The sequel to the 8K Millennium DXL makes its debut at BSC Expo 2018.
Combining Panavision optics and a newly updated 16-bit color pipeline from Light Iron, the Panavision Millennium DXL2 has been announced. Promising more than 16 stops of dynamic range, the Red Monstro 8K VV sensor offers native ISO of 1600 and full-frame 8K at up to 60 fps.
“Panavision’s vast inventory of advanced large-format and anamorphic optics combined with Red’s MONSTRO imager expands what’s possible,” announced Michael Cioni, Senior VP of Innovation at Panavision and Light Iron, in the press release, “allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams.”
In addition to Light Iron’s LiColor2 16-bit color processing, an integrated, brand-new PX Pro color-correction filter with infrared and ultraviolet cutting has been customized for the DXL2, offering an increase in color separation and gamut precision. The Millennium DXL2 also includes AFA anamorphic flare attachment as a controllable method for introducing flares when using spherical lenses.
As a rental company, Panavision has a litany of glass available for large format coverage, including the Panavision Primo 70, Sphere 65, Ultra Panavision 70, and more. With 5µ (micron) pixel pitch and diagonal at 46.31mm (40.96mm x 21.60mm), the DXL2’s sensor covers anamorphic, as well, available through many of Panavision’s own options, like the Pana Ultra 70 with 1.25x squeeze, providing a 35mp image at “true 8K.”
“We have been listening to feedback from cinematographers and the results of our collaboration are directly manifested in the DXL2,” added Panavision CEO and President Kim Snyder. “We remain committed to continuous technological development and are excited to bring this new camera to market.”
Sixteen-bit RedCode can be captured in 8K raw at up to 60fps. For slow motion effects 7K at up to 72 fps, 6K at up to 80 fps, 5K at up to 96 fps, 2K at up to 120 fps, and more. A smattering of ProRes and Avid DNxHR capture available in 4K as well as 2K and, with metadata synchronized to the raw files, simultaneous proxies are available right out of camera.
At a base weight of only 10 lbs., the DXL2 has been designed modularly with compartmentalized, independent electronics. The SDI module, for example, can be configured for verbose monitoring paths. Full camera controls can be customized to either side. The camera has integrated and interchangeable MDR modules for wireless lens control, including an option for the DXL2’s Preston Module, an integrated 3-axis, 3-channel version of the Preston MDR3. For single or multiple cameras, the DXL2 Control iOS app provides full menu access, realtime histogram, and remote program for up to eight shortcuts. A cheek pad module can be replaced with soft pad for handheld work.
For powering, in addition to secondary power port and primary 24v power port on the camera, the DXL2 has a Hot Swap Module with two 24v and three 14v ports plus USB. Since the introduction of the Millennium DXL at Cine Gear in 2016, it has been used on a number of productions, including more than 20 features, two of which were helmed by ASC member and Oscar-nominated cinematographer John Schwartzman.
“When you take an 8K image and super-sample it, it only gets better,” Schwartzman explains. He provided feedback on the design of the new Millennium DXL2. “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 Millennium DXL2 system is available for rental exclusively through Panavision, a leading worldwide supplier of film and digital camera systems, lenses, lighting, grip, crane equipment and accessories.