08 NEWS INTERVIEW
SECOND SIGHT We asked Panavision’s lens expert Dan Sasaki and Light Iron’s Michael Cioni why they are re-evaluating the eye’s resolving ability
Definition: How do you explain the relationship between perspective, magnification and resolution/ contrast for acquisition? MC: The difference between an image captured on a smartphone compared to one captured on DXL is not limited to colour, compression or dynamic range. While these tenets will always be important to creating an image, they are relatively easy to manipulate or change using post-production toolsets. Sensor size, pixel pitch and depth-of-field are not things that can be adjusted because they are part of the optical (analogue)
Definition: What are the advantages of the extreme resolutions that cameras like DXL are offering? Michael Cioni: DXL captures images using a sensor built by RED Digital Cinema. This one-of-a-kind sensor has both a high pixel density coupled with a large sensor area size. In fact, in the motion picture market, it’s the combination of these two characteristics that makes it unique from every other sensor available. In total, DXL’s sensor has an active area of 8,192 horizontal pixels and 4,320 vertical pixels producing images that are over 35 megapixels. What’s more, DXL is able to capture this
resolution at up to 60 frames-per- second, another feature only RED technology has been able to achieve. Initially we were unsure what this many pixels would do to an image. Over time, we learned that the core of every remarkable image this breakthrough sensor creates is tied to resolution. When you start with more resolution over a greater area, the dimensionality, depth, colour and control of an image dramatically increases. Similar to the principles of IMAX and 70mm film, creative control comes from the ability to sculpt images to your liking, and resolution is the core of this.
ABOVE Panavision chose an 8K sensor for their DXL camera, their new research seeks to prove why they were right to do so .
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