Phantom V10 is used as a prop to add reality to key scenes

We received several calls recently from people who have seen the new Iron Man movie asking if the high-speed cameras shown in the movie are Phantom cameras. Yes, they are!

The people responsible for props contacted us during the filming of the movie. They wanted the props in the movie to be as authentic as possible. And, they knew the most popular high-speed camera on military test ranges are Phantom cameras. We were glad to loan them a camera to use as a prop in the movie.

In the first 10 minutes of the movie, they are introducing Tony Stark through newspaper clippings and photos, and one of them shows him in the weapons testing facility with a Phantom V10 in the foreground. Towards the middle of the movie, when he is developing the iron man suit, there are quite a few shots where the V10 is top-mounted to a motorized arm which follows him around during the testing.

Wayne, N.J.  (April 10, 2008) - Vision Research, a leading manufacturer of high‑speed digital imaging systems, today introduced the Phantom® CineStation™ – a docking station for the company’s popular CineMag hot-swappable, non‑volatile memory.

High-speed imaging requires a significant amount of memory, and this is especially true with high-resolution cameras such as the Phantom HD, Phantom 65, or the new V12. For example, with a resolution of 1920×1080, the Phantom HD camera consumes almost 4 megabytes of memory for each frame shot. At a speed of 1,000 frames-per-second, the camera needs almost 4 gigabytes of memory for each second of record time, depleting 16 gigabytes of internal camera memory in just over 4 seconds!

With the CineMag, users can upload the camera memory to the CineMag’s non-volatile memory at a rate of 13.6Gbits per second – taking 10 seconds to save a 16GB file. Additionally, users can record directly to CineMag memory at frame rates of up to 450 frames-per-second at HD resolution.

“While Vision Research Phantom cameras deliver incredible imagery, they were always difficult to use in general motion picture production due to their specialized workflow,” said Mitch Gross, Technical Director of Rentals for Abel Cine Tech. “Having to deal with umbilical cables from the camera to a computer, limited shooting times, delays due to download times and controls from the computer instead of the camera limited Phantom cameras to specialty use. Now with CineMags and the new CineStation, these restrictions are all lifted.”

Prior to the availability of the Phantom CineMag, a shot in camera memory had to be downloaded to a hard disk drive over GigaBit Ethernet, taking between 10 and 16 minutes depending upon network and computer performance. This download time interrupted the momentum on set and made a day of shooting longer and more costly. The CineMag, introduced last year, has been a breakthrough on set, but until now, still required using the camera offline to download the massive amounts of high-speed imagery. The new Phantom CineStation streamlines this workflow breakthrough by allowing CineMags to be viewed, trimmed, played over video, and saved to hard disk using an offline docking station rather than the valuable camera asset.

The Phantom CineStation is a simple setup that connects to a PC using GigaBit Ethernet. Users simply snap in a CineMag to the CineStation and use the supplied software to view each cine stored on the CineMag, play the cine files over the dual HD-SDI ports or component video ports, set in- and out-points to trim the cines, and save the files to a connected hard disk drive. To help speed the download process even further, an optional 10GigaBit Ethernet connection is planned for summer 2008.

“We would expect any customer utilizing Vision Research’s CineMag technology to be a potential buyer of a CineStation,” said Rick Robinson, Director of Marketing for Vision Research. “However, we also believe that many post‑production facilities working with raw Phantom cine files would be interested in a CineStation as well, as their customers can simply deliver the high-speed imagery to their facility on a CineMag.”

The Phantom CineStation comes with dual HD-SDI outputs allowing for 4:4:4 playback of the recorded cine files at all HD formats (except 60p which is 4:2:2), making it easy to review and select shots to download and archive. Component video is also supported.

“Clients can use the cameras on set much as they would any other camera,” added Gross. “With a CineMag, they can shoot without a cable running to a computer, making handheld, Steadicam or remote crane operation feasible. And downloading is now done where it should be– in a separate environment from shooting.  No longer does the production team have to worry about post‑production’s workflow needs.”

Vision Research is accepting orders for the CineStation at NAB 2008 with deliveries set for early June. The 10Gbit interface will be available this summer and can be purchased as an option to a new CineStation or as an upgrade to an existing system.

For many of us, lack of familiarity with a new technology or process may prevent adopting that new method to perform a needed task, even though we also know that it could help save time and money.

The concept of digital high-speed imaging can create this anxiety, especially in someone who possibly has difficulty taking good family snapshots.

Often, getting just a brief glimpse at how a device is operated provides the insight needed to free you of some of this apprehension by helping remove the mystery surrounding this unfamiliar process.

We have just released a new "getting started" tutorial for owners of our compact Phantom Miro cameras. We also decided that we would make this short video available to others to help "demystify" the basic operation of a digital high-speed camera. The Miro is a great example of the latest high-speed camera technology, incorporating a built-in LCD touch screen for viewing and on-camera control.

You can view all, or part of this new Flash video movie tutorial "Miro, Getting Started" here. The complete movie runs just slightly over 19 minutes.

If you go through our Phantom camera descriptions and specifications, you will soon come across our feature termed "EDR," or Extreme Dynamic Range.

What is this EDR and how does it apply to a Phantom camera user?

You may have heard, or even used the old photographic analogy "just like shooting a black cat in a coal mine" when describing a difficult photo subject. Now try to imagine that same cat holding a flashlight, and you want to record at least some kind of detail in the cat and also the reflector of the illuminated flashlight. A very difficult challenge at best!

The greatly reduced images displayed above will help illustrate the results of using the EDR function.

The image on the left has been determined to be the best exposure for recording this particular subject, but it is a compromise between light and dark like most high contrast subjects are. No EDR is used. Read more »

After several years of loyal service, our Phantom v5.1 camera is being discontinued effective immediately. This was one of the original high-speed camera models to break the megapixel resolution barrier, and the v5.1 did it with high recording speeds and great quality images.

But there is good news too. Our new Phantom v5.2 will be stepping in to fill the void in this 1 megapixel camera slot.

The v5.2 will offer a wider view aspect ratio, a bit depth increase from 8 to 10, with an increased base memory capacity, plus more options than in the past for even larger memory packages. Recording and shutter speed specifications will compare favorably to those of older v5.1. Pricing will also be slightly lower than the 5.1.

Complete information for the v5.2 will soon be available on our VRI web site, along with complete data sheets. Orders for the 5.2 are now being accepted with delivery anticipated to begin in 10 weeks.

Super Bowl XLII was not only an outstanding championship game between the Giants and Patriot football teams, the television coverage was also a brilliant display of today’s broadcast technology and the skill and dedication of the people involved in the production of this annual sports spectacular.

Vision Research takes pride in again being the camera of choice for the very high-speed shots of key plays for this event, shots that provided the home television viewer the opportunity to see details of the action that are unseen by even sideline witnesses on the field.

There is a very interesting article regarding the slow motion TV production of the game and the use of our Phantom v10’s HD coverage of the key plays of this exciting title deciding event here in PDF format. Check it out when you have a few spare minutes, it is interesting information, especially for a viewer of this year’s Super Bowl.

After many years of popularity and trusted service, the last two cameras of our award winning Phantom v4 series are being retired. Although updated several times, these cameras are direct descendents of our original release of the worlds first commercially available high-speed systems to utilize CMOS sensors. CMOS sensor technology continues to dominate the high speed industry.

The official notification includes the terms of our customary support commitment of these cameras:

This is formal notice that we will discontinue the Phantom V4.2 and Phantom V4.3 camera models on 1 April 2008. This gives customers about 60 days to make any final purchases.

Once discontinued, neither the cameras nor their service contracts will be available for sale (except the possibility of refurbished cameras).

The products will remain in a discontinued status for 3 years. During that time Vision Research will provide normal service for customers under warranty or with active service contracts. Customers without service contracts will receive service on a “best effort” basis. After 3 years, the products will become obsolete and all service will be on a “best effort” basis.

Please contact us if you have any questions or need any accessories or service directly related to the Phantom v4.2 or v4.3 camera models.

Phantom® V12 is the World’s First CMOS-Based High-Speed Digital Camera To Hit The One-Million Pictures-Per-Second Mark.

Wayne, NJ (January 22, 2008) - Vision Research, a leading manufacturer of highspeed digital imaging systems, today marked another world’s first with the launch of the Phantom® V12, a revolutionary new high-speed digital camera that can record an amazing 1,000,000 pictures-per-second (pps). The flagship model of the company’s full range of digital cameras, the Phantom V12 opens up a new dimension in the world of high-speed imaging and sets a new standard in both speed and resolution. The Phantom V12 is the ideal solution for recording extraordinarily fast events, specifically ballistics and explosions testing, and those that take place at the microscopic level.

Essentially the heart of the camera, the Phantom V12 boasts a specially designed, 1280×800 highdefinition CMOS sensor, which is built specifically for high-speed imaging applications. At fullresolution, the Phantom V12 can record 6,242 pps in a wide aspect ratio, and at lower resolutions, the camera can go even faster maxing out at 1,000,000 pps at a resolution of 256×8 (optional). The Phantom V12 also features unprecedented light sensitivity with an active pixel size of 20 microns coupled with an improved quantum efficiency. To eliminate blur and accentuate detail, the camera features submicrosecond shuttering, down to 300 nanoseconds (optional). Read more »

January 10, 2008

The editors of Millimeter magazine have announced the winners of their annual Vanguard Awards, and the Phantom HD and Phantom 65 digital high-speed cameras are among the winners.

In a year with many outstanding contributions, we are honored to be selected as one of the best products of the year. Learn more about the awards on digitalcontentproducer.com.

Design News magazine has thoroughly researched the state-of-the-art tools and technology used in the making of the acclaimed Fox Sports Network series “Sport Science“. The series uses technology to study whether some of the “myths” of sports are true — for example, does the “hang time” phenomena in basketball really exist?

Equally interesting to engineers and sports enthusiasts, the series used Phantom V7.3 and Phantom HD cameras to study high-speed events.

You can read the entire article online in this e-print here.

Mechanical Engineering Magazine has recently published an article titled “Camera Speeds Troubleshooting.” This article focuses on our Phantom cameras, primarily the Miro series, as a troubleshooting tool. We have made a PDF reprint available for download here.

Vision Research is pleased to announce the launch of our new, comprehensive online store for high-speed imaging accessories.

The store will supply digital imaging accessories, manufactured by the industry’s leading suppliers, to compliment any high-speed camera, regardless of the camera model or type. The store features an intuitive, easy-to-use interface and is secured with extensive online commerce security procedures to protect customers’ personal information. Sales are secured via credit card transactions in US dollars.

Users are able to purchase items ranging from camera supports, C-mount and F mount lenses, cables, cases, software and accessories. Also, there will be frequent additions of popular products on an ongoing basis, depending on customers’ feedback and demands.

For additional information on the store, please visit the Vision Research Web site at www.visionresearch.com/store.

GlueTools has just announced the availability of a QuickTime Plugin that allows you to load Phantom Cine files (with the suffix “.cine”) directly into QuickTime. The plugin also provide a number of image manipulation tools as well as Spotlight integration. All this using the Mac OS, without switching to Windows.

From the GlueTools press release:

“This toolkit lets users open and play Vision Research’s Phantom Cine movie files. Vision Research creates and manufactures high speed digital cameras that can capture imagery at several thousand frames a second. Their cameras have been used in many industries, including Science, Manufacturing, Aerospace, Defense, as well as Film and Television.”

This package lets the user open the raw Phantom Cine movies and choose from different debayer algorithms, color correction matrices, as well as white balance and gamma modes. The user also has the option of including a SMPTE Timecode track if needed. As with any QuickTime component, the Operating system is fully aware of the new file format, allowing for Finder Thumbnails, and Spotlight integration.

QuickTime aware applications will be able to load the Phantom Cine files just as they would any other QuickTime movie. These include Final Cut Studio 2, iMovie, Adobe AfterEfffects, and others.”

The availability of this tool will greatly ease the workflow from the Phantom HD and 65 cameras, eliminating at least one format conversion. And, its flexibility in allowing the customer to select gamma curves and interpolation routines put tremendous power into the hands of the user.

Visit the GlueTools web site to find out more about this new tool. Mac devotees have waited patiently for something like this for a long time, and its here now.

The much anticipated release of our latest Phantom software version is available now. Version 649 is now Vista compatible, running on machines using Vista Business Edition (32 bit) or Windows XP.

This release includes support for dual mode capability on the Phantom v9.1 and v10, turbo mode on the v7.3, 12-bit pixel depth and 800×600 resolution on the Miro 3, and all features of the Miro 1, 2 and 4. This release includes defect fixes and software enhancements that are detailed in the release notes found in the software Help file.

This update is recommended for all Phantom cameras, subject to your camera’s installed firmware version. The features offered in this general release have been tested successfully on a wide sample of new, and many older Phantom cameras.

IMPORTANT! You must check your camera’s firmware version for compatibly before installing this software. This is easily done following the instructions on the Download page.

There is no charge for this update for Phantom customers. Have your camera’s serial number at hand for validating your download request. Upon review we will send you an email with a URL to your personal download location.

Note: Phantom Software version 649 is not compatible with the CineMag capability of the Phantom HD or Phantom 65. If you need a copy of the Phantom software for use with CineMags, please download the latest interim release (currently Software Version 650), or contact us.

Interim Release - Phantom Software Version 650

This version is required for Phantom HD cameras that are to be used with Phantom CineMag memory magazines. To be compatible with CineMags and this software release, your camera must have firmware version 481, or later. You can check the version of your camera firmware by connecting to the camera using your existing Phantom Software and going to Help –> About.

This is an interim release of the Phantom Software. This release has only been tested for specific features on specific cameras. You should not download this version of the Phantom Software for general use on other Phantom cameras. The current general release is version 649.

Phantom HD & 65 users please download this PDF, “Open Communication to Phantom HD/65 Customers.” There is valuable information included about updates and upgrades for your camera.

What is it?

The v7.3 Turbo is an upgrade to the popular Phantom v7.3 digital high-speed camera that enables it to acquire images at speeds up to 500,000 pictures-per-second.

How does it work?

By tuning the camera firmware, requiring a fixed exposure time of 1 microsecond, and providing a “turbo mode” calibration, VRI’s engineers have once again broken the speed barrier. The v7.3 now has two operating modes: standard mode, where the camera can acquire images between 6,700 fps and 190,000 fps depending upon resolution, and where the exposure time is programmable up to 1/frame-rate; and, turbo mode, where the camera can acquire images up to 500,000 fps at resolutions of 32×16, 64×8, 96×8 and 128×8 and with a fixed 1 microsecond exposure time. Other turbo speeds are available at other resolutions, but the exposure is always limited to 1 microsecond.

The user can switch between these modes simply, using a new version of the Phantom software that comes with each camera.

You can switch back-and-forth between the Standard mode and Turbo mode by loading an alternate STG file into the camera’s non-volatile memory. It takes less than a minute to make the change.

What if my v7.3 doesn’t have Turbo mode, can I get it?

Yes. If your camera was ordered after 1 July 2007, you are entitled to a free upgrade to Turbo mode. Contact Christina Hosmer for an RMA and return your camera for the free upgrade. Likewise, if your v7.3 is covered by a Service Contract, we are providing this upgrade at no charge. Otherwise, you can have your camera upgraded for a nominal fee.

When will it be ready?

We will begin shipping the Turbo versions of the v7.3 on 29 October, 2007. Any cameras ordered on or after 1 July 2007 are eligible for a free upgrade to Turbo mode.

What revision of Phantom software is required to use Turbo mode?

You need general software release 649 (public release will be in just a few days) or later to access the Turbo mode feature.

Additional detailed information on the v7.3 Turbo mode will soon be available in the Documents Downloads section of our Vision Research web site.

The Phantom CineMag is now in full production. Designed specifically for our HD and 65 Digital Cinema Camera Series, the CineMags are available in two models with storage capacities of 256 and 512 Gigabytes.
 
To celebrate this much anticipated release, we are offering a discount of 10% of the purchase price Until 1 December, 2007.

Adding CineMag storage capabilities to our HD and 65 systems greatly speeds production time and adds enormous flexibly to how these cameras are used both on location and in the studio.

To use the new CineMags, existing cameras will need to be returned to VRI for a firmware upgrade. While the camera is being upgraded, we will also clean the camera, sensor, and check it for optimal performance. The latest Phantom software with new CineMag support will also be included in this service. New camera purchases will be shipped to the customer CineMag ready.

You can learn more about this great new storage solution on the CineMag page on our web site, or you may download CineMag data sheet here.

Inertia Unlimited will be using the Phantom V10 camera at a number of live sporting events this Fall. For example, on Sunday, 14 October, a shoulder carried camera will be used as a wirelessly-connected sideline camera for the Patriots/Cowboys game.

The v10 will also be used for all MLB American League playoff games and the World Series. At the first AL game in Boston, the v10 will be “behind the plate” providing both “normal speed” and “slow motion” playback. It will be mounted with a Canon 86X optical zoom lens, and broadcasting at 720p HD. (We’ll try to get a photo of the setup during the game.)

Inertia Unlimited uses the v10 in their X-mo system, and on any given day 2-3 v10 cameras are in use at sporting events around the world.

Vision Research is proud to be selected as a finalist in Plant Engineering magazine’s annual Product of the Year awards with our new Phantom Miro line of high-speed cameras. The Miro is featured within the Maintenance Tools & Equipment category, illustrating it’s power as a troubleshooting, diagnostic and maintenance tool in manufacturing environments.

The Miro camera’s small size, rugged design, and untethered use make it a perfect tool for analyzing machine design, and the evaluation of rapidly moving machine components or product manufacturing processes.

The finalist products will be featured in the November 2007 issue of the magazine where users will be able to vote for the winner. The winning product will be announced in January 2008 and the award will be presented at Plant Engineering’s Manufacturing Summit on March 31 and April 1, 2008.

We extend our sincere thanks to the staff of Plant Engineering and its readers for including the Miro camera in this year’s competition.

September 24, 2007

“Dexter” Main Title sequence used Phantom V10 to create “elastic time”

Digital Kitchen (DK) won this year’s Emmy Award for Outstanding Main Title Design for the Showtime Series “Dexter”. DK received the honor at the 59th Creative Arts Emmy Awards. DK conceived, directed and edited the title sequence, collaborating with the show producers throughout. The live action footage was directed by DK on the Dexter set in Los Angeles with additional shooting done in the DK Chicago insert stage. The sequence was then edited and completed in DK’s Chicago office.

The main title sequence for the Showtime series “Dexter” captures the potential violence in the mundane morning routine of a serial killer. Extreme close-up shots reveal the brutality looming barely beneath the surface of Dexter’s everyday activities. Familiar imagery of ordinary objects — otherwise innocuous — deceptively assumes new meaning.

“Vision Research’s Phantom V10 was critical for a number of shots where we wanted to get a few surreal moments into the title sequence where time is more elastic. When you are trying to get a fresh perspective on everyday routines, time is a critical element to use. With color correction, the footage is indistinguishable from the 35mm footage we shot, so itblends perfectly with the rest of the footage.” said Colin Davis, producer.

DK’s Dexter main titles have been lauded by The New Yorker, The New York Times Magazine, and Esquire, who noted that the show’s “warped sensibility [can be seen] in Dexter’s audaciously witty opening-title sequence;” also, voted by the A.V. Club as #3 in “Opening Credit Sequence That Fit Their Shows Perfectly” in the history of television.

DK’s 2007 Emmy award marks three wins (including the 2002 Emmy for Main Title Design Emmy for HBO’s Six Feet Under), ten nominations in total, over the past six years. Dexter accolades also include a 2007 Telly and a Broadcast Design Award.

About Digital Kitchen

Digital Kitchen is a full service production design firm. They direct live-action, create graphics and editorial to come up with powerful new ways to portray your story. Major brands, TV networks and advertising agencies call upon their director/designers to navigate the confluence of branding and entertainment.