Panasonic Varicam 35 & Varicam HS

[Erik Naso]

You're probably right. The HPX3700 goes for $60K. These will be up there in the "rent only" range. It is good that Panasonic is in it, maybe some of it will find it's way into... no, not going to be the first on the thread to say it

You just did..... and me too.

 

[combatentropy]

Is the 4k head going to include a HFR 1080p native crop mode?

From the press release:

The VariCam 35’s superb image handling in multiple formats including 4K, UHD, 2K and HD . . .

 

[combatentropy]

Im guessing this one is priced around the f55?

Since the Panasonic is rolling shutter, I think it should be a notch below (and no, I will not comment on the exact dollar amount of one "notch," lest some make that the focus of the conversation).

I was really hoping to see Panasonic finally (re-)crack global shutter by this year. Sony already has with the F55, which matches Panasonic's 14 stops of dynamic range. Sony has also released a 2/3" CMOS sensor with global shutter and decent dynamic range (12 stops). So I'm wishfully thinking we may see more global-shutter camcorders from Sony this year, perhaps at NAB.

 

[Erik Naso]

Global shutter has it's draw backs too like less dynamic range. Maybe they can fix this in a different way with advancements in sensor design and processor. Not comparing this to the new GH4 but Panasonic claims they have improved the rolling shutter.

 

[Finster]

They probably made this for Barry's 50,000th anniversary post.

Funny guy. Love it.

 

[KINOKS]

Khm... how is this camera better then the F5 and why would it be more expensive? I don't get it...let alone why would it cost 65k...

 

[Tzedekh]

Global shutter has it's draw backs too like less dynamic range. Maybe they can fix this in a different way with advancements in sensor design and processor. Not comparing this to the new GH4 but Panasonic claims they have improved the rolling shutter.

I expect sony to crack this issue, too, with its stacked sensor architectures. Theoretically, the global-shutter circuitry could be moved behind, instead of beside, the photosites.

 

[Gary T]

Khm... how is this camera better then the F5 and why would it be more expensive? I don't get it...let alone why would it cost 65k...

The AVC Class 4:4:4 and AVC-ULTRA 4K codecs seem like a big deal. Sony doesn't offer compressed 12-bit recording until you step up to the F65 and that still requires the SR-R4 recorder.

Gary

 

[William_Robinette]

Khm... how is this camera better then the F5 and why would it be more expensive? I don't get it...let alone why would it cost 65k...

The AVC Class 4:4:4 and AVC-ULTRA 4K codecs seem like a big deal. Sony doesn't offer compressed 12-bit recording until you step up to the F65 and that still requires the SR-R4 recorder.

Gary

Yup. And the fact you no longer have to shoot Sony.

Zing!

 

[Jon Furtado]

I think the paradigm of buying a camera is not appropriate here. This really is a tier 1 rental camera, just as the Alexa is. TV stations yes, the average indie guy, no.
Really, these are made to be production workhorses and all the surrounding gear will be too. Getting back to the notion of rental for serious productions would not be a bad thing.
I have watched the value of our market slide as the owner/operator system has taken firmer hold. We are seeing complete RED epics camera packages rent out for less than $300 a day now.
When you consider the cost of a complete package, there is no way most of these folks can recoop their investments anymore.
The bigger problem too is that our day rates are going down with it.

As much as I'd love to pixel peep as much as the next cameraman, the stark REALITY of this is written on the wall. The availability of great camera systems on the market for a fraction of what it cost a few years ago has created a price war where it is making it harder and harder to make a living. The Los Angeles market is almost entirely polluted with "$300 RED EPIC+DP" packages.

 

[Michael Schrengohst]

As much as I'd love to pixel peep as much as the next cameraman, the stark REALITY of this is written on the wall. The availability of great camera systems on the market for a fraction of what it cost a few years ago has created a price war where it is making it harder and harder to make a living. The Los Angeles market is almost entirely polluted with "$300 RED EPIC+DP" packages.

That's $300 per day? Are any of these DP's any good?

 

[Gary T]

Yup. And the fact you no longer have to shoot Sony.

Zing!

Don't get me wrong, I love my Sony gear and I still lust for the F55! How can you not love 14 stops, global shutter, and an elegant raw workflow? However every camera has it's strengths and there's potentially a lot to like about these new lower bandwidth 12 bit 4:4:4 Panny codecs. I can't wait to see them tested!

Gary

 

[Erik Naso]

No one even mentioned that the viewfinder is actually on the front operator side of the camera and looks very high end too. Revolutionary! I really want to see how the ergonomics are or at least a Panasonic solution as opposed to a third party having to create the frankenrig for it.

 

[vanvideo]

No one even mentioned that the viewfinder is actually on the front operator side of the camera and looks very high end too. Revolutionary! I really want to see how the ergonomics are or at least a Panasonic solution as opposed to a third party having to create the frankenrig for it.

I hope Panasonic has taken this into consideration. I suspect they have. They've had time to sit back and learn from their competitors before they released these. Although, from the limited view we have of the cameras, they do look a bit like the F55 and Alexa.

Btw Erik, I enjoyed your video review of the C100. I might have to pick one up.

 

[William_Robinette]

Don't get me wrong, I love my Sony gear and I still lust for the F55! How can you not love 14 stops, global shutter, and an elegant raw workflow? However every camera has it's strengths and there's potentially a lot to like about these new lower bandwidth 12 bit 4:4:4 Panny codecs. I can't wait to see them tested!

Gary

I was mostly joking of course. But the 55 isn't my cup of tea - too plastic-y, too, many little niggles with the layout, the menus are a nightmare, but most of all no mojo. Just like all Sony cams to my eye. I can't stand it. As a technical exercise I respect it hugely, just like I respect the technology in my MacBook - but I don't love it. When you shoot with it, it doesn't make you feel special.

Panasonic has been the mojo king since the first Varicam. Funny enough there was one on the forums for something absurd like $3,000 a few days ago. If I had a deck I would have jumped!

That said if you can't get a good image out of the F55, quit.

 

[Ian-T]

...Come on Panny. I'll sweep your floors twice a month for a month....

... I'll give you $15k and wash your car once a week for a week.

LOL UR Nuts!!

 

[prio]

please let it be modular.

 

[dustylense]

LOL UR Nuts!!

This is why I obviously put the sarcasm in there rogar-Smoke(DBG):. I really hope the camera is priced competitively but that will go by standard of F55 C500 RED.

Ok Panny. Let me borrow the s35 for a year and I'll sweep your floor once a day for a day?

 

[yoclay]

That's $300 per day? Are any of these DP's any good?

Who knows? But one of the reasons that Alexa holds it's rental value is because you don't have owner/operateurs who can afford it.

 

[KINOKS]

The AVC Class 4:4:4 and AVC-ULTRA 4K codecs seem like a big deal. Sony doesn't offer compressed 12-bit recording until you step up to the F65 and that still requires the SR-R4 recorder.

Gary

Yes but it offers other stuff. If this is all that is better on the Varicam I don't see how this can compete with the F55. Maybe if you cared about the 2/3 thingy but for those that don't this thing shouldn't be factored in the price.