Moviecam COMPACT Mk2 null

Moviecam COMPACT Mk2 null
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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