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Just discovered this. While shooting on the Phantom Flex at high speeds, dolly movements become a problem. No more. The Cheetah Dolly motion control base is a track system that can either be programmed to do a tracking move, or operated live with an encoder control, and then played back through Kuper motion control software. In addition it can also be used in the “non motion control mode” with our motor speed controller to accomplish a consistent precision tracking speed. You can use it as a tracking system only, or mount a pan/tilt or pan/tilt/roll head to it. Camera lens height can be set at a fixed position ranging from 6in to 8ft. by using anything from a low hat to tall camera sticks. In addition an offset arm can be added for repositioning of the camera head. It can either ride on our Sorensen Design track, which is extremely stable and still light enough to take anywhere, or different diameters of curved track. Track speed can range from time-lapse mode to 18 feet per second, with track runs ranging from 4 feet to 150 feet. The Cheetah Dolly can be utilized to move a wide range of objects other than a camera such as: lights, props or people. Physical Specs: Width: 30 in. to 6 ft. Length: 30 in. to 8 ft. Base Height: 14 in. Tech Specs: Track Width = 32″ Track Drive = Gear Drive (Rack and Pinion – Servo Motor) Top Speed = 18 Feet Per Second Motion Control Axes = Up to 7 Standard (Track, Pan, Tilt, Roll, Focus, Iris, Zoom) – Custom Configurations available
Vision Research, a leading manufacturer of digital high-speed imaging systems, officially launches the Phantom® Flex4K, the next evolution in its award-winning digital cinema product line at the 2013 International Broadcasting Convention, September 13-17, 2013 in Amsterdam. The Phantom Flex4K offers exceptional image quality, new workflow options, a user-friendly camera control interface, and outstanding performance at both ultra high-speed and standard frame rates.
Here are simple instructions to follow: * Phantom RAW .cine file names must be 8 characters MAXIMUM, without duplication (can exclude underscores in this) It is helpful to use Day, camera, mag & clip name identification eg 1_A_01_001.cine would be Day 1, camera A, mag 01, clip 001 However, if all the clips are in order, then you could use 0001.cine, 0002.cine etc.... * The file name of the transcoded clips used in AVID/ FCP must match EXACTLY the .cine file Eg. 1_A_01_001.cine must be transcoded to 1_A_01_001.mov prior to ingesting into the AVID/FCP. * If using AVID, clip names MUST NOT BE CHANGED in the Bin * Clip name comments MUST be used in the EDL. Clip name comments should reflect clip used: eg: *FROM CLIP: 1_A_01_001.mov * Timecode of each clip MUST start at 00:00:00:00 This is the default of FCP for QuickTimes with no timecode, but for AVID this will be 01:00:00:00, in which case an ALE (Avid Log Exchange) file must be used to import files with zero hour timecode. * Post House for CGI must be provided with the RAW .cine files * EDL must be in CMX 3600 format