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

“M

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

“T

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

“Y

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

“W

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

“T

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.

“T

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

Don't be afraid of the Dark

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Dual Native ISO, 800 & 5000

Shooting with ISO 5000. (Short Film “It's a Mess” by Frank Prinzi, ASC)

Dual Native ISO of 800/5000

It's very unique, this sensor has two native ISO settings: 800

and 5000. This means you can have two film stocks in one

camera. Especially native 5000 ISO offers very high sensitivity

with low noise.

In order to achieve this function two dedicated analog circuits

are implemented on each pixel of the imager of the VariCam

for two native ISO before gain processing. This allows the

camera to achieve much higher sensitivity without increased

noise. Normally noise is introduced in the gain process of

rating ISO in digital cameras.

The Game Changing Native 5000 ISO

• Capture with very low available light with rich color

• Get DoF even in dark situation

• Eliminate amount of additional lighting

• Eliminate time to change lighting for slow motion

• May extend "Magic Hour"

VariCam Image Sensor Reference Manual

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

common/pdf/New_S35mm_MOS_Sensor.pdf

ne word to describe the Panasonic VariCam is
WOW ! This is the camera we've all been waiting

“O

for. There is no lighting situation it can't handle. It has two
ISO's to choose from, ISO 800 and an incredible looking
ISO 5000 (and all the ISO's in between.) It has a real
"Filmic" look with all the textures, and dynamic range of
the best film stocks available.
The VariCam is the most versatile camera out there. It
fits so beautifully with all the new lighting technology and
styles of today's shooting.
My film "It's a Mess" could not have been shot nearly
as well with the budget, crew and equipment that I had
available without the the use of the VariCam. The film was
shot using night exteriors exclusively ,relying on existing
light and small lighting gear.
The icing on the cake is the impeccable service and
attention Panasonic provides.
I just love this camera! ”

Frank Prinzi, ASC

.CDL

.VLT

.MXF

Onset Grading Simple Data Management

Graded
SDI-OUT

Grading Control

Preview

VariCam

Contents

V-Log
Recording

Wireless
LAN

Wired

LAN

Master Clip (V-Log)

A005C031_170422_I40B.mxf
A005C032_170422_I40B.mxf
…

CDL

A005C031_170422_I40B.cdl
A005C032_170422_I40B.cdl
…

3DLUT

A005C031_170422_I40B.vlt
A005C032_170422_I40B.vlt
…

Simple Color Management

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In-Camera Color Grading

In-Camera Color Grading

In-camera color grading function enables color decision on

set with 3rd party application. Grading information such as 3D

LUT files and CDL files can be recorded together with the

master clip, allowing you to provide the same vision you

created on set to the post-production.
This process does not require an external BOX. In addition the

applied CDL/LUT will be recorded in the recording media for

each clip with same name as master clip. This easy to

manage in the post-production.

4K Master and HD Graded
Simultaneous Recording

In addition to main recorder up to 4K, you can have one more

recorder up to 2K.

This feature lets you record an ungraded 4K master with

V-Log while simultaneously recording HD graded. The file

name and time code of each file will match exactly. You can

use HD graded for viewing or off-line editing immediately.

Dailies that had been created after shooting can now be

produced on-set and with only the camera.

he sensor of the VariCam is very clean. There is
very little noise even on a very high ISO setting,

“T

which is really important for HDR. Noise is one of the
most challenging things in HDR, it becomes very visible
quickly because of the increased dynamic range and
increased brightness. On another note, this camera is so
modern and advanced in terms of the color management
implementation in camera. We can load look-up tables
and CDLs in camera and it will create all necessary
metadata. All of that work can be performed wirelessly. It
just works exactly the way you would want it to work.”

Dado Valentic, Warner Bros. colorist and color scientist

Your Choice

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Multi Codec 4K Recording

4K/UHD

uncompressed RAW

Best Quality & Best Capability

Uncompressed RAW

VariCam support the demand for RAW. VariCam chooses

"uncompressed RAW" for Best Quality & Best Capability in post.

V-RAW for VariCam Pure

The Codex V-RAW2.0 Recorder supports uncompressed 4K

resolution RAW recording with a frame rate up to 120 fps.

Cinema DNG for VariCam LT

VariCam LT can output the uncompressed RAW from SDI

output terminals and external recorder records it as Cinema

DNG data.

Recorders supporting

- Convergent Design: Odyssey7Q+/7Q

- Atomos: Shogun Inferno/Frame

4K/UHD/2K/HD

High Picture Quality & Manageable file size

AVC-ULTRA

AVC-Intra 4K is H.264 base codec & 4K-compatible version of

the AVC-Intra. AVC-Intra 4K offers high picture quality &

manageable file size and is suitable for cinema production.

Recording Format AU-XP0256BG (256GB) AU-XP0512BG (512GB)

4K/24p

2K/24p

AVC-Intra4K444 45 minutes 90 minutes

AVC-Intra4K422 90 minutes 180 minutes

AVC-Intra2K444 182 minutes 364 minutes

AVC-Intra2K422 352 minutes 704 minutes

ProRes 4444 110 minutes 220 minutes

ProRes 422 HQ 165 minutes 330 minutes

Apple ProRes

Apple ProRes* 4444XQ/4444/422HQ/422/422LT is supported.

ProRes codec is industry standard codec and works well with

your current workflow.

* ProRes is licensed from Apple Inc.

Industry Standard Codec

2K/HD

*Recording times are shown approximately.

Best in Class EVF

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Versatility for creative shooting

Large-Diameter OLED Viewfinder

Zoom Ring

Zoom Out

Zoom In

AU-VCVF2G /AU-VCVF20G Viewfinder

Accurate Viewing

Newly developed 1080p OLED panel shows very clear & accurate image, no lag, low latency, very

sharp, accurate color. You can check the exposure, color and focusing on this VF correctly.

Creature Comforts

Wide field angle with viewfinder magnification of 0.78x and large-diameter 38 mm eyepiece lens

offer comfortable viewing with minimum vignetting. Optical zoom adjusts image size to personal

preference, and wide range locking diopter with index marks gives you your best position.

Extension Module

AU-VEXT1G Extension Module and AU-VCBL05G Extension Cable

Extension Module

VariCam Pure & VariCam 35 are modular design.

Extension module can be docked between camera module and recording module,

and the camera module and recording module can be positioned at separate locations and

connected with the AU-VCBL05G/20G (5m/20m length) Extension Cable .

This lets you mount only the camera head to a crane, thus adding flexibility to your camera work.

Assist Tools

This viewfinder assists you to expose properly with the Y-Get (spot meter), waveform, false color

and zebra. It is capable of 2x, 3x and 4x expand focus. What is more, by color peaking and focus

squares it is easily focused with just a touch.

FILE COPY

FILE COPY

Single drive performance

512 GB

3 hours

(AVC-Intra4K 422 24P)

10 Gbps*

1

approx. 7 min*

1

Daisy-chain performance

1 TB(1024 GB)

6 hours

(AVC-Intra4K 422 24P)

17.6 Gbps*

1

approx. 8 min*

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Thunderbolt™ 3 Thunderbolt™ 3

Thunderbolt™ 3 Thunderbolt™ 3

Remote Operation

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Incredibly Fast Offload

VariCam Remote Control App

VariCam ROP App

VariCam ROP is a control application that enables the remote control of VariCam series.

It can provide a GUI that is close to the control panel on the camera.

It is designed the users to control the camera without feeling uncomfortable.

* Note: For wireless LAN connection with the camera, AJ-WM30 or AJ-WM50 wireless module needs to be purchased separately.

expressP2 x Thunderbolt™ 3

AU-XPD3 expressP2 drive and expressP2 card B series

Incredible Fast Offload, expressP2 x Thunderbolt™ 3

The expressP2 card B series has 10 Gbps data offload speed. The AU-XPD3 expressP2 drive,

equipped with "Thunderbolt™ 3" interface, brings out the best of expressP2 card B series.

* App Store is a service mark of Apple Inc. * Apple, the Apple logo, and iPad are trademarks of Apple Inc., registered in the U.S. and other countries.

*1: Actual data transfer speed/time depends on the system.

* Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries.

VariCam Line-Up

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Three VariCam models are available to meet user needs.

These models fully cover the diverse applications required for cinema production. Whichever one you choose,

you'll receive the "VariCam Look" of high-quality images based on the Super 35mm Image Sensor.

VariCam Pure

Uncompressed 4K V-RAW Cinema
Camera with Codex

Uncompressed RAW offers best possible images today and

future-proofing their content. You can capture "Pure" image of

VariCam Look.

VariCam Pure outputs V-RAW files to Codex’s ultra-reliable

Capture Drives. And that’s just the gateway to a complete

dailies, review and archiving system with Codex’s Production

Suite. One workflow, you won’t need anything else.

VariCam 35

Excellent System Expansion and
Operating Ease

This high-end model provides the highest level of picture

quality. Combining the 4K camera module, featuring a PL lens

mount and super 35mm image sensor, with the recording

module enables AVC-Intra4K444/30p, 4K422/60p, 4K-LT/120p

acquisition.

* Panasonic does not guarantee the compatibility or performance of all EF lenses. Details will be updated on the Panasonic website.

Ready for Live

VariCam LT

Compact All Rounder

Cinematic VariCam Look is integrated into compact and

lightweight camera recorder. This invites flexibility in the form

of shoulder mounting, gimbal, and drone applications. An EF

lens* mount comes as standard equipment, and can be

exchanged with a PL mount (optional).

VariCam Pure

Codex Production Suite

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Uncompressed 4K V-RAW Cinema Camera, Directly Record "PURE" image of VariCam 35

4K V-RAW Camera Recorder (AU-V35C1G/AU-VCXRAW2)

Super 35mm Native 4K sensor
brings "VariCam Look"

• Native 4K resolution

• Cinematic VariCam Look

• Dual Native ISO (ISO 800/ISO 5000).

Uncompressed 4K/120p
V-RAW Recording with Codex

Codex's "V-RAW 2.0" recorder captures uncompressed V-RAW

data to Codex’s Capture Drive 2.0 at 4K up to 120 fps.

And that’s just the gateway to a complete dailies, review and

archiving system with Codex’s Production Suite.

Modular Design

VariCam Pure is a package of the VariCam 35 camera module

and the Codex's "V-RAW2.0" recorder and works completely

as one system. You can use extension module to minimize

camera head & operate separately.

Other Features

• Dailies in Camera

- In-camera color grading function.

• Best VF(AU-VCVF1) is available

• Separate Operation

- Extension module

- VariCam ROP app

Support with Apple ProRes
and Avid DNxHR

Using Codex’s Production Suite, recorded data can be

offloaded as a wide range of file formats including Panasonic

V-RAW, Apple ProRes and Avid DNxHR. This ensures wide-

ranging support for existing workflows.

* Customers who have already purchased the VariCam 35 camera module can also connect to

the V-RAW 2.0 recorder AU-VCXRAW2. V-RAW 2.0 is manufactured by Codex and sold by

Panasonic. Jointly developed with Codex Digital.

VariCam 35

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Super 35mm 4K MOS Sensor with 4K/120-fps Compatibility in a 4K Cinema Camera.

4K Camera Recorder (AU-V35C1G/AU-VREC1G)

Super 35mm Native 4K sensor
brings "VariCam Look"

• Native 4K resolution

• Cinematic VariCam Look

• Dual Native ISO (ISO 800/ISO 5000).

Multiple Codec Recording
up to 4K/120p

• AVC-ULTRA

- 4K/UHD: up to 120p (4:4:4 up to 30p)

- 2K/HD: up to 120p (4:4:4 up to 30p)

• Apple ProRes

- 2K/HD: up to 120p (4:4:4 up to 60p)

* ProRes is licensed from Apple Inc. .

Double Recorder

In addition to main recorder up to 4K/120p, you can have one

more recorder up to 2K/60p. This feature lets you record an

ungraded 4K master with V-Log while simultaneously

recording graded HD files. The file name and time code of

each file will match exactly. You can use HD files for viewing or

off-line editing.

Modular Design

VariCam 35 is a package of the VariCam 35 camera module

and the AVC-ULTRA recorder and works completely as one

system. You can use extension module to minimize camera

head & operate separately.

Other Features

• Dailies in Camera

- In-camera color grading function.

- Color Baked in SUB recording

• Best VF(AU-VCVF1) is available

• Separate Operation

- Extension module

- VariCam ROP app

VariCam LT

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Lightweight, Compact 4K Cinema Camera Offering Many of The Features of VariCam 35

4K Camera Recorder (AU-V35LT1G)

Ready for Live

VariCam LT White Paper
https://pro-av.panasonic.net/jp/varicam/
index.html#anchor_whatsnew

Super 35mm Native 4K sensor
brings "VariCam Look"

• Native 4K resolution

• Cinematic VariCam Look

• Dual Native ISO (ISO 800/ISO 5000).

Multiple Codec Recording
up to 4K/60p

• AVC-ULTRA

- 4K/UHD: up to 60p

- 2K/HD: up to 60p (4:4:4 up to 30p)

- 2K/HD: up to 240p (center cropped)

• Apple ProRes

- 2K/HD: up to 60p (4:4:4 up to 30p)

* ProRes is licensed from Apple Inc.

Exchangeable Lens Mount

VariCam LT has the EF lens* mount which offers a wide array

of lens choices. The EF mount* can be removed by an end

user and replaced with an optional PL mount. This allows for

even greater versatility in lens selection when

shooting with the VariCam LT.

* Panasonic does not guarantee the compatibility or performance of all EF

lenses. For more details, to be updated on the Panasonic website.

Infrared (IR) Cinematography

The VariCam LT is equipped with a detachable IR cut filter.

This feature allows 4K infrared images capturing. This offers

you not only to capture subjects such as nocturnal wildlife in

extreme darkness but also to achieve unique image effects in

daylight as a creative tool.

RAW Output

VariCam LT supports RAW solution with external 3rd party's

recorder.* RAW data can be output from the SDI output

terminals, and external RAW recorder records it as V-RAW

data. Equipped with two SDI output terminals, it allows 4K/60p

output.

Other Features

• Dailies in Camera

- In-camera color grading function

- Color Baked in sub recording

• Separate Operation

- VariCam ROP app

Specifications

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Model

Camera module AU-V35C1G AU-V35C1G AU-V35LT1G (Integrated)

Recording module AU-VCXRAW2 AU-VREC1G AU-V35LT1G (Integrated)

Viewfinder AU-VCVF2G AU-VCVF2G AU-VCVF20G (HD-SDI input type)

Extension module AU-VEXT1G AU-VEXT1G —

Weight Approx. 5.15 kg (11.35 lb), excluding accessories Approx. 5.0 kg (11.02 lb), excluding accessories Approx. 2.7 kg (6.0 lb), excluding handle and accessories

Dimensions (W x H x D)

Lens mount super 35mm PL mount super 35mm PL mount

Image sensor super35 mm, MOS, 8.9 megapixels super35 mm, MOS, 8.9 megapixels super35 mm, MOS, 8.9 megapixels

Exposure latitude 14+ stop 14+ stop 14+ stop

EI settings

Shutter speed

ND filter 1: CLEAR, 2: 0.6 ND, 3: 1.2 ND, 4: 1.8 ND 1: CLEAR, 2: 0.6 ND, 3: 1.2 ND, 4: 1.8 ND 1: CLEAR, 2: 0.6 ND, 3: 1.2 ND, 4: 1.8 ND

Recording media: CODEX Capture Drive expressP2 card, P2 card, microP2 card (sub) expressP2 card, P2 card, SD memory card (sub)

Recording resolution 4096 x 2160 (4K), 3840 x 2160 (UHD)

Maximum frame rate 120 fps or 100 fps 120 fps or 100 fps 4K/UHD: 60 fps or 50 fps, 2K/HD: 240 fps or 200 fps

System frequency 59.94p, 50p, 29.97p, 25p, 24p, 23.98p 59.94p, 50p, 29.97p, 25p, 24p, 23.98p, 59.94i, 50i 59.94p, 50p, 29.97p, 25p, 24p, 23.98p, 59.94i, 50i

Main recording format

V-RAW 4K/UHD: 12bit, 10bit — (RAW output 4K/UHD: 12 bit, 10 bit)

AVC-ULTRA —

ProRes —

Sub recording format —

Audio 48 kHz / 24 bit, 2Ch 48 kHz/24 bit, 4 ch 48 kHz/24 bit, 4 ch

Video Output SDI OUT 1-4 (4K OUT), MON OUT 1/2, VF OUT SDI OUT 1-4 (4K OUT), MON OUT 1/2, VF OUT SDI OUT 1/2, VF OUT

Audio Input/Output MIC IN, PHONES, Speaker MIC IN, INPUT 1/2, PHONES, Speaker MIC IN, INPUT 1/2, PHONES, Speaker

DC Input/Output 24 V DC IN, 24V DC OUT/RS x3, 12V DC OUT 12V DC IN, 12V DC OUT/RS, 12V DC OUT 12V DC IN, 12V DC OUT/RS, 12V DC OUT

USB, LAN USB2.0 host, 100BASE-TX/10BASE-T USB2.0 host, USB2.0 device, 100BASE-TX/10BASE-T USB2.0 host, USB2.0 device, 100BASE-TX/10BASE-T

TC, Genlock TC IN/OUT, GENLOCK IN TC IN/OUT, GENLOCK IN TC IN/OUT, GENLOCK IN

3D LUT/ CDL file Upload and Save SD Memory Card Slot SD Memory Card Slot SD Memory Card Slot

VariCam Pure VariCam 35 VariCam LT

180.2 mm x 236.3 mm x 314 mm
(7-3/32 inches x 9-19/64 inches x 12-23/64 inches)
excluding protrusion and accessories

Dual Native ISO: 800, 5000
800 Base: 200 to 4000
5000 Base: 1250 to 12800

[deg] mode: 1.0 deg to 358 deg (0.5 deg step)
[sec] mode: 1/24 sec to 1/250 sec (for 24p)

179 mm x 230.5 mm x 347 mm
(7-1/16 inches x 9-3/32 inches x 13-21/32 inches)
excluding protrusion and accessories

Dual Native ISO: 800, 5000
800 Base: 200 to 4000
5000 Base: 1250 to 12800

[deg] mode: 1.0 deg to 358 deg (0.5 deg step)
[sec] mode: 1/24 sec to 1/250 sec (for 24p)

4096 x 2160 (4K), 3840 x 2160 (UHD),
2048 x 1080 (2K), 1920 x 1080 (HD)

4K/UHD: AVC-Intra4K444, AVC-Intra4K422, AVC-Intra4K-LT
2K: AVC-Intra2K444, AVC-Intra2K422
HD: AVC-Intra444,AVC-Intra200, AVC-Intra422, AVC-Intra100

2K/HD: ProRes4444 XQ, ProRes4444, ProRes422 HQ,
ProRes422, ProRes422 LT

AVC-Intra2K422, AVC-Intra422, AVC-Intra100,
AVC-LongG50, AVC-LongG25

184.0 mm x 230.5 mm x 247.0 mm
(7-1/4 inches x 9-3/32 inches x 9-3/4 inches)
excluding protrusion and accessories

super 35mm EF mount (exchangeable to PL mount)

Dual Native ISO: 800, 5000
800 Base: 200 to 4000
5000 Base: 1250 to 12800

[deg] mode: 1.0 deg to 358 deg (0.1 deg step)
[sec] mode: 1/24 sec. to 1/250 sec. (for 24p)

4096 x 2160 (4K), 3840 x 2160 (UHD),
2048 x 1080 (2K), 1920 x 1080 (HD)

4K/UHD: AVC-Intra4K422, AVC-Intra4K-LT
2K: AVC-Intra2K444, AVC-Intra2K422, AVC-Intra2K-LT
HD: AVC-Intra444, AVC-Intra422, AVC-Intra-LT,

AVC-Intra100, AVC-LongG50, AVC-LongG25

2K/HD: ProRes4444 XQ, ProRes4444, ProRes422 HQ,
ProRes422, ProRes422 LT

AVC-LongG6

What's More on VariCam

17

VariCam Camera Simulator Panasonic VariCam Web Site VariCam Social Network

facebook

VariCam

https://www.facebook.com/VariCam/

Twitter

Panasonic VariCam

https://twitter.com/TheVaricam

Instagram

cinemavaricam

https://www.instagram.com/

cinemavaricam/

https://pro-av.panasonic.net/en/vcs/simulator/

VariCam Camera Simulator is the simulator program

designed to support users to simulate the control using

Control Panel.

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

Vimeo

Cinema VariCam ™

https://vimeo.com/varicam

YouTube

VariCam & EVA1

https://www.youtube.com/c/

VariCamEVA1

PARTNERS

18

4K Workflow Partners

In Camera Grading

Colorfront: On-Set Live! RC6 b19262

Filmlight: Prelight v5.0

In2Core: Qtake v1.3

Pomfort: Live Grade PRO v2.2

WOWOW: Wonder Look Pro v3.5.2

Offloading

Codex: Production Suite

Imagine Products: ShotPutPro

Pomfort: SilverStack

YoYotta: YoYottaID

RAW Recorder

Atomos: Shogun Inferno / Flame

Codex: V-RAW 2.0 recorder

Convergent Design: Odyssey 7Q/ 7Q+

Editing/Grading

Adobe: Premiere Pro CC

Apple: Final Cut Pro X

Assimilate: Scratch, Scratch Play

Autodesk: Flame family, Smoke

Avid: Media Composer

Blackmagic Design: DaVinci Resolve, DaVinci Resolve Studio

Colorfront: On-Set Dailies, Express Dailies, Transkoder

Digital Vision: NuCoda

Filmlight: Baselight, Daylight

GrassValley: EDIUS Pro

S.A.M: Quantel Rio, Rio Assist

AVC-Ultra / RAW Import Plug-in

Calibrated Software: AVC-Intra LT Import for Adobe

Drastic Technology: Media Reactor

Visit workflow page on VariCam Site; https://pro-av.panasonic.net/en/varicam/index.html

EUROPEEUROPE

NORTH AMERICA

NORTH AMERICA

LATIN AMERICA

LATIN AMERICA

MIDDLE EAST

AFRICA

MIDDLE EAST

AFRICA

OCEANIA

OCEANIA

ASIA

ASIA

JAPAN

JAPAN

Don't stop your VISION and REVOLUTION

19

Panasonic Service Policy

The purpose of Panasonic Worldwide Cinema Camera

Service Network is to support the DPs and crews using

the VariCam all over the world.

We won't let anything gets in your way of your vision

with VariCam.

NORTH AMERICA

Los Angeles
New Jersey
Mississauga
Montreal
Richmond
Puerto Rico

LATIN AMERICA

Mexico
Guatemala
Costa Rica
Panama City
Caracas
Colombia
Guayaquil
Lima
Sao Paulo
Montevideo
Buenos Aires
Santiago
Dominican Republic

EUROPE

Cardiff
Wiesbaden
Hilversum
Brussels
Paris
Barcelona
Lisbon
Milan
Vienna
Copenhagen
Oslo
Kungens Kurva
Helsinki
Prague

Warszawa
Krakow
Krasnik
Istanbul
Athens
Budapest
Zagreb
Bratislava
Moscow
Kiev
Kishinev
Tbilisi
Almaty

MIDDLE EAST/
AFRICA

Kuwait
Karachi
Islamabad
Lahore
Dubai
Johannesburg
Cape Town
Cairo

ASIA

Singapore
Malaysia
Bangkok
Jakarta
Chennai
Delhi
Mumbai
Kolkata
Thiruvananthapuram
Hyderabad
Ho Chi Minh
Pasig City
Taipei Hsien
Seoul
Beijing
Shanghai
Guangzhou
Hong Kong

JAPAN

Shiga
Osaka

OCEANIA

Brisbane
Melbourne
Perth
Sydney
Auckland

SP-VARILINEPE3 50K201803ZP-1 Printed in Japan

2-15 Matsuba-cho, Kadoma, Osaka 571-8503 Japan

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