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Vision Research Unveils Phantom v642 Third Generation Digital High-Speed Broadcast Camera

Vision Research, the leading manufacturer of the industry’s broadest line of digital high‑speed cameras, announces the introduction of the Phantom v642. The high-speed digital camera retains the unique ability to both record and playback ultra-slow motion footage simultaneously, while adding the capability to accurately color match regular speed broadcast cameras using advanced Multi-Matrix Color Correction Technology. The Phantom v642 incorporates both Emmy and Academy Award-winning technology to record and deliver impressive ultra slow-motion images.

Vision Research’s ultra slow motion technology has been widely adopted in sporting and other live events around the world, including the Super Bowl, World Series, Olympics, World Cup, and Commonwealth Games. This technology is also used in television commercials and motion pictures and is a key component of the 3D imaging in many Hollywood films.

The v642 is supported by a custom designed ultra-sensitive 4-megapixel 2K sensor that can record full-resolution frame rates of 1450 frames-per-second and be leveraged to support pan and zoom applications. Typical broadcast resolutions are supported, in addition to 1080p at 2560 frames-per-second.

With shutter speeds down to 1 microsecond and a global electronic shutter, crisp, sharp images are guaranteed with little or no image blur or motion artifacts. Extremely high frame rates at HD resolutions enables playback speeds as much as 90X times slower than live action.

Multi-Matrix Color Correction Technology

The v642 supports Multi-Matrix Color Correction Technology, which was the number one most requested feature from users of the v641. This technology allows for accurate color matching to normal frame rate cameras, leveraging independent adjustments of saturation and hue of each of the 16 axes. Working with video matrix, hue, gamma and chroma adjustments enables the Phantom v642 to color match with normal speed broadcast supporting live sporting events.

Storage and Workflow

The v642 includes 8 GB of built in high-speed dynamic RAM with 16 GB and 32GB versions also available. A unique segmented memory feature allows users to divide images into up to 63 segments, creating multiple back-to-back shots without the need to download data from the camera. In addition, users can record into one segment while playing back a slow-motion clip from another. One segment is always recording the live action.

This feature gives the v642 flexibility to support environments with and without playback server support. The v642 can be connected to a controller in the studio or Outside Broadcast truck, which can access the camera’s memory for playback while the camera operator is framing and recording the live action.

The v642 comes standard with a PL-mount for full sensor coverage (2560 X1600 pixels). Native support for 1080p using customized B4 adapter options.

Key Features Include:

  • Supporting up to 90X ultra-slow motion at 2k, 1080p and 720p resolutions.
  • Multi-matrix color correction for fast and accurate color matching to regular frame rate Live Sport cameras.
  • Breakthrough light sensitivity, ISO 1200T color (ISO 12232 SAT method)
  • Versatile Dual HD-SDI, two HD-SDI ports for dual-link 4:4:4 or 2x 4:2:2
  • Multi-cine recording capability
  • Remote Replay Camera Control
  • EVS integration for camera control and playback
  • 1 μs minimum exposure times for sharp images of fast moving events
  • Internal mechanical shutter for hands-free / remote black referencing
  • 8 GB, 16 GB or 32 GB built-in high-speed memory
  • 8-bit or 12-bit pixel depth
  • Extreme Dynamic Range (EDR): two different exposures within a single frame
  • Burst Mode

Click for more information about Vision Research’s Phantom V.642.

Digital Production Buzz — March 29, 2012

  • Learning DaVince Resolve
  • NewFilmmakers LA
  • Great Aerial Footage Available
  • The Media Motion Ball Returns

GUESTS: Alexis Van Hurkman, Michael DeVous, Jr., Phil Bates, and Carey Dissmore

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New Interviews! Join Larry Jordan and Michael Horton as they talk with:

Alexis Van Hurkman, Author and Colorist

Alexis Van Hurkman recently created a seven-hour overview of DaVinci Resolve for Ripple Training. Alexis divides his time between working as a writer and colorist. He’s graded programs that have aired on The History Channel, The Learning Channel, and BBC Four, features and shorts that have played at the Telluride and Sundance film festivals. We invited him to tell us about his new training and why we need to consider adding Resolve to our workflow.

Michael DeVous, Jr., Publicist, NewFilmmakers – Los Angeles

Michael DeVous is on the advisory board for New Filmmakers and has over 20 years experience in the entertainment industry. He is providing his expertise to NewFilmmakers LA as they prepare for their short program screenings on April 16th. He joins us this week to tell us more about it.

Phil Bates, President, ArtBeats, Inc.

Great aerial footage, especially from stock sources is hard to find. Recently, Artbeats announced a new series of iconic shots of Washington D.C. To learn more, we asked Phil Bates, the President and CEO of Artbeats, to join us. A pioneer in the stock footage industry, Phil founded the company with the mission to provide top quality footage with high production value. Both he and his company are well-known for their gyro-stabilized aerials and special effects footage.

Carey Dissmore, Co-chair, IMUG

Has another year gone by already? Carey Dissmore is preparing another Media Motion Ball, one of our traditional get-togethers during the annual trek to NAB. Tickets are already going fast, so listen in and get the details here on the BuZZ.

You can’t find people or interviews like this anywhere else — it’s another fascinating show!

The Buzz is all the information you need now to know what’s coming next!


The Digital Production BuZZ airs LIVE Thursday from 6-7 PM Pacific Daylight Time. Ask questions during the show on our Live Chat, listen live, download an episode from the archives, or subscribe to the podcast either through iTunes or our website. Whatever you do, DON’T miss this week’s show!

eyeon Releases the Next Dimension

eyeon Software Inc. has proudly announced the shipping release of eyeon Dimension. Heralded by many since its debut at IBC last September as an industry game-changer, Dimension’s stereoscopic technology is, at its core, an advanced optical flow-based science that offers two series of tools, the disparity toolset and the optical flow toolset. For ultimate controls over stereo sequences, Dimension can precisely construct disparity mapping for accurate per-pixel manipulation of the left and right eyes in true 3D space. Image sequences can also be processed to achieve numerous results far beyond stereoscopic requirements.

Dimension is designed to solve a number of common problems in stereoscopic film and broadcast production that would normally require a large amount of manual rotoscoping and paintwork to solve, such as:

  • Correcting vertical alignment mismatches due to misaligned 3D rigs which are a primary cause of viewer discomfort.
  • Modifying eye separation and convergence in post.
  • The ability to correct various types of mismatches between left/right eyes due to camera focus differences, mirror polarization differences, and camera sync timing issues by reconstruction of the mismatched parts or even the entire eye.
  • Creation of depth maps from stereo pairs which can later be used for post FX, such as depth of field blurring or the addition of atmospheric haze.

Dimension also adds new optical flow-based technology to flawlessly analyze image sequences for outstanding results:

  • Slow motion and nonlinear retiming of footage.
  • Scratch and dust removal from frames.
  • Grain reduction.
  • Recreating of missing or damaged frames.
  • Smoothing out of color fluctuations.
  • Adding motion blur and other vector effects.

Click for more information about eyeon’s Dimension.

Carl Zeiss Presents The New Distagon T* 2,8/15 Super Wide Angle Lens

Joining the range of Carl Zeiss‘ SLR lenses, is the new ultra-wide angle Distagon T* 2.8/15 lens. With an extra-wide angle of view of 110° and a fast f/2.8 aperture, the lens enables dramatic -yet natural- perspectives for commercial, architectural and landscape photographers. The new Distagon T* 2.8/15 is a high-performing lens, designed to set a new standard of excellence in the ultra-wide angle lens category. It is especially suited to the latest high-resolution DSLR’s and will yield extraordinary still and video results. The lens is available with an EF (ZE) or F bayonet (ZF.2) mount and begins shipping in May 2012.

Click for more information about the new Zeiss Distagon T* 2,8/15 Super Wide Angle Lens.

2012 Creative Storage Conference Focuses on Media and Entertainment End Users

The 2012 Creative Storage Conference (CS 2012), in association with key industry sponsors, is finalizing a series of technology/application/trend sessions that will feature distinguished experts from the professional media and entertainment industries. The one-day event will be held in Culver City, CA on June 26 to explore the dramatic changes taking place in entertainment production,storage, distribution. The speakers from leading studios and firms will cover the complete spectrum of digital storage for content capture, post production, content delivery and archiving.

The Creative Storage Conference is a truly unique event focusing on key technologies in the professional media and entertainment industry. New media and organization sponsors/participants include Advantage Video Systems, and the Digital Cinema Society.

The Sixth Annual Creative Storage Conference (CS12) will be held Tuesday June 26, 2012 at the DoubleTree Hotel West Los Angeles in Culver City, CA.

This event brings together digital storage providers, equipment and software manufacturers and professional media and entertainment end users to explore the conference theme of Digital Storage Enables Universal and Ubiquitous Workflows.

At CS 2012 you can find out the latest developments in digital storage for media and entertainment and network with industry professionals.

In addition to new sponsors, Media and Organization Sponsors of CS 2012 include Coughlin Associates, Createasphere, Digital Production Buzz, HDDFA, Hollywood Post Alliance, FCIA, MediaTech Association, M &E Tech, POST Magazine, RDC and STA.

This one-day conference and exhibits brings together the vendors, end users, researchers and visionaries that will meet growing demand for digital storage for content capture, editing, archiving and content distribution.

Presentations are now being solicited for the 2012 Creative Storage Conference, which has been extended until April 26, 2012.

Click to Submit Speakers/Panelists for CS 2012.

We have a great agenda planned with 5 sessions throughout the day. There will also be two keynote talks during the conference and perhaps a sponsored reception in the evening.

Click for more information about the Preliminary Conference Agenda.

Click to Register for CS 2012.

Click for more information about CS 2012.

Petrol Bags Intros Audio, DSLR, Monitor bags And More At 2012 NAB

Petrol Bags, part of Vitec Videocom, a Vitec Group company, will unveil a diverse range of new camera and audio equipment bags at 2012 NAB, April 16-19 at the LVCC in booth #C6034.

New for Audio

Petrol Bags premieres four new products for audio. The Deca Audio Bag (PS614) is an ultra-lightweight carrier designed to securely transport sound equipment and keep it safe, organized, and accessible while working. It accommodates a Zaxcom Nomad or Sound Devices SD 788 mixer with a CL8 controller and offers easy access to the SD522 mixer’s SD card slot. Users will also appreciate the new Portable Digital Recorder Pouch to hold the Zoom H4N, Tascam DR-100 and DR-40 or similar size portable digital recorders. Its top flap is constructed of Transparent Polyurethane (TPU) for maximum visibility while shielding the recorder’s front panel and top external microphones. The lightweight yet rugged Deca Wireless Case employs an internal honeycomb frame for extra strength and extreme protection when transporting wireless system devices and other equipment. The upgraded Deca Sound Man Rain Poncho comfortably covers and protects a user carrying a mixer and fully loaded Petrol Eargonizer bag.

It now features black ripstop nylon and TPU coating for greater elasticity and water protection in addition to keeping the user cooler and more comfortable.

New for Lighting

Petrol Bags will introduce the Liteporter professional carrier especially designed to transport and protect a Litepanels® 1×1 LED light fixture. Liteporter has room to comfortably hold a Litepanels 1×1 LED fixture or similar size light, detachable mounting yoke, AC power supply with cord, power cable, an Anton/Bauer battery, and color/conversion diffusion gels. Constructed of rugged, water-resistant black 900D polyester and nylon, this lightweight, semi-hard case features an internal one-piece ABS honeycomb frame for extra strength and protection.

New for Video-enabled DSLRs

The new Rolling DigiSuite DSLR Camera Case is a carry-on size rollaway camera bag designed especially for the DSLR shooter on the go. It glides smoothly and effortlessly on a built-in wheel and tote assembly, and its front lid unzips quickly to reveal a central compartment contoured to comfortably fit up to two DSLR cameras with lens attached. Detachable internal dividers help secure contents and create pockets for storing spare lenses, a mattebox, camera base plate, follow focus, camera light, viewfinder, cables and more.

New LCD Monitor Bags

Petrol Bags will showcase two new LCD monitor bags. The Deca 5” Monitor Bag is uniquely designed to safely transport auxiliary LCD camera monitors up to 5” in size. The bag’s top flap opens envelope-style into a sturdy four-sided hood to ease viewing. The Deca 21.5” LCD Monitor Bag is custom designed for a Flanders Scientific LM-2140W or similar size LCD monitor. Both Monitor Bags offer multiple working benefits on location.

Vitec Group Live Event Area

The Vitec Group will host some of the most renowned figures in the broadcast and filmmaking industry in its dedicated Live Event Area at this year’s 2012 NAB Show on April 16-19. For example director and Pulitzer Prize winning photographer, Vincent Laforet, will discuss “Emerging Technology and Digital Storytelling” on Monday April 16.

Click for the complete event itinerary for Petrol Bags at NAB 2012.

Click for further information about Petrol Bags New Product Releases.

OConnor to Intro New Fluid Heads, Tripod, and Camera Accessories at NAB 2012

Fluid head pioneer OConnor, part of Vitec Videocom, a Vitec Group company, will unveil several new offerings at the NAB Convention and Exhibition in Las Vegas April 16 to 19, 2012 in booth number C6028.

Ultimate 1030D and 1030Ds fluid heads

For the first time at NAB, attendees can experience hands-on the Ultimate 1030D (30 lb/13.6kg capacity) and Ultimate 1030Ds (41 lb/18.6kg capacity) fluid heads. Designed to replace the popular Ultimate 1030HD and HDs, the new systems add sporty industrial design and features originally engineered for OConnor’s larger fluid heads. These include stepless, ultra-smooth pan and tilt fluid drag that provides ultimate control and stability for digital cinematography shooting. Also adapted from OConnor’s heavier duty heads is the Sinusoidal Counterbalance system for true, accurate balance at any point in the tilt range. Counterbalance can be adjusted by a new ergonomic crank-style control that simply pulls out of the back of the head.

The 1030D model provides a tilt range of ±90° while the 1030Ds head has a ±60° tilt range for heavier loads up to 41 lb/18.6kg. Designed to ease the way for cinematographers to seamlessly transition from heavier to lighter payloads, both heads are ideal for use with full-format sensor lighter weight cameras, such as the RED Epic and Scarlet, Sony F3 and Canon C300.

30L Carbon Fiber Tripod

The new 30L carbon fiber tripod combines the benefits of new-age materials with precision engineering to create a support system that is lightweight, yet solid and stable. An ideal fit for the new generation of smaller Ultimate 1030D and 1030Ds fluid heads, the 30L weighs just 8.8 lbs (4 kg) and can safely and stably carry payloads of up to 209 lbs (95 kg).

O-Focus Dual Mini Follow Focus System

Joining OConnor’s growing lineup of camera and lens accessories is the new O-Focus Dual Mini, a compact, double-sided direct drive follow focus unit optimized for both still and cine-style camera lenses. It is designed to meet the exacting needs of professional camera operators and assistants. The precision gear drive of the main bridge offers a gear ratio of 1:0.75 so that 360 degrees of input results in 270 degrees of output (i.e. rotation on the drive gear).

There are two versions of the O-Focus DM: the Photo Set and the Cine Set. Each provides its own unique transmission ratio. The difference is accomplished by the use of two different types of handwheels that interface with the main bridge to generate optimized transmission output. Changing the transmission ratio is as easy as changing a lens. The handwheel(s) can be easily swapped without tools.

The Photo Set utilizes a new Hard Stop Handwheel, which has a transmission ratio of 1:1 (input: output). When coupled with the O-Focus Bridge, it yields a follow focus industry first; a 1:0.75 transmission ratio. This translates to longer, more exacting focus pulls when using limited barrel rotation still lenses for digital cinematography, and allows more precise lens control than has previously been available for these camera configurations. The hard stops enable the operator to set minimum and maximum focus points for lenses with unlimited rotation and to carry out hard focus stop pulls. To allow the focus-puller to react to unexpected movements, the unique single-hand-operated hard stop on/off switch allows for instantaneous disengagement of the end stops for critical adjustments even during the shot.

The Cine Set utilizes the existing CFF-1 Studio Handwheel, and has a transmission ratio of 1:1.8 (input:output). When coupled with the O-Focus Bridge it yields a 1:1.4 output transmission ratio well suited for cine lenses with an expanded focus scale. The Studio Handwheel is offset, so it has 360 degrees of rotation for optimum placement and view of the lens witness marks.

Universal Camera Baseplate

A breakthrough camera accessory introduced by OConnor is the Universal Camera Baseplate, designed to adapt small to medium size digital cinema cameras to the thousands of standard camera accessories available in the professional cine industry. Accommodating a wide variety of form-factors, from standard camcorders to hybrid DSLRs and compact digital cine cameras, the Universal Baseplate provides the ability to adapt each camera to a studio 15mm or 19mm bridgeplate by changing out four vertical 15mm rods (custom size rods available). It features dual 15mm LWS rod brackets that are adjustable to perfectly align the camera accessories to the optical center of the lens.

OConnor Live Events

The Vitec Live Area at the booth will feature product demonstrations plus professional cinematographers, who will speak about their work and experience. In his presentation, “Practically Digital — from Cinematography to Post,” DP Jim Geduldick will discuss shooting techniques to smooth the way for post production, on Monday, April 16th at 3pm.

Click for the complete event itinerary of OConner at NAB 2012.

Digital Production Buzz — March 22, 2012

  • Stories from Susan Seidelman
  • Creating Digital Doubles
  • Second City Comedy at SXSW
  • Celebrating 1 Million Uploads
  • Update on the SAG/AFTRA Merger

GUESTS: Susan Seidelman, Mike Damanskis, Mark Kienlen, Brian Rausch, Dana Towers, and Jonathan Handel

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*Right click on Download and “Save Link As…”

New Interviews! Join Larry Jordan and Michael Horton as they talk with:

Brian Rausch, VP Production, Vicon House of Moves

With over a decade of motion capture pipeline and animation production experience, Brian Rausch became the VP of Production at House of Moves in February 2008. Under his direction, the company has been the go-to provider of motion capture and animation for high profile clients on film, video game and commercial projects. The studio recently collaborated with The University of Southern California Institute for Creative Technologies, Icon Imaging and Lightstage LLC to pioneer a new process to create digital doubles for Journey 2: The Mysterious Island. We wnat to find out what this is, how it works, and whether the rest of us can benefit from it.

Mark Kienlen, Head of Production and Distribution, New Media, The Second City
Mike Damanskis, Associate Producer, New Media, The Second City

The Second City is synonymous with humor with alumni that rank among the Who’s Who in Comedy. Recently, they branched out into comedy programming over the Internet. We talked with Mark Kienlen, Head of Production and Distribution, and Mike Damanskis, Associate Producer, at SXSW to learn more about what they are doing, what works, and what doesn’t. [Visit here for all our SXSW coverage.]

Dana Tower, COO & Co-founder, Pond5

Pond5 just celebrated their one millionth upload of royalty-free images to their online market. We talk with COO and Co-founder Dana Tower at the recent SXSW to learn more about what makes Pond5 so popular. [Visit here for all our SXSW coverage.]

Susan Seidelman, Film Director

Susan Seidelman got her directing start in 1982 with Smithereens, and has gone on to direct such stellar independent films as Desperately Seeking Susan, and Boynton Beach Club, as well as directing multiple episodes of Sex and the City, numerous TV Movies and episodes of  The Electric Company . She joins us this week to talk about her career as a director, what got her started, and what advice she has for women that are considering directing.

Jonathan Handel, Entertainment Attorney, Troy/Gould

On March 19th, Entertainment Attorney and regular contributor to the BuZZ, Jonathan Handel, reported that Judge James Otero had canceled the scheduled March 26th hearing in the lawsuit seeking to “preemptively void the SAG/AFTRA merger vote.” We asked Jonathan to explain to us what is happening and what it means to the impending March 30th merger vote.

You can’t find people or interviews like this anywhere else — it’s another fascinating show!

The Buzz is all the information you need now to know what’s coming next!


The Digital Production BuZZ airs LIVE Thursday from 6-7 PM Pacific Daylight Time. Ask questions during the show on our Live Chat, listen live, download an episode from the archives, or subscribe to the podcast either through iTunes or our website. Whatever you do, DON’T miss this week’s show!

AOTG.COM Launches App For Both Apple And Android Users

Art of the Guillotine Inc., the world’s leading news aggregation and distribution system for film editors, is proud to release both Google Android and Apple OS versions of their new “AOTG” App for mobile devices.

The Android and Apple OS apps with push notification provides editing news, as well as the videos from Art of the Guillotine’s “Association Video Series” which brings the American Cinema Editors, the Canadian Cinema Editors and the Australian Screen Editors together to share their professional videos.

Using location services, AOTG.com users can post and find professional editing events globally. The AOTG app also hosts The Cutting Room Podcast, hosted by Gordon Burkell and voted one of the top 40 film podcasts for filmmakers and editors.

Click for more information about Art of the Guillotine’s Apple and Android App.

Click to download the FREE AOTG App from iTunes.