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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 and pre-grading. 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 other camera. 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 colours, such 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, saturated colours. 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 Vimeo: KITPLUS - THE TV-BAY MAGAZINE: ISSUE 95 NOVEMBER 2014 | 71 TV-BAY095NOV14.indd 71 06/11/2014 13:06