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. 

NEWARK, N.J.—The Panasonic VariCam LT is the camera of choice for the new psychological thriller “The Enemy Within,” which airs on NBC, Mondays at 10 p.m. EDT.

Frank Prinzi, an Emmy Award-winning cinematographer, selected the camera because of VariCam’s dual-native ISOs and color palette. The VariCam LT was deemed to be the ideal option because the series, which follows a former CIA operative serving a life sentence for treason but released to assist the FBI, because the program is a “huge camera show,” in the words of Prinzi.

“We shot ‘The Enemy Within’ close to 90% handheld, with tons of coverage, gun battles, stunts,” Prinzi recounted. “The LT, lighter and smaller than the VariCam 35 but with so many of its light handling and color space characteristics, was my top choice.”

Production began in fall 2018 and ran through mid-February 2019. Shooting was done on location around northern New Jersey and on soundstages constructed in the East Rutherford (N.J.) Meadowlands Arena.

Three VariCam LT cameras are used to shoot the series along with a Panasonic AU-EVA1 5.7K handheld camera used to shoot out a car window, for other challenging shots and for hidden shots. The VariCam LTs were equipped with a set of Angenieux zoom lenses and Cooke S4 Primes. The EVA1 used EF Sigma lenses.

“The VariCam’s dual 5000/800 sensor is brilliant—I can go to any location and make it work, which is especially valuable for TV,” said Prinzi. “It’s like a safety net—you always feel safe taking chances and there isn’t anything you can’t shoot.”

“The camera is equally adept with underexposure and overexposure, with exceptional dynamic range,” he added. “I want to push the edges, and with the VariCam I can easily move from really bright to really dark.”

The show was recorded with 1920x1080 AVC Intra 4:4:4. High-speed VariCam LT shots were recorded using AVC Intra 4:2:2, while the 4K All-I 400Mb/s codec was used by the EVA1.

Prinzi and Digital Imaging Technician Lewis Rothenberg worked prior to shooting to light and design the show. He served as DP for half of the series’ episodes, and Frank DeMarco took on that role for the other half.

“The camera’s color palette is cinematic and its texture has film-like grain, with skin tones I really like,” noted Prinzi. “DIT Rothenberg and I were essentially able to seamlessly color match the whole series as we went along, giving post production a guide to follow. Altogether, the texture and color tone are magnificent, and the LT affords me the possibility to shoot in any stop.”

More information is available on the Panasonic website.

NEWARK, N.J.—A new firmware upgrade is just around the corner for Panasonic’s VariCam LT 4K camera. The upgrade, v6 for VariCam LT, comes with new features that include a shading mode, tally, return video management and control of the camera through Panasonic’s AK-HRP1000 remote control panel.

The new shading mode will help the camera create consistent looks with other cameras. Users will have the option to record V-log in camera, as well as performing live in-camera color correction. The two separate SDI outputs of the camera enables the output of different video signals, a clean view for broadcasting or recording and one view for monitoring. Also, fiber transmission is possible via transport systems from DTS, ERECA, MultiDyne and Telecast.

Users can record internally on each VariCam LT in 4K or HD 4:4:4 in AVC-Ultra or ProRes and match back to the live switch. There is also a new “live mode” fan setting that reduces fan noise, even when the camera is not recording.

The v6 firmware for VariCam LT will be available as a free download on Feb. 19.

NEWARK, N.J.—As a group of four couples were in a race to travel from Miami to Boston as part of the reality competition “Relative Race,” Lenzworks relied on Panasonic’s VariCam LT 4K cinema camcorders to grab all the action. Lenzworks stocked up on 12 VariCams for the second season of the 10-episode series, which was produced for BYUtv.

Tom Zdunich, Lenzworks president/creative director, highlighted the cameras’ ergonomics, light weight and low light performance as reasons why the production went with the VariCam LT. Zdunich also cited the cameras ability to shoot ProRes and in native 5000 ISO.

The cameras were split up amongst four crews—each of which comprised of an A and B team—to capture footage as the teams traveled from Miami to Boston, competed in challenges, and discovered unknown relatives. Lenzworks outfitted the VariCams with Fujinon 19-90mm Cabrio PL compact zoom lenses.

“Relative Race” is expected to air on BYUtv in March 2017.

NEWARK, N.J.—Florida State University is adding to its arsenal of cameras available to Seminole Productions, the video production unit for the school’s College of Communications and Athletic program, with the addition of Panasonic’s VariCam LT 4K camcorder. The University is expected to use the cameras to shoot features to display on the LED video boards in Doak Campbell Stadium.

Offering capture rates of up to 240 fps, the VariCam LT is a complementary addition to Seminole Production’s stock of Panasonic cameras, which include eight AK-HC5000 4X high-speed cameras, as well as AG-DVX200 4K handheld camcorders and an AW-HE130 PTZ camera. The VariCam cameras also feature dual native 800/5000 ISOs.

Seminole Production will use the VariCam LT for the university’s 17 athletic programs. It will also be used to shoot segments of weekly television shows “The Jimbo Fisher Show” and “Seminole Sports Magazine,” which air on Fox Sports Sun Network.

NEWARK, N.J.—There are now five VariCam LT Super 35mm Cinema Camera kit packages, as Panasonic has added the PROEX-B512 package.

This new package includes the completely accessorized camcorder with two AU-XP0512BG expressP2 memory cards and an AU-XPD1 expressP2 card reader. The 512GB expressP2 cards can record up to 180 minutes of continuous 4K material at 24 fps in the AVC-Intra4K422 codec. It has a suggested retail price of $31,600.

In addition, Panasonic has announced a free firmware upgrade for the VariCam LT with improved Audio Level adjustment interface, updated available EF mount lenses, as well as Surround View for VF, 24.00p for LongC6 proxy recording, SD card recording of CDL/LUT, 1080p in AVC-Intra100 recording, and 1080/60i, 50i for ProRes HQ recording. The upgrade is available immediately via download.

NEWARK, N.J.—When Panasonic releases its new VariCam LT Super 35mm Cinema Camera it will offer a four packages for consumers. The company will also make available its expressP2 cards, the media used to record on the VariCam LT cameras, at a reduction of 40 percent.

VariCam LT

The basic package for Panasonic’s new camera is the VariCam LT and includes the camera body, top handle, control panel and control panel mounting bracket at a starting price of $18,000. There is also the VariCam LT-VF package, which contains the basic kit plus an AU-VCVF10 OLED viewfinder for $23,700. The next package is the VariCam LT-Pro for $27,550, which adds the component of the previous two packages as well as a shoulder mount, operating grip and PL lens mount. Combining all three of the previous kits, the VariCam LT-ProEx also features two 256Gbyte expressP2 cards and an expressP2 drive; Panasonic offers this package for $30,200.

The VariCam LT camera is a lighter, more compact version of Panasonic’s VariCam 35 camera, delivering 14+ stops of dynamic range with V-Log, the VariCam image quality and color science, and dual native ISOs of 800/5000. Panasonic will begin to ship the VariCam LT in March.

NEWARK, N.J.—Taking inspiration from its VariCam 35 camera, Panasonic has announced its new VariCam LT. The 4K cinema camera offers the 35mm sensor and imaging capabilities of the VariCam 35, but in more compact version.

VariCam LT

The VariCam LT delivers image handling in multiple formats, including 4K, UHD, 2K and HD, as well as being fully capable of HDR field capture. The camcorder offers Apple ProRes 4444 (up to 30p) and ProRes 422 HQ (up to 60p) support for HD recording. It also supports Panasonic’s AVC-Ultra family of video codecs, including AVC-Intra LT and AVC-Intra 2K-LT. In addition, the camera delivers 14+ stops of dynamic range with V-Log, cinematic VariCam image quality and color science, and native ISOs of 800/5000.

Color management capabilities are combined with extended color gamut and support for the Academy Color Encoding System workflow to allow for full fidelity mastering of original source material. The VariCam LT features in-camera color grading, with the ability to record an ungraded 4K master along with on-set grading metadata. The V-Look is a new color processing feature that is a blend of V-Log and video to allow for filmic documentary acquisition without the need for intense color grading.

The one-piece, short-bodied VariCam LT comes with an SD slot for high-resolution proxy recording. Proxy files can then be wirelessly uploaded via FTP for wireless color grading. Variable frame rates are available with LongG6 recording.

It also features a single expressP2 card for all formats. RAW output from SDI is planned to be part of a firmware upgrade expected in early summer 2016.

Additional features for the VariCam LT are an EF mount for a variety of lenses, which can be switched out for a PL mount, a separable control panel, power hot swap, IR shooting, 23.98 PsF output, and image presets as scene files. Production assets include ND filters, an optional OLED electronic viewfinder with optimal zoom functionality, 24-bit LPCM audio, Focus Assist, anamorphic lens de-squeeze, REC functions, IP control with Panasonic’s AK-HRP200 camera remote controller, and a built-in GPS.

Interfaces include 3G-HD-SDIx3, LAN, genlock in, time code in/out, USB2.0 Host and USB2.0 Device, and three XLR inputs for recording of four channels in 24-bit, 48KHz audio. The camera can also be used with the Panasonic AU-VCVF10G viewfinder and third party viewfinders.

Panasonic will release the VariCam LT at the end of March with two available packages: a body-only package for $18,000, and a package with body and AU-VCVF10G viewfinder for $24,000.