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Panavision Millennium DXL. Powered by RED. Color by Light Iron.


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#21 Adrian Sierkowski

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Posted 02 June 2016 - 11:08 PM

It's not normally during takes where it's an issue. It can be an issue on certain productions between takes, however, when they hit up to full blast.

We did have the Dragon hit full blast fans during a take today-- but granted, it was VERY hot in that room.


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#22 Brian Drysdale

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Posted 03 June 2016 - 02:20 AM

Assuming the noise levels are what you'd expect, my concern would be ensuring you've got a cover on when it's raining. It looks like the camera could collect the water rather nicely in the the cooling system, with no where for it to drain away.


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#23 aapo lettinen

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Posted 03 June 2016 - 09:41 AM

Is there no fan control in the menu.. F5/55 has off/auto and off in record settings.. so you can have no fan during takes.. when in a very quite location..

 

yes there is, I don't have a camera around at the moment but it can be adjusted and will slow down during the takes. it's just that it will then vent out even more heat between the takes so it may be even noisier then but that is usually not a problem though you will occasionally get complaints about it for no reason  :rolleyes:

 

but with a relatively small digital camera with huge heat generation, you can't keep it silent all the time, especially in hot conditions. it would just melt then ;)


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#24 Alexandros Angelopoulos Apostolos

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Posted 03 June 2016 - 09:44 AM

I hope the Panavision thingy is RELIABLE in use. I'm sure the images from it are great or excellent but we'll see how it compares to Alexa 65 :)

 

This one is in the same category as Alexa 65?


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#25 Brian Drysdale

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Posted 03 June 2016 - 10:15 AM

Anything less than that wouldn't be up to the traditional Panavision standard, their film cameras went toe to toe with Arri.


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#26 aapo lettinen

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Posted 03 June 2016 - 10:37 AM

 

This one is in the same category as Alexa 65?

 

at least it is aimed to be. We well see how it works out but I think Panavision has kept the standards pretty high as usual  ^_^   

 

about the RED sensor VS Arri sensor, I think one can just treat them like different film stocks, like Fuji vs. Kodak. that is quite good analogy actually because the Red sensors have traditionally had more crosstalk and harsher highlight handling and because most of the people seem to prefer the "Kodak look" of the Alexa because of the colour reproduction difference and more pleasant "grain"


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#27 Alexandros Angelopoulos Apostolos

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Posted 03 June 2016 - 11:00 AM

So could you tell me if the sensor sizes are:

 

1. ALEXA 65 – 54.12 mm × 25.58 mm

2. RED WEAPON DRAGON – 40.96 mm × 21.6 mm

2. Panavision Millenium DXL – 40.96 mm × 21.6 mm

3. Sony F65 CineAlta – 24.7 mm × 13.1 mm

 

what is the criterion for putting all these cameras in the same class?

 

And two, considering what you said above (Fuji vs. Kodak), why was The Hobbit then shot on the RED EPIC camera?


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#28 Brian Drysdale

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Posted 03 June 2016 - 11:21 AM

"The Hobbit" was shot in 3D, on which they used a 2 camera rig. That's a more difficult arrangement with film cameras.

 

8K sensors, rather than the sensor size: The F65 has a 1.9:1 aspect ratio Super 35 width sensors, while the RED/Panavision is more Vistavision compared to the 65mm sized Arri.


Edited by Brian Drysdale, 03 June 2016 - 11:21 AM.

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#29 aapo lettinen

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Posted 03 June 2016 - 12:07 PM

So could you tell me if the sensor sizes are:

 

1. ALEXA 65 – 54.12 mm × 25.58 mm

2. RED WEAPON DRAGON – 40.96 mm × 21.6 mm

2. Panavision Millenium DXL – 40.96 mm × 21.6 mm

3. Sony F65 CineAlta – 24.7 mm × 13.1 mm

 

what is the criterion for putting all these cameras in the same class?

 

And two, considering what you said above (Fuji vs. Kodak), why was The Hobbit then shot on the RED EPIC camera?

 

I would not put the F65 to the same class, it is a more traditional digital cinema camera with more practical sensor size than those oddball ones. With a cinema camera you are always a bit screwed if you can't use all the lenses you would like to, thus it is usually better to stay on the closest standard rather than trying to make a new one. this is especially true with lens mounts. 

 

As far as I know The Hobbit was shot on Epic because of the 3D rigs, large amount of cameras used and because Peter Jackson was/is a supporter of RED so he could have great service and pre release models for the shoot. I think it was a good choice considering the production as a whole. however I was very disappointed with the colour rendition in 3D hfr release, I watched the last 2 movies in 2D because it is just so disappointing to watch a fantasy film without colours  :blink: it was not theather's fault as far as I know and definitely not camera's fault (the 2D versions were fine as well as the 3D version without the glasses on) so maybe the 3D was not a perfect choice in this series I think :ph34r:


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#30 Robin R Probyn

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Posted 03 June 2016 - 07:57 PM

Maybe because the F65 .. although a smaller size sensor.. the pixel,s are set in a clever way (diagonal grid).. that its a 6K sensor..


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#31 Brian Drysdale

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Posted 05 June 2016 - 11:39 AM

A few details from Michael Cioni from Light Iron.

 

https://www.cinema5d...cine-gear-2016/


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#32 Keith Walters

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Posted 06 June 2016 - 01:40 AM

Anything less than that wouldn't be up to the traditional Panavision standard, their film cameras went toe to toe with Arri.

Er, an awful lot of them were Arri cameras. Panavision were Arri's biggest customer. Probably still are.....

Panavision were never proud; if enough people asked for something, they'd get it.


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#33 Brian Drysdale

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Posted 06 June 2016 - 02:15 AM

True, they Panavised a lot of Arris. I was thinking more of the Panaflex v the Arri 35 BL cameras, which was a sort of Apple v PC thing at the time.


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#34 Igor Trajkovski

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Posted 06 June 2016 - 04:24 PM

What's the thinking behind the sensor size?

 

Neither VistaVision nor 65mm.

...

 

New lenses on the way optimized for this format?

 

Another entry in Field of View calculators?



 


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#35 Brian Drysdale

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Posted 06 June 2016 - 05:17 PM

Here's an article which may explain.

 

http://www.fdtimes.c...ding-red-20x40/


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#36 Satsuki Murashige

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Posted 06 June 2016 - 08:05 PM

What's the thinking behind the sensor size?


I would guess full height (4perf) anamorphic with look-around for all the classic PV scope lenses would be of primary importance. Next would be making use of the 65mm glass from Vantage and PV, Hawk65 and Primo70. Plus all the classic 65mm glass from PV. Lastly, more resolution for visual effects and large format presentation. But I think it's mostly about making better use of the existing lenses.
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#37 Brian Drysdale

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Posted 14 June 2016 - 03:06 AM

Light Iron's Michael Cioni on the Panavision DXL

 

http://www.redsharkn...ra-ever-made”


Edited by Brian Drysdale, 14 June 2016 - 03:09 AM.

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#38 Brian Drysdale

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Posted 15 June 2016 - 03:49 AM

An Art Adams article on the DXL

 

http://www.provideoc...cinematography/


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#39 Brian Drysdale

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Posted 14 July 2016 - 09:05 AM

An Adam Wilt article on the DXL

 

http://www.dvinfo.ne...lenium-dxl.html


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#40 Keith Walters

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Posted 30 December 2017 - 08:06 PM

So 18 months on, what has been shot with this?

Is there any website that carries that sort of information, apart from the manufacturers' websites?

If there's a place for that on the Panavision site, I can't find it.


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