Panasonic VariCamLT-PRO Lineup

ACHIEVE YOUR VISION

Cinema VariCam

A New Vision and Revolution in Filmmaking — Cinema VariCam

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The Cinema VariCam line of cameras has been used on a wide variety of movies,

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commercials, and TV programs, and is renowned for its color reproduction, look,

and for bringing progressive workflows to the production industry.

This technology and know-how are now invigorating a new lineup —

VariCam Pure*, VariCam 35 and VariCam LT.

* Codex V-RAW Recorder of the VariCam Pure is a product of Codex.

DP’s Experience on VariCam

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y initial interest in the VariCam 35 was the claim of

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5000 ASA equivalent being a usable proposition. With
the aid of a few friends I was able to do comparison tests with
the potential alternatives. These tests verified the claim of a
totally usable result that was able to be intercut with the 800
ASA standard. These tests also produced another advantage
of the VariCam. It was obvious to all of us doing these tests
that the VariCam sustained better color rendition in the
lowlight conditions. Also when viewing the more normal 800
result I assessed the VariCam appeared to have a wider and
more acceptable color response.

I believe using this camera enabled me to achieve a very
professional result enhanced by the cameras true 14 stop
latitude, it’s amazing color response and of course the 2.6
stops of speed amazingly enhanced by shooting in 4K raw. I
have done some test timing and I am exhilarated with what is
available .”

Don McAlpine, ACS, ASC

couldn’t believe it because in order to achieve such a
low light sensitivity of 5000 ISO, you have to give up

“I

something – whether it’s dynamic range, resolution or color.
I looked at the camera image on a 4K monitor and thought,
‘Wow, this is unbelievable. So I did a test and I was blown
away. Not only because of almost no noise. But specifically,
because in this high sensitivity, there were all color still there.
In fact, it was much colorful than what our eye see.
I don't know where we are going. We're showing the
beginning of digital revolution. It's not stopping like film, not
slowing down. It's still speeding up.”

Theo Van de Sande, ASC

’ve worked with

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the VariCam for a

“I

few years now so I feel
confident on where I can
push its limits and the
latitude. If we have a solid
“negative”, we can really
go in a lot of directions.
We’re accentuating the
highlights but we’re also
shifting where skin tones
are. A lot of times, we’re
pulling information out of
the negative where some of the saturation might have fallen
flat because we shot on overcast days. We were still able to
pull the color information out, as well as accentuate it.”

Gareth Paul Cox (Siesta Key)

he ability to use
so much less light

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changes everything. I’ve
always liked the VariCam
color science – I think
it looks the most like
film but the 5000 ISO is
absolutely staggering. It
has changed my approach
to how I light, and has
cut my overall lighting
package by about 2/3.
Working with these latest
generation VariCams suits my style of going for a natural look,
not a ‘movie’ feel. I never have to worry about lighting for
exposure. I can light for effect.”

William Wages, ASC

ou can get a lot of
saturation from

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different cameras. The
VariCam is no exception
– you can certainly get
a lot of color out of it as
well. On Just Add Magic,
I tested the VariCam
thoroughly before both
seasons, and instead of
focusing on saturation,
we pursued the most
pleasing and natural
looking color palette. The camera excelled at this, as well as
delivering clean 4K images with natural dynamic range."

Mark Doering-Powell, ASC

e wanted The Letdown to have

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My challenge was to find a format that could
work in the schedule that we needed to
work in, but also give them the results they
desired. The VariCam LT is a light camera
that can be quickly switched between
production mode, handheld, or Steadicam
easily, so it was great to work with.”

more of a raw and authentic look.

Judd Overton (The Letdown)

was extraordinarily pleased with the
way everything looked. It’s like learning

“I

a new film stock – you do the work to best
achieve the look you’re going for with the
tools you have. That takes practice and
experience. After shooting with VariCam for
six months, I’m confident I can go into any
project knowing how to make it look exactly
the way I want.”

Bobby Shore (Anne with an E)

he VariCam has a special thing going
on where it is quite sharp but still

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has a very pleasing look. It doesn’t feel like
it necessarily needs to be dumbed down
with vintage glass. I feel aesthetically, the
VariCam does that better than other digital
camera systems. I think it has a fresh and
different look, which I'm excited about.”

Joshua Galler (Manhunt: Unabomber)

he most exciting thing about VariCam
is the flexibility with ISO settings.

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Once you experience that freedom it’s hard
to go back. VariCam is the only camera on
the market today able to offer such flexibility
and that’s why it’s my camera of choice right
now.”

Vanja Cernjul, ASC, HFS

Natural, Organic, Filmic Look

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Cinematic VariCam Look

Super 35mm Native 4K Sensor

The super 35mm sensor is developed especially for the

Cinematic VariCam Look. All models of Cinema VariCam

series are equipped with the same sensor.

This sensor won The Hollywood Post Alliance

Engineering Excellence Award 2015.

14+ Stops of Wide Latitude

The dynamic range is 14+ stops on "V-Log". This wide

dynamic range assures accurate image rendering, particularly

from the critical shadow to highlight areas. Transition into

highlights is remarkable.

Natural Color Pallet

Color separation filter is well optimized to get Cinematic

VariCam look. It offers natural color & accurate color linearity.

New color space "V-Gamut" encompasses the entire BT. 2020

color space.

HDR and BT.2020 Compatible

"V-Log" with "V-Gamut" has enough latitude and color space

for HDR. HDR and BT.2020 grading output is

available for post production.

V-Log/V-Gamut Reference Manual

https://pro-av.panasonic.net/en/varicam/

common/pdf/VARICAM_V-Log_V-Gamut.pdf

t is important here to note that the VariCam 35
forfeits one stop of light sensitivity in high-speed

“I

mode. For 100 fps this means then that the two native
sensitivities of 400 and 2500 ISO can be chosen. Although
we were filming daytime/indoor shots, the exposure at
2500 ISO was precisely on the edge owing to recording
with 100 fps and in combination with the rather gloomier
light set-up and the zooms used. I was particularly
pleased that day not to have to illuminate the bar further.
The filming day was tight, involved various viewing
angles, five lead characters, various stunt, SFX and
VFX shots and therefore also went on into the evening
twilight. It was extremely handy for me that we could
work throughout the entire shooting day with one defined
lighting set-up and only had to fine-tune details shot-by­shot. ”

Matthias Bolliger, DoP Hamburg/Germany