VFX ARRAYS
VFX Array Services
ASCEND is a partner to VFX departments. Full stop.
We have spent years developing multi-camera array systems for delivering bespoke solutions for all VFX, Backgrounds, or Driving Plates. We have custom-designed multiple array systems which can be mounted in a number of configurations in order to suite production needs. They can film in a stationary format or can be mounted on one of our Array Tracking Vehicles for fully Stabilized VFX Plates. We take the guess work out of filming array plates; from 180° to 360°, or from 1mph to 100mph, ASCEND has you covered.
All of our Arrays come with: Matching Bodies, Matching Lensing, Matching ND, Synced Iris, Remote Start/Stop, Genlock Sync, Timecode Jam, Realtime LiveStitch, and a Surplus of Media. We own all array components in-house, and this translates to production never needing to scramble in order to find eight matching items. ASCEND has you covered.
Stingray 360
Introducing the fastest purpose-built array vehicle in the world. Accompanied by the Industry Standard HELIX Stabilization Head, the Stingray360 is the most advanced array vehicle in existence. Every detail has been leveraged for delivering the most sophisticated 360 degree capture possible, and our in-vehicle processing systems save days from valuable post resources. The Stingray360 is an ultra low-profile C8 Corvette Stingray, and it allows our centrally located nine [to sixteen] camera array to travel such that both driver and chassis disappear from frame. The ASCEND Stingray360 boasts 500+ horsepower, and it will keep up with even the most demanding stunt sequences. Our custom Array will live on our proprietary HELIX Stabilized Head, and we will capture ALL of the action in a single pass!
The Stingray360 offers a Live-Stitch for live transmission and real-time viewing of how your arrays will stitch together. This layer of recording not only helps with understanding coverage/overlap, but it also provides our VFX teams with essential information which will allow them to choose select immediately instead of having to wait several days for expensive stitch processing. No more waiting around. Add our Bonded Cellular System, and share real-time viewing with anyone in the world (via password encryption on a dedicated and secure webpage).
In addition to the RAW footage delivered to the Loader at the end of each day, ASCEND will also provide a series of two H.264 proxy recordings for immediate usage and director selections. We will deliver a package of Live-Stitch recordings (for each individual pass) as well as H.264’s of each individual camera’s pass. These recordings will be handed off to the VFX Wrangler at the end of each day, and they will allow our VFX teams to immediately begin choosing selects and hero cameras, shaving days off their traditional workflow.
ASCEND is a partner to VFX Teams, and we are constantly innovating new ways to help you deliver efficiently and effectively.
BlackJack 360
In Blackjack360, we have custom-designed a completely bespoke array vehicle which finally allows for a centrally located and fully stabilized 360° array. The Blackjack 360 is a low-profile racing chassis with F-1 inspired suspension which sits low enough to the ground that both driver and chassis disappear from frame. The ASCEND BlackJack boasts 200 horsepower in a 1600lb frame, and so it will keep up with even the most demanding stunt sequences. Our custom Nine Camera Array will live on our proprietary HELIX Stabilized Head, and we will capture ALL of the action in a single pass!
The Blackjack360 also offers a Live-Stitch view capture of each pass. This addition not only helps with understanding coverage/overlap, but it also provides our VFX teams with essential information which will save them time and energy. No longer will VFX Teams need to wait until the stitches are processed/delivered in order to choose their selects; now, they will be able to choose their selects in real-time, shavings days off their timeline.
In addition to the RAW footage delivered to the Loader at the end of each day, ASCEND will also provide a series of two H.264 recordings. We will deliver a package of Live-Stitch recordings (for each individual pass) as well as H.264’s of each individual camera’s pass. These recordings will be handed off to the VFX Wrangler at the end of each day, and they will allow our VFX teams to immediately begin choosing selects and hero cameras, shaving days off their traditional workflow.
ASCEND is a partner to VFX Teams, and we are constantly innovating new ways to help you deliver efficiently and effectively.
Stabilized Three Camera Array
As one of our most efficient arrays, our Three Camera Array is also our most cost-effective. With it, we are capable of capturing up to 180° at any driving speed, and we can perform four passes (left, forward, right, rear) in just minutes on our HYPER Arm. The Three Camera Array comes with Nine sticks of media, and that accounts for over three hours of recording time.
Stabilized Six Camera Array
Our Six Camera Array cuts the shoot time in half by filming two passes (forward and rear). Each pass will cover over 220° (including an upward-facing ‘reflection’ camera), and when coupled with our HYPER ARM, filming will fly by. The 707hp Trackhawk confidently carries all and is able to keep up with even the swiftest of actions.
Stabilized Nine Camera Array
If your VFX team must have it all filmed in a SINGLE PASS, then our Nine Camera Array is the obvious choice. With it, we capture 360° (plus an upward-facing ‘reflection’ pass. All of this allows production to stay on schedule and VFX to see EVERYTHING in post. We utilize this rig on our most demanding features, and they seem to love it!
Stabilized Three Focal Length Array
We recreated the famous Snyder 300 Rig. We built a custom three camera array which mate THREE DIFFERENT FOCAL LENGTHS into a single Camera Operator’s controls (wheels or sticks). We pair a 90mm, 50mm, and 21mm to give three matching frames in three different sizes. This is extremely useful for VFX Teams that wish to digitally crop without ANY fidelity loss; its also handy for Cinematographers who simply wish to have three different sizes of the exact same take!
