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Panavision Millennium DXL2 8K
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    Panavision (Stand 502) is introducing the new Millennium DXL2 8K camera here at BSC Expo 2018, running Feb. 2-3 at Battersea Evolution. The large-format camera is the heart of a complete imaging ecosystem designed from filmmakers’ perspectives, seamlessly incorporating Panavision’s unmatched optics and camera architecture, the RED MONSTRO 8K VV sensor, and Light Iron color2 science (LiColor2). The DXL2 builds on the success of the Millennium DXL and benefits from Panavision’s unique and storied partnership with cinematographers, whose real-world experience and input are manifested in the DXL2’s many significant advances.

    “The Millennium DXL2 8K camera system was conceived with the goal of maximum creative control from the moment of capture through delivery and display,” says Michael Cioni, senior VP of Innovation at Panavision and Light Iron. “Panavision’s vast inventory of advanced large-format and anamorphic optics combined with RED’s MONSTRO imager expands what’s possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams.”

    As a camera and lens manufacturer that also serves filmmakers as a trusted rental house, Panavision is uniquely positioned to respond to the needs of the community. Since its introduction, the DXL has been used on over 20 feature films, and countless television shows, commercials and music videos. Oscar® nominee John Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, providing input that has guided the design.

    Schwartzman says, “When you take an 8K image and super-sample it, it only gets better. It’s absolutely beautiful to look at. For me, the Millennium DXL2 is a no-brainer. It’s something I would use on anything. It does it all. And in fact, I’m currently planning to shoot my next feature with it.”

    The RED MONSTRO 8K V V sensor in the DXL2 offers a healthy 16-plus stops of dynamic range with improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using Light Iron color science. An integrated PX-Pro color spectrum filter custom-made for the DXL offers a significant increase in color separation and dramatically higher color precision to the image. Built-in Preston MDR, 24v power and expanded direct-to-edit features are also standard equipment on the DXL2. An anamorphic flare attachment (AFA) offers a convenient, controllable method of introducing flare with spherical lenses.

    New to the DXL2, LiColor2 (Light Iron Color) streamlines the 8K pipeline, smoothly handling the workflow and offering convenient and quick access to high-quality RAW images, accommodating direct to edit without delays.

    “We are proud to provide an ecosystem of tools that gives filmmakers more choices to express their vision,” adds Panavision CEO and President Kim Snyder. “We have been listening to feedback from cinematographers and the results of our collaboration are directly manifested in the DXL2. We remain committed to continuous technological development and are excited to bring this new camera to market.”

    The Millennium DXL2 will be presented at the Panavision booth (Stand 502) alongside a showcase of the company’s large-format and anamorphic optics, as well as the latest products and solutions from Panalux, Light Iron and Panavision Grip and Remote Systems.

    Also at BSC Expo, Panavision presents “The Beauty of Large Format 8K” at 14:00 on Feb. 2 in the seminar room. The session will offer a preliminary introduction to the DXL2 while taking a deep dive into the relationship between resolution and large-format optics. Michael Cioni will guide the discussion and present clips that demonstrate the benefits of 8K capture and how ultra-high resolution equates to creative control with smoother imagery.

    DXL2 cameras are available now to rent exclusively from Panavision on a worldwide basis.

    For more information, visit http://www.panavision.com/dxl

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  • 8 Replies sorted by
  • Looks like alien spaceship, cost must be also similar :-)

  • Interestingly, Cioni put out a presentation I believe meant to somewhat counter the Yedlin resolution thing (or at least provide 'fresh science in a fact finding thesis' that would support large 8k sensors being the shiznit) and the guys on Reduser are tearing it up for inaccurate science.

    This is the presentation:

    Interesting for me, because I thought Cioni knew more than anyone about this stuff basically (and maybe he does), and that RED fanboys of all people would be lining up to support any kind of pseudoscience deifying full-frame 8k material, but I guess not.

    Of course, today, they are all panicking about the end of RED now that Arri went 4k, so the world is just upside down.

    I don't think I'd believe in anything anymore, if it wasn't for my lucky 4k 10 bit anamorphic capable palm of the hand two thousand dollar camera.

  • I'm under the same constraints.

  • Gotta love Panavision, though. Even their Panavised Alexa Minis have the best cage systems out of all of them, especially vs the crappy Wooden Camera ones!

  • THIS is the kind of camera that RED should have released, but directly under their own RED brand, a solid studio camera that is well thought out and with a 5yr+ life cycle (like Arri cameras have). And not seemingly pumping out a new sensor or model version every six months or so.

    Of course, today, they are all panicking about the end of RED now that Arri went 4k, so the world is just upside down.

    Reduser has been fun to read lately :-D

  • It won't be the end of RED by far, just like it won't be the end of Sony, either. ARRI will continue to have its fans and people will continue to use the other cameras as well.

  • @fotosiamo of course it won't be the end of RED, but the fact that a bunch of REDUSERs are saying it will be is kind of funny.

  • @kellar42

    Red was build by marketing masters similar to some sect. Mostly driven by antiscientific beliefs.