120FPS C I NEMA | INDUSTRY
IMAGE To capture the details of a high-speed golf swing, Love High Speed mounts the Phantom Flex4K to the Mark Roberts Motion Control Bolt X arm
dramatically reduce, or even eliminate, flicker in most situations,” Price adds. “LEDs are increasingly popular, but a poorly made power supply can allow some AC voltage to pass into the light, creating a pulsing ‘ripple’ effect. “Dimming LEDs can also cause problems, because it’s most regularly accomplished by cutting power for very short intervals – a method known as pulse-width modulation. The alternative technology of switch-mode regulation does the same, but at an extremely high frequency, resulting in flicker-free light at virtually any frame rate. “It’s a more viable option than ever, but there’s a lot to be said for having specialist technicians on hand to ensure it goes smoothly,” Price concludes. So, what to take from all this? Perhaps a reminder that cinema isn’t just made with technology – the technology we use is what makes cinema. Just as a different light, performer or line of dialogue produces a distinct result, so too do the tools we use to capture those crucial elements. High frame rate is yet another option on the filmmaker’s ever-growing shelf – ready to tell a story, or ruin one.
same issues that Bolter noted are even more pronounced. “The most common camera used to date for high-end cinematic projects is the Phantom Flex4K, which produces 4K images at 1000fps,” Price explains. “The recent Phantom Onyx can reach 12,500fps in 1080p. “Phantom’s design has progressed lately, with much more thought put into integration with other industry-standard kit – complexity is no longer a concern. Modern computer equipment has eliminated much of the downtime previously needed on set as files were transferred. “With an internal RAM of 128GB, capturing the maximum 10 seconds of real-time action at 1000fps in 4K leads to playback of over six minutes. With the Raw file size over 100GB, it is fairly demanding.” Special consideration needs to be taken with lighting, even among trusted industry options. “HMI sources are an ideal choice, due to the substantial lighting levels required for shooting at high frame rates. However, the process reveals artefacts in the light that regular shooting speeds would hide. “High frequency ballasts with available frequencies of 300Hz and 1000Hz
ABOVE DOP Joe Douglas shoots with anamorphic lenses on the Phantom Flex4K, creating 4K images at 1000fps
AUGUST 202 1 | DEF I N I T ION 29
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