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Powerful colour management
capabilities provide a much extended
colour gamut for truly impeccable
image fi delity and full fi delity mastering of
original source material.
Inherited from original VariCam, the VariCam
35 features a V-Log curve, specifi cally tuned to produce
images full of emotion, which maps an impressive 14+
stops of image data to the recorded fi le. The VariCam
35 permits the assignment of various LUTs to individual
recording channels and camera outputs. For example,
shoot UHD and record non-destructively with the V-Log
LUT, but assign a ”baked-in” 709 LUT on the HD / proxy
recording for a real-time normal contrast look for editing
In layman’s terms, the ‘Panasonic look’ is back, and it’s
looking better than ever.
A lot of the talk at IBC and the recent big trade shows has
been about 4k workfl ow, but the average DOP doesn’t care
too greatly about the edit, they just want to make sure they
are providing the best possible footage for post-production
teams to work with.
That’s not to say the VariCam is not workfl ow friendly, it
is. But what will get the average DOP excited, is how the
VariCam 35 demonstrates just how powerful a camera’s
colour rendering can be.
Reds are pure and just, not varied shades of orange or
pink. The red seems to pop in a way that I haven’t seen
before. We seem to have nailed the yellows too, a key to the rich
fl esh tones which Panasonic cameras are known for. Flesh
tones are warm, alive and unlike those captured by any
But secondary colours too are delivered beautifully. Browns
and purples are rendered accurately and subtly.
This ability to provide contrasts for secondary colours is
where the camera can really start to win some admirers.
At the moment the choice available to DOPs is a range
of cameras that render secondary colours very similarly,
meaning that subtle colour variations can be lost.
The showreel created for IBC demonstrated this perfectly.
There is a scene where there is a clothing rail, seen through
a rain soaked window. It is possible to pick out individual
as tans, greys and browns, the
subtleties of which, in my opinion, would be lost on other
cameras at this end of the market.
Every colour leaps out without garish contrasts, and
they can be reined in where appropriate offering camera
operators the most accurate and beautiful palette to play
with. But nightscapes are where, for me, the camera gets even
better. Panasonic hits the mark when capturing accurate,
The showreel includes a scene in which sodium yellows
from street lights sit alongside neon blues, and neon
yellows. Even in this dark Los Angeles city scape, red cars
and white cars are discernable from a helicopter mounted
camera. The image is captured with a clarity that is unlike
anything else too, it’s possible to read the ‘Staples Center’
sign, in a pillar box red on the front of the building’s dark
frontage. In a nightscape, that is very impressive.
Unlike the old VariCam, better suited to nature
documentaries and episodic programmes, the new
VariCam 35 (which is more than capable for those
applications) is aimed squarely at high end costume
dramas, advertising and productions for cinematic release.
We listened to the response when we fi rst showed the
VariCam at NAB and tweaked the concept to offer the most
up to date camera on the market.
We’re very excited about VariCam and feel it can help us
get back to a position of strength in high-end fi lm making,
where we have great heritage. Maybe our new offering can
be as pivotal in the rise of 4k as the original VariCam was to
the rise of HD just over a decade ago.
The fi rst showreel for the VariCam is now available on
KITPLUS - THE TV-BAY MAGAZINE: ISSUE 95 NOVEMBER 2014 | 71