Some of the newer Phantom cameras, such as the v640, feature an internal mechanical shutter used to shade the camera’s sensor during a Current Session Reference (CSR). A CSR calibrates all pixels that will be used for a given set of camera parameters and sets them to pure black – an important step in making sure the image is as accurate as possible. With the internal mechanical shutter, a camera operator can do a CSR without manually capping lens.

Recently, Vision Research announced that they are bringing this useful feature to its existing line of V-Series cameras with an External Mechanical Shutter. For use with the v5.2, v7.3, v9.1 and v10, the V-series lens shutter replaces the F-mount on the camera so you can keep using your existing lenses. The shutter is meant to be used in conjunction with the new VRI Signal Breakout Device that provides access to every available signal on the cable. Simply exchange your existing capture cable with the Breakout Signal Device, then connect the shutter control cable to the shutter. Now you can do a CSR in situations when it was previously impossible, such as when the camera is unattended. Vision Research has a nice five-minute video explaining the benefit of this setup on their site.

Find more information on the Vision Research website, and download the complete data sheet here.

As everyone should know by now, Kathryn Bigelow is the first woman to win the prestigious Oscar for Best Director or Best Picture for her film The Hurt Locker.

What isn’t so well known is that Hurt Locker is the first Best Picture to be shot using Aaton XTRprod and A-Minima 16mm film cameras, and a Phantom digital camera for high-speed.

…continue reading The Hurt Locker Breaks New Cinematic Ground

[View with PicLens]

Over the past three years, there have been numerous high profile projects shot with Phantom HD digital high-speed cameras. Hollywood features like Sherlock Holmes and Zombieland, wildlife documentaries from National Geographic and Discovery, sporting events from the NFL, NASCAR and the Olympics, as well as high end commercials for Acura and Xbox 360 – these are just a few examples. But if ever there was an important individual to shoot with the Phantom HD Gold, it would be none other than President Barack Obama

NFL’s Play60 teamed up with President Obama’s United We Serve initiative for this Thanksgiving campaign to encourage physical activity and combat childhood obesity. The President, along with NFL players DeMarcus Ware, Drew Brees and Troy Polamalu, were all stars in this PSA, which was filmed on the lawns of the White House in early November 2009. I served as the Phantom specialist on this project.

…continue reading NFL and Obama Encourage Kids to Play60

The recent v.675 release of the Phantom software from Vision Research modifies how the white balance is stored in the raw cine files. This rendered the files created with this version incompatible with all the existing third party products that read the Phantom files.

Fortunately, developers have been quick to update their tools. Version 2.0.12 of the GlueTools Phantom Cine toolkit now supports the new white balance system, and I just got word that Iridas has implemented support as well, and that updated builds of their products should be available soon.

So, if you’ve downloaded files with the latest Phantom software and you see images that look like this:

instead of this:

you know you need to update your post software.

Last week Saturday Night Live contacted Abel to rent a Phantom HD Gold camera package for an Andy Samberg Digital Short, “On the Ground”. Steve Romano worked as Phantom Tech for the shoot under Director of Photography Aaron Phillips . SNL’s production schedule was very tight, so the crew shot a very long day on Thursday and part of Friday. The entire segment was photographed on the Phantom HD Gold, even 24p sequences in the studio. The production generally recorded directly to a 512G CineMag; this was was then swapped for another CineMag, while an editor mounted the first CineMag to a CineStation and downloaded the files via HD-SDI through a Kona card directly into a Final Cut Pro workstation. The production shot at various frame rates for the effects they desired, including 24fps, 60fps, 400fps and 1000fps.

Check out the final short above, courtesy of Hulu.

When cinematographer David Mullen, ASC, was hired to shoot Fox’s Jennifer’s Body, director Karyn Kusama had already planned several key sequences of the film. The dramatic ending featured a fight between the two lead actresses with some crucial moments to be shot at extreme high speed. While the rest of the production was photographed on Kodak 35mm stocks using Panavision cameras, Mullen chose the Phantom HD camera to capture 1000fps. Actresses Megan Fox and Amanda Seyfried performed the action sequence repeatedly to capture the unique sequence. David Mullen has graciously provided us with this excerpt from his personal production diary. Jennifer’s Body is currently in theaters nationwide.

We had a hydraulic rig to lift the two characters four feet off of the bed and then flip them end to end. That had to come up through a hole in the floor on the opposite side of the bed. Then we had to saw a hole in the wall of the headboard end for another rig that rotated them lengthwise in mid-air like. Then the characters had to drop separately, one after the other, back onto the bed. And that portion had to be shot at 1000 fps on the Phantom.

…continue reading David Mullen Captures Pivotal Scene of “Jennifer’s Body” with Phantom HD

CamTec’s Kavon Elhami with Phantom HD Cameras.

CamTec, the Burbank based cine equipment rental house, recently took delivery of the 100th Phantom HD camera manufactured by Vision Research. The milestone 100th camera is a Phantom HD GOLD, the step-up model to the industry standard Phantom HD.

Founded in 1990, CamTec is a boutique rental house, specializing in “new generation” cine equipment. They pride themselves on their fleet of meticulously maintained, top-flight cameras. Kavon Elhami, owner of CamTec, noted that this is actually their second Phantom HD. CamTec made the decision to purchase another Phantom HD, thanks to high customer demand and the camera’s excellent performance record. He cited the beautiful film-like images, reliability and ergonomics of the camera among the reasons for its success.

The full press release on CamTec’s Phantom HD acquisition is available on Vision Research’s website.