Europe’s Helicopter Film Services launches Typhon2

GTC sponsor Helicopter Film Services (HFS) recently launched the Typhon2 six-camera array, which incorporates six RED Helium cameras mounted in a Shotover K1 6-Axis stabilised system gimbal. This new array is designed to shoot plates that can then be stitched together in post-production to create visually spectacular scenes. The Typhon2 enables both aerial and ground-based filming of sequences where a particularly wide field of view is required – a fully useable 165 degrees.

Aerial DoP Jeremy Braben’s team of engineers at HFS has collaborated with Brownian Motion (based at Pinewood Studios) to design the Typhon2 as an alternative to HFS’s original Typhon array (launched in 2017), which combined six ALEXA Mini cameras as a toe-out array. This new Typhon2 has a toe-in configuration for reduced parallax. It also uses the RED DSMC2 Helium 8K sensor. Each of its six cameras is fitted with the new ZEISS CP3 21mm Prime lenses with eXtended Data and Shading mapping. Alternative lenses are available on request.

No more lens grid calibration by post-production teams

This latest design now means there is no longer any need for lens grid calibration by post-production teams. Jeff Brown, CEO at Brownian Motion, explains:

“Unlike the other older aerial array systems which use the RED Epic Dragon sensors and stills camera lenses, HFS’s new Typhon2 system, which we have co-developed with HFS, employs the very latest sensor technology from RED with increased 8K resolution, plus, the latest lens optical and metadata technology from Zeiss recorded direct to the Raw camera files. This eXtended metadata offers a faster, easier workflow for post-production teams, so they can stitch and deliver by negating the need for lens grid calibration.”

Jeremy Braben, Aerial DoP and CEO of Helicopter Film Services, notes

“We have already had VFX Supervisors take advantage of the Typhon2 for use on some major studio productions, following the success of our original Typhon array, which gave them a full 16K x 8K resolution plate area.”

VFX post-production plug-ins

A plug-in, offered by Zeiss for all the major post-delivery software, will enable use of lens distortion and shading data. This will be based on each individual lens having factory calibration recorded to the file on a continuous basis, and reflecting any iris or focus manipulation. The Helium 8K sensor allows a stitched plate yielding a massive 16K x 8K – as well as offering the latest IPP2 colour science from RED.

Complete remote camera control by the operator in the helicopter allows easy in-air changes for high speed shooting, and single frame trigger for photogrammetry. In-cabin monitoring consists of a 6-way split, recorded to easily ingestible Pro-res files with full BITC overlay for quick editorial use.

Experienced crews and data managers can also be supplied as part of this exciting package.

Flexibility

This new design for the Typhon2 allows the use of other prime lenses from the Zeiss CP3 range, and others, when required. It also enables the use of the RED Monstro Sensor and appropriate lenses, if requested.

For more information please see HFS's website www.helicopterfilmservices.com.

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