Panavision DXL2

Technical Details

The core is the MONSTRO 8K VV CMOS sensor with 35.4 megapixels and a base ISO of 800. The DXL2 records in various resolutions: 8K (8192×4320), 7K (7168×3784), 6K (6144×3240), and 4K (4096×2160). The body weighs 3.4 kg and features a PL mount for Panavision lenses. Internal storage is on RED MINI-MAGs with capacities up to 1.6TB. The camera offers REDCODE RAW and ProRes recording in various quality levels.

History & Development

Panavision introduced the DXL2 in February 2018 as the successor to the DXL, which was launched in 2016. Development was an exclusive partnership between Panavision and RED, with RED contributing sensor technology and Panavision providing the housing design and color science. In 2019, the DXL2 received a firmware update that enabled recording at higher frame rates. The camera is exclusively distributed through Panavision's rental network, not as a purchase model.

Practical Use in Film

Cinematographer Roger Deakins used the DXL2 on "1917" (2019), leveraging its low-light capabilities for the nighttime trench scenes. "Avengers: Endgame" (2019) was partially shot with the DXL2, with the 8K resolution allowing for subsequent reframing for IMAX formats. The large sensor area produces natural depth of field, which is particularly valued in wide-angle shots. Typical workflows utilize R3D files for color grading in DaVinci Resolve or REDCINE-X PRO.

Comparison & Alternatives

Compared to the ARRI ALEXA LF, the DXL2 offers higher resolution (8K vs. 4.5K), while the ALEXA excels with its proven color science. The Sony VENICE competes with a similar 6K resolution and full-frame sensor but is available for purchase. RED's own DSMC2 cameras share the sensor technology but do not offer Panavision's specialized color calibration and integrated rental support system. For high-end productions with complex post-production, the DXL2 is suitable, while the ALEXA dominates classic cinema productions.