In Broadcast - February 2014 - 34


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 28 - FEBRUARY 2014

N E W S

InREPLY

Phantom Flex4K Cinema Camera Shoots
At Up To 1,000fps @ 4K Resolution
Toni Lucatorto, Cinema Product Manager at Vision
Research fields our questions on the company's products...

34

InB: How is your company
adapting to meet customer
demands?
Toni Lucatorto: As a long time
high-speed camera manufacturer,
we have seen our products adopted
for use in all kinds of applications.
Traditionally, our customers that
do industrial and scientific imaging
ask for higher frame rates, more
resolution and sensitivity in order to
keep pushing the limits on what is
possible in the field of motion analysis.
Our customers in the TV and
motion picture industry share those
basic requests, but put a greater
emphasis on workflow, overall
image quality and compatibility with
industry standard accessories. We
have evolved over the last several
years by listening to our customers
and incorporating those sorts of
features. You'll see that our latest
cinema camera - the Phantom
Flex4K - has more user-friendly
features built-in than any of our
previous cameras. For example,
the camera can be completely
controlled with the on-camera
menu system and powered from an
integrated battery back with plenty
of ports for viewfinders, monitors
and other important accessories.
InB: What criteria are broadcasters
using to select products?
TL: In 2013 we witnessed a significant
increase in the demand for 4K
capture - both in digital cinema and

broadcast applications. Even if the
final piece is not to be delivered
in 4K, higher resolution capture is
still being requested for high-end
productions. Green screen work
benefits from the higher resolution.
Not to mention 4K television
manufacturers need content
to show off those new screens.
For sports broadcast, many
people are looking for 'pan and scan'
functionality, where a full 4K video
feed is captured, and a cropped
HD region-of-interest is selected for
both live and playback. This allows
for higher zoom levels and greater
control over the framing of the video
that gets broadcasted. To achieve
this, ultra-HD or 4K video outputs
are necessary on cameras that have
a native 4K resolution in order to
be compatible with existing backend systems that specialise in this.
Besides 4K resolution,
broadcasters are looking for
cameras that produce images
with extremely low-noise and high
dynamic range. Modern camera
sensors have this capability
and really allow you to push the
exposure while maintaining excellent
image quality.
InB: Which territories are showing
particular activity?
TL: There is always a push for new
technology at major sporting events
like the Olympics, the Super Bowl
and the World Cup, so naturally there
is significant action around
these events in
2014. When it

The Phantom Flex4K is
designed for TV and motion
picture production

Phantom's Flex4K
cinema camera

comes
to
television dramas and
motion picture production we
see great things coming out of
the UK, Europe and the USA.
High-speed cameras are often
used in TV commercials and music
videos - and we see our cameras
used for those productions on a
more global level.
InB: Can you describe some of
your recent deployments?
TL: In 2013 Vision Research
introduced the Phantom Flex4K,
designed for TV & motion picture
production. The camera can perform
at standard frame rates all the way
up to 1,000 frames-per-second
(fps) at 4K resolution and up to
2,000 fps at 2K resolutions. The
camera shoots raw cine files to a
non-volatile flash device called the
CineMag IV, and has multiple video
ports to support HD and ultra-HD
video workflows. Other notable
features of the camera include a fullfeatured on-camera control interface,
integrated battery pack and several
auxiliary outputs to power standard
film accessories. Besides these
production-friendly features, the
major focus for the Flex4K had
to do with image quality - and it
delivers by producing beautiful
images with excellent latitude.
Vision Research also recently
launched a new addition to their

industrial
v-Series
camera line - the
Phantom v2010. This camera
can record up-to 22,000 fps at
1280x800 pixel resolution - making
it the camera with the highest
throughput that we offer.
InB: Any product innovations
ahead that you can discuss?
TL: We are busy incorporating
some new features on the Phantom
Flex4K - the most significant one
being the option for in-camera
compression. Currently, the camera
records raw cine files - and with
this future update the camera will
have an option to record to an
industry-standard codec directly
to the CineMag IV. This will allow
you to save more to each mag
and record for longer durations
without the need for transcoding
the files out of the camera. More
workflow improvements and
exciting new features are coming,
such as the ability for true syncsound recording with audio.
Besides planned updates to the
Flex4K camera, Vision Research
is always working on updates to
our v-Series and compact Miro
product lines. Keep an eye on
www.visionresearch.com and
follow us on social media to learn
more and get all our latest product
announcements.
InB: Thank you for taking time to
answer our questions.


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Table of Contents for the Digital Edition of In Broadcast - February 2014

In Broadcast - February 2014
Contents
InNews: Russia's Channel One Looks to Elemental
InNews: Eurosport Teams With SNTV for News Content
InStudio: Integration Is the Aim, but Is Our Aim True?
InGear: Chopperguy Relies on Aja Ki Pro Mini
InGear: NBC Olympics to Utilise Five Artemis Consoles
InGear: Sony Reduces 4K Camcorder Size
InMedia: The Connected Room 1990 – 2020 & Beyond
In Broadcast - February 2014 - Intro
In Broadcast - February 2014 - In Broadcast - February 2014
In Broadcast - February 2014 - Cover2
In Broadcast - February 2014 - Contents
In Broadcast - February 2014 - InNews: Russia's Channel One Looks to Elemental
In Broadcast - February 2014 - 5
In Broadcast - February 2014 - InNews: Eurosport Teams With SNTV for News Content
In Broadcast - February 2014 - 7
In Broadcast - February 2014 - 8
In Broadcast - February 2014 - 9
In Broadcast - February 2014 - 10
In Broadcast - February 2014 - 11
In Broadcast - February 2014 - 12
In Broadcast - February 2014 - 13
In Broadcast - February 2014 - 14
In Broadcast - February 2014 - 15
In Broadcast - February 2014 - 16
In Broadcast - February 2014 - 17
In Broadcast - February 2014 - 18
In Broadcast - February 2014 - 19
In Broadcast - February 2014 - 20
In Broadcast - February 2014 - 21
In Broadcast - February 2014 - 22
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In Broadcast - February 2014 - 24
In Broadcast - February 2014 - 25
In Broadcast - February 2014 - 26
In Broadcast - February 2014 - 27
In Broadcast - February 2014 - 28
In Broadcast - February 2014 - 29
In Broadcast - February 2014 - 30
In Broadcast - February 2014 - 31
In Broadcast - February 2014 - 32
In Broadcast - February 2014 - 33
In Broadcast - February 2014 - 34
In Broadcast - February 2014 - 35
In Broadcast - February 2014 - 36
In Broadcast - February 2014 - 37
In Broadcast - February 2014 - 38
In Broadcast - February 2014 - 39
In Broadcast - February 2014 - 40
In Broadcast - February 2014 - 41
In Broadcast - February 2014 - 42
In Broadcast - February 2014 - InStudio: Integration Is the Aim, but Is Our Aim True?
In Broadcast - February 2014 - 44
In Broadcast - February 2014 - 45
In Broadcast - February 2014 - 46
In Broadcast - February 2014 - 47
In Broadcast - February 2014 - 48
In Broadcast - February 2014 - 49
In Broadcast - February 2014 - InGear: Chopperguy Relies on Aja Ki Pro Mini
In Broadcast - February 2014 - 51
In Broadcast - February 2014 - InGear: NBC Olympics to Utilise Five Artemis Consoles
In Broadcast - February 2014 - 53
In Broadcast - February 2014 - 54
In Broadcast - February 2014 - 55
In Broadcast - February 2014 - 56
In Broadcast - February 2014 - 57
In Broadcast - February 2014 - InGear: Sony Reduces 4K Camcorder Size
In Broadcast - February 2014 - 59
In Broadcast - February 2014 - 60
In Broadcast - February 2014 - 61
In Broadcast - February 2014 - 62
In Broadcast - February 2014 - 63
In Broadcast - February 2014 - 64
In Broadcast - February 2014 - 65
In Broadcast - February 2014 - 66
In Broadcast - February 2014 - 67
In Broadcast - February 2014 - 68
In Broadcast - February 2014 - 69
In Broadcast - February 2014 - 70
In Broadcast - February 2014 - 71
In Broadcast - February 2014 - InMedia: The Connected Room 1990 – 2020 & Beyond
In Broadcast - February 2014 - 73
In Broadcast - February 2014 - 74
In Broadcast - February 2014 - 75
In Broadcast - February 2014 - 76
In Broadcast - February 2014 - 77
In Broadcast - February 2014 - 78
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In Broadcast - February 2014 - S1
In Broadcast - February 2014 - S2
In Broadcast - February 2014 - S3
In Broadcast - February 2014 - S4
In Broadcast - February 2014 - S5
In Broadcast - February 2014 - S6
In Broadcast - February 2014 - S7
In Broadcast - February 2014 - S8
In Broadcast - February 2014 - S9
In Broadcast - February 2014 - S10
In Broadcast - February 2014 - S11
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