HEL I COPTER F I LM SERV I CES | ADVERTI SEMENT FEATURE
PUSHING THE SIX APPEAL
Helicopter Film Services launches the Typhon2 – a multi-camera array that combines six Red Helium 8K cameras to push the boundaries of what’s possible for VFX departments
“The new array has been designed for minimal set-up and a large area overlap”
HELICOPTER FILM SERVICES (HFS) has launched the Typhon2 six-camera array, which incorporates six Red Helium cameras mounted onto a Shotover K1 6-Axis stabilised gimbal. This new aerial array is designed to shoot plates that can be stitched together in post-production to create large format shots. The Typhon2 enables both aerial and ground-based filming of sequences where a particularly wide field of view is required – a fully useable 165°. Aerial DOP Jeremy Braben and his team of engineers at HFS collaborated with Pinewood-based Brownian Motion to design the Typhon2 as an alternative to HFS’s original Typhon array (launched in 2017), which combined six Alexa Mini cameras in a toe-out array. This new Typhon2 has a toe-in configuration for reduced parallax and uses the Red DSMC2 Helium 8K sensor or Arri Alexa Mini. Each of its six cameras are fitted with the new Zeiss CP.3 Prime lenses with eXtended Data and shading mapping. Alternative lenses are available. Jeremy Braben, aerial DOP and CEO at Helicopter Film Services comments: “We’re launching the Typhon2 based on the success of our original Typhon array, which was designed to help VFX by providing maximum stability, minimal set-up and
a large area overlap. The Typhon2 offers toe-in capability, and no need for lens grid calibration in post-production.” Jeff Brown, CEO at Brownian Motion, explains: “Unlike the other older aerial array systems, which use the Red Epic Dragon sensors and stills camera lenses, HFS’s Typhon2 system employs the very latest sensor technology from Red with increased 8K resolution, plus the latest lens optical and metadata technology from Zeiss recorded directly to the Raw camera files. This eXtended metadata offers a faster, easier workflow for post-production teams, negating the need for lens grid calibration.” Braben notes: “Following the success of our original Typhon array, we have already had VFX supervisors take advantage of the Typhon2 for use on some major studio productions, which gives them a full 16K x 8K resolution plate area.” VFX POST PLUG-INS A plug-in, offered by Zeiss for all the major post-delivery software, will enable the use
of lens distortion and shading data based on each individual lens having factory calibration recorded to a continuous file, and reflecting iris or focus manipulation. The Helium 8K sensor allows a stitched plate yielding a massive 16K x 8K – as well as the latest IPP2 colour science from Red. Complete remote camera control by the operator in the helicopter allows for in-air camera changes and single-frame trigger for photogrammetry. In-cabin monitoring is also recorded to easily ingestible ProRes files with full overlay for quick editorial use. HELICOPTER FILM SERVICES Recent HFS projects include superhero movies such as Wonder Woman , Captain America: Civil War , Justice League , Avengers: Infinity War and Avengers: End Game , as well as family-friendly titles like Peter Rabbit , Paddington and Paddington 2 , Aladdin , Dumbo , The Kid Who Would Be King , Johnny English 3 , Fantastic Beasts: The Crimes Of Grindelwald , Jurassic World: Fallen Kingdom and Ready Player One . Other projects include Tomb Raider , Assassin’s Creed , The Girl in the Spider’s Web , Entebbe , Darkest Hour , Spectre , Ex Machina , The Crown and Yesterday .
MORE INFORMATION: helicopterfilmservices.com
IMAGES Six Red Helium cameras aboard the new Typhon2 offer a massive 165° of view
@HelicopterFilms @HelicopterFilmS @HelicopterFilms
SEPTEMBER 20 1 9 | DEF I N I T ION 33
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