Condon to go there and bring it back so I can use it. I started out in the business in Canada and managed to travel a Call me selfish, but I eagerly await the chance to shoot my next lot while shooting films, so I gained an appreciation for all things project with the latest and greatest equipment; the Arri 235, the Sony international. At the same time, I found that a “monoculture” point F35, the Arri D-21, the Iconix, the Red, whatever—and repeat the same of view could not give me the options I was looking for. What I find experience I have had for 16 years and over 38 film and television in Clairmont is a group of people who share my outlook; people who projects: excellent equipment, innovative modifications and quality travel to trade seminars and cinematography forums all over the world; service...from quality people I’ve come to trust.” www.clairmont.com Hollywood 818-761-4440 Vancouver 604-984-4563 Toronto 416-467-1700 Albuquerque 505-227-2525 Montreal 514-525-6556 Emmy Nominated Cinematographer Jon Joffin relates the story behind the making of the honored mini-series, A&E’s The Andromeda Strain “Clairmont was my first call the day I began prepping The Andromeda Strain, the science fiction thriller mini-series for A&E, based on Michael Crichton’s novel. I wanted to capture the fear, suspense and paranoia of the premise, yet create a look that was grounded and naturalistic - as if this epidemic was unfolding in your own backyard. I strove for a bold and high contrast palate while using extremely soft light sources, achieved by bouncing light through multiple layers of diffusion. One of director Mikael Salomon’s criterion was to carefully direct the viewers eye to the action. This selective focus could only be realized with the Zeiss master primes that Clairmont provided. Shooting wide open at T 1.3, we created razor sharp focus while holding creamy, buttery out-of-focus backgrounds. The interaction of soft sources and thin focus gave the show a look that carried a dreamlike background into a hard edged plane of reality. When we asked for a 14mm lens, Clairmont found us one of only two 14mm Master primes then in existence, and the idea of having soft backgrounds on a lens so wide is extraordinary.” “Clairmont built a flawless package of three D20 cameras which proved impervious to the varying temperature extremes and relentless dust of our desert locations. The D20’s wide dynamic range is surprisingly filmic - highlights don't seem to clip but roll off gently as if on 35mm film. We were on a tight schedule and needed a heroic amount of set ups. To move quickly and still maintain full control from the tent, Clairmont produced long range wireless remote iris controls enabling us to achieve smooth iris pulls as we moved from interiors to exteriors or from shadow into bright daylight. To tackle long distance, simultaneous splinter unit work, Clairmont ensured that we could send our B camera 1000 yards away using Fiber optic cable and still monitor side by side with our main unit.” “Cinematography is a collaborative medium and it takes a tough crew to pull off a strong director's vision. Clairmont’s cutting edge arsenal of accessories and tools is always an integral part of my creative team…because if they don’t have it, they can find it. If they can’t find it, they will build it.” CONGRATULATIONS JON! www.clairmont.com Hollywood Vancouver Toronto Albuquerque 604-984-4563 416-467-1700 505-227-2525 818-761-4440 Montreal 514-525-6556 Over the years, Clairmont Camera’s Lens Department has always been the most supportive and innovative for my needs. They’ve modified specialty lenses as well as found me a matching set of the older style Cooke Speed Panchros to film with. Recently they were the first to test and acquire the latest lenses I was looking for on a project. I can also say that I’ve never been at a loss with their vast filter inventory to find the right filter combination to achieve the look and style I wanted in color or in black & white. In the end, it’s not just about renting camera equipment. It's about Clairmont Camera’s commitment and involvement in tailoring the equipment to your individual needs and finding the right solution to your problem. Ed Lachman, ASC www.clairmont.com A Supernatural Transition From Film to Digital I shot the first three seasons of Supernatural with a 35mm dream package from Clairmont Camera. Then, the studio wanted to make a move into the digital world. One thing I wanted to make sure of was a seamless transition from film to digital. Supernatural was coming of age and I didn't want to change the look we set with the 35mm tools. I was looking for an evolution —not a new palette. I had set my mind on two D-21s for our A and B cameras and a Red One for Steadicam, 2nd unit and additional camera works. And what was most important to me was that Denny Clairmont and his team put their resources behind my choices through testing, setting my LUTs and establishing the work flow. On Supernatural we go to hell each week in our stories but one place I didn't want to go was production hell. You know what I'm talking about: weird things happening to your equipment, failure you don't expect, name it. But because of the nature of the preparation and the support of Clairmont Camera we never lost any production time due to the change of system, and whatever glitches we encountered were resolved in a swift fashion. It is well known to what extent the Clairmont family will go to service the camera crews, design and fabricate tools to fit particular demands but there is more. I found friendship, not the business bias type, but friendship based on complicity and dedication in research for the best . What am I talking about? Too good to be true? Maybe I found some kind of heaven on Earth and it's called Clairmont Camera…Heaven for the DP! Serge Ladouceur CSC www.clairmont.com Hollywood 818-761-4440 Vancouver 604-984-4563 Toronto 416-467-1700 Albuquerque 505-227-2525 Montreal 514-525-6556 Over the years I have used just about every piece of equipment Clairmont Camera has ever owned; time-lapse film cameras to super high-speed digital cameras and now the Alexa. I love Clairmont’s custom gear and incredible service; it keeps me coming back! In visual effect shooting we always are inventing on the fly. With difficult setups like hanging off a 70-story building, complex driving rigs or doing “in camera” visual effects having equipment and service you can depend on is essential. I would recommend Clairmont Camera to anyone in the industry. Sam Nicholson, ASC Chairman / CEO Stargate Studios Hollywood Vancouver Toronto Albuquerque Montreal 818-761-4440 604-984-4563 416-467-1700 505-227-2525 514-525-6556 Clairmont has extremely friendly service, excellent techincal support, quick responses to any kind of needs and they go way beyond the call of duty. I have had their techs give me their personal numbers and tell me to call them at any time of day...and I do! They are like family. Feliks Parnell Cinematographer Hollywood 818-761-4440 Vancouver 604-984-4563 Toronto 416-467-1700 www.clairmont.com Albuquerque 505-227-2525 Montreal 514-525-6556 Why am I having so much fun? Bob Primes, ASC reveals his inner child playing with the cool toys and other kids at Clairmont Camera; a fun place to play. I've played in some great camera rental houses. The best constantly innovate and create awesome new tools, toys and widgets to make our work more beautiful, faster, easier and more fun. Denny & Terry Clairmont, Alan Albert, Tom Boelens and crew set fanatically high standards of quality, service, innovation and integrity. But that's old news. Everyone in the biz knows that! I want to talk about how much fun I have at Clairmont. The sign of a well managed team is the morale and happiness of the players. Clairmont is a busy place, yet somehow, miraculously, everyone seems relaxed, delighted to see you, help you create solutions and are just as crazy about the latest toys and widgets as you are. It is this uncanny ability of everyone you encounter to share the joy and enthusiasm of our art form that kicks the Clairmont experience into another dimension. Those old-fashioned virtues of integrity, involvement, caring, warmth and joy are really what it's all about. Robert Primes, ASC www.clairmont.com Hollywood 818-761-4440 Vancouver 604-984-4563 Toronto 416-467-1700 Albuquerque 505-227-2525 Montreal 514-525-6556 Always thinking “outside the box” has kept me with Clairmont since 1989 ; when I first arrived in Vancouver to operate on the series “Booker.” I immediately noticed a couple of things. Denny and his staff are as passionate about cinematography as I am and they treat all people equally. The camera trainee or the indie filmmaker gets the same care and attention to detail as the seasoned DP. I have always shared this philosophy. This is a collaborative business and everyone does his or her part. If ever I am looking for a creative solution to a problem, I can always count on the Clairmont staff to research, acquire or even manufacture the solution. I get the feeling that it’s not all about profit margin but about a sense of pride in supplying the newest, best and most well maintained equipment. Achieving and assisting creative vision comes first and foremost. This is what I mean about thinking “outside the box”. There are a lot of rental houses out there, but there is only one Clairmont Camera. Attila Szalay HSC, CSC www.clairmont.com Clairmont Raises The Bar! Cinematographer Salvatore Totino, ASC, explains why he feels Clairmont Camera raises the bar in every aspect. “The quality of Clairmont’s equipment, their service, their reliability and their willingness to go above and beyond the call of duty is by far the best in the industry. Their standard level of quality, their attention to details and the improvements and enhancements they make to their gear is incredible. What I really like about Clairmont is that they get excited about your projects, and will strive to find solutions to even the most obscure problems. They never question any crazy idea —they just make it work!” Salvatore Totino, ASC Director of Photography www.clairmont.com Hollywood 818-761-4440 Vancouver 604-984-4563 Toronto 416-467-1700 Albuquerque 505-227-2525 Montreal 514-525-6556 Thanks for your interest in Clairmont Camera. We’re here to help you. Please call. Why Choose Us? Simply, we love what we do. We are committed to providing you with Our well-trained and very loyal staff is here to serve you and treat you the very best equipment and service. We offer you experience that like Number One. It doesn't matter if you’re a first-time or a long-time began with my father, a cinematographer, and continues through to customer. We want to help you make the most of your shoot. this day. Growing up in the industry and learning our craft, my late brother Terry and I started the company over 30 years ago with a passion and a mind set to give our customers the absolute best. Whether it's meeting your budget or the challenge of a custom solution, we are there for you. Once you’ve used us, you’ll want to come back again and again. Motion picture camera technology constantly advances through the years and we have participated in many important developments. Our Feel free to call me personally at any time. company has grown to acquire a vast inventory of film and digital cameras —which are serviced by the best technicians in the world. Sincerely, Denny Clairmont www.clairmont.com Hollywood 818-761-4440 Vancouver 604-984-4563 Toronto 416-467-1700 Albuquerque 505-227-2525 Montreal 514-525-6556 Michael Condon, SOC VP Digital Division Andree Martin VP Technical Services CREATIVITY! Your Mind, Our Tools! Let us help you pick the right tools for your job. Film or Our digital inventory includes Arri Alexa and D-21, Canon digital, we’re here for you. 1D Mark 1V & EOS 7D - PL mounts, Canon 5D 2:35:1, You can choose from a vast variety of 35mm and 16mm Iconix, Panasonic, Red MX, Sony F35 cameras and the film cameras. These are coupled with the industry’s amazing high speed Weisscam. All supported with the widest selection of lenses and accessories to give latest in monitoring and DIT control equipment. cinematographers the ability to maximize their creativity. Our goal is to provide outstanding service 24/7. The Much attention has been focused on 3-perforation and now choices to express your creativity are endless. Feel free to 2-perf cameras. Our Moviecam SL MK2 (tri-perf) is one call or drop by anytime and let us show you how we can stellar example, and we’ve recently introduced our 2-perf take care of you and your creativity. Arricams, 35 BL4, 35 BL3, Arri 435 and Arri 3 cameras. Sincerely, Clairmont Camera www.clairmont.com Hollywood 818-761-4440 Vancouver 604-984-4563 Toronto 416-467-1700 Albuquerque 505-227-2525 Montreal 514-525-6556
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