Regarding color processing, the Flex4K operates from the newer Phantom protocol, which lets you set the white balance in Kelvin as opposed to RGB gains like previous Phantom cameras. The Flex (2K) has a base sensitivity of ISO 1000T, but we don’t recommend pushing the exposure index on that camera in order to maintain the optimum image quality.Īnother difference is that the Flex4K has a progressive scan shutter (with less than 1ms scan time), and the Flex (2K) has a global shutter. The base sensitivity of the Flex4K is ISO 250T, and the exposure index can extend the image up to over 1000 (ISO equivalent) without significant loss of image quality. The dynamic range is higher, and the overall noise level of the Flex4K is significantly lower than the Flex (2K). The Flex4K is also super-35mm but with a full resolution of 4096 x 2304 and with 6.75 micron pixels. The Flex (2K) has a maximum resolution of 2560 x 1600 on a super 35mm CMOS sensor. The CineMag IV (and CineMag IV-PRO) includes the option for ProRes recording to save space and increase total record time. In both cases, Raw Cine files are transferred from RAM (or recorded directly) at speeds over 800 Mpx/second. These mount in the side camera enclosure of the Flex4K, and are not compatible with the earlier cameras. The Flex4K is compatible with CineMag IV and V. The Flex (2K) uses the CineMag or CineMag II non-volatile magazines. There are many other differences, which we have tried to capture here: The most obvious difference is the pixel resolution: The original Phantom Flex (aka Flex 2K), has a 2.5K sensor and the Flex4K has a full 4K sensor. Not supported are 1080i, 720p modes, anamorphic settings and larger zoom settings. 1080psf playback actually switches to 1080p during ProRes playback, then switches back to psf for live monitoring and RAW playback. 1080p, 1080psf and 4Kp video modes allow for playback at ZOOM: fit and ZOOM: 1 settings. This process will happen automatically each time a ProRes file is recorded into the mag or playback is initiated.Īlso unique to ProRes playback are the supported video formats. During this 5 second “switchover” the word “loading” is on the camera menu. The camera must load the files for playback, which takes about 5 seconds. ![]() 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. Over 5 hours of 24 fps ProRes HQ footage can be stored on a 2TB CineMag IV. 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. CineMag IV-PRO mags are much faster, and actually the save time is equal to saving RAW. Saving in ProRes HQ mode takes about 3 times longer to the CineMag IV than saving RAW. In LOOP mode, the camera will allow up to 938 fps to RAM, before the file is saved to the CineMag. 2K ProRes recording at higher frame rates is also available on the CineMag IV-PRO. In LOOP mode, you can still capture to RAM at other resolutions, but the recording will default to RAW when saved to the CineMag.įrame rates and save times: In Run/Stop (RS) mode the camera will allow up to 30 fps direct to a CineMag IV, and 120 fps with a CineMag IV-PRO. ![]() ![]() The CineMag IV will not support any other resolutions to record when set to ProRes. ![]() ProRes files can be saved to the CineMag as 4K or scaled 2K resolution. Resolution: When working with ProRes, the camera must be set to full sensor resolution 4096 x 2304 (however - when using CMIV-PRO 2048 x 1152 is also available). The newer CineMag V does not support this feature. Hardware: CineMag IV and CineMag IV-PRO mags are required for ProRes recording. Select between Cine Raw (Packed 10) and ProRes 422 HQ as format options. Activate ProRes recording using the CineMag menu on the Flex4K or in the Flash Memory menu in PCC.
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