NEWARK, N.J.—Panasonic has released EL Zone, a new exposure map tool, as part of its latest VariCam firmware update.

“Unlike false color methods that have limited steps and are IRE percent-based, EL Zone is an intuitive stop-based system that relates one-to-one with lens F-Stops and light meters,” said Mike Bergeron, senior category owner, Production Solutions, at Panasonic. “The tool is easy to use, and the color codes are arranged to be easy to remember.”

Firmware version 9.0’s EL Zone exposure map tool was created by cinematographer Ed Lachman, ASC, whose credits include “Erin Brockovich,” “Far From Heaven” and “Carol,” Panasonic said. It offers 15 delineated steps to help map the VariCam’s full exposure range. 

In EL Zone, 18% gray shows up as gray. Complete overexposure shows up as white with no detail remaining and full underexposure shows up as black with no detail remaining. With the tool, setting skin tones for light or dark skin is in +/- ½ to 1 Stop increments above and below 18% gray. Assigning EL Zone to a camera user button allows the exposure map tool to be turn on or off, the company said.

El Zone is now available for the VariCam LT and VariCam 35 4K HDR cinema cameras. EL Zone can be used in the various color modes, including: V-Log, V-709 and V-Look1 and V-Look2 (V-Look 1 and 2 are available for VariCam LT only). With the free upgrade, cinematographers have more flexibility to correct problematic shots, match shots to others and achieve highly stylized or cinematic looks in post-production, Panasonic said.

Other new firmware features include added anamorphic de-squeeze aspect ratios 1.8x and 1.5x and an in-camera custom aspect ratio frame marker generator that dials in just about any aspect ratio. There are also improved prefixed fixed frame markers that are easier to use, the company said.

More information is available on the company’s website. 

A new docu-series premiering on Viceland in September focuses on the heroin epidemic impacting the lives of addicts in southern Florida and exposes corruption and exploitation in the rehab industry.

Shot in large part by cinematographers Mike Goodman and Greg Taylor with Panasonic VariCam LT cinema cameras, “Dopesick Nation” tracks recovering addicts Frankie and Allie as they try to save as many addicts as they can.

The series follows “American Relapse,” a documentary feature shot by the pair. Before they had completed the documentary, Viceland ordered in-depth, one-hour episodes for the show that became “Dopesick Nation.”

While Goodman and Taylor used the Sony F35 for the documentary, they chose the VariCam LT for the series to take advantage of its low-light sensitivity. “We had a very small lighting package and rarely the time to use it,” says Taylor. “Embracing the mixed natural lighting of the world was key to controlling the look of the show.”

Shooting under conditions that would push the VariCam sensor to its limit, the pair chose to use its native ISOs (800 and 5,000) to ensure the blacks remained “clean and velvety” and to minimize noise. “There was a big desire to make everything fast on set because we were often chasing after subjects in dark alleyways and under dimly lit bridges, maybe near a train track with absolutely no time for supplemental lighting,” says Taylor.

Taylor credits the 5,000 ISO for getting the production team “out of some tight spots where other sensors might have fallen apart.”

One challenging scene was shot in a park where a person with an addiction sat on a seawall near a waterway in near pitch-black conditions. Because the subject wanted to tell his story right then and there, Taylor’s only lighting option was to improvise with the flashlight on his iPhone. Leaning the phone on a cup that happened to be nearby on the ground, Taylor pointed the light upward to fill in the bottom of the character’s face.

“In the end it was a really powerful moment, and I don’t think we could have planned it any better or differently than what we got—a raw unfiltered tale of the harrowing realities of addiction,” says Taylor.

“Dopesick Nation” chronicles what Goodman describes as the “unpredictable nature of addiction,” which he sees as the biggest challenge the production faces. “Because we were dealing with real people with real problems, we had to be prepared for any situation.”

Those included waiting in alleys in Florida’s heat, running down railroad tracks to revive someone who overdosed and working in pop-up rain showers and cramped conditions. “We were really impressed with how the VariCam LTs held up to the abuse and kept on operating as expected,” he added.

In Taylor’s mind, the greatest challenge was balancing the need to face the world of his subjects with storytelling and composition requirements.

“Every day was ambitious and really unique, and there were times we didn’t know exactly how things would play out,” says Taylor. “Some days we would be around needles, prostitution, overdoses, drug dealers, you name it. You had to keep your cool even if you felt uneasy and it was 4 a.m. Staying on your toes and being present to the situation was incredibly important.”

Taylor chose a dark, gritty feel for the series to best tell the story, and Goodman often would try to dirty up the borders of the frame. The pair even developed their own vocabulary to describe what they intended for the looks of certain situations.

“Dragon Fire” was a code word for a colorful background bokeh, and “SIC” (Scene In Car) was the pair’s term for their driving interview technique where they would shoot their subjects with a handheld camera.

The cinematographers relied on two VariCam LTs to shoot the series. Frequently, the camera team would split up to cover more ground and capture a more intimate, one-on-one perspective with Allie and Frank or the addicts they were helping. First AC Evan Parquette was assigned to capturing establishing shots and setting up car rigs while main operators shot the scene.

Besides the VariCam LT cameras, Goodman and Tayler used DJI drones, Sony A7S2s, Canon 5Ds and GoPro 6s to capture additional footage for b-roll and car rigs. Viceland required 1080p deliverables. Goodman and Taylor recorded ProRes so files could switch between 23.98, 48, and 60 frames-per-second on the fly. They also captured in V-Log and used the V-709 LUT for monitoring.

The go-to lens for “Dopesick Nation” was the Canon CINE-SERVO 17-120MM T2.95-3.9 zoom; however, Canon L-series and Zeiss prime lenses were used when extra speed and a less obtrusive camera setup were required.

The series was posted at T-Group in Culver City, Calif., as well as at the Viceland offices and Pat McGee Pictures. The color grade was performed by Devon Collins at Revolution Post. According to Goodman, Collins continued the trend of using all the different light sources to create a show with lots of color and deep blacks.

A one-minute trailer on “Dopesick Nation” is available on YouTube.

More information about the series is available on the “Dopesick Nation” website.

More information about the VariCam LT is available on the Panasonic website. 

LAS VEGAS — A the 2018 NAB Show, Panasonic debuted a new high speed 4K HDR camera, firmware update to its EVA camera line and showcased 8K Region of Interest (ROI) for sports and live events.

ACQUISITION

Panasonic debuted the AK-UC4000, a 4K high-speed studio camera that features 4.4K native resolution, HDR, and high-speed 240fps capability. The camera features native support of SMPTE 2110 MoIP output, an integrated stadium wireless system, and unique assets for sports production. They also demoed the AK-UC3000 4K camera, showcasing simultaneous 4K HDR SMPTE 2020 imaging and ITU 709 HD broadcast.

There is now free EVA 2.0 firmware upgrade for the 5.7 AU-EVA1 cinema cameras that enhances its recording capabilities with All-Intra frame formats and RAW data output. There’s also new firmware for the VariCam LT V. 6.0 CineLive that simplified setup for live and near live multicamera use for events, concerts, television shows and corporate productions. Panasonic announced that its EVA1 and Varicam LT now support the new ProRes RAW software for a faster more efficient RAW workflow.

Panasonic also highlighted the low-light performance of the VariCam 35, VariCam LT, and AU-EVA1 cinema cameras, as well as 4K HDR content from the VariCam and EVA1 cinema cameras.

PRODUCTS FOR NDI

Panasonic was at the NDI Central Pavilion, demonstrating its AV-HLC100 Live Production Center now with support for Newtek’s Network Device Interface. This system combines a 1/ME switcher, remote camera controller, graphics overlays, recording, and audio mixer to facilitate live streaming by a single operator.

In addition to seeing the HLC100 working in a real-world control room, visitors got a look at NDI-compatible products ranging from graphics to streaming to screen capture to recording. PTZ cameras now offer built-in NDI support, including the AW-HN38, AW-HN40, AW-UN70 and AW-HN130.

PARTNER SOLUTIONS

Panasonic featured new partner integrations with its P2Cast cloud-based platform’s workflow, including: two Panasonic/TVU video solutions featuring IP video switching, routing and distribution. The company also demonstrated new versions of the P2Cast Bridge, which enables connectivity into partner newsroom systems, including Adobe Premiere and Avid Media Composer for nonlinear editing, and Avid Interplay for media asset management.

Third-party solutions from Areplus, BlackTrax, and Tecnopoint, which enhance the versatility of Panasonic integrated PTZ cameras, were also showcased. A real-time BlackTrax tracking solution with Areplus interface allows a Panasonic PTZ camera to follow the speaker or content. And, a Tecnopoint Tuning System, consisting of a ceiling dolly and a vertical column, is the first track system totally integrated with Panasonic PTZ cameras.

SPECIAL ATTRACTIONS

The Panasonic exhibit also demonstrated an 8K Region of Interest (ROI) system for sports and live event HD applications, including an 8K camera’s super-wide field of view and HD windows with full pan/tilt/zoom control. It enables a single operator to follow the action from multiple virtual camera angles, saving space over multiple manned cameras.

Also demonstrated was a 360-degree/VR live streaming system that combines Panasonic’s low-latency 360-degree Live Camera with Haivision’s KB 4K encoder and LiveScale’s distribution platform to form an end-to-end, broadcast-quality solution.

NEWARK, N.J.—A bevy of VariCam cameras from Panasonic are receiving new firmware upgrades, including the VariCam 35, HS, LT and Pure cinema camera. The VariCam 35/HS now offers v7.5 firmware; VariCam LT offers v5.5; and VariCam Pure has v7.5.

Some of the new features available through the firmware is a new high speed menu mode available for the VariCam LT. The new menu enables 240p RAW output for 2K or HD. There is also a new software reboot that is completed with the control panel rather than needing to turn off the physical power switch of the camera. A new REC Check function for the 35, HS and LT allows users to check the first five and last five seconds of the latest clip for tail slate marking.

VariCam LT

All models will now have an expanded frame rate range in high speed mode down to one fps, allowing capture from one to 240p for the VariCam HS and LT models; one to 120p for the VariCam 35 and Pure. Anamorphic desqueeze is now available in play back as well as when recording. A horizontal desqueeze of 1.3x or 2x is available for SDI Out or VF SDI. An option to apply grading data recorded with clip on play back. The LT can set play back grading menu from play display on GUI.

Additional features include RDD18 camera metadata on MON output; INFRA mode to support WM50MC and Planex GW-900D; user clip name Type3 on OSD is off as default for the 35, HS and LT models; deleted CPS password system for 35 and HS; fixed card remain time bug of AVCLongG at 23.98 for 35, HS and LT; support for Canon EF 24-105mm F4 L-series USM lens just for LT; and fixed valid frame flag bug on RAW output for LT.

All of the new firmware is available for free download through the Panasonic website.

NEWARK, N.J.—When it comes to the question of what camera hsc.tv will use for some of its high-profile productions, the answer recently has been Panasonic’s line of VariCam cameras. The series of cameras has been used to cover events like Grand Slam Tennis, the Masters golf tournament and a New York Yankees feature for ESPN, TruTV promos and footage for “The View.”

The stock room at hsc.tv is filled with the VariCam 35 4K cinema camera and two VariCam HS high-speed 2/32 cameras. The production company also recently brought in the VariCam LT 4K cinema camcorder.

Among the features hsc.tv uses with the VariCams are the 35mm sensor, its dual native ISOs of 800/5000 and the ability to shoot in slo-mo and regular speed simultaneously. In addition, the VariCam 35 and HS cameras are able to share two recorders.

NEWARK, N.J.—Panasonic is making sure not to leave any of its VariCam cameras out with its new firmware upgrade. The free upgrade, which offers additional ProRes codecs and HD-SDI Monitor output improvements, will be available for the VariCam 35 and LT cinema cameras as well as the VariCam HS high-speed 1080p camera. This is version 7.0 for the VariCam 35 and HS, and version 5.0 for VariCam LT.

VariCam LT

Both versions of the firmware upgrade feature the addition of ProRes 4444 XQ, ProRes 422 and ProRes 422 LT. The bit depth of ProRes 4444 has been increased to 12-bit, with 10-bit file playback only in camera. Specifically for the VariCam LT, AVC-LongG G50/G25 recording (HD only) is now support for nearly all frame rates.

Users can now shorten the delay of the HD-SDI monitor outputs to two frames. Support of 23.98PsF output is also available, providing native frame rate support without introducing 2:3 pulldown artifacts. Support for “Letter Box” output in 4K/2K is also available, in which the image in MON OUT will be automatically set in “Letter Box” mode.

The new firmware also supports a new remote control app for the iPad, the VariCam ROP, which features a user display akin to VariCam’s menu display. A 2.0:1 aspect ratio has been added as a framer marking choice.

Specific features of version 7.0 includes the ability to select image invert and surround view independently in the VariCam 35 and HS cameras, as well as allowing users to select the viewfinder display as EE (camera through) in playback. In version 5.0, the VariCam LT’s audio level meter can be selected to display SDI OUT.

The new firmware upgrades can be downloaded for free on the Panasonic website.

NEWARK, N.J.—Showtime and content studio Malka Media are stepping up their games in shooting a six-part episodic digital sports documentary in 4K, choosing Panasonic’s VariCam LT 4K camcorder to do so. Though the content was shot in 4K, the final result will air in HD on SHO.com and the Showtime Sports YouTube channel.

For “Legacy: Bob Hurley,” series director and Malka Media CEO Louis Krubich chose the VariCam LT camera based on its 4K acquisition and dual-native 800/5000s, hoping to eventually combine the footage into a single documentary for a network to broadcast in 4K. The native sensors allow Krubich to follow his subjects in low light situations without losing quality. The camera also allows for mics and reference audio receivers to be plugged directly into XLR ports. Additional features offered by the VariCam LT camera included the ability to configure and switch between Scene Files for fast or slow motion, and dual recording capabilities.

“Legacy: Bob Hurley” follows St. Anthony High School’s basketball coach Bob Hurley, who is entering into his 45th year of coaching at the school where he has led the team to 28 state championships. However, because of funding issues, the basketball program is in danger of being shut down.

The six-episode series, with episodes ranging from 10-12 minutes, will start airing on Feb. 20.

CLEMSON, S.C.—As I write this, Clemson Tigers football has secured a spot in the 2016 CFP championship slated for Jan. 11. We went into the New Year’s Eve Orange Bowl against Oklahoma ranked #1, with a 13-0 season, having won our 15th Atlantic Coast Conference Championship. This season, the video production team has seen a bumper crop of thrilling action captured on Panasonic’s VariCam HS.

Clemson University’s Athletic Department utilized Panaonic’s VariCam HS for entire football season.ON THE FIELD
Last summer, we added the VariCam High Speed camera/recorder to our large fleet of Panasonic cameras and recorders, and it was our primary acquisition tool throughout the football season. We relied on it for dual, simultaneous recording of high frame rate 240 fps and 1080p/59.94 video footage with 24-bit/48 kHz LPCM audio. Prior to our investment in the VariCam HS, we would have needed two different camera/recorders to get that job done.

Our packages can be seen on our athletics site, www.clemsontigers.com, and are also used for highlight/banquet videos. Off the football field, we utilize the VariCam HS in our production studio for green screen interviews with our athletes. And as the gridiron action winds down, we’re getting ready to use the camera/recorder for basketball coverage.

The VariCam HS system includes the AU-VREC1G recording module, AUV23HS1G 2/3 type HD camera head, AU-VCVF1G OLED viewfinder, and AUVSHL1G shoulder pad/tripod mount. It uses three newly-developed, 1920x1080p MOS imagers with 14 stops of latitude. It offers a choice of recording formats: Apple ProRes 4444 and ProRes 422 and Panasonic’s AVC-ULTRA family of advanced video codecs, and features a range of high-quality recording choices including AVCIntra Class100 (recording as 1080/24p, 25, 30p, 50 or 60p with VFR up to 240p), AVC-Intra Class200 (up to 30p/60i) and 12-bit sampled AVC-Intra Class4:4:4 (up to 30p). Among the VariCam HS’ key features are real-time high frame rate and off-speed recording to 240fps in 1080p (using AVCIntra Class100), plus the ability to ramp/change frame rates during record.

FOOTAGE CAPTURE
I’ve shot much of the football coverage and enjoy shooting with the VariCam HS. It’s a camera with some heft, which I prefer for ENG-style shooting on the field. We have plenty of Panasonic’s new expressP2 cards for high frame rate recording (above 60 fps). Each 256 GB expressP2 card can record about 32 minutes of 240p 1080p video, and we have more than enough space to record the maximum amount of slo-motion, while at the same time capturing the game in realtime on a microP2 card. The chief asset of the VariCam HS has been its ability to simultaneously capture 1080p game action along with gorgeous super slo-mo.

The recorder is easy to understand, the quick menus on the screen are very useful; beyond that, custom menus are easy to set-up and navigate intuitively. While we haven’t yet, we anticipate taking advantage of the VariCam HS’ unique modular design—with the ability to separate the recorder from the camera head via an extension cable—and put it on a jib, further tapping into the versatility of the system.

Rick Bagby is assistant athletics director– video and technology, Clemson University Athletics Department. He can be reached atrbagby@clemson.edu.

For additional information, contact Panasonic at 877-803-8492 or visit www.panasonic.com.

BERKSHIRE, ENGLAD—Following a three month test shoot, BBC Natural History has placed an order for both the 4K and high speed versions of Panasonic’s VariCam.

VariCam 35

The new VariCam has the ability to shoot a 4K recording at 120fps, an HD recording of 240fps, the ability to record multiple formats simultaneously, and dual ISO at both 800 and 5000. It also features a 35mm 4K unit that is separate from the recording module unit, allowing interchange with Panasonic’s High Speed 2/3-inch camera module unit. The recorder and camera head can be split apart using an extension cable of up to 20 meters.

BBC’s Natural History Unit previously used VariCams on productions including “Planet Earth,” “Frozen Planet,” and “Africa.”

NEWARK, N.J. – Panasonic has announced that a new, free firmware upgrade for VariCam 35 4K and VariCam HS camera/recorders is now available. Upgrade Version 4.0 expands recording options and enables a variety of post-production workflows.

VariCam 35

Elements of the firmware upgrade include the addition of Codex V-RAW recorder, which adds uncompressed RAW capture to the VariCam 35 platform by enabling the recording of 4K RAW up to 120fps and can connect directly to the VariCam 35. In addition, support for HD recordings in Apple ProRes 4444 is also part of the upgrade, enhancing workflow options and premium HD image capture. Anamorphic lens support for 1.33:1 and 2.0:1 lenses offers simultaneous recordings of squeezed and de-squeezed images, as well as on set monitoring with de-squeezed images in the viewfinder and HD monitors.

Version 4.0 of VariCam 35 4K and VariCam HS firmware upgrade can be downloaded here.