A decade ago, a new company announced a ground-breaking digital cinema cameras, and helped push the envelope of digital emulsion. Now, RED has become a ‘weapons dealer.’ No, not that kind. We’re talking the camera kind. That’s because Jarred Land and the RED Team have teamed up with Panavision to weaponize their latest digital cinema camera. Say hello to the Panavision Millenium DXL.
“The digital cinema camera has become a hub, and it has as much to do with production as it does post production. And so we’ve incorporated the best electronics to improve the workflow for all the end users.” – Michael Cioni, President and DXL Product Director, Light Iron
Working with Panavision and its subsidiary Light Iron, RED has created a beginning to end digital cinema camera that thinks about the entire workflow from lens to post-production. Designed to be smaller than most studio cameras, the DXL is also light enough to have a mobile feel to it.
The modular design is distinctively RED, while it maintains Panavision’s distinctive lens and color gamuts.
“Its going to feel like a Panavision camera right from the moment you walk up to it,” adds Haluki Sadahiro, Panavision Product Manager for Camera systems,”because it pretty much has everything from lensing, workflow and accessorization all in mind from the ground up. It’s really the most complete camera system we have ever seen.”
The interior includes a 16 Bit 8K CMOS sensor that writes to RED Raw, plus 4K ProRes or DNx and offers 15 stops of dynamic range at 60 fps full frame.
“The camera shoots simultaneous at 8K, but for for people that want a direct to edit workflow, they can take the ProRes or DnX and edit to the NLE of their choice,” Cioni says.
Other features include:
- 16-bit, 35.5 Megapixel CMOS
- 8192 x 4320 Resolution
- 15 stops Dynamic Range
- 60 fps at 8K Full Frame (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x 3456)
- 8K RAW with simultaneous 4K proxy (ProRes or DNx)
- .r3d supported in RED SDK
- Light Iron Color (compatible with all popular gamuts and transfer curves)
- 6 independent video outputs
- Supports 6 independent 1D LUTs or up to 4 independent 3D LUTs
- Directly motorize Primo 70 lenses through wireless control
- Built in wirelesss timecode for genlock (Ambient Control Network)
- Dual menus (Operator side, Assistant side)
- Advanced airflow system for superior temperature management
- Custom cheeseplate with integrated electronics
- Modular and tooless quick changeover accessories
- Weighs 10 lbs.
The modular design with a bottom dove tail and top cheese plate also allows shooters to change out rigs and mounts within seconds and still keep it in a small, compact form factor. But even though it’s a smaller camera, the RED sensor gives shooters not only a full frame 8K image, but it also supports anamorphic lenses for the only 4K anamorphic camera system in the market.
Using Light Iron color gamut, camera shooters can adjust and color grade in real time, saving hours of doing it in post. Additionally, the 8K gives the color grading workflow a much clearer picture as it works through the grading path.
You know, this story kinda reminds me of when Apple was on it’s financial heals and Steve Jobs convinced rival Bill Gates to help save the company with a cash infusion. Gates did in exchange for access for Microsoft Office to the Mac OS and the rest is history. Only in this case, it’s Panavision that gets the assist after having once been on shaky ground.
After a string of good fortune that included being the main cinema cameras for Star Wars The Force Awakens, now RED rides in and gives them just what they need to create a solid 8K camera. Though I’m guessing it’s just below that of the RED Weapon, think of it as a RAVEN on Steroids.
No word on availability yet, but it sure looks like a sweet rig. For more information, visit dxl.panavision.com