6101 VARR IEL AVE, WOODLANDHILLS, CA91367 • 818-316-1000 • FAX818-316-1111 www.panavision.com.Copyright © 2009 Panavision Inc. All rights reserved. Specifications may change without notice.

6.2009 v.1

P A N A V I S I ON ’ S A N A M OR P H I C L E N S E S

The new G-Ser ies Anamorphic P r ime Lens es

K E Y F E ATU R E S

Complete new set of anamorphic primes and zoom lenses

High performance

The new G -series primes: 35 , 40 , 50 , 60 , 75 , 100mm

G -series primes are typica lly T2 .6 and most focus to 2 3/ 4 feet

W ide-angle zoom: AW Z2 40-80mm T2 .8

Telephoto zoom: ATZ 70-200mm T3 .5

Front anamorph design on zooms for better image quality

6219 DE SOTO AVENUE, WOODLAND HILLS, CA 91367 • 818-316-1000 • FAX 818-316-1111 www.panavision.com.Copyright ©2009 Panavis ion Inc. Al l r ights reserved. Specif icat ions may change without notice.

6.2009 v.1

PANAVIS ION’S ANAMORPHIC LENSES

The new G-Series Anamorphic Prime Lenses

KEY FEATURES

� Complete new set of anamorphic primes and zoom lenses

� High performance

� The new G-series primes: 35, 40, 50, 60, 75, 100mm

� G-series primes are typically T2.6 and most focus to 2 3/4 feet

� Wide-angle zoom: AWZ2 40-80mm T2.8

� Telephoto zoom: ATZ 70-200mm T3.5

� Front anamorph design on zooms for better image quality

A NEW GENERATION OF LENSES

Once again Panavision® expands the rangeof anamorphic lenses for filmmakers. Our latestgeneration of anamorphic lenses feature twoPanavision zooms and six new G-Seriesprimes. These eight lenses represent thefoundation for a new range of high perform-ance, compact anamorphic optics. Thanksto advanced computer-aided design, internalmechanical improvements, and modern opticalglass, these lenses expand the cine-matic capabilities of the anamorphic format.

All of the new anamorphic lenses are engi-neered to produce superior image quality, andfeature high contrast and resolution, minimalaberrations, and excellent field illumination,as well as low veiling glare, ghosting, anddistortion. The lenses utilize Panavision’spatented anti-mumping technology, but unlikeprevious series, there is no hump for the gear-set, so the lenses maintain their cylindrical profile.

THE G-SERIES PRIMES

The initial G-Series set of anamorphic primesis 35mm, 40mm, 50mm, 60mm, 75mm, and100mm, with more focal lengths to be addedin the near future. These primes are typicallyT2.6 [100mm is T3.0] with close focus to 2 3/4feet [75 and 100mm to 3 ft]. All the primelenses in the set have a common front diameterof 4.440 inches, (the same as our sphericalPrimo primes) so lens changes won’t meanfinding a new rubber donut or bellows for thematte box. Focus and T-stop scales areengraved on both sides of the lens, and focusand T-stop gears are in the standard Panavisionlocations.

Performance and size make these prime lensescomparable to Panavision E-Series anamorphicprimes, but in a lightweight, compact formatsimilar to our C-Series primes.

PANAVIS ION’S ANAMORPHIC LENSES�2

All Panavision lenses are assembled by handat our factory in Woodland Hills. All opticalmechanical parts are manufactured at thefactory, while the glass is made outsideaccording to specifications from our opticalengineers. Panavision is the only companyin the world that designs and manufacturesboth 35mm film cameras and lenses.

A G-Series 35mm anamorphic lens during the manufacturingprocess

THE NEW ANAMORPHIC ZOOMS

The two new zooms are the wide-angle AWZ240-80mm T2.8, and the telephoto ATZ 70-200T3.5. The AWZ2 close-focuses to 3 1/4 feet andthe ATZ to 5 1/2 feet.

The AWZ2 (Anamorphic Wide-Angle Zoom),which was introduced last year, was the firstmodern zoom lens to use anamorphic elementsat the front of the lens. The new Panavision ATZ(Anamorphic Telephoto Zoom) lens is thesecond modern zoom lens to do so. The AWZ2is familiarly known as the “Bailey zoom” afterJohn Bailey, ASC, who was among the firstcinematographers to ask Panavision to developa wide-angle anamorphic zoom.

The front anamorph design substantially reducesstop loss, and produces superior image quality,with minimal aberrations and improved fieldillumination. Both zooms have a constantaperture at all zoom and focus positions, andconstant focus at all zoom positions. Becauseof their high performance imaging, thesezooms are not restricted to use as variable

primes but are fully usable as in-shot zooms.Performance and size make these zoom lensescomparable to our E-Series anamorphic primes.

SPECIFICATIONS

� Exceptional sharpness and contrast

� Minimal breathing, aberrations, veilingglare, distortion

� Even illumination across the entire image

� Superior mechanics for precise repeatablefocus (zero-backlash)

� Symmetrical housing prevents mechanicalinterference with camera viewing systems

PANAVIS ION’S ANAMORPHIC LENSES�3�3

The “Bailey zoom”, 40-80mm

G-SERIES ANAMORPHIC PRIMES

� 35, 40, 50, 60, and 75mm = T2.6100mm = T3.0

� Close focus to 2 3/4 feet[100mm to 3 ft]

� Typically 4.5 lbs

� Typically 6 inches long

� All primes have the same front diameter4.440 inches

� Performance comparable to E-Series,size similar to C-Series

Additional prime focal lengths to be added.

ATZANAMORPHIC TELEPHOTO ZOOM

� 70-200mm

� T3.5

� Close focus to 5 1/2 feet

� 12.75 lbs

� 15 inches long

AWZ2ANAMORPHIC WIDE-ANGLE ZOOM

� 40-80mm� T2.8� Close focus to 3 1/4 feet� 10.4 lbs� 10 1/2 inches long

FILMED IN PANAVISION

For the past five decades, Panavision hasestablished itself as the undisputed worldleader in anamorphic lenses with theC-Series, E-Series and Primo anamorphics.

Today, the majority of feature films shot inanamorphic use Panavision anamorphic lenses.The credit “Filmed in Panavision” represents theanamorphic standard of the industry.

The outer rectangle of the Panavision logois an anamorphic frame. The inner rectanglesare 1.85 and TV.

PANAVIS ION’S ANAMORPHIC LENSES�4�4

DOUBLE HORIZONTAL SQUEEZE

An anamorphic lens does a twofold horizontalsqueeze of the image, leaving the verticalheight unchanged. The tall, thin, squeezedimage has an aspect ratio of 1.2:1. Thisimage is then un-squeezed horizontally witha lens during projection of the film print. This“de-anamorphosis” is similarly applied to thevideo image for release.

2.39 TO 1

Although the final anamorphic image issometimes loosely referred to as “2.35”or “scope”, the modern anamorphic aspectratio is actually 2.39:1. This is sometimesapproximated as “2.40:1”. In the past,anamorphic films were letter-boxed to fiton the 1.33 TV screen, or worse, a 1.33shaped portion of the image was “panand scanned”. The advent of modern1.78:1 video monitors makes for a suitableletter-boxed presentation of the 2.39 image.

PANAVIS ION’S ANAMORPHIC LENSES�5

The squeezed anamorphic image (0.825 x 0.690 inches projection aperture)

REAL WORLD

35MM FILMWITH SQUEEZED IMAGE

1.20:1 aspect ratio

ANAMORPHIC

CAMERA LENS

A 1.78 screen with 2.40 "letterbox" inside it

ANAMORPHIC VERSUS SUPER 35

In production, anamorphic release can beachieved by two ways: with anamorphic takinglenses, or with spherical lenses using the Super35 format.

THE MAGIC OF ANAMORPHIC

Why do so many directors and cinemato-graphers choose to shoot in the anamorphicformat? It is difficult to analyze what isessentially an artistic decision, but someof the qualities of anamorphic cited byfilmmakers are:

� WIDE SCREEN—For many, the wide-screenformat is quintessentially cinematic. Someeven argue that the wide-screen format iscloser to the way we see than 1.85.

Of course, anamorphic’s broad canvasevokes dozens of film classics likeThe Magnificent Seven (director JohnSturges, DP Charles Lang), Contempt(Jean-Luc Godard, DP Raoul Coutard)or Blade Runner (Ridley Scott, DP JordanCronenweth). But anamorphic is a vibrantcontemporary format used on recent filmslike Memoirs of a Geisha (Rob Marshall,DP Dion Beebe), The Prestige (ChristopherNolan, DP Wally Pfister), or The New World(Terrence Malick, DP Emmanuel Lubezki).

� RICHER COMPOSITION—Many filmmakerssay that the wider format allows for a morecomplex frame, with more elements. Othersadd that anamorphic is well-suited to bothlandscapes and faces.

� SIMPLER SEQUENCING—Some filmmakerssay that they use fewer lenses when shoot-ing anamorphic, and also have fewerset-ups, because the anamorphic formatallows actors to play within the frame,rather than cutting to another shot.

� TWO-SHOTS—One example often citedby filmmakers is the ease of composingan anamorphic shot with two actors facingeach other.

� LONGER FOCAL LENGTHSAND SHALLOW DEPTH OF FIELD—Because of the squeeze, anamorphic lenseshave twice the focal length of sphericallenses for a similar horizontal angle ofview. Many filmmakers like the shallowdepth of field of these long lenses, andmost agree that they are more flatteringfor close-ups. This quality is not availablewhen shooting Super-35mm with standardspherical lenses.

Whatever the reasons, the magic ofanamorphic is both technical and aesthetic,and the choice of anamorphic taking lensescan help define the unique “look” of a film.

PANAVIS ION’S ANAMORPHIC LENSES�6

A 2.39 Super-35 frame (orange) in frontof an anamorphic frame (yellow).

The negative area of the anamorphic frameis 52% larger than Super-35, which makesfor a sharper, less grainy image.

The anamorphic frame has the largest sizeof any 35mm format.