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Panavision DXL 8K Camera Unveiled at ASC Clubhouse

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Is it made for Panny by RED?   Or made BY Panny with RED parts?

Neither. The lenses are Panavision by Panavision, and will offer the option to choose focus and aperture in camera rather than on the rings. The sensor is RED. The companies (3 total) worked together to make this camera.

Sent from my HTC6535LVW using Tapatalk

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Lenses and sensor. Check. So who designed and manufactured the body? Looks like Panavision? 

And since Light Iron is a subsidiary of Panavision, feels like two companies to me. But that's fine. I'm never going to work with this camera. And that's fine too. 

 

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7 hours ago, Philip Perkins said:

Is it made for Panny by RED?   Or made BY Panny with RED parts?

Naw, it's just a Panavised Red Weapon 8K camera. It's basically a straight Weapon camera with a whole bunch of Panavision accessories and lenses on it, plus a very nice follow-focus/zoom control. It's a good, solid camera, but I kind of wince at the 8K side of it because the files are massive. We're talking 1TB per hour, which will be a nightmare for post. Imagine 3-4 hours of A&B camera per day... !!!

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2 hours ago, Marc Wielage said:

Naw, it's just a Panavised Red Weapon 8K camera. It's basically a straight Weapon camera with a whole bunch of Panavision accessories and lenses on it, plus a very nice follow-focus/zoom control.

It also kind of looks like the custom RED that Fincher got made for 'MindHunter'

https://www.cinema5d.com/david-finchers-custom-red-xenomorph-for-netflixs-mindhunter/

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Integrated:

  • RED Weapon Dragon 6K Sensor Technology
  • 7.0″ LCD Touch
  • Paralinx wireless video
  • Extended WiFi/Foolcontrol antenna array
  • RT Motion Lens Motor Control
  • Zaxcom wireless audio and timecode
  • Anton Bauer Gold Mount
  • Shoulder Mount
  • Xenomorph-inspired brain design

 

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Not only three companies, but if you include Zaxcom and Ambient; that makes five companies. But we still lack of directors.

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3 hours ago, soundtrane said:

Integrated:

  • RED Weapon Dragon 6K Sensor Technology
  • 7.0″ LCD Touch
  • Paralinx wireless video
  • Extended WiFi/Foolcontrol antenna array
  • RT Motion Lens Motor Control
  • Zaxcom wireless audio and timecode
  • Anton Bauer Gold Mount
  • Shoulder Mount
  • Xenomorph-inspired brain design

 

No it's Ambient TC. What you described is another 6k body from Fincher's design.

16-bit, 35.5 Megapixel CMOS
8192 x 4320
Large Format: 40.96mm x 21.60mm (Diagonal: 46.31mm)
15 stops
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)
SSD (up to 1 hour on a single magazine)
.r3d (supported in RED SDK)
Light Iron Color (compatible with all popular gamuts and transfer curves)
10 lbs.
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

 

And for the media, there is also R3D compression. Wich gives you as much as or much lower data rates than an 3.4k Alexa (if needed).

 

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Apparently Panavision says that they did much/most of the work themselves. As Geoff Boyle posted on CML this morning:

I've said already that I talked to the people behind this camera yesterday
as did Adam Wilt, Art Adams and James Mather, either we all misheard or
they are taking the sensor and the encoding system from Red and doing
Everything thing else themselves.

So that's the message/positioning...

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3 hours ago, Jim Feeley said:

Apparently Panavision says that they did much/most of the work themselves. As Geoff Boyle posted on CML this morning:

Everybody knows Geoff Boyles's love affair with RED... But no doubt Panavision embracing RED for their new top of the line is a big statement. But they also had to do this moove when they didn't have the right to use Arri65 in their rental arsenal. Thanks Arri for your visionary attitude! Lol

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There are 2 mic below the lens mount but if they are as bad as those on the Weapon it's unusable even for a "guide track". They treated it more like a film camera. The camera will be used only on rentals for top of the highend shoots. But it's still a prototype, perhaphs there will be a small audio reciever built in once...?

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Looks like an overall expansion of Panavision's original Panavized Weapon. This is definitely overall made by Red. Buttons and dials are all Red, as is the REDMAG media, Weapon LCD interface terminal, and menu control screen, even some fonts and labelling. Enhanced color engines, RF for lens control, and ACN looks also to be courtesy of OFFHOLLYWOOD and their C3 Engine. OFFHOLLYWOOD has had these features as part of their OMOD Red module lineup for a little while now. Looks like Light Iron put their own profiles into the C3 Engine's color profile.

panavision_pv_module_weapon_8k.jpg

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@Marc Wielage maybe people will start rehearsing more and shooting what they need instead of endless amount of coverage because of the volume of files, like before when it was because film was expensive. I have to think that at some point people will wake up and come to the conclusion that doing things the right way is the better way, not just getting endless amounts of coverage because they don't have a plan to begin with. 

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2 hours ago, Matthew Sonnenfeld said:

Looks like an overall expansion of Panavision's original Panavized Weapon. This is definitely overall made by Red. Buttons and dials are all Red, as is the REDMAG media, Weapon LCD interface terminal, and menu control screen, even some fonts and labelling. Enhanced color engines, RF for lens control, and ACN looks also to be courtesy of OFFHOLLYWOOD and their C3 Engine. OFFHOLLYWOOD has had these features as part of their OMOD Red module lineup for a little while now. Looks like Light Iron put their own profiles into the C3 Engine's color profile.

It looks like they have access to the Sensor RAW data and do their own debayer. Not only tweaking from the RGB signal as done by the ACN egine.


Ian Vertovec, from Light Iron:

"We profile the cameras and build color adjustments in the widest possible color space. Then that adjustment is embedded in the RED SDK. This way we work off the raw data and you can still output to rec. 2020, ACES, etc, and still maintain all the original camera latitude. And since it is embedded in the RED SDK, it's available in any software that supports RED. "

http://www.liftgammagain.com/forum/i...sion-dxl.6817/

 

But this statements from the same person that looks the contrary... (who knows?)

"There may be a reason for us to do our own SDK at some point, but for the foreseeable future it will be though RED. An easy implementation for third parties and users was a high priority. That is why we kept the .r3d format."

 

2 hours ago, JonG said:

@Marc Wielage maybe people will start rehearsing more and shooting what they need instead of endless amount of coverage because of the volume of files, like before when it was because film was expensive. I have to think that at some point people will wake up and come to the conclusion that doing things the right way is the better way, not just getting endless amounts of coverage because they don't have a plan to begin with. 

I don't know with whom you work but I doubt Ficher and some others work like that.

Mark Wielage will give us more accurates infos as I see he will gather them at Cinegear. Anxious to hear from him.

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@Patrick Tresch I see this style of filming becoming more and more the norm. Scripted cinema and televidion being shot more like reality TV. The phrase "get extra coverage just in case, for more options" becoming ever present. 

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I think the point is,  if your dailies were delayed by a full day by shooting this resolution continuously,  more discipline may follow

11 hours ago, Patrick Tresch said:

@JonG to bad! But nothing to do with the tool. Just how they use it.

 

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