Vision Research high-speed camera for extreme slow-motion capture up to 1.75 million fps at 1280×800 or 28,325 fps in 4K resolution.
The Phantom TMX series achieves maximum resolutions of 1280×800 pixels at 1.75 million fps, while the Phantom Flex4K manages up to 28,325 fps at 4K resolution. At its core is a highly sensitive CMOS sensor with a global shutter, which exposes all pixels simultaneously, thus eliminating rolling shutter distortion. The integrated RAM of up to 288 GB acts as a buffer for the enormous amounts of data. The cameras require lighting levels of at least 100,000 lux at maximum frame rate, which is why 18,000-watt HMI lights are frequently used.
Vision Research developed the first Phantom camera in 1989 for military ballistics testing. The film-ready Phantom HD debuted in 2007 and established high-speed cinematography in the Hollywood mainstream. In 2012, the Phantom Flex followed with 4K capability, and in 2016, the TMX series with record speeds. Originally, the systems cost over $500,000; today, entry-level models start at $150,000.
Zack Snyder used Phantom cameras for the characteristic speed-ramping sequences in "300" (2006), while "Sherlock Holmes" (2009) captured explosions and fight scenes in extreme slow motion with them. Gavin Free, with "The Slow Mo Guys," established Phantom footage in online entertainment. The typical workflow requires shooting at 1,000 to 10,000 fps, where one second of real-time becomes 40 seconds of footage at 25 fps. The cameras require specialized technicians and generate terabytes of data per shooting day.
Phantom cameras differ from the standard high-speed modes of digital cinema cameras through their scientific precision and extreme speeds. While a RED camera achieves a maximum of 300 fps at 4K, Phantoms manage a hundred times that. Alternatives include Photron cameras or the Weisscam HS-2, which, however, do not achieve the image quality and resolution of Phantom systems. For budget productions, modern cameras like the Sony FS7 with 180 fps offer sufficient slow-motion options.
Ich setze Phantom-Kameras gezielt für narrative Zeitlupen ein, nicht als reinen Effekt – jede Aufnahme muss die Geschichte vorantreiben. Die extreme Lichtmenge zwingt mich zu präziser Beleuchtungsplanung, da selbst kleinste Schatten bei 5.000 fps sichtbar werden. Der globale Verschluss ermöglicht perfekte Bewegungsschärfe ohne die typischen Rolling-Shutter-Artefakte meiner Hauptkamera.
Ich nutze Phantom-Aufnahmen, um emotionale Höhepunkte zu verstärken – der Moment des Aufpralls, das Zerbrechen einer Beziehung visualisiert durch zersplitterndes Glas. Die extreme Verlangsamung zwingt Schauspieler zu authentischen Reaktionen, da jede Mikro-Expression sichtbar wird. Speed-Ramping zwischen Normal- und Zeitlupe erschafft eine eigene filmische Sprache für Übergänge zwischen Realität und Erinnerung.
Phantom-Drehtage kosten durch Kameraleihgebühren von 3.000-8.000 Euro täglich und Spezialtechniker zusätzliche 15-20% des Kamerabudgets. Die Datenmengen erfordern externe Festplatten-Arrays und verlängerte Post-Production-Zeiten erheblich. Ich plane maximal 2-3 Phantom-Drehtage pro Projekt und koordiniere alle Zeitlupen-Szenen an diesen Terminen, um Kosten zu minimieren.
1. Zu welchem Department gehört „Phantom Kamera"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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