[jogiba]

http://dxl.panavision.com/

https://vimeo.com/168869375

 

[Ungermann]

Film has been dead for a decade already.

This is a RED with Panavision customization. This happens all the time with other manufacturers. This time they made lenses to work with RED body. Good for them, but not something out of this world. Panavision just trumping that it is not dead.

 

[jogiba]

Based on the nomenclature of the Panaflex Millennium XL and XL2 35mm film cameras, the Millennium DXL, like those models, is designed to be lightweight and quiet. At only 10 lbs, the Millennium DXL body houses an innovative cooling system that makes it almost silent despite the compact body and massive amount of data creation. A lot of thought has been put into their camera rigging, as well. Senior Camera Applications Engineer Dominick Aiello led us through a tour of his rig designs at NAB and the cheeseplate system was very versatile with plenty of articulation throughout the sides and top for adding peripherals and accessories wherever preferred. It’s well thought out for camera operators. The quick-release Steadicam-compatible dovetail plate at the bottom of the camera, for example, allows the system to be swapped freely between tripod or stabilization systems without any tools. The cheeseplate also incorporates integrated electronics for viewfinder systems to reduce cabling and clutter.

http://www.hdvideopro.com/blog/panavision-millennium-dxl-camera/

Cinematographers talk about the Panavision Millennium DXL camera
https://vimeo.com/169289501

 

[Ungermann]

What you quoted is standard boring corporate PR. Panavision lenses on RED body, as innovative as Mercedes engine in Chrysler body.

 

[jogiba]

Wrong

The Panavision-built body and optics system is centered around the RED 8K sensor, but Light Iron promises a new color matrix that will present a cinematic, filmic look with accurate and subtle flesh tones right out of camera.

http://www.hdvideopro.com/blog/panavision-millennium-dxl-camera/

There are six (!!!) independent SDI connections, which will support an individual 1D LUT per channel or up to four 3D LUTs. The RED WEAPON 8K sensor captures 8K RAW in compressed .R3D format, so there is support for files by most NLE systems. With 16-bit capture, despite the whopping resolution (each 8192 x 4320 frame is roughly 35.5 megapixels), the camera claims a dynamic range of 15 stops and a top frame rate of 60fps in full 8K as well as 75fps in 8K when cropping the 8192×4320 frame to a 2.4:1 ratio at 8192×3456. This is alongside a proxy 4K stream in Apple ProRes or Avid DNx that can be captured simultaneously for instant edit and preview. Capture is performed to an SSD that anchors to the outside of the camera, which each capable of capturing up to 1 hour of footage per magazine. Externally, there are also a few other nice touches like dual menus so operators and cam assistants both have access to controls and files from either side of the DXL.

http://www.reduser.net/forum/showth...navision-DXL&p=1632035&viewfull=1#post1632035

 

[mhnyc]

I've got to agree that this is exciting-- while we mostly have hype-filled marketing material so far, there's a lot of potential here. While it's true that the heart of the system is essentially Panavision lenses on Red's latest body (a set-up achievable through swappable mounts going back to the Red One), I'd be excited if this collaboration realizes the promised improvements in color science, integration of modular functions, and plain old usability.
While most or all of what this camera does has already been achievable through artistry in post-production and the combination of various modules with the Red bodies, the hope here would be that Red and Panavision can now offer their own version of what's so great about the Arri Alexa. (After all, there are reasons that filmmakers still so often choose Arri, despite the fact that the Alexa line generally doesn't offer the same bleeding edge resolution as does the latest Red; the Alexa camera works the way a filmmaker wants it to, and the footage looks great, preserving a lot of the quality that we've long loved in analog film.)
In a time of renewed interest in both vintage optics and large format production and presentation (i.e. the use of IMAX and 70mm in recent productions), having a system that marries Panavision lenses and color science with ultra-high resolution capture sounds like a great idea. Time will tell if this lives up to the promise.

 

[mhnyc]

On a side note: as amazing as this and, say, the new Alexa 65 systems are, I'm going to keep disagreeing: there's still a place for film. I'll rehash arguments on neither technical superiority nor "soul" here, only raise my hand as a celluloid fan!

 

[Mattias Burling]

Yup, around 50% of the Oscar nominated movies last year where shot on film. Wouldn't call it "dead".
And this camera isn't going to kill it either.
Thinking so is more than a tad naive.

 

[jogiba]

Emmanuel Lubezki Wins Best Cinematography at 2016 Oscars for The Revenant

http://oscar.go.com/news/winners/the-revenant-is-2016-oscar-winner-for-cinematography
http://nofilmschool.com/2015/02/emmanuel-lubezki-using-arri-alexa-65-inarritu-revenant

Anyone who thinks film is the future of Cinema is blind. Cinema is moving to high frame rates of 60-120fps and film can't touch that.

 

[Mattias Burling]

Anyone who thinks anyone in this thread ever claimed film is the future is a borderline troll that always twists and turns arguments, ignore facts and takes things out of context just to make it suite their very narrow minded approach to video making.

I've never seen anyone in this thread claim film is the future, so I guess I'm safe.
I did however see a man say that film was "dead" when evidence clearly shows that it isn't.

 

[P&Struefan]

If anything, this 8K stuff will be great when it trickles down to the consumer level as 4K has done with the handycams, stills pocketables and cellphones of today. I will be able to be more sloppy with my shooting yet get more usable results when that 8K raw footage is chopped down to 4K or even 1080p. Working in the editing room will be more fun simply because I can do so much more with the footage without the need to reshoot the whole thing again. I'm not saying people will be doing a greater job but it will make their jobs easier. Since the onset of consumer 4K, my jobs have been easier even though the majority of them have been output to 1080p. 8K will do the same.

IMHO film can be made to look great but it is very unforgiving. The hassles of the workflow are monumental and would scare off newer generations of creative people. People who'd rather spend their efforts on getting the best content, not the means of getting it.

 

[Mattias Burling]

Film can be messy but one of its biggest perks imo is that it is very forgiving. You have a huge latitude to push and pull exposure and can save more shots.
The biggest problem imo is size, time and for some projects prize.
A lot of times film can actually be cheaper.

 

[jogiba]

Anyone who thinks anyone in this thread ever claimed film is the future is a borderline troll that always twists and turns arguments, ignore facts and takes things out of context just to make it suite their very narrow minded approach to video making.

I've never seen anyone in this thread claim film is the future, so I guess I'm safe.
I did however see a man say that film was "dead" when evidence clearly shows that it isn't.

How many cinemas are installing film projectors vs digital projection systems ? Quentin Tarantino had to find lenses that were last used in 1966 for his 70mm film 'The Hateful Eight' and there are only a few cinemas that still have 70mm projection systems. If I said DOS is dead I bet someone would say no way, there are DOS systems still being used out there.