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GEAR GROUP NEW CAMERAS
PANAVISION DXL2 With Panavision making big noises about 8K there have been further developments with their DXL camera. Firstly, the DXL2 takes advantage of a new optimised REDMonstro sensor. The company’s Michael Cioni commented: “The new REDMonstro sensor is bananas! It’s truly a mark of achievement from the RED company. Over 16 stops of dynamic range and 1600 native ISO!” Light Iron, part of Panavision, has also released Light Iron Color 2 (optimised for HDR using REDWide Gamut). Michael again: “LiColor2 is optimised for REDWide Gamut, which is great stuff using the new IPP2 processing from RED. Signal-to-noise ratio is bonkers. This camera is clean and powerful and that means smoother, more malleable images.” Also new is ProRes 4K (optimised for episodic), 24-volt power and a built-in Preston MDR. “ProRes 4K gives the full 8K large format field of view, plus we have Cooke/i integrated into the lens system using our SP70 large format mount. “The Preston announcement is big for us. Panavision has a camera with interchangeable MDRmodules, a world first, that allows users to decide how to configure their camera, not the other way around. It is amazing to have a full Preston MDR as part of the DXL ecosystem. “Tying the new Preston MDR into DXL2 allows for direct connection to the new Preston Light Ranger. The Light Ranger uses lasers to gauge focus and then radios that back to the module. Because DXL’s module is built in, and our motors are built into some of our lenses, the Light Ranger allows automated focus assist to be mapped seamlessly into the lens and controlled by the first AC. This is important because DXL’s large-format sensor makes it more of a challenge to pull focus. Panavision is now making T1 lenses and in large format – that’s a challenge and this system helps ACs find focus and maintain control.” All these features were made available internationally on the same day.
RED WEAPON 8K RED Digital is really an engineering marvel of a company. Their camera BRAIN is the primary building block of the RED system, housing the image sensor and advanced computing components. AWEAPON BRAIN is capable of data write speeds of 300MB/s, can simultaneously record in REDCODE RAW and Apple ProRes or Avid DNxHR/HD, and is offered with three sensor options – delivering huge dynamic range and up to 8K resolution. Their latest sensor is an optimised version of the Monstro (the same sensor as is currently being used in the Panavision DXL2). The size is similar to full-frame but nowadays sensor sizes aren’t really adhering to classic ratios. The spec is a 35.4-megapixel CMOS Sensor 40.96mmx21.60mm (Diag: 46.31mm) This is RED’s premier sensor (for the moment) and provides cinematic full-frame lens coverage; and they claim to deliver 17+ stops of dynamic range. The DSMC2 form factor is their smallest and lightest BRAIN ever. With features like cable-free peripherals, integrated media bay, wireless control, (their David Fincher-customised Xenomorph camera for Mindhunter might have been the inspiration for these features). RED, once a quite closed company, is now compatible with a growing arsenal of modules and accessories – from RED itself and other third party manufacturers. Tack on interchangeable OLPFs and lens mounts and WEAPON gives you more control over your footage. While other companies concentrate on the magic sensor sauce, RED has worked so far to continually outreach themselves and rigidly adhere to their ‘Obsolescence Obsolete’ mantra prevalent from the start of their story. With their very expensive Hydrogen mobile phone due to be launched this year and a rumoured connection with Foxconn for a new range of cheaper cameras, the RED story will continue for a while yet.
SONY VENICE The Venice is the first full-frame cinema camera from Sony and replaces the bulky F65 which had the option of a global shutter to stop the dreaded rolling-shutter effect. The Venice uses a conventional shutter but is said to control rolling-shutter effect well, thanks to its much faster processing speed. Compared to the RED, it’s around half the price for the body alone but doesn’t output in 8K. Instead, Sony has focused on making the camera better at low light by increasing the size of the pixels on the 35x24mm full-frame sensor rather than increasing the resolution wildly. The camera also has lots of different anamorphic capabilities, and the sensor will be interchangeable so can be upgraded if a new chip becomes available in future. With talk of 8K TV broadcast in coming years, especially around the 2020 Olympics in Japan, this would make it a prime candidate for a sensor upgrade. The camera comes with a PL mount but an E-mount can be fitted, and the lens mount includes contacts that support Cooke/i Technology for recording data which can be used in post-processing. There are user-selectable areas of the image sensor to allow shooting in Super 35 size while future firmware upgrades will unlock even more options. The sensor is said to handle 15 stops of exposure latitude and the camera offers 16-bit Raw/X-OCN and XAVC workflows using the memory recorder AXS-R7 (£7483/ $6236) that also fits the F5 and F55. A 1TB AXS card is £4780/ $3600 so the costs do escalate. The Venice also has a built-in, 8-stage glass ND filter system, the widest range of any similar in-camera system. What is unusual is that the users have to pay extra to license certain features on the camera which can be bought for permanent use, or rented monthly or weekly. Although exact details haven’t yet been announced,
they will unlock features such as 4K anamorphic and full-frame output.
DEFINITION APRIL 2018
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