An interview from the 2016 Cine Gear Expo at Paramount Studios in Los Angeles with Dominick Aiello of Panavision. Panavision is the world's leading designer and manufacturer of high-precision lenses for the motion picture and television industries, and one of the world's leading providers of camera systems, including both film and digital cameras. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions, and offers 24/7 service support around the globe.
In this interview Dominick showcases the newly announced Millennium DXL Camera (“DXL”), a revolutionary breakthrough in image acquisition and workflow. DXL was developed through an unprecedented combination of three companies’ best-in-class contributions: large format optics and modular accessories from Panavision, a brand new 8K sensor from RED Digital Cinema, and new color science and optimized workflow from Light Iron.
At the core of DXL is a proprietary image mapping process called Light Iron Color, which provides a unique, cinematic look directly out of the camera. Light Iron Color integrates seamlessly with DXL’s ultra-high resolution sensor, a new 8K imager manufactured by RED Digital Cinema, and with Panavision’s large format lenses. The camera body was designed with ergonomics and temperature management in mind: its mid-size form factor is extra lightweight, yet allows for an airflow system that dissipates heat more quietly than compact competitors. DXL also has built-in, crew-friendly, modular accessories to improve versatility and quick changeovers during production.
“Our streamlined workflow includes simultaneous recording of 4K proxy files - ProRes or DNx alongside the 8K RAW files,” states Michael Cioni, DXL Product Director and President of Light Iron. “This creates a direct-to-edit workflow with the NLE of your choice. Using efficient SSD media, the cost of capturing 8K files with DXL is more economical than using third-party recorders on lower resolution cameras. Light Iron Color and our Panavised Outpost Systems provide a workflow for DXL that can be easily adopted for shooting large format photography.”
“What is exciting,” adds Cioni, “is that cinematographers will notice how 8K acquisition creates images that are smoother, not sharper. With a full frame 35-megapixel imager, DXL provides a super-sampled image, much like large format still photography, so that its smoothness is retained whether you finish in 4K, 2K, or HD.”
Jarred Land, President of RED Digital Cinema, notes that the collaboration with Panavision marks “the next step forward for the industry. RED pushed the motion picture industry into file-based RAW image capture a decade ago, but Panavision has been renowned for their optics and engineering for more than 60 years. Together with Panavision and Light Iron, we’re shaping the future of large format cinematography.”
For more information please visit: www.dxl.panavision.com