How it Works
Phantom
Loading...
Flex4K
User Manual
48 pgs3.36 Mb0

Phantom Flex4K User Manual

PN: ZDOC-64105-MA-0001 Rev 1
Flex4K
MANUAL
PHANTOM
When it’s too fast to see, and too important not to.
®
PN: ZDOC-64101-MA-0001 Rev 1
Last Updated: June 2014
Phantom Flex4K
MANUAL
when it’s too fast to see, and too important not to.
®
100 Dey Road Wayne, NJ 07470 USA +1.973.696.4500 phantom@visionresearch.com
www.visionresearch.com
w w w . v i s i o n r e s e a r c h . c o m
Contents
1
1
Camera Overview
2
5
3
9
4
13
5
33
6
39
7
53
8
57
Connectors
Quick Start Guide
On-Camera Controls
Phantom CineMag IV & CineStation IV
Control via Phantom Software
Download & Image Processing
Video Configurations
9
61
Accessories
10
69
Support
Written and produced by the Marketing Department at Vision Research.
The contents of this manual are subject to change without notification.
PN: ZDOC-64101-MA-0001 Rev 1 Last Updated: June 2014Updated: 06.10.2012
w w w . v i s i o n r e s e a r c h . c o m
Chapter 1: Camera Overview
1
Camera Overview
1
• Maximum 938 fps at full resolution of 4096 x 2304; 1000 fps at
4096 x 2160; 1984 fps at 2048 x 1080 or 1920 x 1080; 2949 fps at 1280 x 720
• Minimum frame rate: 15 fps
• Super-35 mm sensor; 31.7 mm diagonal (27.6 mm x 15.5 mm)
• Exposure Index range 250-800 (recommended EI 400-640 Color)
• Ultra-fast (1 millisecond) rolling shutter adjustable from 1˚ to 360˚
• Exposure time (shutter speed) from 5 µs to 1/frame-rate
• 32 GB or 64 GB of internal volatile RAM memory
• Phantom CineMag IV non-volatile recording media (1 TB & 2 TB)
• 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
• Video outputs can switch between Rec709 and Phantom Log
• Viewfinder: Camera supports both component and HD-SDI-based
viewfinders. Vision Research offers a full HD OLED EVF.
• Optional interchangeable battery mounts
• Lens mount: PL standard, interchangable w/ Nikon F and
Canon EF
• 2x 12V and 2x 24V unregulated accessory outputs
• Both Mac and Windows based software for download and file
conversion
• Full featured on-camera control interface
• Playback and save controls on both sides of the camera
• Memory can be partitioned for multi-cine
• Genlock for simplified 3D shooting and synchronizing video playback
• Phantom Remote Control Unit (RCU) compatible
key features
Introduction
The Phantom Flex4K is a digital cinema camera capable of shooting standard sync-sound or ultra slow-motion frame rates up to 1,000 frames-per-second (fps) at 4K resolution, and up to approximately 2,000 fps at 2K.
A proprietary super-35mm 4K CMOS sensor provides ultra low-noise images with exceptional detail and a wide dynamic range.
The on-camera control menu is designed to adjust all important camera settings and eliminate the need for a computer on set or in the field.
Raw and video workflows are supported. CineMag IV recording media uses the latest in non-volatile storage technology to store uncompressed raw files quickly and safely.
Chapter 1: Camera Overview
32
Like previous Phantom cameras, the Flex4K records Vision Research’s proprietary Cine Raw format. These files are captured in 12-bit and efficiently saved to the CineMag IV in a 10-bit ‘packed’ format. The Cine Raw files are compatible with many of the industry’s top editing and post production software packages, or they can be converted to a variety of formats using software provided with the camera.
Vision Research has plans to introduce in-camera compression as an alternative for the Phantom Flex4K. When available, the user can choose to record either raw or industry-standard compressed files directly to the CineMag IV. This increases record duration, decreases file size, and simplifies the process straight out of the camera.
A third workflow option is recording the 3G-SDI video playback with a video-based field recorder. These devices are easy to find, easy to use, and take advantage of the camera’s in-camera video scaling for high-quality 4:4:4 1080p or 4:2:2 4K video via two 3G HD-SDI outputs.
The Flex4K allows various configurations for monitoring the image via the camera’s four total HD-SDI outputs, and one return. Each output is customizable for monitoring with frame guides, or as a clean output for use with field recorders. The outputs can also be switched from displaying standard gamma to a pre-set Log curve.
All HD-SDI outputs support video scaling for a sharp 4:4:4 1080p output of the camera’s full sensor. Two of the 3G HD-SDI outputs can also be combined for a 4:2:2 ultra-HD signal, which will allow the full resolution to be viewed on 4K production monitors.
The viewfinder and monitor feeds can be set to always show a live feed, so the DP can follow the action and frame up the next shot while the last shot is still being saved or reviewed from the other outputs. Zoom (focus assist) and threshold (exposure assist) functions are also available.
Recording Options
Sensitivity & Exposure Index
The low noise performance of the Flex4K sensor allows for the ‘effective ISO’ to be dialed in with the camera’s Exposure Index function, with minimal compromise to image quality.
Exposure index (EI) range: from 250 to 800
Recommended EI: 400 – 640
Controlling the Phantom Flex4K is easier than ever with a full-featured on-camera control interface for both basic and advanced camera operation. Set up universal capture and recording parameters before the shoot, while retaining access to the more commonly adjusted parameters like frame rate and exposure settings at the push of a button.
Capture, trigger, playback and save controls can be found on both sides of the camera in order to provide a seamless workflow for different shooting environments.
Control is also possible with Phantom PCC software or a handheld Phantom Remote Control Unit (RCU).
Each Phantom Flex4K ships standard with both Windows (PCC) and Mac-based download solutions. Vision Research is providing one license of the popular Glue Tools Cine Toolkit, and Séance™ download software for the Mac. This provides the ability to download Flex4K raw files in Mac OSX, and direct compatibility with most Quicktime-based edit and color grading software.
Select ‘Loop mode’ for the fastest high-speed workflow. Loop mode records into the RAM buffer at the camera’s top speeds, then once the camera is triggered the files can be quickly offloaded to an installed Phantom CineMag IV.
For longer record times use run/stop (R/S) mode and record directly to a 2TB CineMag IV at up to 120 frames­per-second at 4K (max 90 fps to the 1TB CineMag IV). This is an excellent option when ultra high-speed is not required.
Camera Controls
Workflow Solutions
Image Monitoring & Video Outputs
File formats
Chapter 2: Connectors
54
Connectors
2
rear panel
3G HD-SDI output – Supports 1080/720p standards.
3G HD-SDI output – Both Rec A and Rec B support 1080/ 720p standards or combine them for a dual-link 4K video output.
3G HD-SDI input – Accepts feed from separate source, switches monitor output. Also supports Genlock.
Not active at the time of initial shipments – Will be activated via future firmware update.
7-pin Fischer – For RS-232 and 24V power – Used with Phantom RCU and Bluetooth Dongle (BT-Dongle II).
8-pin Fischer – Gb Ethernet CAT-5 UTP – for software connection.
12-pin Fischer – For F-Sync, TC In, TC Out, Audio, Trigger signal via Capture cable or Flex4K Mini Break­Out-Box (Mini-BOB).
3-pin Fischer – For Primary power (+12 - 28 VDC unregulated) input.
Remove the back plate to gain access to a power tap for optional battery mounts. Options are available for a 26V Hawk Woods mount, 14.4V Anton Bauer Gold mount (pictured), and 14.4V V-Lock (new) standards.
Monitor
Rec B
Rec A
Return
Audio Out
Remote
Ethernet
Sync
12 - 28 VDC Power
Battery Interface (optional)
B
C
D
I
H
G
F
E
A
J
A
B
C
D
E
F
G
H
I
J
Chapter 2: Connectors
76
front panels
Camera view front (left)
Camera view front (right)
Standard BNC – For SDI-based viewfinders – Including the Phantom OLED HD EVF.
4-pin Hirose – For 12V viewfinder or on-camera monitor power.
7-pin Fischer – Provides +12V power and component signal for viewfinders such as the Sony HDVF35W. Also works with the Phantom YPRPB cable.
This connector can be factory-replaced with a 20-pin Hirose for Panasonic viewfinders, contact your sales rep for more details.
2-pin Lemo – 12V accessory power.
3-pin Fischer – +12 - 28 VDC unregulated (matches input voltage) auxiliary power + trigger.
12-pin Hirose connector for ENG style lenses.
3-pin Fischer – +12 - 28 VDC unregulated (matches input voltage) auxiliary power + trigger.
(HD-SDI) Viewfinder
VF PWR
Component VF
+12 VDC
R/S
Lens
R/S
A complete cable connector reference and pin-out guide is available in the last section of this manual.
A
B
C
D
E
F
G
A
B
C
D
E
F
G
Chapter 3: Quick Start Guides
98
cinemag door
Latch to open and close the Phantom CineMag door.
Phantom CineMag Door Release
Quick Start Guide
3
via on-camera controls
Connect the Phantom power supply or suitable power (+12 - 28 VDC) to the Power input.
Connect and power an HD-SDI monitor and/or viewfinder to the Mon or VF HD-SDI connectors
Insert a Phantom CineMag IV, if available. For detailed instruction see ‘Phantom CineMag IV & CineStation IV’ chapter.
From any of the ‘Home’ menu options; press the button above / below the parameter to be set.
Rotate the knob, in ether direction, to change the selected parameter, then press the center of the knob to confirm.
• Set ‘Resolution’ to the required Width x Height
• Choose the required ‘FPS’ (speed / frame rate)
and ‘Shutter’ (exposure time).
• Select ‘Loop’ mode or ‘R/S’ (Run/Stop directly
records to a CineMag at lower frame rates) mode by holding in the ‘Mode’ button for 2 seconds.
• In ‘Loop’ mode, set the Trigger position (‘T’) by
holding in the select knob. It can be set to the end (default), the beginning, or some position in be­tween to determine where the circular buffer stops when a trigger signal is detected.
• In ‘R/S’ mode the trigger is automatically set to the
end, and the trigger is used to both start and stop the recording.
The Flex4K is unlike previous Phantom cameras in that a black reference is not required under most circumstances. However, if you notice the black level shift, hold down the ‘Tools’ button to close the internal shutter and perform a black reference.
Power Up Camera
Setup Video Monitor
Insert Phantom CineMag IV
Set Recording Parameters
Perform Black Reference
A
A
Chapter 3: Quick Start Guides
1110
From the ‘Home’ menu; press the button above WB (White Balance). Choose one of the pre-sets, or perform an Auto WB by pointing the camera towards a non-saturated white area to fill the center of the frame. Press the button above ‘Auto’ in the WB menu and select ‘OK’.
Basic ‘Loop’ mode recording:
Hold in the ‘Trigger’ button for 2 seconds to put the camera into capture mode. The button will glow red when the camera is recording.
Press the ‘Trigger’ button when the event happens, keep in mind the trigger position
Press the on-camera ‘Playback’ button to start playback. The camera should start playing the latest RAM cine captured.
Rotate the knob or apply long press to the play-forward button to fast forward. A longer press increases fast forward playback. Same with reverse play.
Locate the first image to be saved and tap the forward or reverse buttons to pause playback. Then press the ‘Mark In’ button to define a new start point. Play forward and select the ‘Mark out’ position.
Press the button above ‘Save’ to save the marked portion of the selected cine to a Phantom CineMag IV (This option is disabled when playing back a cine from the mag).
Perform White Balance
(Color Cameras Only)
Playback
Save to Phantom CineMag IV
Arm Camera
Trigger
Edit Cine
In ‘Loop’ mode the images are first recorded to the internal RAM buffer, then previewed and saved.
Switch from playing the RAM cine to the latest CineMag cine and scrub through the playback to confirm the save.
Tap the trigger to return to live. Hold down the trigger button for 2 seconds to start the next recording.
Basic ‘R/S’ mode recording:
To begin recording, hold in the ‘Trigger’ button for 2 seconds. The button will glow red when the camera is recording.
The menu and video display will indicate the take number and update the amount of space available in the CineMag IV as it records.
Press the ‘Trigger’ button again to stop the recording.
Press the on-camera ‘Playback’ button to start playback. The camera should start playing the latest cine captured in the CineMag IV.
Rotate the knob or apply long press to the play-forward button to fast forward. A longer press increases fast forward playback. Same with reverse play.
Tap the trigger button to return to live on the video display. Hold down the trigger for 2 seconds to start the next recording.
Review the File Saved to CineMag
Re-Arm the Camera
In ‘Run/Stop (R/S)’ mode the images are recorded directly to the CineMag IV at a lower maximum frame rate but a longer possible duration.
Playback
Arm Camera
Trigger
Re-Arm the Camera
A long-press of the Mark In or Mark Out buttons will re-set those points.
Chapter 4: On-Camera Controls
1312
On-Camera Controls
4
By default, long press locks all menu buttons.
Cycles through video tools: Zoom 1; Zoom 2; and threshold for exposure assist. Long press initiates BREF (black reference).
Enters user preset sub-menu allowing for setting and recalling settings. Note: User menu is not active in early camera firmware.
Enters playback menu allowing takes to be played, edited, and saved to Phantom CineMag IV.
Powers up camera when running on battery. Hold for 5 seconds to power-off camera.
Functions change based on active menu.
Same as above.
Trigger camera when in recording (capture) mode. Long press starts recording, Short press stops recording.
Returns to the previous screen.
Press to enter main menu. Scroll through settings in all menus, and press to select.
right side buttons
Lock
Tools
User
Play
Power
Soft Buttons 1, 2, 3
Soft Button 4, 5, 6
Trigger
Return
Menu Button and Control Knob
A
B
C
D
E
F
G
H
I
J
A
B
C
D
E
F
G
H I J
Chapter 4: On-Camera Controls
1514
left side buttons
Tools
Playback
User 2 / Reverse
User 1 / Forward
Trigger
Left side button functions vary based on the operational mode of the camera, as follows:
Live Mode - Short press to trigger camera when in recording (capture) mode.
Live Mode - Long press will erase the contents of RAM and start recording again.
Playback Mode - Tap trigger to return camera to ‘live’ mode.
Live Mode - Short press starts playback of last take (whether in RAM or CineMag IV).
Live Mode - Long press will enter select mode, where user can toggle between various RAM and CineMag takes.
Playback Mode - Plays forward. Hold in to fast-forward. Tap to Pause.
Live Mode - Short press cycles through video tools: Zoom 1; Zoom 2; Threshold.
Live Mode - Long press initiates BREF (black reference).
Playback Mode - Tap to set ‘Mark In’ point. Long press re-sets ‘Mark In’ point.
Live Mode - Not active with initial camera firmware
Playback Mode - Short press reverse playback;
Playback Mode - Long press fast reverse.
Live Mode - Not active with initial camera firmware.
Playback Mode - Tap to set ‘Mark out’ point.
Playback Mode - Long press re-sets ‘Mark Out’ point.
Trigger
Playback
Tools
User 2 / Reverse
User 1 / Mark Out
The left side ‘Save to CineMag’ function will be added in an upcoming firmware update.
A
B
C
D
E
A
B
C
D
E
Chapter 4: On-Camera Controls
1716
A long press switches the camera between Loop mode and Run/Stop Mode (for longer duration direct CineMag recording).
The symbol changes based on the camera’s state:
Live: The camera is not recording and a live image is displayed from all SDI ports. Generally, this is the state when camera first booted up.
Capture: The camera is recording to internal memory (RAM), and awaiting a trigger signal.
Triggered: The camera has been triggered, and is filling RAM memory (‘Post-Trigger’ frames) or is writing to CineMag in R/S mode.
Cine Stored: Recording has ended, and a Cine is stored in RAM memory. This Cine must be erased from the RAM to begin recording again.
Playback: The camera is in PLAYBACK mode. RAM Cines can be reviewed and saved to a CineMag IV. CineMag takes can also be selected for playback.
Indicates the time code stamped to each frame.
This timeline represents all frames available in camera RAM (Loop mode), or the CineMag (Run/Stop) mode. In ‘Loop’ mode, the ‘T’ indicator represents the user­defined trigger point. In R/S mode the bar indicates used space.
Indicates the memory size of the CineMag (if present) and the total recording time available.
Displays the focal length and aperture setting of the lens (Canon EF mount only).
Displays the supplied DC voltage level. The status color will change from green (good charge) to yellow to red (indicates low battery).
This field displays the ‘Tools’ function status when active (Zoom 1; Zoom 2; Threshold; and the BREF status).
home screen
Shutter
FPS (Frames Per Second)
WB (White Balance)
EI (Exposure Index)
Resolution
Mode
Navigation
Press the ‘soft’ button above or below the respective field to display a sub-menu used to define the field’s parameters. See ‘Menu Displays’ for details.
Sets the exposure time of the camera by adjusting the shutter angle. Displays the shutter in degrees.
Sets the frame rate for camera capture.
Sets the white balance for the current lighting conditions, manually or automatically.
EI (Exposure Index) represents the camera’s apparent light sensitivity & is derived from the base ‘ISO’ plus image adjustments.
Sets the acquisition resolution (width x height), in pixels.
Camera Status
Time Code
Buffer Bar w/Trigger Point
CineMag Status
Lens Status
DC / Battery Status
Tools Display
A B C
D E
L
G
K
I
J
H
M
F
A
B
C
D
E
F
G
H
I
J
K
L
M
Chapter 4: On-Camera Controls
1918
menu displays
‘Shutter’ controls the exposure time (the amount of time each frame is exposed to light) and is measured in degrees of shutter angle. The higher the value, the longer the exposure time. A smaller shutter angle reduces the amount of motion blur.
Use the control knob to scroll through available settings, and push to select. Presets are also available, (User 1, User 2, 90, 180, or maximum).
A long press above the ‘User < >’ fields will save the current exposure time for quick future access.
The ‘Shutter’ field also provides a reference for the exposure time in milliseconds / microseconds and fractional units. Tap to change.
Shutter
Use the control knob to scroll through the available settings, and push to select. A long press above the User < > fields will save the current frame rate, for easy access later.
‘Sync’ instructs the camera to utilize one of the following frame sync clock sources:
• Internal - (most common) the camera uses its’
internal crystal oscillator to drive the frame rate.
• External - Should be selected when an externally
supplied frame sync clock pulse is connected to ‘F-Sync’ to drive the camera’s frame rate.
• Time code - Should be selected when an external
SMPTE or IRIG time code device connected to the ‘Timecode in’ port to drive the camera’s frame rate.
• Video - Should be selected to run the camera at -
or in multiples of - its current video rate. This is a good option for sync-sound recording.
Scroll through the available sync options by pressing the soft button under the ‘Sync’ button.
Frame Rate (FPS) /
Sync (Clock)
‘FPS’ defines the speed (Frame Rate) of camera capture. The available speeds will change according to the resolution and mode selected. Smaller resolutions generally allow for higher speeds.
White Balance
The camera’s white balance can be set automatically, or manually by adjusting the color temperature and color compensation.
User can have the camera automatically perform a White Balance by pressing ‘Auto’ while pointing the camera at an area the represents white, or place a gray card or white object in front of the camera. The white subject area must not be fully saturated in order to accurately perform the Auto WB.
Chapter 4: On-Camera Controls
2120
Optionally, the user can select common white balance settings of 3200, 4300 and 5600, or manually adjust the Color Temperature (Kelvin) for the red and blue components of white balance, and Color Compensation (CC) for the magenta and green components of the white balance.
Exposure Index
EI (Exposure Index) is a reference value for the apparent light sensitivity determined by the current image processing settings. The available presets range from an EI of 250 through 800.
The EI value can change based on the gamma, toe, gain, ped, tone curve, and other settings of the camera. By adjusting the EI with one of these presets, most image settings will go back to their default value.
When the camera’s video output is set to ‘Log’ mode, the EI can not be adjusted, and must be used as a reference only.
Mode
Mode specifies the operational ‘Mode’ of the camera in relation to CineMag recording
• Loop Mode - image data is recorded to camera
internal memory (RAM buffer / circular buffer) prior to saving it to an attached Phantom CineMag IV or external hard drive.
• R/S (Run/Stop) Mode - images are recorded
directly into an attached CineMag IV. The maximum possible frame rate to a 2TB CineMag IV is limited to 120 fps at full resolution in R/S mode.
A long press of the ‘Mode’ button switches the camera between Loop and R/S modes.
Trigger Point (only active in ‘Loop’ mode) specifies the percentage of ‘Post Trigger’ frames recorded AFTER the camera has been triggered.
A long press of the control knob allows you to dial in the post trigger in 10% increments. To set it, the camera must be in ‘Loop’ mode, and the home menu must be displayed.
When the camera is capturing, it is continuously rolling into its circular RAM buffer, which is represented by the ‘Timeline’. If you have approximately 5 seconds of record time, a trigger point in the middle will keep the previous
2.5 seconds and when triggered will record for an additional 2.5 seconds until the RAM is full.
In R/S mode there is no trigger point, and the time line represents the space in the CineMag.
Post Trigger
Chapter 4: On-Camera Controls
2322
The Flex4K sensor can run in either 4K mode (4096 pixels across) or 2K mode (2048 pixels across).
In 4K mode the image format is Super-35mm, and in 2K mode the image format is windowed (closer to Super-16mm).
As you lower the camera’s vertical resolution, higher frame rates are possible. Horizontal resolution changes alone will have no effect on the top frame rate.
The resolution menu is set up to show exactly what the sensor is doing, whether the resolution is considered ‘Native’, ‘Cropped’, or ‘Downscaled’ – and also what the current Aspect ratio is.
Use the control knob to cycle through the available options for either 4K or 2K sensor mode, and push to select.
More on the way resolution works can be found in the Support section of this manual.
Resolution
sensor formats
4K (35mm) sensor mode
4096 x 2304 native 16:9
3840 x 2160 overscan 16:9
2752 x 2304 anamorphic 2.0
1920 x 1080 scaled 16:9
4096 x 2160 native DCI
4096 x 2216 native 1.85:1
4096 x 1712 native 2.39:1
3840 x 2160 cropped 16:9
2K (windowed) sensor mode
2048 x 1536 native 4:3
2048 x 1152 native 16:9
1920 x 1080 overscan 16:9
2048 x 1080 native DCI
1920 x 1080 crop 16:9
1280 x 720 scaled 16:9
1280 x 720 crop 16:9
*subject to change
Supported resolutions* are as follows:
Common 4K resolutions
Common 2K &
windowed resolutions
Loading...
+ 33 hidden pages
Buy Points How it Works FAQ Contact Us Questions and Suggestions Privacy Policy Cookie Policy Terms of Use