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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

First Look at the Phantom Flex 4K - Shoot up to 1000fps in 4K

Kwan Khan

Kwan Khan

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But how much?

Thank you for the info though Kwan.
 
Key info

4K at 1000fps, uncompressed raw and TBA 'industry standard' codec

$140,000 with 2TB CineMag

October delivery date
 
Thank you again Kwan!!

And thank you Tonaci for texting me a sweet pic of the camera and info as well.

I love this community! Cheers!
 
Rumors have it that they are coming with a compressed format / codec as well, as well as uncompressed. meaning you don't get stuck with really heavy uncompressed files that take for ever to decode. And maybe able to Drop straight into a timeline and start editing..
I'm really interested in this camera if that's the case.

if any camera has a chance over the Epic. This could be it. BUT! Price will kill it.
 
Speaking as a fireman and cinematographer, I'm sharing this as widely as possible. That is just drop-dead gorgeous.

Mike
 
I attended the hour long presentation/introduction of the 4K Phantom Flex by Mitch Gross this morning that was part of the Director of Photography workshop Gary Adcock organizes at NAB every year. It is a fabulous bit of kit, like RED they are still early in the learning curve in some ways and miles ahead of it in others. What this iteration of Vision Research's Phantom line represents is serious consideration taken to make a more user friendly experience - they were smart enough to listen to folks like Mitch Gross who understands our world and implement welcome improvements.

Price point of roughly $150K kitted up reads rental house with a limited number of owner/ops. 4K Flex will be a great resource for massive over crank footage that matches the resolution and frame size of Epic/Scarlet material. Talk about a great new tool in the arsenal! It does sync sound at 23.98, always handy. Demo footage looks terrific - but doesn't it always ;-)

Now comes the hard part, finding a project that needs - and is willing to pay for - mega high speed 4K. Fortunately, not that many things really benefit from being shot at more than 5x over crank so most days the Epic is all I will need - but for certain things, finding the sweet spot - whether it be 280fps or 675fps or whatever, is a terrific creative tool. In the demo we saw a couple of clips of the same action (horse jumping, etc) shot at various speeds and saw how much differently the same scene came across at the various speeds - it gave you a measure of control over the emotional context, far more than I would have imagined. Cut to the right music you could really sell a mood or story beat. It's not just for dropping ice cubes anymore ;-)

Cheers - #19
 
fucking genius trailer - Fire and Water - the two best things to shoot slowmo
 

Wow, those images look great!​
 
Blair S. Paulsen said:
I attended the hour long presentation/introduction of the 4K Phantom Flex by Mitch Gross this morning that was part of the Director of Photography workshop Gary Adcock organizes at NAB every year. It is a fabulous bit of kit, like RED they are still early in the learning curve in some ways and miles ahead of it in others. What this iteration of Vision Research's Phantom line represents is serious consideration taken to make a more user friendly experience - they were smart enough to listen to folks like Mitch Gross who understands our world and implement welcome improvements.

Price point of roughly $150K kitted up reads rental house with a limited number of owner/ops. 4K Flex will be a great resource for massive over crank footage that matches the resolution and frame size of Epic/Scarlet material. Talk about a great new tool in the arsenal! It does sync sound at 23.98, always handy. Demo footage looks terrific - but doesn't it always ;-)

Now comes the hard part, finding a project that needs - and is willing to pay for - mega high speed 4K. Fortunately, not that many things really benefit from being shot at more than 5x over crank so most days the Epic is all I will need - but for certain things, finding the sweet spot - whether it be 280fps or 675fps or whatever, is a terrific creative tool. In the demo we saw a couple of clips of the same action (horse jumping, etc) shot at various speeds and saw how much differently the same scene came across at the various speeds - it gave you a measure of control over the emotional context, far more than I would have imagined. Cut to the right music you could really sell a mood or story beat. It's not just for dropping ice cubes anymore ;-)

Cheers - #19
Click to expand...

I think there is going to be tons of work for high FPS cameras. That trailer footage screams cine, sports and drama.
 
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