Now Available: Tech Talk Podcast with Scott Wilkinson, Episode 19 Click here for details.
http://www.hdvideopro.com/blog/panavision-millennium-dxl-camera/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/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.reduser.net/forum/showth...navision-DXL&p=1632035&viewfull=1#post1632035There 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://oscar.go.com/news/winners/the-revenant-is-2016-oscar-winner-for-cinematographyEmmanuel Lubezki Wins Best Cinematography at 2016 Oscars for The Revenant
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.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.