Vision Research Customer Community

All Phantom v-Series cameras with the Airborne option (these are no longer shipping) are classified as ECCN 7A994.

All Phantom Miro Airborne and Miro Airborne HD cameras (these are no longer shipping) are classified as ECCN 9A991D.

Any Phantom camera with the FAST option installed (typically this gives you frame rates >= 1,000,000 fps and/or digital exposures < 1 microsecond) such as the Phantom v611, v711, and the Ultrahigh-speed 10, 11, and 12 Series are classified as ECCN 6A003 and are export controlled (see below).

Cameras with ECCN 6A003 can only be exported to these countries with no license required (NLR):

Australia, Austria, Belgium, Bulgaria, Canada, Czech Republic, Denmark, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Japan, Latvia, Luxembourg, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Slovakia, Slovenia, South Korea, Spain, Sweden, Switzerland, Turkey, United Kingdom.

All other countries require an export license.

All other Phantom cameras are classified as ECCN EAR99.

A tiny speck of dust on your sensor or filter can lead to a big ugly spot on your images, which is a shame because it is usually avoidable. The longer the lens and smaller the aperture, the more pronounced the spots will appear on your image.

Accessing the Sensor

The first step in sensor cleaning is accessing the sensor itself.  Some cameras (particularly those used in Cinema applications) have an Optical Low Pass Filter (OLPF) in front of the sensor. If that is the case, the lens mount must first be removed. Be sure all shims stay with the mount and are re-installed at the end of the process.  The OLPF will either be attached to the lens mount or a holder in front of the camera. The OLPF holder is also removable in order to access it and the sensor glass.  Do not touch the glass surface of the OLPF during the removal and re-installation process. 

Cleaning the sensor

Rule #1:  If the dust can be removed without using a solvent, you will save yourself a lot of headaches in getting rid of it!  

An important tool for every digital photographer is a bulb-style blower which forces recycled air to clean various optical surfaces. Compressed/Canned air is not recommended, as fluid particles can shoot out and attach to the sensor surface, making cleaning much more difficult.

Another recommended option is to use a sensor brush, such as the Sensor Sweep brush (link below), as it attracts dust particles to the bristles. Be sure to follow the directions. You must clean the brush by blowing air on it and sweeping it across a vellum-like surface to charge the bristles before each sweep on the sensor glass. You can also use the brush to clean the area around the sensor as dust can settle there and then get attracted back onto the sensor glass. Make sure to always blow the bristles free of dust (using a bulb blower) before storing it within its container.

If there is a smudge or dust that won't go away, try a sensor wipe or micro fiber lens cleaning cloth to gently wipe the smudge away. Just like the brush, keep these items clean and dispose of sensor wipes after each use. If you reuse them, they will build up residue which will end up back on the sensor glass.

For very stubborn smudges, you might want to wrap a dry sensor wipe around a long swab for better control. If that doesn't work, a drop of Eclipse lens cleaning solution on the wipe will do the trick. A sensor wipe folded into a point with a drop of Eclipse on the tip can help very concentrated spots as well.  When inspecting the sensor or filter, be sure there is plenty of light pointed at the surface to see what you are doing. 

Tech Tips

• Cleaning must always be done in a controlled and dust-free environment.
• Use a tiny flashlight to look at the sensor and/or filter during the cleaning process.
• Always have clean sensor wipes handy for more serious dirt.
• Cotton swabs aren't a good idea, unless they are wrapped in a micro fiber or sensor wipe material. Cotton swabs leave behind more than they remove.
• NEVER blow on the sensor surface or use your finger to get a speck of dust off, it's going to make things much worse.
• Always keep the Phantom Body cap on the camera when there is no lens attached.

Lens cleaning

Lenses gather a lot of dust as well, which can also wreak havoc on your images. Always keep the rear and front elements protected with their lens caps. There are many products out there safe for cleaning lenses, Here at Vision Research we find that a micro fiber cloth with one drop of Eclipse or Pan-cro solution (on the cloth) works at the fastest with the best results.

A Senor and Lens Care Kit can be purchased in our online store.

We offer hands-on training for Phantom cameras at our Wayne, New Jersey facility. The two-day class has both lecture and labs for the best learning experience. This class is targeted at applications where the cameras will be used for scientific and engineering applications. A schedule of classes can be found here.

On-site training is available.

For customers outside of North America, who prefer local training, most of our International Sales Partners offer training courses tailored to your needs.

If your application is TV or Motion Picture production, consider training courses targeted at those applications from Abel Cine Tech, or other Phantom resellers around the world who focus on the "entertainment" market.

A log can go a long way in determining what's going on inside the camera and the performance of the controller.  To create a log, perform the following steps: 

1. Start the Phantom application.
2. Go to the HELP tab and then select ABOUT.
3. Select LOGGING from the ABOUT window.
4. Click on the ALL button from the LOGGING OPTIONS window.
5. Select OK from the LOGGING OPTIONS window.
6. Select CLOSE from the ABOUT window.
7. Close and restart the Phantom application.
8. Perform the steps to create the issue in question.
9. Go to the HELP tab and then select ABOUT.
10. Select LOGGING from the ABOUT window.
11. For a single camera, click on the EXTRACT and then select OK from the LOGGING OPTIONS window.  For multiple cameras, select EXTRACT ALL and then select OK from the LOGGING OPTIONS window.
12. Select the NONE button from the LOGGING OPTIONS window.
13. Select OK from the LOGGING OPTIONS window.
14. Select CLOSE from the ABOUT window.
15. Exit the Phantom application.
16. Create a C:LOG directory.
17. Go to the Phantom Directory (C:Program Files>Phantom) and locate PhCon.log and move the file to the C:LOG directory.  Attach PhCon.log to an e-mail to technical support. 
18. Go to the Phantom Directory (C:Program Files>Phantom) and locate the internal camera log.  The format for the file is CAM.log where S/N is the serial number of the camera.  Move the file(s) to the C:LOG directory   Attach the CAM.log file(s) to an e-mail to technical support. 

Part A: Open Nucleus Utility from within PCC:

Open the PCC software

1. From the Manager tab, click on the camera ‘Nucleus’ button (molecule icon in bottom right corner)
2. Once Nucleus is open, select the ‘Secondary IP’ tab
    

Part B: Configure Secondary IP:

1. In the Camera Repair and Firmware Upgrade (Nucleus) dialogue window, click the down-arrow next to the Camera field and select the camera the Secondary IP Address is to be assigned to
2. Click on the Secondary Ip Tab, then
3. Enter the appropriate Secondary IP information for the camera, including the:
   1. IP Address
   2. Subnet mask
   3. Broadcast address
   4. Gateway address, then
   5. Click the Set button.

   NOTE

   If the control unit does not detect the camera, re-check the settings of the control unit.

   Setting the IP Address of a camera does not remove its default IP address. In the event, you need to verify the camera’s user defined IP Address, or made a mistake entering the information, simply reset the control unit’s IP Address to 100.100.100.1, and reconnect to the camera making any necessary changes using the steps above.

   These instructions can be found on page 298 of the linked document

   http://www.phantomhighspeed.com/uploads/docs/Documentation/PCC2.6.pdf

It's easy.  If you are using PCC, power up your camera and connect it to your controller and launch the Application.  Click on the LIVE tab and select the camera you are interested in and select CAMERA INFO. The following screen will show up:

The firmware version in your camera will the number next to the words, "Firmware version", the bin version will be the number next to the words, "FPGA version" and the kernel version will be the number next to the words “Kernel version”.

1. The following screen will show up:

The firmware version in your camera will the number next to the words, "Firmware version", the bin version will be the number next to the words, "FPGA version" and the kernel version will be the number next to the words “Kernel version”.

 For legacy software: Power up your camera and connect it to your controller and launch the Phantom application.  In the application go to HELP and select ABOUT.   The following screen will show up

The firmware version in your camera will the number next to the word, "Firmware", the bin version will be the number next to the word, "FPGA" and the kernel version will be the number next to the word “Kernel”.

Depending on when your camera was made after 2009, performing an ILOAD will restore the camera to it’s factory settings.  Here is how you do it:

1.  Go to the Windows START button and select RUN..

2.  In the RUN window that pops up in the line that reads OPEN, type in the following:

               telnet 7115 

NOTE: There is one space between “telnet” and the IP address and one space between the IP address and “7115”

3.  Press OK

4.  Press ENTER two times.  The controller will respond with "?".

5.  Type in the following:

               ILOAD

6.  Press ENTER once.  The controller will respond with "Ok!". 

7.  Type in the following:

               ILOAD

8.  Press ENTER once.  The controller will respond with "OK!". 

9.  Close the Command Prompt window, power cycle the camera.

Most image issues can be resolved by performing a Current Session Reference (CSR) or reloading the cameras factory .STG file. If either of these two methods doesn’t work, please send a 3-4 cine to support@visionresearch.com. The cine file will provide the most of the information about the camera so we can diagnose your problem. support@visionresearch.com

When contacting Technical Support, you should have the following information:

1. The S/N of the camera.

2. Firmware in the camera - To find this information out, launch the Phantom application and click on HELP tab followed by the ABOUT tab and make a note of the following information: Phantom Camera Control Version, Firmware, Kernel, and FPGA.

3. If you have image problems, a 3-4 frame Cine would be helpful.

The memory in Phantom digital high-speed cameras is a combination of volatile (DRAM) and non-volatile (Flash) memory. 

Depending on the model of camera, either 1GB or 4GB of non-volatile memory is always present and is used only to store the camera's operating system, sensor calibration data, and set-up parameters (i.e. frame rate, resolution, exp, etc.) for the camera. Should this non-volatile memory be erased, the camera would become nonfunctional. This non-volatile memory is not used for storing digital images and does not present a security risk.
 
The internal memory of Phantom cameras that is used for storing digital images is the camera's volatile (DRAM) memory.  By the nature of volatile memory, the images are lost when the power for the camera is disconnected or they are overwritten when a user wants to initiate a new recording.
 
Notwithstanding the above, some Phantom cameras are optionally equipped with non-volatile image storage capability in the form of either an internal flash card, an external flash magazine (CineMag), or removable CompactFlash or CineFlash. This storage enables the user to save digital images from the volatile DRAM to non-volatile flash memory.   

For CineMags, a user initiated erase/format command will erase every data block in the flash chips, except the first block which contains the flash ‘bad block’ information. This first data block never contains digital image information.

CompactFlash can be erased/formatted from the LCD user-interface, or via operating system commands when used in a reader connected to a PC. However, these steps alone are insufficient to ensure a "secure" erase.

CineFlash can be erased/formatted from PCC. But, this is not a "secure" erase. We plan to provide a command or utility to do a secure erase in the future.

Additionally, in the CineMag case, the magazine is scanned when connected to the camera, and the scanning stops at the first unerased block. So if the magazine reports that its full capacity is available for recording this is an indication that the previous erase command has been completed.

We do not manufacturer such equipment, however, there are several manufacturer's of underwater housings for all types of camera equipment. 

Corel Sea TV are making some custom enclosures for our Phantom v640 and Phantom HD GOLD cameras.

Prevco is a subsea engineering consultancy and manufacturer specializing in submersible pressure vessels, instrumentation housings, junction boxes, vent plugs, pressure relief valves and other accessories to meet all your underwater equipment needs for the Phantom line of digital high speed video cameras.

If you supply underwater housings or know of another supplier, please let us know so we can add to this list.

We recommend you blow off the camera using forced or compressed air and a damp cloth. For cleaning the Phantom CineMag’s contacts please use a cotton-swab and electrical contact cleaner (or alcohol safe for electronics). Be very gentle.  For cleaning sensors we recommend using a brush-based cleaning solution or forced air (do not blow on the sensor or use canned air).

We offer a sensor cleaning kit in our online store.

Sensor cleaning is a hot topic for digital camera users - Phantom and otherwise - and there are definite techniques on tackling it. Depending on your lighting situation, a tiny speck of dust on your sensor can lead to a big ugly spot on your images, which is a shame because it is usually avoidable. The longer the lens and smaller the aperture, the more pronounced the spots will appear on your image.

The No.1 rule is that if the dust can be removed without using a solvent, you will save yourself a lot of headaches in getting rid of it! Use the Sensor Sweep brush, (link below), as it attracts the particles to the bristles. Be sure to follow the directions. You must clean the brush by blowing air on it and sweeping it across a vellum-like surface to charge the bristles before each sweep on the sensor glass. You can also use the brush to clean the area around the sensor as dust can settle there and then get attracted back onto the sensor glass. Make sure to always blow the bristles free of dust before storing it within its container.

Compressed air is OK as a quick solution, but always test the spray first away from the sensor to make sure none of the fluid comes out. Use short bursts and hold the can upright. A better solution would be to use a blower that recycles air to force the dust off of and from around the sensor.

If there is a smudge or dust that won't go away, try a micro fiber lens cleaning cloth to gently wipe the smudge away. Just like the brush, keep the cloth clean, if you reuse them, they can build up residue, which will end up back on the sensor glass. For very stubborn smudges, you might want to wrap the micro fiber cloth or a piece of lens tissue around a pencil eraser or long swab for better control. If that doesn't work, a drop or spray of lens cleaning solution on the cloth will do the trick.. make sure it isn't too wet before wiping it on the sensor glass. Lens tissue folded into a point with a drop of lens solution can help very concentrated spots as well.

TECH TIPS

• · Use a tiny flashlight to look at the sensor, it's easier to spot the dust.
• · Always have a clean micro fiber cloth handy for more serious dirt.
• · Cotton swabs aren't a good idea, unless they are wrapped in a micro fiber or lens tissue like material. They leave behind    more than they remove.
• · Never use your finger to get a speck of dust off, it's going to make things much worse.
• · Never blow on the sensor itself (as tempting as it is).
• · Always keep the Phantom Body cap on the camera when there is no lens attached.

Lenses gather a lot of dust as well, which can also wreak havoc on your images. Always keep the rear and front elements protected with their lens caps. There are many products out there safe for cleaning lenses, Here at Vision Research, we find that a micro fiber cloth with one spray of Eclipse or Pan-cro solution (on the cloth) works at the fastest with the best results.

Yes you can!  Surf your way over to the Documents page of our Support section. Scroll down the page until you  find the Discontinued Products selection. The datasheets are in model numbered order.

Or, you can find them under the Support by Model menu selection.

Engineering, Scientific, Industrial Applications (USA only) -- Vision Research rents several of our Phantom high-speed video cameras for industrial, scientific and engineering applications. The cameras are available on a first-come, first-serve basis. Our high speed rentals come complete with a controller (laptop), cables, and a lens. There is a 2 day minimum on all camera rentals. Please contactrentals@visionresearch.com for more information and a quote.

Production & Entertainment Applications (World-Wide)  -- Visit our directory of world-wide high speed rental partners.

Our American offices only rent to companies with addresses within the US and Canada.

Check out our network of worldwide rental partners.

With your rental of a Phantom camera, you will also receive a Dell or HP Laptop Controller with the Phantom software installed. The controller is needed to setup and control the camera as well as download and save cine files. You can choose a lens from our wide selection. We will also include a Northstar light, upon request.

We also offer lights, tripods and other accessories.

All items are shipped in a rugged case.

To minimize noise and maximize image quality on any digital high-speed camera, it is important to control the sensor temperature. By keeping the sensor at a fixed temperature, you will get better, more repeatable images. For many years, Vision Research has used thermo-electric (TE) coolers based on the Peltier effect to control sensor temperature. The sensor die is attached to the TE cooler and by monitoring the temperature of the sensor, the camera can supply more or less power to the TE cooler to adjust the temperature.

The TE cooler is typically bonded to a heat sink cooled by an active fan-based cooling system.

This technology is used on the v2512, v2012, v1612 and v1212. However, these cameras run so fast, that additional cooling technology is employed. On these cameras the sensor die is attached to the TE cooler, which in turn is bonded to a copper heat sink which has heat pipes attached. The heat pipes carry excess heat away from the sensor area toward the sides of the camera where heat is removed using dual fans.

The heat pipe is a copper tube that is filled with a liquid under low pressure.  One end of the heat pipe is bonded to the source of heat, in this case the copper heat sink. The other side is bonded to a heat sink which is fan cooled. Liquid in the heat pipe moves toward the source of heat through capillary action. When it gets to the hot side of the pipe, it will turn to vapor and circulate back to the cool side where it gives up heat and turns back into liquid. The process then repeats.

Yes, a copper UTP 10Gbase-T Ethernet interface is standard on all UHS cameras and the CineStation IV. When optimized, this allows for cine downloads at speeds more than 5X faster than the standard Gb Ethernet interface.

While any compatible 10GBASE-T interface card installed in a PC should work, we have been using and recommending the Intel X540-T1 and X540-T2 cards. Be sure the latest Intel drivers are installed, and the appropriate network address is assigned to it (For example, IP 172.16.0.1 and Subnet 255.255.0.0)  Also, ensure either either the Phantom 10G Network driver and/or WinPCap is installed.

Vision Research provides a ruggedized connector carrier to be used when connecting a standard CAT6 or CAT6A Ethernet cable between the camera and the interface card. The customer must supply the appropriate cable.

A CAT6A or CAT7 cable is recommended and gives you a maximum 100m distance between the camera and the interface card. (A CAT6 cable is limited to 50m.)

There is a 19-pin Amphenol connector on the back of the camera that is called the Capture Connector. The connector has the following available signals:

• Event input (an external signal can “mark” one or more frames with an event marker making it easy to later find and view specific frames)
• Trigger input (provides a hardware trigger to the camera)
• Strobe output (is a low during the frame exposure time)
• Ready output (is high when the camera is capturing pretrigger frames)
• IRIG-In (external sync and time stamping from a modulated or unmodulated IRIG source)
• IRIG-Out (provides an umodulated IRIG source that contains timing information from the camera)
• Video Out (a composite video signal, either NTSC or PAL)
• Serial Port input (for serial protocol control of camera)
• Power Out (24VDC, used to power the Break-out-Box)
• A-Sync output (optionally, signal goes low when a trigger event is detected by the Image-Based Auto-Trigger feature allowing for multiple cameras to be synchronized to an event trigger)
• Pre-trigger / Memgate input (mode is set in software; if Memgate is low, acquired frames are discarded rather than saved to camera memory; Pre-trigger signal “arms” the camera and starts the acquisition of pretrigger frames)

Detailed information about these signals is available using the PCC application’s Help feature.

All v2512, v2012, v1612 and v1212 cameras ship with a standard Capture Cable that connects to the Capture Connector and provides access to:

• Ready
• Strobe
• A-Sync
• Pre-trigger/Memgate
• Video

All other signals are accessible by using a Phantom Break-out-Box. See the related FAQ.

Prior to the introduction of the Phantom UHS-10 Series (the predecessors to the UHS-11 and UHS-12 Series), Phantom cameras did not have a physical power switch. Instead, the camera powered up any time an appropriate DC voltage appeared on the power input to the camera. This was done so that cameras can be powered up (booted) remotely by providing primary power and did not require physical access to the camera.

However, there is a physical power switch on the v2512, v2012, v1612 and v1212. It has three positions: AUTO, ON, and OFF.

When the switch is set to AUTO, providing power to the Primary DC Input will power up (boot) the camera and it will be ready for use. In AUTO, providing power to the Battery Backup power input of an unpowered camera WILL NOT power up the camera. However, if there is a loss of primary power, then the Battery Backup power will be used to maintain camera operation and protect any stored data.

When the switch is in the OFF position, the camera is off. Providing power to the Primary DC Power input or the Battery Backup input will not cause the camera to power-up.

When the switch is moved to the ON position, the camera will power-up immediately provided there is power connected to the Primary DC Power port OR the Battery Backup port on the camera

There are several use-cases this scheme enables:

1. Battery backup for mission critical tests: Set the camera to AUTO. Power through the Primary input and provide local battery backup power to the Battery Backup input. If primary power is lost, camera operation will continue and data is protected by the battery backup.
    
2. Remote power up: You can turn the camera on by providing power to the Primary DC Power input when the camera is in AUTO or ON.
    
3. Remote power cycle: If the camera will need to have power cycled remotely, set the switch to AUTO and do not use a battery for battery backup.
    

Battery operation: Connect a battery to the Battery Backup port. Set the switch to ON.

The primary input is where you plug the 280W A/C power supply provided with the camera. This is your primary source of power for the camera. You can optionally connect a backup source of power—often a battery—to the backup battery power input. If the camera power switch is set to AUTO, and if there is a loss of power on the primary input, even momentarily, the backup power will immediately take over - providing uninterrupted power to the camera. This is important to protect any images stored in the camera’s high-speed memory from accidental loss.

Connecting power to the battery backup port will not turn on the camera. (See FAQ about the AUTO/ON/OFF switch.) There is no drain from the connected battery unless a loss of primary power causes the power input to switch to the battery backup.

The battery backup port will not charge a connected battery.

In case of primary power loss, the backup battery port will not only protect images saved in memory, but can provide sufficient power to power all camera operations until the input voltage drops below the minimum required, ~ 18VDC.

If primary power is restored, that again becomes the power source for the camera and the battery port reverts to a backup mode.

The GPS port on the Phantom v2512, v2012, v1612 and v1212 can be used to provide date, time and location information from the GPS satellite network. Vision Research sells a compatible GPS receiver (VRI-GPS-18X-LVC-5M). With the GPS receiver connected to the camera, and assuming it has a valid satellite fix, GPS timing can be used similarly to IRIG timing. You can synchronize the camera’s internal clock to the GPS, timestamp frames with GPS timing accuracy, and even save the camera’s latitude and longitude with any cine file (location error is < 3 meters after a satellite fix.)

The GPS connection supplies 5 volts at 0.2 A maximum, and an RS-232 connection to a GPS device.

1 PPS pulse is used for timing in the camera.

Communication with the device is at 4800 baud over the NEMA 0183 standard protocol which is very common.

The GPS position is recorded in the Cine header file.

Connection diagram is available

All of the Phantom Ultra High-Speed Cameras (v2512, v2012, v1612 and v1212) are equipped standard with 10GB Ethernet and can be equipped with the unique CineMag interface, precisely for fast downloading. 

The 10GB Ethernet allows data transfer at up to 500 MB/second on optimized systems, meaning all 288GB of memory can be downloaded in approximately 8 minutes.

The CineMag interface can transfer images from the camera’s high-speed memory to non-volatile, flash memory at about 1Gpx/sec. A full resolution frame is 1 Mpx, so you can save about 1000 frames each second to a CineMag. Or, another way to state this is you can save about 1.5GB/sec to non-volatile mass-storage. A Phantom Ultra High-Speed Camera, equipped with maximum memory of 288GB, can save its full memory buffer to a CineMag in just over 3 minutes.

Once a shot is saved to the CineMag it is safely stored and available for later retrieval. This means you immediately can use the camera for another shot.

Images stored on a CineMag are available for later retrieval using the Phantom Camera Control (PCC) software with the CineMag mounted on either the camera or the offline docking station known as a CineStation, and may be downloaded either through the camera or the CineStation, using their 10Gb Ethernet ports.

The v2512, v2012, v1612 and v1212 are only compatible with CineMags IV’s, offered in 1TB and 2TB versions.

Yes it will. You can connect through the remote port on the camera either with a "Remote" cable or Bluetooth dongle. You can also use an RCU connected via the Break-out-Box.

If you connect using the remote port on the camera then you will also have to connect to one of the HD-SDI outputs of the camera to see video on the RCU.

Connecting through the Break-out-Box provides NTSC or PAL video to the RCU.

The CFast workflow is most similar to the CineFlash module of the Phantom Miro.  Cine files are recorded first to RAM and then transferred to the CFast card at a speed of 90 MB/second. The CFast card does NOT support Run/Stop mode or playback over video.

Lexar x3600 128 and 256GB cards have been tested and verified.  Additional cards will be verified and added to our compatibility list.

CFast 2.0 cards are required.  They must be formatted NTFS, which can be done either in camera or from an external USB CFast 2.0 Card Reader.  Due to the NTFS format, no special drivers are required for downloading the Cine files via Windows or Mac.

There is no NTSC or PAL video signal.

All VEO models include SDI and HDMI outputs which output all standard 1.5G and 3G SDI video rates from 720p50 to 1080p60

There are only a few changes, but they are important. First, we’ve added a door to cover the CineFlash slot. This makes the camera more compatible with harsh environments and outdoor applications. We’ve also added our internal mechanical shutter as a standard component. This allows for remote and/or automatic black referencing, ensuring optimal image quality on each shot. Adding this shutter leads to the next difference: the shock rating with the shutter is now 30Gs which is lower than the shock spec on the older R-Series.

If you plan to use the new R-Series cameras in a high-shock application (such as crash test), you’ll want to have the internal mechanical shutter removed—there is an option you can select when you order the camera that will do this. Without the shutter, the shock rating is 100Gs. The camera retains the highly rugged metal body along with CineFlash system compatibility and battery operation.

• Frame rate and resolution: The Phantom Flex has both higher resolution and throughput than the Phantom Miro 320S, and up to 32GB of internal RAM memory as opposed to the Phantom Miro 320S’s 12GB of RAM.  This means longer record times can be achieved on the Flex.
• Flash storage: The Flex uses the Phantom CineMag storage system, which can save 12GB in about 12 seconds, as opposed to the Phantom Miro 320S’s CineFlash storage system which will save a full 12GB take in about 3 minutes.  Flex Cine files saved to the CineMag can be later reviewed on camera or CineStation over HD-SDI. Reviewing Cines stored on the CineFlash from a Phantom Miro 320S is not possible over HD-SDI. CineFlash files can be reviewed in-camera over Ethernet in PCC, or via the CineFlash dock when preparing to download footage.
• Color processing: The Phantom Miro 320S supports the new Phantom PH16 protocol, which means improved white balance and color processing controls.  The Flex is based on the Ph7 protocol which includes legacy red & blue gain white balance and color processing.
• HD-SDI: Video playback over 4:2:2 HD-SDI is possible on both camera models, however the Flex supports advanced in-camera scaling for larger resolutions as well as either 4:4:4 video or 2x identical HD-SDI feeds.
• Power and additional monitoring: The Flex features a separate viewfinder port and 2x auxiliary power ports, which the Phantom Miro 320S does not have.  The Phantom Miro 320S does however have a built in battery port for use with common Sony camcorder batteries.
• Size & Weight: The Phantom Miro 320S is approximately 3 lbs and 7.5 x 3.5 x 4”, and the Phantom Flex weighs in at 11.75 lbs and 11.5 x 5.5 x 5.0”

For a full comparison of the Phantom Miro 320S and the Phantom Flex please click here.

The input power spec is 12-28VDC. The power supply provided by Vision Research provides 24VDC power to the camera.

If the power input to the camera drops below 16VDC and a battery is connected to the camera, the camera will begin to draw power from the battery if the camera is in ON or AUTO mode. This is a data protection safety feature.

Footage from Phantom Miro M / R / LC camera models is stored on CineFlash drives as 10-bit log raw cine files.  The CineFlash drive is formatted using the Linux Ext2 file system, and can be accessed from the camera body over Ethernet, or remotely using a Phantom CineFlash Dock via USB3 or eSATA. 

The CineFlash Dock is compatible with both PC and Mac computers once the appropriate EXT2 driver is installed. This allows 3^rd party solutions that can read Cine raw files to see the file directly from the CineFlash. This also means that you can “drag and drop” the file from the CineFlash to local storage on a computer.

Phantom CineFlash Docks shipped after October 1, 2015 include the recommended Paragon ExtFS driver on a USB flash drive, which can be installed on a single Windows OS or Macintosh OSX computer, and installation instructions. During the installation process, you will be asked to provide a ‘Product Key’ and ‘Serial Number’ (located on the bottom of the Phantom CineFlash Dock – also beginning October 2015) to validate the single-user license.

Please note that the Product Key and Serial Number are bound to the computer on which the ExtFS driver is installed, not the Phantom CineFlash Docking Station.

CineFlash Dock users without the USB drive or product key can download and purchase the latest Paragon ExtFS drivers athttps://www.paragon-software.com/  

Once installed, the CineFlash will automatically be mounted when inserted into the dock. The CineFlash is less tolerant of being removed from the dock (disconnected from the computer) than a typical USB drive. Therefore, you should ALWAYS unmount the CineFlash before removing it from the dock or disconnecting the dock from the computer if it has a CineFlash in it. This ensures that all data is written and flushed to the disk before removing the drive.

Users can access, play, edit and save the cine files using Phantom PCC or the Phantom CineViewer software (Windows only). To view and play the cines on a Mac, the GlueTools Phantom Cine plugin is recommended and is available from GlueTools.com.

The LED indicators provide you with a visual representation of the camera's operational state, and communication status.

Power Indicator

The Power LED, located between the Capture and Power connectors on the right-hand side of the camera's rear panel near the center, provides a visual indication of camera power status and firmware integrity. If power is being supplied to the camera, and this LED is not lit, it indicates an error has occurred in the camera firmware. If this happens, it is best to reboot the camera to correct the error.

Capture Indicator

The Capture LED, located just below the Power Mode Switch on the right-hand side of the camera’s rear panel, near the bottom, provides a visual indication of the camera's operational states. By factory default, the camera is placed into the Preview - Waiting for Pre-trigger mode when the camera is powered on, unless it has otherwise been user-configured to start in the Recording waiting for trigger (capture) mode. Once in the Capture mode the camera starts recording images into the camera’s circular memory buffer (DRAM). Upon detection of a trigger signal, the camera is instructed to stop writing to the cameras internal memory buffer, once the number of specified Post Trigger frames has been reached, and the camera will be placed into the Preview mode. If the camera has been configured to automatically save the images to Flash the camera will, at this point write the images stored in the cameras DRAM to the Flash module.

User intervention is required to either save the cine to an external drive, or to put the camera back into the capture mode from the Setup and Recording screen.

The following will indicate the camera's operational state described above:

Off         Preview or Preview - Waiting for Trigger

On         Recording waiting for trigger (capture)

Ethernet Activity Indicator

When active the Ethernet Activity LED, the second of two LEDs located just above the Ethernet connector on the top right-hand side of the camera’s rear panel, indicates data is being transferred between the camera and the Phantom Control Unit computer.

Ethernet Link Indicator

When active the Ethernet Link LED, the second of two LEDs located just above the Ethernet connector on the top right-hand side of the camera’s rear panel, indicates that the camera is detected and is connected to an Ethernet network.

Phantom CineFlash Recording Indicator

The Phantom CineFlash Recording Indicator located inside the CineFlash Compartment near the bottom, will be active (red) when image data is being saved to the CineFlash. Do not remove the CineFlash during this process.

Yes, but some signals are different.

eX4                    Miro M / R / LC-Series

IRIG-IN               IRIG-IN
Ready                Ready
Video                 Video
Trigger              Trigger
F-SYNC             IRIG-OUT
AUX(1)               AUX(2)

Note 1: Selectable between Strobe, IRIG-OUT
Note 2: Selectable between Strobe, Event, Memgate

All high-speed cameras have “native resolutions” based on the internal design of the sensor and camera. On Phantom cameras, the legal increments for horizontal and vertical resolution are called “Continuously Adjustable Resolution” or CAR. On the v1210 and v1610, CAR is 128 x 16. This means that the camera will always acquire images at integer multiples of 128 for the horizontal resolution and 16 for the vertical resolution.

In the past, we allowed the user to select any arbitrary resolution, then internally and “behind the scenes” selected the appropriate native resolution. Starting with the v1210 and v1610, we’ve decided to always show you what resolution we are using inside the camera.

If you need a final cine that has a non-native resolution, you can use the crop or scale features of PCC to get exactly what you need.

If you can estimate the typical daily usage of the CineFlash, it is easy to estimate its expected lifetime.

The formula is: Years of CineFlash life = (Drive Size in GB * 20) / (GB Recorded per Day)

For example, if you plan to save 10 x 12GB files to a 120GB CineFlash each day, your estimated CineFlash lifetime is: (120 * 20) / (10 * 12) or 20 years. If you have the same daily usage but use a 60GB CineFlash, the lifetime is 10 years (and, you’ll need to remove some cines from the CineFlash at some point during the day.)

CineFlash lifetime is determined by the number of times you write to a specific memory location. The hardware in the CineFlash will automatically ensure that all memory cells are used equally across the CineFlash lifetime.

Note: Due to CineFlash formatting and bad block allocation, not all 120GB on a 120GB CineFlash will be available for user storage.

There is one main difference between the two Miro LC versions.  The newer LCxx1 camera models use a 4.3” multi-touch surface capacitive touchscreen.   The original LCxx0 cameras used a 4” capacitive touchscreen.  They are similar, but the newer screens incorporate newer technology that will provide improved touch accuracy and better handheld performance. 

The other difference is the lack of physical buttons on the LCD window – one button was used to re-set the menu, which is no longer needed with the newer screens.  Just tap the center of the screen to bring up the menu.  The second button moved the on-screen menu display from the LCD panel to an external monitor (over SDI or NTSC/PAL).  This functionality still exists by using two fingers to expand the display off the screen and two fingers to bring the display back onto the side LCD screen.

Otherwise, all specs and menu options are exactly the same between the two versions.

The touchscreen works best when the person controlling it is also touching the casing around or in back of the screen, or a metallic surface on the camera body. Some people will naturally draw more current than others when using a capacitive touchscreen, so the severity of this potential issue can differ between person to person. If you find this to be an issue, we recommend always holding the back or edge of the screen while controlling it, or touch any metallic surface on the camera with either hand.

This is not an issue when the camera is running on AC power.

The newer LCxx1 models will be easier to use on battery power than the previous LCxx0 camera models due to the newer screen technology.

LCxx0 models have physical buttons on the side of the screen  - the one marked with a square icon turns the menu display on and off.  When turning the menu off the screen automatically resets.  A good way to force the re-set is to double click that square button. The reset will take 5-10 seconds before you can access the controls again.

LCxx1 models do not have this physical re-set button because response issues are not expected. If you find issues with this, please contact the Vision Research support department.

The screen has a glossy surface with sufficient brightness to work OK in bright sunlight. It is rated up to 40°C, however on hot sunny days we recommend keeping the screen out of direct sunlight as much as possible.

A handy feature on all LC cameras is threshold mode. Tap the top button on the front of the camera (autoset) to cycle through threshold, zoom, and live video tools. Threshold mode makes it easy to see the sections of the image that are overexposed.

The camera’s menu system allows you to review the amount of takes on the CineFlash, their size, and the drive’s remaining capacity, however they can not be played back on the screen.  Files that are still in the camera’s RAM can however be played over video and on the screen. 

There are two ways to view and save stored Cine files from CineFlash drives.  The camera can be connected to Phantom PCC software via an Ethernet connection, or the drive can be mounted outside the camera via a CineFlash Dock where files can be viewed and saved over an eSata connection, from PC or Mac operating systems.

• Trigger (dedicated BNC)
• SDI (dedicated BNC)
• F-Sync (I/O 1 default)
• Strobe (I/O 2 default)
• IRIG In
• IRIG Out

The difference is in the connections. The Miro C210J must be operated through a system cable to the Miro Junction Box and does not have a separate power connector.  It is the perfect, lowest cost solution for a system of multiple connected cameras. The Miro C210 has the same 3 connectors as other Miros.  It can be powered and operated independently, or, with a Miro C Capture cable, it can also connect to the Miro Junction Box.

Otherwise, the Miro C210J and Miro C210 are the same.

The Miro C210J does not use a Breakout box, because it receives signaling from the JBox through the System cable. The Miro C210 can use the Breakout box, and in fact comes with the Mini-Breakout box (part number VRI-MINI-BOB). 

The signals available to both cameras are:

Trigger 
Video (through DIN 1.0/2.3 connector on front of camera) 
IRIG In 
IRIG Out 
F-Sync 
Ready 
Strobe  
Event 
Memgate

There are four BNC connectors on the camera that provide programmable signaling:

I/O-1: This is the same as Aux1 on some of our other cameras and you can choose for it to be FSYNC, Event, Strobe or Memgate in PCC. It is called "Aux 1" in PCC.

I/O-2: This is the same as Aux2 on some of our other cameras and you can choose for it to be Ready or Strobe. It is called "Aux 2" in PCC.

I/O-1 and I/O-2 can be programmed in the Camera Signals control pane of PCC.

There is a dedicated IRIG-IN BNC

And, there is a dedicated Trigger In BNC

Note: There is no IRIG-OUT signal on the LAB-Series so it cannot be used as an IRIG source. Also, there is no analog or digital video output.

We have feedback from customers about the need for a 1 megapixel camera with smaller pixels than the 20 micron pixels on the LAB310. Smaller pixels have advantages in some applications. So, we invented an “alternate” (thus the “a”) 1 Mpx camera.

The LAB3a10, in fact, is a 1.6 Mpx camera with a maximum resolution of 1280 x 1280. The square aspect ratio is also an advantage in many imaging applications. Now, you can choose whichever 1 Mpx camera best meets your needs. Your sales representative can give you more details about the advantages and disadvantages of large versus small pixels.

Sensor coverage will only be a consideration if you have a C-mount on the camera. The other mounts—Canon EOS, Nikon F and PL, support 35 mm lenses and cover the sensor easily. However, a standard 1” C-mount lens may vignette, especially at shorter focal lengths.

We recommend the use of a 4/3” C-mount lens with the LAB3a10 when equipped with a C-mount. We have a selection of five different focal length 4/3” lenses from KOWA available. These and other 4/3” C-mount lenses are readily available from a variety of sources.

These new features can be enabled with a free firmware and software upgrade, which is available on our website. Visit the Support section of this website and locate the Flex4K to download the firmware and instructions.

Working with ProRes simply requires a CineMag IV to record to.  Select ProRes 422 HQ from the CineMag menu of the camera, or in PCC.  Working with Audio requires the use of a digitizer, such as the Sound Devices MixPre-D, to supply an AES / EBU signal to the camera.

Currently, all ProRes and Audio files on a CineMag IV must be downloaded using Windows-based Phantom PCC software.   If you are working with a Mac, we recommend running PCC via Bootcamp.

Activate ProRes recording using the CineMag menu on the Flex4K or in the Flash Memory menu in PCC.  Select between Cine Raw (Packed 10) and ProRes 422 HQ as format options.

Resolution:  When working with ProRes, the camera must be set to full sensor resolution 4096 x 2304 only. ProRes files can be saved to the CineMag as 4K or scaled 2K resolution.  The CineMag IV will not support any other resolutions to record when set to ProRes.  In LOOP mode, you can still capture to RAM at other resolutions, but the recording will default to RAW when saved to the CineMag.

Frame rates and save times:  In Run/Stop (RS) mode the camera will allow up to 30 fps direct to the CineMag.  In LOOP mode, the camera will allow up to 938 fps to RAM, before the file is saved to the CineMag.  Saving in ProRes HQ mode takes about 3 times longer to the CineMag than saving RAW.   The files in the mag are about 2.5X smaller than the un-interpolated RAW files, and take that much shorter to save from the camera or CineStation IV.  

Over 5 hours of 24 fps ProRes HQ footage can be stored on a 2TB CineMag IV.

Video playback from the camera body:  The camera body will allow for HDSDI video playback of the ProRes files, however it’s a little different than working with RAW.  The camera must load the files for playback, which takes about 5 seconds.  During this 5 second “switchover” the word “loading” is on the camera menu. This process will happen automatically each time a ProRes file is recorded into the mag or playback is initiated.

Also unique to ProRes playback are the supported video formats.  1080p, 1080psf and 4Kp video modes allow for playback at ZOOM: fit and ZOOM: 1 settings.   1080psf playback actually switches to 1080p during ProRes playback, then switches back to psf for live monitoring and RAW playback.   

Not supported are 1080i, 720p modes, anamorphic settings and larger zoom settings. 

Vision Research chose to enable ProRes 422 HQ as the initial format, based on the inherent quality and compression value when compared to Cine Raw files.  We feel that if higher quality is required, then Cine RAW is still an acceptable option.  And lower quality formats are more likely used in addition to the Cine RAW, which are better left to be converted outside of the camera.

We will consider adding formats and resolutions at a later date. However, no guarantee or time frame can be stated at this time.

An AES/EBU signal is fed into the AES input on the MiniBob or Sync/Capture cable that came with the original Flex4K purchase.  Audio works at sync-sound frame rates and above.  Audio must be converted from analog to digital AES/EBU using a digitizer, such as the Sound Devices MixPre-D. 

Audio is enabled with the audio menu on the camera body, and levels are provided on the camera menu by scrolling right with the select knob. 

When enabled, audio gets recorded as a separate file with each cine, in both RAM and CineMag.  The files are downloaded from PCC as uncompressed .wav files with can be matched with the video in post processing.   The wav files are 48KHz at up to 24-bit, and the camera supports re-sampling of other frequencies. 

Audio can be monitored from the camera live using the headphone jack on the camera body or more accurately with the AES out via the Aux2 port on the Minibob.  At sync-sound frame rates (matching with video rates) the camera will play back the audio from the camera RAM. When not matched the camera will not provide audio playback.  Audio playback is not supported from the CineMag at this time.

Files in the CineMag IV can be downloaded through the Flex4K camera body or (more likely) through the Phantom CineStation IV.  The camera has 1Gb Ethernet only, where the CineStation IV offers both 1Gb Ethernet and 10Gb Ethernet connections.

The files can be downloaded using windows-based Phantom PCC software or with Mac-based Glue Tools Séance software. One license of Séance comes with the camera purchase, and is otherwise available for sale at www.gluetools.com

The camera has three main 3G HD-SDI outputs at the back, one additional 3G HD-SDI output and one component video output at the front for viewfinders, and one HD-SDI. The camera supports:  

• • 4:2:2 1.5G 1080p/psf at 23.9, 24, 25, 29.9 Hz; 720p at 50, 59.9 Hz
  • 4:2:2 3G 1080p 50 and 59.9 Hz
  • 4:4:4 3G 1080p/psf at 23.9, 24, 25, 29.9 Hz; 720p at 50, 59.9 Hz
  • Dual-link 4:4:4 3G 2160p 23.9, 24, 25 and 29.9 signals                                                                      

The three main outputs are separated as 1x monitor (MON) output, and 2x recording (REC) outputs.  The 2x REC outputs can be configured as individual 1080p outputs or used together to provide a dual-link 4K video output. All outputs must be on the same video system, and the 4K/2160p signal is determined by the settings of the other outputs / and vice versa.

The Component and HD-SDI viewfinder outputs (VF) at the front always work together, and provide the same image, with the same overlays, zoom modes, etc.  The MON output can also mirror the VF output - this should be a common setup.

Versatile HD-SDI: The VF outputs and MON output can be set to always show a live signal, where the REC outputs are a clean feed that will switch between live and playback. This allows the DP & camera operator to always monitor the live action while the camera is playing back the last shot, or reviewing CineMag IV takes through the REC outputs.

Video scaling: When capturing at 4K resolution and outputting at 1080p (for example) the camera will always scale the video to 1080p.

Monitoring & Log outputs: The Flex4K video outputs can be switched between Rec709 and Phantom Log mode. All outputs are grouped together to display the same output. Various zoom ratios can be set from the camera body to help set focus. Production area rectangles and threshold mode are also available for the VF and MON outputs to help judge framing and exposure.

The record time is completely dependent on the camera’s resolution, frame rate, and the size of memory that is being recorded to.  At the camera’s maximum resolution and frame rate the camera will capture 5 seconds of video to 64GB.  If recording directly to a 1TB CineMag at 96 FPS you can record for about 13 minutes.  At 24 FPS you can record for about 56 minutes. 

Visit our Record Time Calculator.

The camera body weighs in at 14 lbs (6.3kg) and the size is 11.5 x 5. x 7.9 in (LxWxH); 29.2 x 14 x 20cm.  It is roughly the size of the original Flex.

Download the Flex4K Mechanical Drawing

There are two main benefits from oversampling on the Phantom Flex camera:

1. When shooting at full resolution of 2560x1600 (or 2560x1440 for 16:9 aspect ratio), the active sensor area (25.6mm x 16.0mm) is very close to the size of a 35mm film frame – meaning, when using 35mm lenses, you will get the field-of-view and depth-of-view you have come to expect with 35mm cameras.
2. When an over-sampled image is scaled to HD, the scaling process tends to reduce noise and increase dynamic range. Scaling can be done automatically in-camera for the video signals from the camera, and it can be done in post-production using compatible tools.

When the Phantom Flex camera is used at “normal” speeds where sound recording may also be used, it is important that it is as quiet as possible. While the new dual-fan cooling system on the Phantom Flex runs very quiet, the fans are automatically slowed down and become even quieter when shooting in HQ mode AND while recording directly to the CineMag. This is the most likely recording scenario where synchronized sound is also recorded. At all other times (in Standard mode and in loop recording) the fans will run at whatever speed is required to keep the camera at a constant temperature.

Even in the quiet mode, if the camera temperature begins to exceed limits that we’ve set to protect the camera circuitry, the fans will speed up. Typically, this will not occur except for very, very long takes.

The Versatile Dual HD-SDI  feature of the v640, v12.1 and v710 allows the user to have a live image on one of the two HD-SDI ports on the camera while playing back a stored cine on the other port at the same time. This is a feature that is critical in sports broadcast replay applications.

The camera operator can always be looking at or recording the live action, while the controllers in an OB truck (for example) can be viewing, saving or even airing a slow-motion playback stored in the camera.  This feature, in addition to true HD resolution and great light sensitivity is what has propelled the v640 into the position as the most popular ultra-slow-motion broadcast camera.

Dual-link HD-SDI is a video system which has two HD-SDI outputs, which always have the same content on them – either live OR playback. They can be configured to provide two 4:2:2 video feeds of identical content, or they can be “combined” to provide a 4:4:4 video feed for maximum video quality. (4:4:4 is typically not available at 60fps playback.)

Dual-link HD-SDI is available on all of our camera with two HD-SDI video ports and is the functionality available on the Phantom Flex.

HQ mode uses a proprietary technology to enhance each frame of your shot. Each frame is analyzed for noise and image artifacts that can occur under continuously changing shooting environments. Using HQ mode means that you will always get the best images possible even when changing frame rates, exposure settings, resolution, or if ambient and camera temperatures are changing. 

Use this mode when you are changing camera settings often or working in an ever-changing physical environment and when you need your last shot of the day to look just as good as your first shot. HQ mode reduces maximum frame rates by about ½ and each frame requires twice the internal camera memory. However, saved cine files are the same size as in Standard Mode and recording directly to CineMag has the same speed and size specifications as Standard Mode.

If you find yourself in an application where you need very, very short exposure times, you may need to use Standard mode. In HQ mode, the Phantom Flex uses some of the time during the frame acquisition to enhance the image for that frame. This time is not available for digital exposure. So, the exposure times in HQ mode are a bit more limited than in Standard mode. See the FAQ on this topic for more explanation.

In Standard mode you can shoot with exposure times as short as 1 microsecond. That is very close to a 0 degree shutter angle! You might need that in rare situations where you are trying to stop all motion blur and you have enough light to shoot at extremely small exposures.

The HQ mode needs time to do the frame-specific image enhancements that are key to the mode. And, it needs to do this as the frame is acquired. The time it takes for these enhancements is not available to the camera as digital exposure time. The greater the frame rate, the less time there is for digital exposure. At the maximum frame rate for any resolution in HQ mode, the exposure time is limited to about ½ of 1/frames-per-second or a 180 degree shutter angle. As you lower the frame rate, the available time increases so that at 24 fps (for example), the range is 7 degrees to 353 degrees.

If you find that the minimum available exposure in HQ mode is insufficient to “stop motion” and you have unacceptable motion blur, you will need to switch to Standard mode. This will be a very rare situation. At 1920x1080 in HQ mode the minimum exposure will be about 300 microseconds, generally good enough to stop motion for most applications.

The best way is to use the Quicktime plugin from Glue Tools. Installing this plugin allows you to open Phantom® Cine files in Quicktime or any compatible application. You can even drag cine files directly onto the FCP timeline and edit them without rendering.

Here is an alternate way to get Phantom Cine files into Final Cut Pro for editing:

1. Use "Process and Convert" in the Phantom software to create a directory that contains sequential TIFF files, each file representing a frame in the cine. You can find detailed instructions on how to do this elsewhere on this web site or in the Phantom software help, but in summary: create a new directory (named appropriately), select the cine you want to convert, choose to save it as a TIFF 16/48 for maximum bit-depth preservation, set the destination to the new directory and the filename to "frame+5". Be sure to do this onto an NTFS formatted external disk connected to the PC.
2. When the convert process is done, move the external disk to the Macintosh computer and mount it. Optionally (but recommended) copy the whole directory to a Mac volume.
3. Use Quicktime Pro on the Mac to "Open the Image Sequence" by navigating to the directory and selecting the first TIFF frame. You will need to decide what your "play" frame rate will be at this point. Do "Save As..." and be sure to save the exported movie as a reference movie. You won't be able to save into the same folder as your TIFF files unless you moved that folder to a Mac disk drive. However, that is a good idea, that way your reference movie and all the frames it points to are in a single directory on the Mac.
4. Launch Final Cut Pro and do "File --> Import --> Files..." and select the reference movie you just created. You now have that clip in FCP, ready for editing.
5. But first, go to your sequence settings and create a setting that matches the resolution of the cine and be sure to select the "TIFF" compressor. This will give you a "real time" timeline that avoids rendering during editing. (Of course if you apply any filters, etc. you will need to render.)
6. When you are done editing, color correcting, etc. render the file and export it as a Quicktime (not a reference file), with no compression.
7. You can now use Compressor, Sorenson Squeeze or Telestream Episode to convert your movie to any desired formats and compression schemes. The Quicktime movie is your master.

If you have additional lenses that you have used with the EOS Lens mount and would like to share with us or you would like to request a lens to be added, please send your feedback/request with the specific manufacturer's P/N to phantom-support@ametek.com

For more info about the EOS Lens Compatibility chart, please click on this link.

The RCU receives power and signal through the power port on Miro M, R, LC, LAB and C camera models.  A Miro-RCU kit is available that provides a place to connect the AC adapter and the RCU cable. The part number is: VRI-RCU-KIT-MIRO-M

When the camera is powered with battery power, the camera will not power the RCU which must use its own battery.  When the camera is powered by the AC adapter and the appropriate cabling is used, the RCU is powered by the camera’s AC adapter.

Miro 110, 111, 310, 311, 120, 121 and 320 models all have NTSC/PAL video transmitted through the Miro Cable.  When using 320S, 321S models and C210 cameras, SDI video must be connected separately using the BNC connectors on both devices.  

Miro LAB cameras and 140, 141, 340 and 341 models do not have any video signal (video is displayed through Ethernet using PCC), so the RCU must be used for control only.

The CineMag-II replaced the original CineMag in a smaller, lighter package.  The CineMag IV was created in conjunction with the Flex4K and they available in larger capacities.