•  

    PHANTOM FLEX 4K - 4K RESOLUTION

    FOOTAGE (4096 x 2160 PIXELS) UP TO

    1000fps & 2K / 1080

    PIXELS UP TO 2000fps

    Europe's complete Phantom Flex4K rental solution by the most experienced people based in London. Pirate's kits have been developed for maximum portability to enable shoots anywhere, with the biggest memory capacities available (64GB internal and 2 x 2TB CineMags).
    Pirate's cameras are fully equipped with HD colour live-image video eyepieces, a full range of cine lenses and accessories.
    Camera Features;
    Additional Benefits;
    Image Size = up to 4096 x 2304 pixels. It's massive.
    Instant playback on Panasonic HD LCD monitor Coo at the graceful way that bullet smashes through plate glass while the next shot is being set up.
    35mm Depth-of-field. It's beautiful.
    Sensitive image sensor (ISO 640 film equivalent at 360 degree shutter 25 fps) Typical shots require only 10kW tungsten lights, keeping costs lower.
    True 4K images at 1000fps. Just as you'd expect.
    Data delivered on external hard drive Many data formats available - please call
    1/500,000 second maximum shutter speed. It's fast.
    End Record Trigger Continuously record in a loop and cut when you've seen the action - no more missed takes.
    12-bit sensor bit depth. It's excellent quality.
    Synchronise Trigger Kit option Synchronise an event to camera turnover - pyrotechnics have never been so much fun.
    PL Lens Mount Suits a wide range of cine lenses.
    Low weight of 5.9kg Mounts on motion control rigs, cranes, booms and sleds - try that with a Photosonics film camera.
    Motion Control Option If you need repeatable high speed camera moves or ultra-fast accurate focus pulls, Pirate has a portable motion control head - the camera can pull focus, zoom, pan & tilt.
    Phantom Flex4K camera body (64GB memory) with Computer Control system, Viewfinder, 4x5''Matte Box & 19mm Rails, Panasonic LH1700W HD-SDI Monitor, Arri Zeiss Ultra Prime Lenses - 16mm, 32mm, 40mm, 50mm, 85mm. Lock-off Head and legs.
    £2700.00  day
    High Speed Camera Technician
    £555.00 / 10 hour day
    DIT
    £405.00 day
    Cooke 135mm T2.8 miniS4/i Cine Lens
    £78.00 day
    Remote Control Unit V2 (RCU2)
    £200.00 day
    Shoulder Mount (for Handheld)
    £90.00 day
    Battery Kit (4 x batteries, charger & battery switch)
    £395.00 day
    Inside M25 equipment delivery / collection, inc. operator time
    £155.00
    Outside M25 equipment delivery / collection £125 minimum or mileage at
    £1.05 per mile
    Outside M25 operator travel time charged pro-rata
    PLEASE NOTE: THE ABOVE COSTS APPLY TO UK SHOOTS ONLY
    Further Information;
    How long can it run for?
    What's a 'CineMag'?
    CineMags are unique to the Phantoms: they are blocks of memory which clips into the camera body. If shooting at less than 180fps in 4K mode (4096x2304 pixels) one can save footage directly into a CineMag (by-passing the camera's internal memory) so one can shoot very long takes. In HD mode (1920x1080) the frame rate limit is 763fps. CineMags are hot-swappable too. Above 180fps, one shoots in the usual way into the camera memory, copying the footage across to CineMag in a matter of seconds. So no download time on set! Of course, one still needs to copy footage from the CineMag later, but without interrupting the shoot. The data is downloaded using a CineStation as cine raw files or played out in 4:4:4 10 bit video. In addition, one can review shots stored in the CineMag, so instead of using a separate composite video playback system & operator, one can review earlier takes without the additional cost of video playback. Possibly even better, one can choose the best of the takes for saving later, rather than time-consumingly saving all takes. You know it makes sense. To give you a handle on CineMag capacity, a 2TB CineMag will store approximately 116 minutes of 25fps footage, so think of it as being a two hour tape.
    However, there is a downside (isn't there always?) to achieving such rapid data transfer into the CineMag: the data is compressed from 12-bit down to 10-bit. When downloaded later using a CineStation, the data is decoded as 12 bit files, but the data only contains 10-bit information. So, if you have time and want best quality, don't use CineMags.
     
    An important note about lenses!
    The Flex4K sensor is designed to be used at 4K with standard 35mm cine lenses. If one uses the camera in HD mode by using only the centre of the sensor, the lens in effect becomes much longer and actually becomes Super-16mm format. However, if one shoots in 4K and then samples the data down to HD when saving the shot, the lens length is not affected.
     
    What's a Remote Control Unit (RCU)?
     
    What's an HD-SDI Transmitter Receiver System for?
    This allows the transmission of a live or playback camera picture without wires, so usually used when the camera is running on batteries mounted on a rig, quad bike or steadycam, for example. We have the "WEVI CAM-WAVE CW-5HD" microwave link for rental, made by IDX.
     
    What's the 'HD-SDI data capture facility'?
    We have built a powerful computer system capable of capturing the Phantom's HD-SDI 4:2:2 monitor output as 10 bit uncompressed Quicktime data files. These are supplied on external hard disk, in the same way as the cine or tiff files. The data quality is the same or better than recording to a Sony SR55100 deck. The advantage of this approach is that one does not need to download a shot (it is simply recorded whilst watching the playback) and much time is saved in post. However, the downside is that one is not getting best quality data - the camera can provide 12 and 14 bit data.
  •  

    Optex Excellence Periscope
    Probe  Boroscope
    (aka 'Abekus')
    Optex Excellence Periscope Probe Boroscope - aka 'Abekus'
     
    The main parts are: the periscope module which can be used at 90 degrees or extended straight in probe fashion; the main relay consisting of 0.8 Modulus gears for flawless integration with existing film accessories and Motion Control Rigs; and finally the Format Module for film or HD. The system includes four super-compact dedicated lenses offering 120°(10mm), 100°(14mm), 78°(20mm) and 60°(28mm) angles of view.
    The entire system is color matched so whether it is used as a periscope or probe, and whichever lens is used, color remains constant. Hence, one can mix HD and film and retain the same depth-of-field at comparable apertures.
    The system gives such high image quality you will think you are using a prime lens and as periscopes go, the Excellence is relatively fast having a minimum T stop of 5.6. There are no focus marks on the barrel, one eye focuses the lens, which is simple enough as the image is incredibly sharp.
     
     As Phil Savoie of the BBC Natural History Unit says -
    "The Optex scope is different from other periscopes and boroscope and an interesting one indeed.
    Tony Scott the optical engineer who designed it spent five years to get it right, where as most scopes are hybrids from many bits the Optex Excellence is purpose built. It has its own lenses that are smaller than normal primes and very good optically; a 10, 14, 20, 28. They have no iris for stopping down; this is done with the body of the scope. The stop is also a function of the format; 2.8 for Super16, 5.6 for 35 & HD. Wide open it can render 150 line pairs on axis and 80ish edge to edge - the same sort of performance one would expect from primes. One stop in the edges are noticeable better, after that diffraction quickly takes over and the image starts to fall off. It was designed for shooting wide open or a stop in.
    The feedback on the Excellence has been all very positive. More that one DP has mentioned it will cut with primes. The 90 degree prism may come in handy for your shoot to keep shadows out of frame."
    £630.00 day

TERMS AND CONDITIONS OF HIRE

All rights reserved © PIRATE 2024