Vantage Film Hawk V-Series: anamorphic lenses with 1.3x squeeze, eight focal lengths 25–135 mm at T2.2, developed 2017–2019 as a subtler alternative to the original Hawk generation.
| 25 | 32 | 40 | 50 | 65 | 85 | 105 | 135 |
|---|---|---|---|---|---|---|---|
| T2.2 | T2.2 | T2.2 | T2.2 | T2.2 | T2.2 | T2.2 | T2.2 |
| 0.60m | 0.65m | 0.70m | 0.75m | 0.85m | 1.00m | 1.10m | 1.20m |
| 3.8kg | 3.9kg | 4.0kg | 4.1kg | 4.2kg | 4.3kg | 4.4kg | 4.6kg |
| 114 | 114 | 114 | 114 | 114 | 114 | 114 | 114 |
| 72° | 60° | 50° | 40° | 32° | 24° | 19° | 15° |
| ◀━━━▶ | ◀━━━▶ | ◀━━▶ | ◀━━▶ | ◀━▶ | ◀━▶ | ◀▶ | ◀▶ |
PL · 114mm Front · 1.3x Squeeze · 300° Focus Travel · S35/FF
The V-Series comprises eight focal lengths: 25mm, 32mm, 40mm, 50mm, 65mm, 85mm, 105mm, and 135mm, all with a T2.2 aperture. The lenses feature a uniform 114mm front diameter and weigh between 3.8 kg (25mm) and 4.6 kg (135mm). The optical design is based on 15-18 lens elements with special coatings that minimize reflections and distortions. The focus throw is a constant 300°, with a minimum focus distance ranging from 0.6m (25mm) to 1.2m (135mm). All lenses are equipped with PL-mounts and electronic contacts for metadata transmission.
Vantage Film developed the first Hawk series in 2013 as an alternative to vintage anamorphic lenses like the Panavision C- and E-Series. The V-Series emerged from criticism of the original Hawk generation, whose strong optical characteristics were not suitable for every application. Chief Designer Stefan Fangmeier conceived a less intrusive design between 2017-2019 with reduced bokeh swirl and more controlled lens flares. Series production began in autumn 2019 in Vienna.
Netflix first used the Hawk V-Series in 2020 for "The Queen's Gambit," where the consistent sharpness distribution supported the chessboard scenes. "Dune" (2021) primarily utilized the 40mm and 65mm focal lengths for desert shots, as the reduced chromatic aberration offered advantages in backlight situations. The series is particularly well-suited for digital cameras like the ARRI Alexa LF or RED Monstro, as the coatings are specifically optimized for modern sensors. The uniform look across focal lengths significantly reduces color correction in post-production.
Unlike ARRI Master Anamorphics (2x squeeze), the V-Series produces less extreme bokeh effects and is suitable for more naturalistic visual styles. Panavision Ultra Vista lenses offer similar imaging quality but are exclusively available through Panavision rental. The Atlas Orion series is a direct competitor but differs in its warmer color rendition and stronger lens flares. For budget productions, Sirui Saturn lenses offer similar focal lengths but with lower optical precision and a 1.8x squeeze factor.
Die Hawk V-Serie gibt mir endlich anamorphe Optik ohne die extremen Verzerrungen der Original-Hawks - perfekt für cleane, moderne Bildsprachen wo ich trotzdem das 2,39:1 Format brauche. Der einheitliche 114mm Frontdurchmesser macht Mattebox-Wechsel überflüssig und die konstanten T2,2 ersparen mir ständige Belichtungsanpassungen beim Brennweitenwechsel.
Diese Objektive erlauben mir subtile anamorphe Ästhetik ohne dass die Linsen selbst zum Star werden - ideal für Character-driven Stories wo die Technik im Hintergrund bleiben soll. Das reduzierte Bokeh-Swirl lenkt nicht von Gesichtsausdrücken ab, während die Lens-Flares nur bei Bedarf auftreten und nicht jede Lichtquelle zum Feuerwerk machen.
Mit 8.000-12.000 Euro Tagesmiete pro Objektiv liegt die V-Serie 30% unter Panavision-Tarifen und ist über mehrere Verleiher verfügbar, was Verhandlungsspielraum schafft. Der robuste Aufbau reduziert Ausfallrisiken und die Kompatibilität mit Standard-PL-Kameras vermeidet teure Spezial-Rigs wie bei manchen Vintage-Anamorphics.
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