VaricamLT: Varicam Footage Thread

jaypass

Well-known member
Back before I picked up my Varicam LT, I was asking around here about the lack of available footage. Unfortunately, it seems like that hasn't changed - There still isn't much LT footage floating around, so I figured I'd start a footage thread before this section gets swallowed up in EVA talk. I'm going to post a few things tonight, and hopefully will continue to post stuff as I complete LT gigs. I encourage other LT owners to do the same, I'd really love to see what everyone's shooting with their Varicam!

First up - Not actually footage. Some frame grabs from one of my first shoots with the LT. This is actually still probably my favorite footage with the camera so far, (Although now I'm seeing the IR pollution on the jacket of the woman in front of the blue wall. Wish I had graded that out!) Hopefully I'll be able to share the videos at some point, but the grabs tell the story for now.

First two shots are positive, confident shots of the actor, so I balanced for daylight and keyed him with a LED panel set to tungsten to give it that warm, sunlit look. These shots were shot at 4k/60 and slowed down for dramatic effect.

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Next two stills are when his world starts falling apart, so we jump cut to the same scene with different lighting and started throwing random cables at him...Lighting is pretty much the same, but we set the key to daylight and I *THINK* we added a blue gel. We also added the red alarm light, which was a LED panel with a red gel, and it "flickered" by having the PA wave cardboard in front of it. Everything from this point on was 4k/24p.

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Next shot is when our actor is saved by the product, so we had a spotlight right above his head to give it that heavenly feel.

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And this was the product specialist in her tech lair. Balanced for tungsten, and she's lit by an Arri 650 in a chimera directly above her head, which is what caused the IR on her jacket. The rest of the lighting is all daylight LEDs, and I punched that blue light even harder in post. She's backlit by one LED, and two more are on the floor uplighting that caged wall behind her, and another is lighting the back of her laptops.

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All of this was shot in Vlog and grading was super easy - V709 lut, some highlight/shadow/contrast adjustments, and I punched the blues in all scenes too. Super easy.
 
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Next up is a concert - I've been working with Go Go Gadjet for years now, and they close out Penn State's THON event every February. I normally shoot it on my GH4, but this was right after I got my LT so I decided to test it in a run&gun environment. I shot all resolutions and frame rates - Everything was shot on the Sigma 18-35 1.8, some 4k/24p, 4k/60p some 24p in crop mode and some 240fps as well. I was bouncing around a ton with all the different frame rates and resolutions...The noise is definitely more noticeable in crop mode, but nothing too terrible.

https://vimeo.com/229346280

 
The last thing I'm posting tonight is an employee recruitment video for a steel fabrication plant in PA. This was mostly LT, but I also used my GH4 on a Zhiyun Crane and there are a couple Mavic Pro drone shots in there too. The sit-down interviews were lit with Dracast LEDs, and the MOS interviews were all natural light - We really couldn't carry lights around their workshop during the work day, so the dual ISO helped a ton there. Shot in Vlog, graded with FilmConvert, and again I used all of the frame rates available. The sparks really popped at 240fps. Lenses used were Sigma 18-35 1.8, Canon 70-200 2.8, and Zeiss Contax 50mm 1.7 prime. Fast lenses + 2000iso made the lack of lighting in the shop a non-issue. A couple shots have more noise then I'm usually comfortable with, but since this is kind of a grittier environment, I went with it. I did noise reduction on the shot of the truck at the end though. I also cropped it to 2:35:1 in post to give it a more cinematic feel.

https://vimeo.com/220732724

 
Here are some grabs from a test I did the first couple of weeks I got my camera. We're still editing the sound, I'll share the final and more ASAP.
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More frame grabs from a quick project at a skate park. Very harsh sunlight light. I was blown away by DR.

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Some grabs from Gypsy Apothecary. Amazing color!
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Great thread idea -- thank you, Jaypass. Here's a test I shot to see how well the internal 240fps V-log footage holds up to color grading:


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Heres a piece I put together with a Varicam LT Demo from Talamas Boston. Other projects on the way!

-Nick Marcoux
Freelance Cinematographer/Editor
Film Educator
 
Shot on Varcam LT AND GH4
Special thanks Talamas, Dan Isola, Mitch Gross, GreggerJones, Kelly Riley, Preston Powell, Nicole Kemp & the one and only TARA HURLEY of Warren Exchange... Any last minute gifts to get?
http://www.warrenexchange.com
 
Thanks for starting this thread! Great work all around. I'm shooting a science series for Netflix right now on the LT and the footage has been outstanding. I can't share anything until it airs but here are a few small commercial and doc projects I did with the LT earlier this year. (I shared one of the Rockette clips on an earlier thread about the EVA1 as B-cam to the LT)

Short Doc for Al Gore's Climate Reality Project:


Branded Content for Applegate Farms/Radio City Rockettes:


 
Have had this clip on my Dropbox for a while, might as well add to this thread. From the Youtube Red series "Ryan Hansen Solves Crimes on Television" I shot last summer. The interior shot moves through so many different color temps and sources I wouldn't know where to start (there is a certain amount of supplemental lighting throughout but primary exposure is mostly available light). The LT handled it all nicely!

https://www.dropbox.com/s/qgtod17w5g1ygrg/RHSC Canters.mov?dl=0
 
Comedic short. I did a basic grade using a Kodak LUT from Juan Melara. It isn't specific to V-log so the starting point was a little bleached--but I liked the colors it was giving me and wanted to experiment--so I went with it. Pretty satisfied with the result, some shots are a little harsh but those are my grading errors, everything came out of camera very nice!


 
I shot this for the Corden Late Late Show last month with two LT's, one on Steadicam and the other on Technojib. The main reason I selected the camera was for the rooftop footage (seen at :51 and interspersed throughout). That was on top of the CBS building which was stairs-only access, so we could only bring up a limited amount of gear which precluded building truss for backlight and I was concerned about the dancer's heads disappearing into the night sky, so I knew I could leverage the camera's high ISO feature to help with that. It had rained for several days before this shoot and the sky was cloudy and pitch black to the eye. I had to crank us up all the way to 5000 (at T2.9, wide open on the 19-90 Cabrios) to get some detail in the sky. This mean laying ND9 across the strip lights on the ground that provided most of the illumination on talent (with a couple of Sky Panels behind cameras for eye fill).

As always with the Late Late Show shoots, there is much to do in the shortest time possible. This was one of the longer shoots to achieve, with 5 locations in and around the CBS b building and little pre-rig time for each setup (once we were up and running shooting each location I would run over to the next to supervise the lighting). We shot everything seen in this clip in about 7 hours, which was pretty intense!

 
Have had this clip on my Dropbox for a while, might as well add to this thread. From the Youtube Red series "Ryan Hansen Solves Crimes on Television" I shot last summer. The interior shot moves through so many different color temps and sources I wouldn't know where to start (there is a certain amount of supplemental lighting throughout but primary exposure is mostly available light). The LT handled it all nicely!

https://www.dropbox.com/s/qgtod17w5g1ygrg/RHSC Canters.mov?dl=0

Charles, thanks for posting...as always!

I would love a more detailed description of how a shot like this is achieved/setup.

1. You say available light. Were practicals and indoor lights swapped out at all for temp?

2. What is the post-process for achieving such a natural flow of temps. You can see the range of shift, but it's all very natural...nothing jarring.

Really great work!
 
Charles, thanks for posting...as always!

I would love a more detailed description of how a shot like this is achieved/setup.

1. You say available light. Were practicals and indoor lights swapped out at all for temp?

A few tubes swapped out as detailed below. Elsewhere we removed tubes or turned off a bulb or two and then rebuilt with our instruments, or added some gel here and there. Because of the nature of the environment, it was simplest to just embrace that we would move through multiple types of color, which made it seem even more like a journey.

2. What is the post-process for achieving such a natural flow of temps. You can see the range of shift, but it's all very natural...nothing jarring.

I think we did build in some dynamics in color, from the back hallway and into the kitchen (where there was a skylight I couldn't block out)--two or three second dissolves between corrections to help ease the transitions.

As much as I can remember the setup, the additional lighting was:
:49 a push from the right side, probably a Cineo with Chimera
:51 a Quasar 4x2 mounted above the header before the steps as front fill
1:01 an M18 bounce onto ceiling from left side, gelled 1/2 CTB, to suggest windows
1:13 Quasars behind the free standing panels, gelled amber. There was a little leak between the first panel and the wall, I had the guys add diffusion to that to play as a little extra pop before they walk in front of the panels
1:22 overhead fluorescents--these MAY1; have been changed out, I remember them being funky
1:33 fluorescents swapped out
1:38 extremely green light over stove out of frame right gelled magenta...not enough apparently (still green!)
1:45 Quasars added inside elevator (shot cuts before you see them)
 
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