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Phantom HD Used to Make Hyundai Commercial

January 19, 2007

Clear Post Production Hails Beginning of Hi-Speed HD

PHANTOM HD

2048 x 1080 @ 1000 frames-per-second
35mm depth-of-field in a high-speed digital HD camera.

Vision Research introduces the Phantom HD. A camera specifically designed to address the demanding needs of the digital cinematographer.

With its new 2,048 X 2,048 active pixel CMOS sensor, Vision Research introduces the advantages of high-speed digital imaging to the world of 2K and HD media production. This new Phantom is not just a high-speed camera, but an instrument that gives the cinematographer 35mm depth of field either at HD or 2K resolutions! The Phantom HD now combines the visual quality of high-definition imaging with the high frame rates of specialty cameras. Whether your imaging needs encompass broadcasts of rapidly moving sports events, the production of commercials, a music video, an award-winning documentary, monitoring a rocket launch, or possibly you are an innovative cinematographer working on a special film project that needs "a new look" to tell the story, the flexibility and virtually limitless control of the HD will provide you with outstanding results.

Creative Control

Now there is a camera that gives you complete creative control over time. The Phantom HD allows you to select any frame rate from 1 to 1,000 fps in increments of one frame per second at HD resolution. Shift the frame rate a little and move the scene to a slightly future viewpoint. Or shift the frame rate a lot and move the scene to some long passing moment in time. With the Phantom camera's shutter, variable to 1/500,000 second, and radically adjustable framing rates, you have seamless control of the duration, speed and time of a story element. Of course with the Phantom you will know exactly how your shot looks immediately.

The Phantom HD's sensor is truly unique, capable of 2K imaging for cinema, or HD for projects geared towards television production, and the vertical image size can also be changed in 8 pixel increments. Pixels measure 12.5 microns, and 14-bit A/D converters provide sensitivity and image quality that has to be seen to be believed. Our exclusive EDR (Extreme Dynamic Range) feature can be used to control high contrast scenes, and when used in combination with a user determined contrast ratio the Phantom HD provides a dynamic range that actually rivals that of film! These features insure excellent image quality even at speeds of 1,000 fps, regardless of the application.Multi-Standard Compliant Output

The HD has allocated formats for standard HD 16:9 (1920 X 1080 pixels) and 35mm mopic at 1.85:1 using an active pixel area of 25.6mm x 13.85mm (2048 X 1108 pixels) making this camera fully compatible with all 35mm equipment as well. The HD can be configured for "live" broadcast or studio production and has a continuous video output that includes SDI and HD-SDI (720p, 1080p, 1080i) standards. Phantom HD users will find the hand-held remote control for functions including frame rate and exposure convenient, or they can also be remotely controlled for camera positions on mobile platforms or other inaccessible positions (early 2007). Multiple triggering and recording modes can also be tailored to your application. Pick your viewing option, the Phantom HD is compatible with any +12vdc YPrPb viewfinder or monitor making shooting any subject clear and precise. The camera can also be controlled and image files downloaded using a Gigabit Ethernet to PC connection, and files can be converted TIFF stacks, MOV, or AVI formats using the included Phantom software package.

Please Give Me the Time

For commercial production applications the HD's SMPTE Time Code makes post production tasks quick and easy. For engineering and test applications needing the ultimate in resolution, the HD is compatible with IRIG-B time code, modulated or un-modulated input, with the ability to "lock" or "phase shift" camera synchronization to IRIG time input, and a Sync connection allows multiple coordinated camera coverage.

Flexible Memory Storage

The Phantom HD arrives with 8 Gigabytes of internal memory standard, 16 Gigabytes as an option. But this is just the start of methods we provide to store your work. Take advantage of the hot-swappable non-volatile solid state recorders -- our Phantom Flash Packs. These low profile modules (available early 2007) mount snugly to the top of the camera body and store 128, 256 or 512 Gigabytes each. When one of these storage magazines is filled, its docking station allows downloading of the images to a PC running the Phantom application. Or, you can "play" the contents of the memory module over single (4:2:2) or dual (4:4:4) HD-SDI outputs on the docking station to a recorder, disk array, or other HD-SDI capture device.

Our exciting new Phantom HD camera just may totally change the way you work.

Key Features

• HD (1920 X 1080) and 2K (2048 X 1536) resolution under a PL-mount lens. Or, 2048 X 2048 resolution under an F-mount lens.
• Up to 1000 frames-per-second (fps) frame rate at HD resolution
• Adjust frame rate in 1 fps increments
• Shutter speeds as fast as two microseconds (1/500,000 second)
• 14-bit sensor depth (42-bit color)
• ISO 600
• 35mm depth-of-field
• Circular buffer recording / Run-Stop

CLEAR PRESS RELEASE:

Clear Hails Beginning of Hi-Speed HD with Howard Greenhalgh

for VCCP and Hyundai

Clear has just completed complex post-production at HD on the first ever commercial to use the "Phantom HD" high-speed data camera. Directed by Home Corp's Howard Greenhalgh for VCCP, the commercial relaunches Hyundai's three main cars: a sleek new-look coupe, a dominating 4 x 4, and the Getz - a zippy little town car.

VCCP's brief was to show each car being born out of metal liquid, essentially the "essence of car", a synonym for the quality that runs through every Hyundai model. The result is a breathtaking sequence of shots showing cars being formed from slow flowing metallic liquid. This was achieved by shooting model cars in giant tanks of sliver paint. The Phantom HD camera is currently the only available high-speed data camera that captures a true high definition image at up to 1000 frames per second, which was absolutely essential for the slo-mo nature of this particular job. The project required a massive leap of faith on the part of the Hyundai client because the camera was a prototype, so no images were available to demonstrate its amazing potential.

Clear's head of 2D, Derek Moore, was the VFX supervisor on the three-day shoot and completed the visual effects work on Flame back in Soho. Over the course of four weeks, Derek graded and composited all shots. He made extensive use of camera tracking and morphing techniques to meld disparate shots into a fluid sequence, and used Flame's new warper to replace most of the model cars that were used in the liquid tanks with real Hyundai models from 35mm and digital still elements.

Derek Moore said: "We found the most effective technique to make it look like a real car was emerging from the slo-mo liquid was to use the new warper in Flame. I would take a similar angle of the real car, then stabilise it with the warper. This left me with a static car but with moving lights and shadows. Then I tracked this over the top of the model car, shot with the HD Phantom, and restored the liquid over the top of that. It was quite a bit of work, but I guess it was cheaper that writing off a fleet of Hyundais by driving them into gallons of silver paint!"

Moore continues: "One of the biggest challenges we faced was the amount of data the HD Phantom produced. By the time we had collated all the footage we had over two terabytes of data. That is as much as we would expect for a feature film! It pushed our storage and networking to the limit. In fact we had to install the very latest Flame suites from Autodesk in order to get the project done on time."

Home Corp's director Howard Greenhalgh was chosen for the piece because of his visual style and extensive experience with high-speed photography. Howard Greenhalgh said: "The Phantom HD is a huge improvement on the previous Phantom cameras. It is currently the only high-speed data camera that captures a true high definition image at up to 1000 frames per second. It also has amazing colour depth and clarity, the like of which I haven't seen before".

For more information, contact Helen Down, Clear's PR Consultant, on helen@treaclepr.com.

About Clear:

Clear is a hi-end, full service post production house known for perfecting commercials, broadcast idents, films and music videos with progressive visual effects. Although based in the heart of London's Soho, Clear's reputation for devising elegant, creative solutions attracts global attention. Thanks to a 2006 merger, Clear has recently expanded to offer 12 vfx suites: 3 Infernos, 5 Flames and 4 Smokes all running 2K Linux systems, with extensive support from Combustion. VTR's esteemed team of colourists has also been integrated, alongside 3 Spirit telecine suites (including 1 at 4K), 1 Lustre and 1 Specter. Our 25-strong, award-wining motion graphics and animation team is backed by extensive research and development facilities. The 2006 merger with Prime Focus further enhanced Clear's 13-years of experience, combining Prime Focus's resources and expertise with Clear's creative credibility and frontline management style. Clear has won many international visual effects awards including: The Royal Television Societies VFX award for 'Island at War', MTV's Best Special Effects award for Queens of the Stone Age 'Go with the Flow', plus a D&AD pencil and another MTV VFX award for Robbie Williams 'Rock DJ'. VTR won the CAD award for best colourist in 2005 and 2006. www.clearpost.co.uk