Phantom Flex 4K, now available at Stereovision

The Phantom Flex4K is a full-featured digital cinema camera, capable of speeds that range from standard frame rates to over 1,000 frames-per-second (fps) at 4K and up to 2,000 fps at 2K pixel resolution. Building upon the award winning technology of Phantom digital cinema products, the Flex4K combines features found in the latest cinema cameras with those found only in specialty cameras.

With the planned option to record either uncompressed raw or with industry-standard compression, the workflow will be just as flexible as the camera’s frame rate. The latest in non-volatile storage technology is used to move data quickly, while a complete on-camera control menu eliminates the need for a computer on set.

Apple ProRes 422 HQ encoding and audio recording will be available this summer via a firmware upgrade. The ProRes 422 HQ option provides an alternative to the typical cine raw workflow. It works at the camera’s full 4K resolution and up to the top frame rates (938 fps at 4096 x 2304 resolution). The audio feature is intended for use as scratch-sound for sync sound recording on a production where the Flex4K may be used for both high speed and standard speed recording. However, the camera is capable of recording audio at all frame rates above 23.976. More details about these new features will be available soon, as we get closer to their release.

Specifications: 

  • Full resolution 4096 x 2304
  • Up to 1,000 fps at 4096 x 2160
  • Phantom CineMag IV recording media (2TB)
  • 128 GB of internal memory
  • Monitoring : Three main 3G HD-SDI outputs, which can be configured as independent 4:4:4 1080p signals or used together to supply a dual-link 4K output while maintaining a live HD signal
  • Optional Integrated battery mount supporting industry standard batteries
  • Lens mount : Interchangeable between PL and Nikon F/G standards – Canon EF
  • 2x 12V and 2x 24V accessory outputs
  • Both Mac and Windows based software for download and file conversion
For further details, enquiries and rentals, please contact:

Mr. N. Balaji: balaji@stereovision.biz / +91 9841 011449
Ms. Tania Samtani: tania@stereovision.biz / +91 9841 282642

Stereovision Chennai Office (Headquarters):
846 A, Mount Road, Anna Salai,
Chennai – 600002
+91 44 28550658 / +91 44 28416720

Stereovision Mumbai Office:
13/97, Motilal Nagar No. 3,
M.G Road, Goregaon (W),
Mumbai
+91 22 28788916 / +91 22 28728916

Anamorphics with Phantoms – Like a Maharaja!

Shooting with the Phantom Flex (2K) with anamorphic lenses is exciting. Add a great crew and a stunning location like Jodhpur to the mix and what you have is cinematography heaven.

Stereovision was given yet another opportunity to meet the high-end Bollywood film demands. We traveled to Jodhpur for a very challenging project: the first shooting day of a feature film directed by renowned director Rakeysh Omprakash Mehra of Rang De Basanti fame. Not surprisingly, the crew was very professional in all departments. The cinematography was lead by Polish DOP Pawel Dyllus, who brought with him a cameraman, focus puller, and a steadycam operator from Europe.

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Rakyesh Omprakash (center) watching a playback with polish DOP Pawel Dyllus (right).

Capturing +1000 fps with a Phantom FLEX 2K generally means low apertures. This makes the focus pullers’ job very precise, especially with anamorphic lenses as shallower depth of field is obtained. One of the main technical challenges we encountered was focus, but we managed to increase the shutter angle on the camera and closed down a stop or two to make sure focus was right and images were less affected by soft focus on edges, chromatic aberrations, distorsions, etc (with anamorphics we recommend not to shoot full open as it can create issues as mentioned). The flexibility the Phantom FLEX 2K provides, with a customisable shutter angle from 22,5-359º, made the workflow quite FLEXible.

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A Rare 150-600mm T5.6 Canon Otto Nemenz Conversion Zoom Anamorphic Lens on a Flex 2K.

The Phantom FLEX 2K sensor is 2560 x 1600 in size. For a 2x anamorphic image we had to capture it in a 4:3 aspect ratio and then unsqueeze the video at Stereovision’s facilities to deliver a 2.39:1 ratio. Phantom’s huge sensor allowed to capture the full 1600 lines, therefore not reducing resolution as much as other digital cameras in the market. Again the flexibility to customize resolutions in the camera was an excellent advantage.

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A Hawk V-Series 55mm Anamorphic hooked on a Stereovision Phantom. Great performance !

A pleasure to work with a Camera Operator like Shemak, who enjoyed working in India and Stereovision for the first time.

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Stereovision DIT Amaro Gómez-Pablos with Camera Operator Shemak, from Poland, at the end of a long shooting day.

In total we use a set of V-Series Hawk Lenses, a 150-600mm T5.6 Canon Otto Nemenz Conversion Zoom Anamorphic Lens and a new Angenieux Anamorphic 56-152 2S which gave an excellent performance in terms of focus & sharp images due to its combination of cylindrical and spherical configuration (it is equipped with a rear anamorphic attachment, like an anamorphic adaptor) to achieve superb sharpness & no distortion. A lens very suitable for digital sensors, and super light!!

Phantom Cameras and Sunil Patel.

Sunil Patel, one of the most respected and experienced cinematographers in the Indian Film Industry and Stereovision’s Phantom cameras get along very well. So well, Sunil has even created special lighting to work with high-speed cameras. And no, they don’t flicker at all!

Something that might differentiate Sunil’s sets is how lights are distributed. In many cases he uses trusses to hang the powerful and hot +5K’s lights instead of using stands. This is quite comfortable as you can easily move the camera around the subject freely, frame within seconds, and avoid the manpower of moving heavy lights and stands around.

Although Sunil’s homemade lights were only 2KW heads, they were distributed into different phases and allowed us to avoid flickering as each tungsten filament heat up separately overlapping each others cool down. High-speed cinematography requires powerful lights, sources with high luminance, therefore thousands of watts. To work comfortably without flicker Stereovision recommends at least 5KW tungsten lights.

Here is a recent picture working with our Phantom Miro 320LC & Sunil Patel for First Take Films:la foto 3

The possibilities a Phantom MIRO can provide are limitless. Its compact size makes this camera a very versatile piece of technology.

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