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Introducing 8K RAW DXL Cinema,The World’s Most Advanced Camera

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For the first time in cinematography history, Panavision is making its ground breaking entry into creating the world’s most technologically advanced camera. Yes, Panavision 8K RAW DXL Cinema.

What To Know About The Panavision Millennium 8k DXL Camera

This camera is not just a high-end large format cinema camera, it’s also a collaboration effort of Panavision, Light Iron, and RED coming together to create the world’s most technologically advanced camera. This is indeed a ground breaking effort that will take video creative works to the next level. The DLX Cinema has a built-in motorized lens control for their Primo 70 lenses without external motors to 6 independent SDI video outputs. There are so much work that was put into creating this exciting machine.

PANAVISION

Photo Credit: Panavision

In the same category with the 8k DXL camera is the recently announced Arri Alexa 65 which is another  top-end large sensor digital camera. but the 8k DXL camera  is fully supported by RED’s workflow, and is even capable of shooting 4K proxy files in ProRes or DNx flavours at the same time and its  proxy mode alone performs better than several other existing professional cameras. and for more emphasis, The Panavision DXL shoots 8K .r3d RAW which makes it the world’s most technologically advanced camera at the moment.




Also worthy to note that the Panavision DXL camera is a rather light as it weight 10lbs. and due to the large size, its processing power and the gigantic sensor will give cause for a lot of heat generation. But it was design such that its airflow system will ensures sufficient cooling for the camera which will make the camera a bit heat resistant. You can edit the 4K file in any edit suite, but the 8K RAW file is encrypted, so they may well limit the ability to open that file to their system. You must also know that there’s a built-in WiFi Ambient ACN time code transmitter receiver so there is probability that no one will be recording audio direct into the camera but there is a way to link it up.

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The DXL launch event in Hollywood. Photo courtesy Bill Bennett.

The Camera Specifications

Sensor Type – 16-bit, 35.5 Megapixel CMOS

Resolution – 8192 x 4320

Sensor Size – Large Format: 40.96mm x 21.60mm (Diagonal: 46.31mm)

Dynamic Range – 15 stops

Max Frame Rate- 60 fps at 8K Full Frame (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x 3456)

Recording Codec –8K RAW with simultaneous 4K proxy (ProRes or DNx)

Recording Media- SSD (up to 1 hour on a single magazine)

File Type- .r3d (supported in RED SDK)

Color Profile- Light Iron Color (compatible with all popular gamuts and transfer curves)

Weight- 10 lbs.

Additional Features

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

Price

This Camera is not available for sale any time soon. It is only available for rentage for now just like the Arri 65. But if you are ready for this next big thing, wait until the first quarter of 2017 at a price that is yet to be announced.

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Cinematography

How To Create A Video Studio From Low To High Budget

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Creating a professional Video studio might cost thousands to millions of dollars investment depend on how professional you want to go in setting up and not every one could afford investing so huge especially for startups creative mind. But the truth remains that you can make your dream of creating your own video studio becomes a reality with little bucks of dollar investment and still work like a pro.
In this article, we are going to learn from Ashley Hockney is the Content Marketer & Writer at Teachable as she discuss the two options of creating your own video studio from a low budget as well as upgrading your budget. (more…)

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Cinematography

How to shoot a film look video with smoke or fog machine

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Utilizing smoke or fog machine can be to a great degree gainful in circumstances where you tend to utilize different light sources that will be obvious in your shots, yet there are numerous different occasions where this method may likewise prove to be useful.

One of the essential takeaways worth saying here is the way that you would prefer not to exaggerate with the mist, as this is one of the simplest approaches to destroy your shot. You additionally need to spread the dimness uniformly all through the room, utilizing some kind of fan, and make it undetectable in camera and to your crowd.

Notwithstanding including a touch of haze can definitely enhance the vibe of your shot, particularly in low light circumstances where utilizing just several light sources will be all that could possibly be needed to create a staggering Spielberg-style symbolism.

The uplifting news is that haze machines are a to a great degree moderate bit of gear and an awesome beginning stage. You can undoubtedly get one for around 50-100 dollars or somewhere in the vicinity, contingent upon the fluid that you will utilize.

In the event that you need to plunge your toes in the water and spend some additional money for a more expert instrument you can get a hazer, that disperses a more slender more imperceptible murkiness contrasted with a customary passage level haze machine.

Hazers are intended to run consistently and are generally constantly prepared go while a mist machine discharges blasts of haze and afterward for the most part need to stop to warm

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At last, there are such a variety of looks that you can accomplish using either a haze machine or hazer that I urge you to get one and do some test all alone. I’m almost certain that you will be more than astounded by the plenty of elaborate, specialized, and tasteful outcomes you can get, regardless of on the off chance that you will shoot a sunshine inside or some dreadful low-light scene.

Atmosphere Aerosol enables photographers and filmmakers to quickly, easily, and safely create fog or haze for photos and film.

How To Use Atmosphere Aerosol
– Shake can well before using.
– Spray in room or still area for 20 seconds or more.
– Atmosphere Aerosol will linger in the air for minutes for photos and films.
VERY IMPORTANT! Back lighting is required to see haze or fog. Position and amount of light will determine the look of the fog or haze.
– Re-spray as needed.

Tips for Shooting Outdoors

Spray Atmosphere Aerosol in the air behind the subject, so it will spread out evenly throughout the scene. If there is a breeze, spray Atmosphere into the wind in order to disperse the haze as it travels downwind.

Tips for Shooting Indoors Using Natural Light

The shooting indoors with natural light coming through the windows. The air was still, the windows should be closed, Do not put on fans or air conditioning vents. Something to look for when using Atmosphere Aerosol indoors with natural light is direct light hitting the wall or floor.

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Position your subject or subjects and spray Atmosphere Aerosol into the light. The position of the light and the amount of Atmosphere Aerosol used will determine the look of the haze.

Tips for Shooting With Artificial Light

You can create the illusion of the sun with a light source (i.e., speed light, strobe, or video light).

Color gels can also add creativity to your photos
You can improvised lightning into the barn wall in order to cut and shape the light into rays.

How Atmosphere aerosol works and tips as advised by Aerosol. Find more answers to possible question about atmosphere aerosol here

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How to create a dynamic cinematography depth

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How would you make profundity when you’re working with a two-dimensional medium?

One of the principal things you find out about when examining cinematography is organization, and one of the primary things you find out about creation is essential stylish hypothesis: symmetry versus asymmetry, vitality, shading, weight, vertices, and so forth. At that point, some place close to the end of the class, the back of your course book, the last two minutes of the workshop, you catch wind of profundity – not on the grounds that it’s insignificant, but rather on the grounds that making it takes somewhat more artfulness than focusing your subject in the edge.

The best cinematographers are known for (in addition to other things) making the deception of profundity by utilizing various astute procedures and here to separate five of them in this 3-minute video is honor winning business cinematographer Matthew Rosen.

Here are the methods Rosen clarifies in his video:

High Differentiation Lighting

Great lighting can not just add measurement and profundity to your arrangements, however it can make your film resemble a million bucks. As Rosen says in the video, delicate, notwithstanding lighting has a tendency to straighten pictures, while lighting with harsher shadows with quick falloff tends to give the figment of profundity. For cases of this sort of lighting, you can’t get any more exceptional and obvious than film noir, who made chiaroscuro lighting one of its numerous trademarks.

Center

We’re talking shallow profundity of field here – a similar impact that happens when your eyes concentrate on something near you. Normally, when we see this on-screen, our brains decipher it as profundity. (Be that as it may, profound profundity of field doesn’t, by complexity, recommend absence of profundity. Gregg Toland, for instance, expertly plays with profound concentration in the notorious shot in Resident Kane.)

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Point of view

In case you’re a professional and have any sort of experience, you realize that utilizing shallow profundity of field is somewhat – well – we should simply say it’s the thing you do the most when you first get your hands on a camera with a decent focal point. When you develop as a movie producer/cinematographer, you understand that you must get your hands grimy, get somewhat innovative, move around – um – change your point of view. The colossal thing about this procedure, is that it makes profundity, as well as it raises the tasteful vitality of a piece. Utilizing a wide range of vertices makes the shot a great deal more dynamic.

Parallax

Like point of view (a high differentiation lighting, as well), the parallax impact serves to make profundity, and in addition to make the shot more dynamic. It does this by including “dynamic vitality” – tasteful vitality made by moving the camera. A static shot includes close to nothing (assuming any) tasteful vitality to a shot, yet a moving camera can transform what was at one time a drilling still shot into a scene that pulls your gathering of people in. Actually, it’s frequently said that including a moving camera and moving subjects (e.g. individuals, autos, and so forth.) is the condition for high dynamic – and in this manner tasteful – vitality. At the end of the day, on the off chance that you move your camera around individuals and things that are likewise moving, your shot will presumably look wonderful.

Impediment

A similar thing that happens in the characteristic world – things that are nearer to our eyes shut out things that are further when they go before them. Basic as pie – however the possibility of utilizing this impact may not be as evident when arranging your shots in pre-creation.

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There are numerous more strategies you can use to make profundity, yet ideally these five will at any rate kick you off making more dynamic shots.

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