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CAMERA & OPTICS PRODUCT

Millennium DXL2

Millennium DXL2

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DXL2 Menu Simulator | Panavision

DXL2 Menu Simulator | Panavision, Learn how to use the camera menu on Panavision's DXL2

https://www.panavision.com/resources/tools/dxl2-menu-simulator

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Shooting Super 35 on DXL2

Shooting Super 35 on DXL2,  Shooting Super 35 on DXL2 Lens Mount Options DXL2’s stock SP70 mount can be easily adapted, or PL mount can be used for a more streamlined build. How to Set DXL2 for Super 35 Under Menu, dxlmenu.com for the full menu simulator. dxl.panavision.com 1/2 Use Format Creatively. DXL2 can be set, capturing Super 35 with DXL2, you still have the advantages of the sensor’s 16 stops of dynamic range, to 96 fps. Super 35 on DXL2 also boasts more than 150% of UHD resolution, allowing you to meet

https://www.panavision.com/docs/default-source/downloads/panavision_dxl2_s35_overview_v1_0.pdf?sfvrsn=dc31a48d_7

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Shooting Large Format on DXL2

Shooting Large Format on DXL2,  Dynamic Range DXL2 captures an impressive 16 stops of dynamic range, providing greater, without compromising clarity or dynamic range, or introducing any undesirable noise. Sensor DXL2, With the higher resolution of the DXL2 sensor, tonal gradations and transitions between colors, as well, available. Encoded in 16 bits, RED- WideGamut samples trillions of colors, allowing DXL2 to capture, tones with smoother separation, tonal nuance, and blended subtlety. DXL2 Large Format Credits

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Millennium DXL2 Manual

Millennium DXL2 Manual, MILLENNIUM DXL2 TABLE OF CONTENTS Audio During Playback 113 Timecode, Genlock, Multi-Camera Setup, Panavision Millennium DXL2 132 APPENDIX B: Mechanical Drawings 133 Front View 133 Back View 134 Side, 152 COPYRIGHT © 2020 PANAVISION INTERNATIONAL, L.P. FW: V-1.0.0 | 3 PANAVISION MILLENNIUM DXL2, © 2020 PANAVISION INTERNATIONAL, L.P. FW: V-1.0.0 | 4 PANAVISION MILLENNIUM DXL2 This equipment, , L.P. FW: V-1.0.0 | 5 PANAVISION MILLENNIUM DXL2 USAGE RESTRICTIONS FOR PRODUCTS THAT INCORPORATE

https://www.panavision.com/docs/default-source/downloads/panavision_dxl2_manual_v1_0.pdf?sfvrsn=f883da2d_7

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DXL2 709 Viewing LUTs

DXL2 709 Viewing LUTs

https://www.panavision.com/docs/default-source/downloads/dxl2-709-viewing-luts.zip?sfvrsn=c77ecb32_11

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DXL2 Receives “Filmed In Imax” Certification

DXL2 Receives “Filmed In Imax” Certification, -end, best-in-class digital cameras, including Panavision’s Millennium DXL2, to work in the IMAX, platform,” says Megan Colligan, President of IMAX Entertainment. Panavision’s Millennium DXL2 large, and lenses. Additionally, the DXL2’s 600-nit Primo HDR viewfinder incorporates customized Panavision optics and displays a 1,000,000:1 contrast ratio. In addition to the DXL2, the new program, . Learn more about the DXL2 ecosystem here

https://www.panavision.com/highlights/highlights-detail/dxl2-receives-filmed-in-imax-certification

CAMERA & OPTICS PRODUCT

DXL2

DXL2

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Millennium DXL2 8K Digital Camera | Panavision

Millennium DXL2 8K Digital Camera | Panavision, . Millennium DXL2 Realize your vision. Purpose-built for modern crews, DXL2 can pair with any Panavision lens, offering streamlined workflows for any format, What filmmakers say about DXL2 "One of the reasons I picked the DXL2 was the way it renders flares. They have a different quality, , but on the DXL2, it was simple." Stefan Duscio ACS Cinematographer

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CAMERA & OPTICS PRODUCT

DXL-M

https://www.panavision.com/camera-and-optics/cameras/product-detail/rwhm2-dxl-m

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New Panavision Millennium DXL2 Camera Debuts At BSC Expo

New Panavision Millennium DXL2 Camera Debuts At BSC Expo, LONDON (February 1, 2018) – Panavision (Stand 502) is introducing the new Millennium DXL2 8K, color2 science (LiColor2). The DXL2 builds on the success of the Millennium DXL and benefits from, and input are manifested in the DXL2’s many significant advances. “The Millennium DXL2 8K camera system, Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, -sample it, it only gets better. It’s absolutely beautiful to look at. For me, the Millennium DXL2

https://www.panavision.com/highlights/highlights-detail/new-panavision-millennium-dxl2-camera-debuts-at-bsc-expo

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The Camera Behind Just Mercy

Cinematographer Brett Pawlak and Light Iron Supervising Colorist Ian Vertovec discuss the technical and artistic choices that went into bringing Just Mercy to life through the Panavision and Light Iron ecosystem. Pawlak paired Panavision’s Millennium DXL2 camera with Primo Artiste and H Series large-format optics

https://www.panavision.com/highlights/highlights-detail/the-camera-behind-just-mercy

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Cinematographer Tim Orr on the series Dickinson

Millennium DXL2. Light Iron, whose color science is an integrated part of the camera, requirement for 4K origination. “I was really struck by the way the DXL2 rendered color,” he explains

https://www.panavision.com/highlights/highlights-detail/success-is-counted-sweetest-tim-orr-on-shooting-dickinson-for-apple-

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Happy Hauntings

, Tierney elected to capture large-format 8K with Panavision’s Millennium DXL2 camera system. “I knew the DXL2 was the way to go because of all the visual effects we were going to have — I wanted, with DXL2, and “it was great,” he says, emphasizing details like the internal FIZ control module, aspect ratio, the cinematographer paired the DXL2 camera with Panavision Primo 70 lenses. “I love them, with the DXL2 worked out perfectly.” Tierney worked with technical marketing manager Guy McVicker

https://www.panavision.com/highlights/highlights-detail/happy-hauntings

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Cinematographer Mihai Mălaimare Jr. on The Harder They Fall

-standing relationship. The cinematographer is also a self-confessed fan of Panavision’s Millennium DXL2, appreciates how DXL2 holds highlights. “You know that you have at least three stops where you have, , and everybody would look great.” For 2018's The Hate U Give, Mălaimare had shot on DXL2 with a set of Auto, the cinematographer to capture 5604x4320 images with DXL2, as compared to 5184x4320 when 2x, more of the DXL2’s large-format sensor and capture at nearly 8K resolution — 7976x4320, to be precise

https://www.panavision.com/highlights/highlights-detail/a-different-type-of-western

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Panavision Highlights the Continuing Expansion of the Millennium DXL2 Ecosystem at Cine Gear Expo

Panavision Highlights the Continuing Expansion of the Millennium DXL2 Ecosystem at Cine Gear Expo, WOODLAND HILLS, CA (May 30, 2018) – Panavision’s Millennium DXL2 8K camera makes its Cine Gear, cameras, and a preview of custom advancements in filter technology. “Millennium DXL2 is the cornerstone, that is only available within DXL’s ecosystem.” DXL2 incorporates technological advancements based, , and 12-bit ProRes XQ up to 120fps. New to the DXL2 is version 1.0 of a directly editable (D2E, -generated proxy files for instant and render-free dailies. DXL2, which is available to rent

https://www.panavision.com/highlights/highlights-detail/panavision-highlights-the-continuing-expansion-of-the-millennium-dxl2-ecosystem-at-cine-gear-expo

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Cinematographer Jas Shelton on Homecoming's second season

with the Millennium DXL2,” Shelton explains. “We wanted to shoot with a large sensor and shallow depth of field. The Light Iron color science in the DXL2 maximizes these attributes to create beautiful, and Brian De Palma where the camera has a very probing quality to it.” Shelton mounted the DXL2 on an Oculus, happened to Jackie, we employ tighter, more frenetic handheld shots in the later episodes. “DXL2

https://www.panavision.com/highlights/highlights-detail/playing-tricks-with-the-mind

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Cinematographer Stephan Pehrsson, BSC on the series Utopia

Millennium DXL2 camera, capturing 5K with a 2:1 anamorphic squeeze. “We looked at and tested a lot of different cameras, but the DXL2 felt like the right way to go,” Pehrsson notes. “It’s built, never have time for when you shoot single camera.” The production also took advantage of the DXL2’s native 1600 ISO. “I was excited that the DXL2 had that extra light sensitivity,” the cinematographer, . And they were great. I really enjoyed the post process.” On set, the crew monitored the DXL2 footage

https://www.panavision.com/highlights/highlights-detail/the-color-of-paradise

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Celebrating Community

with Panavision’s Millennium DXL2 camera on Home Before Dark, Brooks elected to use the camera again to shoot, . “The DXL2 was amazing.” After testing, Brooks opted to pair the camera with Panavision G Series anamorphic, of the reasons that I picked the DXL2 for this project was the way it renders flares.” The combination of DXL2’s 5-micron pixel pitch and 16-bit color allow for the smooth rendering of flares, that instinctually felt right. The combination of the G Series lenses with the DXL2 gave

https://www.panavision.com/highlights/highlights-detail/celebrating-community

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Commercial Spotlight: Alexis Zabé, ASC, AMC

format with the Millennium DXL2 camera. How did you come to that decision? Zabé: I’ve been using the DXL2 for a few years now. You get such a nice, filmic look with it. The color technology’s really, a 1.3 squeeze, so you’re using the DXL2’s whole sensor [to achieve a final 2.39:1 aspect ratio, -off. Covid has definitely created new limits and made us adjust the way we work. How does the DXL2’s

https://www.panavision.com/highlights/highlights-detail/commercial-spotlight-alexis-zabé-asc-amc

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Polly Morgan Launches Lucy in the Sky

. The creative team chose Panavision’s DXL2 camera and optics to bring this astronaut’s disintegrating, widescreen without losing detail in the image. “We tested a number of large format cameras but DXL2, very organic. Everything just pointed to using the DXL2.” In order for Morgan’s choice of G Series

https://www.panavision.com/highlights/highlights-detail/polly-morgan-launches-lucy-in-the-sky-with-support-from-panavision

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Panavision Streamlined: Formats and Coverage

 S U P E R 3 5 I M A G E C I R C L E DXL2 5K 24X13.5MM DXL2 8K 40.96X21.6MM, a r e a w i l l n o t a l w a y s m a t c h t h e i m a g e c i r c l e of the lens you want DXL2 5K 24X13.5MM DXL2 8K OG 40.96X21.6MM VENICE 3.8K 22.8X12.83MM ALEXA LF UHD 31.68X17.82MM WITH DXL2, YOU CAN CROP THE CAPTURE AREA IN-CAMERA... DXL2’s interchangeable lens mounts enable the use, to the native 8K resolution of DXL2’s Monstro sensor. WITH THE SAME CAMERA Yo u c a n c a p t u r e t h

https://www.panavision.com/docs/default-source/downloads/panavision-streamlined-formats-and-coverage.pdf?sfvrsn=9643c99b_5

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Panavision Streamlined: F.I.Z. Control

 F.I.Z . CONTROL STREAMLINED / F.I.Z CONTROL STREAMLINED HOW DO YOU CONTROL YOUR LENS WITHOUT LOSING CONTROL OF YOUR BUILD? (with any major F.I.Z. system) The traditional Focus-Iris-Zoom setup is made up of the following components: AND WITH DXL2, YOU CAN WORK WITH ALL MAJOR F.I.Z. SYSTEMS ARRI CMOTION PRESTON TERADEK from Steadicam to studio IT CAN BECOME A LOT TO MANAGE, BUT... BY USING AN INTEGRAT ED F.I.Z. MODULE the MDR box moves inside the camera and we can lose its

https://www.panavision.com/docs/default-source/downloads/panavision-streamlined-f.i.z.-control.pdf?sfvrsn=fdd23974_9

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Commercial Spotlight: Cinematographer Bron Moyi

’s Millennium DXL2 camera system. Panavision: You wanted to work in the film industry at a young, image, but not clinically clean. They have some warmth. What led you to work with DXL2, lens sets. I’d never worked with the DXL2, but when I was talking to Steve about the project, he, , when we did the lens test, we had a DXL2 with us. The image we saw on the monitor was beautiful. I

https://www.panavision.com/highlights/highlights-detail/commercial-spotlight-cinematographer-bron-moyi

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Panavision Streamlined: Wireless Timecode

. DXL2 HAS BUILT-IN ACN Simplifying the timecode process and allowing you to focus on being

https://www.panavision.com/docs/default-source/downloads/panavision-streamlined-wireless-timecode.pdf?sfvrsn=c4d932fe_5

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The Big Picture

shot it in large format on the DXL2 camera with these beautiful Panavision lenses,” says director, , Connolly will be working in large format with Panavision’s Millennium DXL2. “I absolutely love, for the past and 35mm for the present, and I realized the DXL2 would be really sympathetic to that because, complicated, but on the DXL2, it was simple. We also worked with LiveGrain to simulate a 16mm grain, for the past, a LUT for the present, and we occasionally used the DXL2’s built-in Light Iron Color 2

https://www.panavision.com/highlights/highlights-detail/the-big-picture

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Calculated Moves

and elected to work with Millennium DXL2 cameras and Primo optics. “I’ve always been a Panavision guy, this year, I wanted to go to Panavision for a number of reasons. I really like the DXL2 with its, .” Cinematographer Jack Donnelly (left) and camera operator Sandy Hays. DXL2’s large-format 8K sensor can, in Episode 8. There, the crew worked with the DXL2s at 96 fps, the maximum frame rate at 5K. Regardless of the sensor area they used, the filmmakers could take advantage of DXL2’s 16 stops of dynamic

https://www.panavision.com/highlights/highlights-detail/calculated-moves

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Panavision Streamlined: Lens Mounts and Adapters

THE FLEXIBILITY TO CHOOSE ANY PANAVISION LENS IN OUR INVENTORY... THE DXL2’S SP70 MOUNT IS COMPATIBLE

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Online Tools - Panavision

, and data rates, and explore the Millennium DXL2’s easy-to-navigate menu, all with these convenient, DXL2’s easy-to-navigate menu

https://www.panavision.com/resources/tools

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Panavision Logo (Millennium DXL)

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CAMERA & OPTICS PRODUCT

Large Camera Array

https://www.panavision.com/camera-and-optics/advanced-solutions/product-detail/pabpl-large-camera-array

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Cinematographer Jacques Jouffret and director Dave Wilson on Bloodshot

with Panavision’s Millennium DXL2. It’s a camera, he says, that closely approximates the experience, are referring instead to a DIT and a monitor. The DXL2 is amazing for me because I can finally put, .” For Bloodshot, Jouffret paired the DXL2 with a set of T Series anamorphic lenses, which, in Cape Town and Budapest. With up to 70 setups a day, Jouffret typically rolled with two handheld DXL2s, one DXL2 with a long lens, and a RED camera recording wides from a Technocrane. “I wanted

https://www.panavision.com/highlights/highlights-detail/a-fight-to-remember

CAMERA & OPTICS PRODUCT

Anamorphic Zooms

https://www.panavision.com/camera-and-optics/optics/product-detail/anaz-anamorphic-zooms

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The Making of tick, tick... BOOM!

Alice Brooks, ASC was behind the camera for Lin-Manuel Miranda's feature directorial debut, tick, tick... BOOM! For the production, the filmmakers chose to pair Panavision's Millennium DXL2 camera with G Series and T Series anamorphic optics. Here, Brooks discusses the creative approach she and Miranda shared to establish movie's look

https://www.panavision.com/highlights/highlights-detail/the-making-of-tick-tick-boom

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Christian Sprenger Turns To Panavision To Create Super Spots

Panavision’s DXL2 for the TurboTax Live “RoboChild” spot? Sprenger: The director was very insistent, and paint-outs. I felt like Panavision's Millennium DXL2 was the best option for shooting a visual-effects-heavy, anamorphic project. I hadn't done a DXL2-anamorphic job yet, and I thought this would, with the DXL2? Guy McVicker [Manager, Technical Marketing & Optics] at Panavision Hollywood suggested, . The dynamic range of the DXL2 paired effortlessly with the anamorphic optics, resulting

https://www.panavision.com/highlights/highlights-detail/christian-sprenger-turns-to-panavision-to-create-super-spots

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Cinematographer Don Burgess, ASC on The Witches

, what’s really going on here?’” The cinematographer elected to work with Panavision’s Millennium DXL2, great, so I felt comfortable rolling it into The Witches.” In addition to two DXL2s, the production carried a pair of Red Weapon 8K VV bodies, which feature the same Monstro sensor as the DXL2, . With the DXL2’s ISO of 1600, it wasn’t a big deal to get to that stop.” Burgess adds, , and they worked with custom LUTs to monitor and match the footage from the DXL2s and Weapons. “There are all

https://www.panavision.com/highlights/highlights-detail/a-mouse-s-tale

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Lighting a Day-Interior Café With LEE Filters

In this video, cinematographer Simon Rowling welcomes viewers behind the scenes as he lights a daytime-interior scene inside a coffee shop. Shooting on Panavision’s Millennium DXL2 camera with a set of Primo spherical prime lenses, Rowling employs a variety of LEE Filters gels and diffusions to maintain precise control over his lighting inside the location

https://www.panavision.com/highlights/highlights-detail/lighting-a-day-interior-café-with-lee-filters

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Streamlined

Formats + Coverage Discover how DXL2 enables filmmakers to choose lenses and change formats to suit their creative visions. Download the one-sheet. Lens Mounts / Adapters See how DXL2’s field-swappable lens-mount adapters enable filmmakers to easily change lens formats without changing cameras. Download the one-sheet . F.I.Z. Control Learn how DXL2’s F.I.Z. modules allow crews to control, the dailies pipeline. Download the one-sheet. Wireless Timecode Learn about the benefits of DXL2’s built

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Personal Histories

Millennium DXL2 camera, which she paired with G Series anamorphic optics supplemented by select T, huge references. What led you to shoot on DXL2? Brooks: The first time I used the DXL2 was on the series Home Before Dark. I tested tons of cameras for that project and landed on the DXL2. Then when we did In the Heights, I again did lots of testing, and I again landed on the DXL2. On tick, test for him, and we ended up shooting on the DXL2 again. I love the large format

https://www.panavision.com/highlights/highlights-detail/personal-histories

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Holiday Adventure

to work with Panavision’s Primo 70 large-format lenses and Millennium DXL2 8K camera system, which he, , was “a big visual-effects movie, and the DXL2 and Primo 70s worked great for that.” Burgess

https://www.panavision.com/highlights/highlights-detail/holiday-adventure

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Make Taste, Not Waste

included the Millennium DXL2 camera system and Panaspeed large-format optics. “Panavision is always my go-to for cameras and lenses, and for the last two years I’ve been using the DXL2 and Panaspeeds a lot

https://www.panavision.com/highlights/highlights-detail/make-taste-not-waste

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Royal Trimmings

DXL2 camera, which Brewer had previously employed on the Eddie Murphy-starring feature Dolemite, production, Williams consistently rolled at least two DXL2s simultaneously. “We had scenes with four or five, with the DXL2 at its native 1600 ISO, though he occasionally set it instead for 800. “It looked great at both, through a variety of large-format optics to potentially pair with the DXL2. “I just did portrait, . To achieve the proper coverage with the 35mm-format Primos, Williams cropped the DXL2’s large

https://www.panavision.com/highlights/highlights-detail/royal-trimmings

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The Making of The New Boy

and C Series anamorphic lenses paired with the Millennium DXL2 camera. In this video, he discusses his

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Downloads | Panavision

. DXL2 709 Viewing LUTs 33- and 65-point 709 viewing transforms for DXL2 footage. Includes "709" and "Film, Millennium DXL2 Manual User manual detailing the features and operation of the Panavision Millennium DXL2 camera system

https://www.panavision.com/resources/downloads

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Panavision Showcases Complete Imaging Ecosystem at BSC Expo 2019

were among the first in the world to get up close and personal with the DXL2 in 2018, and this year, . New to the DXL2 this year is an integrated C-Motion F.I.Z. module to allow the use of Arri WC4, the DXL2 ecosystem for the European market. D2E version 1.0 gave DITs the ability to wirelessly control the LUT and CDL directly in the DXL2 camera. New to the DXL2 ecosystem being shown at BSC Expo, and CDL from D2E 1.0, DXL2 now has the ability to receive audio feeds from the sound mixer via

https://www.panavision.com/highlights/highlights-detail/panavision-showcases-complete-imaging-ecosystem-at-bsc-expo-2019

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The Making of The School for Good and Evil

to Panavision London for his camera and lens package, which included Millennium DXL2 cameras and H Series

https://www.panavision.com/highlights/highlights-detail/the-making-of-the-school-for-good-and-evil

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Panavision Streamlined: High Resolution

SEAMLESSLY With precise blends between what was shot and what was crafted as CGI W ITH THE DXL2’S 8K

https://www.panavision.com/docs/default-source/downloads/panavision-streamlined-high-resolution.pdf?sfvrsn=2e4ac73a_5

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Commercial Spotlight: Cinematographer Kai Saul

and lighting continuity. What led you to choose the Millennium DXL2 camera? Saul: One, , but I prefer the color science and the look of the DXL2. It’s great in low light and has, pitched the DXL2, and he liked the idea. We shot 8K RAW, which gave Seth all the flexibility he needed for post. While pitching the idea of the DXL2, I was also thinking ahead to the optics. The client, of times on commercials before this — including with the DXL2 on a Samsung spot [‘Galaxy S10

https://www.panavision.com/highlights/highlights-detail/commercial-spotlight-cinematographer-kai-saul

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Cinematographer Luc Montpellier, CSC on Women Talking

cinematography, employing Panavision’s 1.6x-squeeze Ultra Vista anamorphic optics and Millennium DXL2 camera, thinking regarding optics is unmatched anywhere else. What drew you to the DXL2 camera and Ultra Vista, and their native de-squeezed ratio of 2.76:1 on the DXL2. This aspect ratio allowed us to intimately unite

https://www.panavision.com/highlights/highlights-detail/shots-that-speak-volumes

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Gavin Kelly Gives AHS: 1984 a Retro Horror Look

relied on Panavision New York for another series, where he used the Millennium DXL2 and vintage-look H, their ‘imperfections,’ which was just perfect for AHS: 1984. In combination with the DXL2, period flashbacks throughout the season.” Kelly noted that the large-format sensor of the DXL2, providing more than enough shadow detail to work with in post. “The DXL2 handily captured scenes with maximum flexibility for us to massage the image later,” he says. Though the DXL2 can record in 8K raw

https://www.panavision.com/highlights/highlights-detail/gavin-kelly-gives-ahs-1984-a-retro-horror-look