Cinematographer
Die Flex4K ist meine Go-to-Kamera für professionelle Zeitlupe. 4K bei 1.000 fps, gute Dynamik, und sie passt in einen normalen Film-Workflow. Für Werbung und Film gibt es nichts Besseres – außer vielleicht der neueren TMX.
Vision Research's film standard for high-speed (2013) – 4K at 1,000 fps. The first digital camera to combine true 4K resolution with extreme slow-motion. The industry standard for Hollywood slow-motion and advertising.
What is the Phantom Flex4K?
The Phantom Flex4K (2013) was the first high-speed camera to achieve true 4K resolution at 1,000 fps. Developed by Vision Research, it became the industry standard for film and advertising where extreme, cinema-quality slow motion is required. With up to 1,000 fps at 4096×2304 pixels, it enables 41x slow motion in full 4K resolution.
Technical Specifications
| Feature | Value |
|---|---|
| Sensor | 35mm CMOS, Global Shutter |
| Resolution | 4096 × 2304 (4K) |
| Max fps @ 4K | 1,000 fps |
| Max fps @ 2K | 1,920 fps |
| Max fps @ HD | 2,564 fps |
| ISO | 800 (native), up to 6,400 |
| Dynamic Range | 12+ Stops |
| Mount | PL, Canon EF, Nikon F |
| Weight | 4.6 kg (Body) |
Key Features
- 4K @ 1,000 fps – First true 4K high-speed
- Global Shutter – No rolling shutter effect
- 12+ Stops DR – Good dynamic range
- PL Mount – Cine lenses
- On-board Cache – 8–64 GB
- Workflow Integration – Cine-RAW or ProRes
Resolution vs. Speed
The Flex4K offers flexible trade-offs:
| Resolution | Max fps | Slow Motion (@ 24 fps) |
|---|---|---|
| 4096 × 2304 (4K) | 1,000 | 41.6x |
| 2048 × 1080 (2K) | 1,920 | 80x |
| 1920 × 1080 (HD) | 2,564 | 107x |
| 1280 × 720 | 3,630 | 151x |
| 640 × 480 | 5,850 | 244x |
Notable Productions
| Production | Year | Usage |
|---|---|---|
| Planet Earth II | 2016 | Animal movements |
| Mad Max: Fury Road | 2015 | Action details |
| Game of Thrones | 2017 | Battle sequences |
| Westworld | 2016 | Emotional slow motion |
| Apple Commercials | Various | Product shots |
Lighting Requirements
High-speed shooting requires massive amounts of light:
Example Calculation @ 1,000 fps
| Factor | Calculation |
|---|---|
| Exposure Time | 1/2,000 second |
| vs. 24 fps (1/48s) | 41.6x shorter |
| Light Requirement | 41.6x more than normal |
Typical Setups
| fps | Light Requirement | Practicality |
|---|---|---|
| 500 | 20x Normal | Studio strobes possible |
| 1,000 | 40x Normal | Massive HMIs |
| 2,000 | 80x Normal | Daylight or extreme setup |
Light Sources for High-Speed
- ARRI M90 – 9,000 W HMI
- ARRI Orbiter – Flicker-free at all fps
- LED Panels – High-frequency PWM critical
- Daylight – Ideal, no flicker issues
Global Shutter Importance
Why Global Shutter is Important
| Shutter Type | With Fast Movement |
|---|---|
| Rolling Shutter | Distortions, "jello effect" |
| Global Shutter | No distortions |
At 1,000 fps, even the slightest distortions become visible – Global Shutter is essential.
Workflow
Recording Modes
| Mode | Description |
|---|---|
| Standard | Recording to internal cache |
| Loop | Continuous recording, trigger saves |
| Segmented | Multiple clips in one take |
Output Formats
- Cine RAW – Maximum flexibility
- ProRes 4444 – Good compromise
- ProRes 422 HQ – Efficient for long takes
Data Management
| Resolution @ fps | Data Rate |
|---|---|
| 4K @ 1,000 fps | ~4.5 GB/s |
| 4K @ 100 fps | ~450 MB/s |
| HD @ 2,500 fps | ~1.2 GB/s |
Phantom Flex4K vs. Competition
| Camera | Max fps @ 4K | DR | ISO |
|---|---|---|---|
| Phantom Flex4K | 1,000 | 12+ | 800 |
| Phantom v2640 | N/A (1080p max) | 12 | 6,400 |
| Weisscam HS-2 | 200 | 13+ | 800 |
| RED Monstro | 120 | 17 | 800 |
| ARRI Alexa 65 | 60 | 14+ | 800 |
Conclusion: For true high-speed above 120 fps, Phantom is practically unrivaled.
Typical Configurations
Commercial – Product Shot
- Flex4K Body
- Zeiss Master Prime
- Massive lighting setups (50,000+ Lux)
- 1,000 fps @ 4K
- Rental: ~€4,000/day
Film – Action Sequence
- Flex4K Body
- Leica Summilux-C
- HMIs + Daylight
- 500–1,000 fps depending on shot
- Rental: ~€3,500/day
Documentary – Wildlife/Nature
- Flex4K Body
- Long focal lengths (200mm+)
- Daylight dependent
- Various fps depending on animal
- Rental: ~€3,000/day
Limitations
Compared to Cinema Cameras
- Less dynamic range than ARRI
- Lower native ISO
- No integrated ND filter
- Thermal management critical
Compared to Newer Phantom TMX
- Less light-sensitive
- Older sensor
- Lower fps at same quality
Practical Constraints
- Massive lighting setups required
- High data volumes
- Specialized expertise needed
- Significant costs
The Upgrade to TMX
In 2019, Phantom introduced the TMX series:
| Feature | Flex4K | TMX 7510 |
|---|---|---|
| fps @ 4K | 1,000 | 1,750 |
| ISO | 800 | 5,000 |
| Sensor | Front-illuminated | Back-illuminated |
| Light Requirement | High | Significantly less |
However: The Flex4K remains widely used and proven.
Today
| Aspect | Details |
|---|---|
| Purchase Price | ~€150,000–180,000 |
| Rental/Day | €3,000–4,500 |
| Availability | Good (all major rental houses) |
| Support | Vision Research, global network |
| Status | Current production, but TMX as successor |
From the crafts
Perspectives
Director
Die Flex4K hat die Zeitlupe in eine neue Dimension gebracht. Plötzlich konnte ich Details in 4K zeigen, die vorher nur in SD möglich waren. Wassertropfen, Explosionen, menschliche Emotionen – alles in atemberaubender Klarheit.
Producer
Eine Flex4K kostet 3.000-4.000 Euro am Tag mit Operator, plus das zusätzliche Licht. Aber für den Hero-Shot einer Werbekampagne ist das gut investiert. Der Shot, den alle erinnern – das ist oft der Zeitlupen-Shot.
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