16 Stops Dynamic Range
60fps at 8k Full Frame
10lbs Feather Light
1TB/Hr Full Sensor Raw

Cutting Edge Sensor Technology

Large Format

DXL2 utilizes RED’s latest Monstro large format sensor. With a 46.3mm diagonal, the 40.96mm x 21.6mm sensor is an ideal size and shape for both spherical and anamorphic capture. The larger capture area gives you more control over your perspective, distortion, and depth of field.

True 4K Anamorphic

With 5-micron pixel pitch and the 21.60mm of height, DXL2 takes advantage of a capture area that is greater than 35mm anamorphic area, all while recording over 22 megapixels. The end result is a truly beautiful image with beyond 4k horizontal resolution and even more magnification.

Dynamic Range

16 Stops - 1600 Native ISO
DXL2 captures an impressive 16 stops of dynamic range— providing greater flexibility for HDR or SDR delivery. The native 1600 ISO provides ultra-clean, low-light sensitivity without compromising clarity, dynamic range, or undesirable noise.
8K capture is not about displays
DXL2’s higher resolution capture produces a future-proof image with more flexibility for creative manipulation regardless of the display it is being viewed on.
More Resolution
Higher resolution is not about sharpness
With the higher resolution of the DXL2 sensor, the transitions of color and sublety of aberrations are better reproduced, allowing for finer control over perceived smoothness.

Color Space

Rendering high precision color begins with sampling the largest palette available. REDWideGamut allows DXL’s RED Monstro sensor to capture the most realistic and complex colors at up to 35 megapixels. Encoded in 16bits, REDWideGamut samples trillions of colors delivering the most natural skin tone with smooth color separation, tonal nuance, and blended subtlety. From daylight to the most modern LEDs, REDWideGamut provides the base for DXL2 to capture cinematic images for any final display device.

Log Base

The foundation of a customized look is a highly malleable log image. DXL2 takes full advantage of RED’s 3G10 log encoding envelope which delivers smooth, full range pictures in a substantial 20-stop dynamic range wrapper. Log3G10 provides the ideal log-encoded package, which is optimized for high dynamic range (HDR) finishing and future proofing. Log3G10 presents images in a familiar way, offering easy integration into traditional workflows.


When it comes to customizing looks on a shot-by-shot basis, the American Society of Cinematographer’s Color Decision List (ASC CDL) is an ideal way to create, save, and recall corrections. DXL2 is fully equipped with an internal CDL engine, which allows users to create, import, export, and recall unlimited CDLs locally or remotely. For users that want the greatest control, Pomfort Live Grade can connect to DXL2 and wirelessly upload custom looks to the camera. For mobile device users, DXL Control (iOS/Android) can also remotely control camera color choices from a smartphone. CDL values are automatically saved into R3D RAW files as metadata and can be baked into proxy files for a perfectly seamless set-to-post color workflow.

Viewing Transform

DXL2 creates stunning images directly from the camera. DXL2 is the only camera in which the live images are designed by a collaboration between colorists and cinematographers. Light Iron Color is a unique look that is inspired by today’s creative color correction trends. DXL2 offers a traditional 709 transform that is familiar to users of digital cameras, as well as a Film look that emulates today’s most popular film stocks. With these options, users can instantly view images with a modern digital or classic film aesthetic. The results produced on set feel like they’ve already experienced Light Iron’s best-in-class color correction, all available in camera. Users are also able to load custom 33-point .cube LUTs, which are then saved as sidecar files with every take. Light Iron LUTs are available for viewing in 709, P3, and HDR 2084.

8K for every genre


Designed for a traditional post pipeline using the highest quality digital original camera negative. Ideal for:
Major Features
High End Commercial

1.0 TB/hr

Raw + Proxy

Designed for productions seeking faster dailies turnaround. DXL2 proxy files are encoded as 1080p to replace the RAW files when making traditional dailies. Ideal for:
Indie Features

1.1 TB/hr

Raw + D2E

Designed for productions that do not require traditional dailies and want to deliver files directly to editorial. Ideal for:
Music Video

1.1 TB/hr

RGB Master

Designed for productions that do not require a high-resolution RAW file as an archival master. Ideal for:

0.5 TB/hr

RAW Workflow

DXL2 records 16bit 8K REDCode Raw (R3D) using advanced lossless compression. The codec delivers stunning images with the ability to choose file sizes from 500GBs to 1TB per hour. Using a RAW workflow, DXL2 R3D raw files travel to a post house where they are backed up, synced, colored, windowed, watermarked, transcoded, and delivered to each department.

RAW + Proxy Workflow

DXL2 simultaneously records 8K RAW and HD proxy files onto the same magazine using one of the many Apple ProRes or AVID DNxHR codec options. Using in-camera proxy files allows post houses to transcode dailies 5x faster than when using RAW files. Proxy files are log encoded substitute files that match timecode, filename, and metadata so the relationship with RAW OCN can be used for visual effects, conform, and color.

RAW + D2E Workflow

8K RAW + PROXY files are simultaneously captured to the same folder on a single magazine. These D2E files are encoded with a baked-in LUT plus CDL and include wireless timecode, wireless audio, and embedded audio. For users that do not require traditional dailies, these proxy files can be delivered from the camera directly to editorial and then re-linked back with OCN picture and sound during the visual effects and online process. RAW OCN can be used for visual effects, conform, and color.

RGB Master Workflow

DXL2 can be set to record a high quality 10- or 12-bit Apple ProRes or AVID DNxHR file. The camera still uses the entire large format sensor but encodes the files in 4K/UHD or 2K/HD in LOG. The workflow leverages DXL2 features, color, and large format sensor in a familiar Apple ProRes log workflow.

Your Metadata – Connected


DXL2 features an internal gyro as well as an accelerometer. This allows VFX to know the orientation and the movement of the camera on any given shot. This data is recorded directly to the R3D Raw and can be extracted during the VFX pull process.
DXL2 is equipped to receive Cooke’s /i lens metadata protocol directly through the Panavision SP70 smart lens mount. This allows full lens data to be recorded directly to the o-neg. VFX and post are able to extract the exact focal length, iris, focus distance, and zoom on any shot. This data can also be displayed live on the camera UI and on monitoring overlays.

Explore our truly modular system

The interchangeable components of the Panavision Modular accessory system enable a configuration for every unique shooting situation, expanding the DXL ecosystem to provide you with customized comfort, ease, and adaptability.
Choose between an assistant side menu for camera control or a velcro module for an extra mounting surface.
Choose between an operator-side menu or a cheek pad for increased comfort in handheld configur
Add 15mm Mini Rods for lightweight rod setups or a Modular Follow Focus Bracket to quickly mount a Panavision follow focus.
Add a Side Rod bracket for Panavision Matte Boxes and accessories or a Cheese Plate for additional mounting points.
Add a Wireless Audio Module to receive a Comtek scratch track. This module enables embedded audio within proxy files, enhancing the D2E workflow.
Hollywood Handle Configure a custom top handle using small, large, and elbow sections.
Use the built-in Steadicam baseplate to attach to an AXBP2, 19mm studio baseplate, or mount natively to a Steadicam rig.
Add an MP15 or IRC15 for additional 15mm rod mounting points.
The DXL2 Battery Elevator to allow operators to better distribute weight and adjust the camera’s center of gravity.
SDI Module supplies up to five HD-SDI video outputs, two 4K 6G outputs, as well as an HD-SDI return feed. The Coms Module is the main I/O interface allowing for connectivity through ethernet, serial, TC, and genlock. If damaged, individual modules can be replaced in the field.
DXL2’s native SP70 lens mount allows for Motorized lens control and /i metadata transfer. Add an adapter to convert to Panavision 35, PL, or System 65 mounts.
DXL2’s EVF bracket is designed to articulate and lock into any position. Use the EVF extension while in studio mode or swap to a 15mm Mini Rod bracket when not using the view finder.
Choose between a Preston, C-Motion(with Arri handset support), or Teradek RT integrated F.I.Z modules. All modules use the native handsets and drive both internal and external lens motors.
Use the built-in Steadicam baseplate to attach to an AXBP2, 19mm studio baseplate, or mount natively to a Steadicam rig.
Delivering an HDR image at 600 nits, the Primo Viewfinder provides customizable tools and adjustable gamma and gamuts with customized Panavision optics.

Agnostic Wireless Control

  • Preston
  • RT-Motion
  • C-Motion
  • Arri Wireless

DXL2 includes integrated and interchangeable MDR modules for wireless lens control of both internal motorized lenses or external motors. Compatible devices include:

All Preston/Heden Digital Motors (7pin Lemo)
Range Finders:
Cinetape, CineRT, Sniper, Light Ranger (4pin Serial)
Additional AKS:
LCND Control (4pin Serial)
Power output:
1x 24V (3pin RS)

DXL2 includes integrated and interchangeable MDR modules for wireless lens control of both internal motorized lenses or external motors. Compatible devices include:

MOTR.X, MK3.1 (4pin Lemo)
Range Finders:
Cinetape, CineRT, Sniper (5pin Lemo)
Power output:
1x 24V (3pin RS), 1x 12V, (2pin Lemo)

DXL2 includes integrated and interchangeable MDR modules for wireless lens control of both internal motorized lenses or external motors. Compatible devices include:

CVolution, CPRO
CForce Mini, CForce Plus, CForce RF, cPRO(LBUS)
Range Finders:
Cinetape, CineRT, Sniper (LBUS)
Power output:
1x 24V (3pin RS), 1x 12V, (2pin Lemo)

DXL2 includes integrated and interchangeable MDR modules for wireless lens control of both internal motorized lenses or external motors. Compatible devices include:

CForce Mini, CForce Plus, CForce RF, cPRO (LBUS)
Range Finders:
Cinetape, CineRT, Sniper (LBUS)
Additional AKS:
Arri CUB-1 is needed to support range finders (LBUS)
Power output:
1x 24V (3pin RS), 1x 12V (2pin Lemo)
  • Preston
  • RT-Motion
  • C-Motion
  • Arri Wireless

The Primo Viewfinder

Primo Viewfinder

The Primo EVF is the first viewfinder capable of displaying a 1,000,000:1 contrast ratio in high dynamic range (HDR) at a peak luminance value of 600 nits. With customizable tools and adjustable gamma and gamuts, Primo EVF delivers operators the best image in any shooting scenario. By utilizing customized Panavision optics, the Primo EVF reduces eye fatigue and maintains clarity, even when viewed off-axis.

  • HDR
  • Peaking
  • Waveform
  • Magnify
  • Overlays
  • SDI Input

DXL2 +

DXL-M Expands the DXL2 Ecosystem, Meeting Production Needs for Any Shooting Scenario 

DXL-M marries the modularity and connectivity of the DXL2 with the smaller size and weight of RED’s DSMC2 cameras.  DXL-M incorporates many of the key DXL2 features, including the Primo HDR viewfinder, menu system, integrated battery elevator and Light Iron Color 2.  DXL-M features the most I/O out of any other DSMC2 with three 14v and two 24v power outputs, Ethernet, Sync/control, genlock, audio, timecode and four HD-SDI outputs.  The four HD-SDI outputs create the opportunity for two different signal paths to output two discrete signals. This feature allows DSMC2 cameras to output one look to the operator and assistant while supplying a different look or overlay to the DIT or video village.

Sensor Type Monstro 35.4 Megapixel CMOS
Resolution/Effective Pixels Full Frame 8192 x 4320 8K 6:5 (2x ANA) 5184 x 4320
Sensor Size 40.96mm x 21.60mm (Diagonal: 46.32mm)
Dynamic Range 16+ stops
Native ISO 1600 ISO
Max Frame Rate 60 FPS at 8K Full Frame (8192 x 4320) 75 FPS at 6K Full Frame (6144 x 3240) 96FPS at 5K Full Frame (5120 x 2700)
Recording Codec REDCODE RAW (.R3D) Apple ProRes (XQ, 4444, 422HQ, 422, 422LT) Avid (DNxHR HQX, DNxHR HQ)
Recording Media SSD 1TB & 512GB
File Type .R3D (supported in RED SDK) .MOV (Apple ProRes) .MXF (Avid)
Color Science REDWideGamutRGB Log3G10
Color Look Profile Light Iron Color 2 709 (3D .cube) Light Iron Color 2 FILM (3D .cube)
Camera Body Weight 4.53kg / 10lbs
Operating Temperature 0˚F to 120˚F
Dimensions (Body + SP70 Mount) L: 334.47mm / 13.16″ W: 165.27mm / 6.50″ H: 178.33mm / 7.02″
Remote Control DXL Control (Available free on iOS and Android) 3rd party RCP devices
Monitor Outputs 2x 6G (4K), 3x 3G (1080p, 720p), 1x return
Power Out 3x 24v 3 pin, 5x 14v 2 pin, 2x USB 5v
Power In 12v 4 pin 2B LEMO
Lens Mount Panavision SP70


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