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Isco Kiptaron 1:f/1.6, 35 mm.
Isco Kiptaron 1:f/1.3, 50 mm.
Isco Kiptaron 1:f/1.6, 50 mm.
Emo Emostar 1:f/1.5, 65 mm.
Emo Emostar 1:f/1.6, 75 mm.
Also an anamorphic lens for the 35 and 50 mm lenses, for which a quick-change mount was supplied,
were also included.

There was also a corner mirror for the 25 mm - 50 mm lenses so that the projectionist could conveniently
view the image without it being laterally reversed and without having to look at the screen. This P5 led
to the development of Bauer’s ‘showstopper’ the P6, which first appeared in 1966.
The main external improvement was the automatic film intake, yet the most technical developments
were inside the machine. The P6 was fitted with a three-point claw that made it possible to show films
that were slightly damaged. This P6 was improved repeatedly, so Bauer decided to name the projector
with capability indications. The projector series consisted of: S for silent films, L for projectors with
optical sound, TS for projectors with optical and magnetic sound and MS for magnetic recording and
optical and magnetic reproduction.

The first generation projectors were supplied
with the 6 W amplifier and the glass lamp also
used in the P5 projector. As early as 1967 the
second generation P6 came to light. Supplied
with halogen lamps, namely a 24 V 250 W for
the S and L, and a 24 V 250 W with a cold-light
mirror lamp for the TM and MS. The amplifier
could also be supplied as a 15 W unit.

At the same time a P6 was introduced that
could use the Marc 300, a gas-discharge lamp,
to meet requirements for projection in large
venues. The P6 projector got a lot of attention
from suppliers who sold projectors but did not
produce them. Hence this Bauer projector, with
its different appearance, was manufactured un-
der various names: Rank (England), Philips
(Netherlands), Pathe (France), Bosch for education purposes and Siemens for only the Austrian market.
This resulted in production problems for Siemens, so the Austrian market also had to be subcontracted.
The P6 enabled Bauer to gain a market share in the USA from the giants Kodak and Bell & Howell. In
Europe they maintained a 60-70% market share despite competition from simpler and cheaper projectors
from Eiki, Elmo, Hokusin and the Bell & Howell manufactured in Japan.
SIEMENS

The Siemens Director in charge of projector production died in 1967 and the company then decided,
suddenly, to cease manufacturing them. This was bad news for Bauer as they were afraid that the
production of these quality machines would end up in Japan. They decided to take over the Siemens
production line completely, with the result that the Siemens Super 8 projector was named Bauer T 30
and Zeiss Ikon T 31. Bauer kept the Siemens factory in Berlin in operation for a year while production
was wound down as its customers accepted Bauer projectors.

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