Panasonic Varicam: unlimited creativity with its own personality

As has been evident in the 'Varicam Experience Day' that Panasonic has organized at the headquarters of the Film Academy in Madrid, directors of photography have found in the Varicam range the perfect ally to carry out their most successful productions, achieving images at the limit of full creativity.

Panasonic brought together numerous professionals from the sector this Wednesday at the Madrid headquarters of the Spanish Academy of Cinematographic Arts and Sciences to share impressions about the creative and technical potential of its range of Varicam digital cinematography cameras.

In this Varicam Experience Day It has become more than clear that since its launch two years ago, cinematographers have found in the Varicam the perfect ally to carry out their most successful productions. The VariCam range of cameras has been used in a wide variety of films, advertisements and television programmes, and is known for its color and look reproduction, as well as bringing progressive workflows to the production industry.

Oriol Massagué, on behalf of Panasonic, and Andrés Torres, president of the Spanish Association of Authors of Cinematographic Photographic Works (AEC), of which the manufacturer is a Protective Member, were in charge of welcoming the attendees, anticipating that they would attend a series of tests with different Varicams, taking them to unsuspected limits and achieving spectacular results.

Luc Bara, product manager of Panasonic's range of cinema products, began the day by presenting the Varicam line up currently made up of several versions that share the sensor and the same technology: Varicam Pure (the latest version capable of generating uncompressed 4K RAW files up to 120p and recording them on Codex's ultra-reliable external drive), Varicam LT (a lighter version with ProRes recording in 4K 60p and 4K 4:2:2 at 10 bits at 30p), and Varicam 35 (delivering 12-bit 4K 4:4:4 ProRes at 30p).

As announced a few days ago at Cine Gear Expo (Hollywood), Bara took advantage of this Varicam Experience Day to announce the launch of a new version of the family: the AU-EVA1. This camera has a 5.7K Super 35mm sensor capable of recording internally at 4K 10-bit 4:2:2 up to 60p and with Dual-Native ISO (as the Varicam LT and 35 already have and which allows switching between a standard sensitivity to a high sensitivity without an increase in noise or artifacts). The new EVA1, which is expected to be released next September, will be located in terms of range and performance between the GH5 and the Varicam LT and will barely weigh 1.2 kilos.

On the other hand, Bara reviewed the numerous films and television productions that have been shot with this range of cameras, highlighting that Netflix has chosen it as the reference camera for its 4K productions. At the moment, it has already premiered Orange is the new black, Frontier, Lovem Anne y 13 Reasons Why and last Ozark, 6 Balloons, Gypsy y Requiem, among others.

Bara highlighted that John Christian Rosenlund used the Varicam 35 in the production of the Oscar shortlisted film, The king’s Choice. The prestigious cinematographer captured incredible nighttime war scenes that have to be seen to be believed with hardly any lighting, shooting at ISO 5000 and recording in AVC Intra 4K 4:2:2.

On the other hand, Bill Wages has captured the series with Varicam Containment y SunRecords and the feature film The Forgiven. In the case of the seven-episode series SunRecords filmed at ISO 800 outdoors and ISO 5000 indoors, highlighting that with this last exposure the lighting needs are divided by five while saving time in the editing setup since both the main and fill sources are reduced to a minimum.

Finally, Bara shared the field work that Oona Menges has carried out filming scenes in London, putting the Varicam Pure to the test in extreme situations of movement and light.

Flexibility

Director of photography Tommie Ferreras participated in this Varicam Experience Day to present his conclusions about the dynamic range, color and Dual ISO offered by the Varicam Pure, a camera with which he has carried out a series of demanding tests. Using lenses Fuji, Ferreras shot at 120 fps most of the material intended to assess the possibilities that the camera has both in filming and in post-production in terms of visual effects and color work, since this Varicam model works without compression.

Among other conclusions, he highlighted that "what I like most about Varicam is its flexibility. Since the launch of the first versions we were able to see that the camera offered a different cinema look, achieving the most natural skin tones. It is a camera that has personality and texture. It also has an appropriate weight and measurements that allow me to move around the set looking for the right frame with total freedom of movement."

The Varicam Pure has a Super 35 CMOS Sensor, rolling shutter, almost real 14-top dynamic range, native ISO from 800 to 5000, aluminum PL mount and the possibility of collecting up to 4K 4096×2160 pixels. Regarding the sensor, Ferreras has stressed that it offers a different look, great ISO flexibility without needing adapters, with a stable working temperature, black balance, and a powerful dynamic range in high and especially low light.

Regarding the dual ISO, he commented that "the same equivalent dynamic range is achieved in both sensitivities with very little residual noise even when 1 stop is superimposed. The camera also offers total chromatic stability in low light. Even by shuttering, the ISO can be doubled without generating more noise."

“Working at 5000 we appreciate more things in the frame, it allows greater flexibility when choosing light sources, minimizing equipment, using smaller sources for fills, doubling the ISO without shutter, with the result of great detail in sunrises, sunsets or backlights,” he added.

In terms of dynamic range, he stressed that the Varicam offers over 14 stops, with an excellent high response at the level of what an Alexa or RED could be. The camera from above behaves wonderfully. It is possible to achieve extraordinary textures even on completely cloudy days.

As far as color science is concerned, Ferreras emphasized the very special skin tones that the Varicam can pick up. Additionally, it exceeds the ITU BT2020 color space to meet HDR requirements. “It gives the ideal curve to work in HDR environments with a wide spectrum in the color gamut,” he commented.

Some of the tests that were screened on this day left many cinematographers with their mouths open when they saw the results working even at high speeds at 120 fps in 4K RAW without compression.

Finally, Pedro Martínez, Visual Effect manager at La Bicicleta, addressed the possibilities of Varicam with respect to the subsequent use of the material in finishing and digital effects. “The grain of the image, even when forced to ISO 5000, responds very well,” he commented.

Martínez has collaborated in these tests at the effects level, analyzing the possibilities of integrating tracks and testing color selections "and we were greatly surprised because in the most adverse conditions the chromas worked perfectly. Furthermore, by working in the same color space, there are no deficiencies and everything is simpler even in the integration of 3D elements," he acknowledged. “The range that the Varicam offers us allows us to obtain information even almost where there is none,” he concluded.

To end the day, the professionals who attended this Varicam Experience Day They were able to see for themselves the possibilities of Varicam Pure and LT in a test set in which Fujinon optics (19-20 and 19-90) were used to achieve images at the limit of full creativity.