Actually as a solo op handheld camera it’s far superior to the FS7 ergonomically. Yes it is a heavier camera, but when using a proper ENG lens or Cine zoom it has better shoulder balance without the need to put a bunch of heavy things on the back to even it out. Not to mention the viewfinder is a proper ENG style evf that gives a strong 3rd contact point and is tack sharp and color accurate. As a shoulder camera the LT makes the FS7 feel like a toy to be honest.
Varicam LT big price drop
- Thread starter Newsguy
- Start date
Watching this comparison on 65 inch professionally calibrated Samsung 4K HDR TV set, I am seeing better fine detail ( especially the roots of her hair, the pores of her skin, and when her head is moving ) and more color detail ( notably the iris of her eyes ) with the Varicam LT footage than from the other cameras. So from this test alone I would say the LT has better IQ.
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ARRI was there first. Hollywood has shot on ARRI film cameras for the past 50+ years. So directors, producers, DOPs, etc... got very used to always renting ARRI if they had the budget, so they became the default camera for just about any project.
The ARRI ALEXA debuted in 2010 and used a real-time dual-gain HDR sensor to capture more than 14+ stops of dynamic range. ( when compared to other cameras it seems more like 16+ stops of dynamic range )
So every other camera has an uphill climb trying to compete against ARRI, unless they've got an advocate on board who is able to influence a production's camera choice.
At that level, it's not just the camera, but the entire support system. I'm not in that arena, but I expect there is a whole different level of support for big names and big budget films. When a movie costs $80 - $300 million and it has a burn rate of over $1 million a day, you'd better have a camera and a team surrounding it that doesn't fail for even 10 minutes. Arri knows how to be there and support that.
That's the point, if you want the best only Arri will do and it doesn't matter if something else has better IQ. Their USP is their reputation. FS7 had the advantage of coming at the right time, with the right features, at the right price. So what's the USP on the LT? I'm sorry to say but from a producers stand point I either go Arri when I can and for everything else the FS7 is good enough.
When you own 90 percent of the high end market, it's a lot easier to provide the best support system available.
Mitch Gross
Veteran
The VariCam LT is a camera at the level of products from ARRI, Red and Sony -- the higher end of Sony than the FS7. It is a higher end camera than what you are comparing it to.
Price? Absolutely!
Superior IQ? Yes, it's right up there with the best and we consistently win in shootouts.
Size? Compared to a kitted Alexa Mini or RED it's actually pretty close. And it balances on the shoulder MUCH better.
Features? How about a little something called Dual Native ISO? 800 & 5000 ISO blows away the competition. NO COMPARISON.
The VariCam LT is a huge performing camera. Don't just write it off because your FS7 or C300-2 is "good enough".
I think it's wishful thinking to claim the FS7 and the Varicam LT are equal in image quality. It may be a great camera but how many scripted series have Netflix, NBC, or CBS shot on FS7s?
Objectively the dual ISO capability of the Varicam LT puts it in a completely different category from virtually everything else on the market for narrative or even documentary work. I believe respected DPs like Charles Papert when they say that the Varicam LT's dual ISO capability saves them time and money. Although it was shot with the LT's big brother, the Varicam 35, DP Matthew Clark credits that same Varicam dual ISO for his small crew being able to shoot Amazon's "Late Night" in up to 4 locations in one day. He said 'the camera allowed us to move fast and have a good base when we moved out to those night exteriors and even the night interiors. For example, working with a China ball, we could light an entire room."
Color science preferences are obviously subjective but I don't I'm along when I say I find Varicam LT image to be more pleasing than than that from FS7.
Again, I'm not disparaging the FS7, and I think it's a killer for corporate, event work, and even low budget narrative work. I just most producers will any a little money to spend would choose the Varicam LT for narrative work, especially now that ProRes RAW is in the picture. I would love to see a comparison between graded ProRes RAW on the LT and the 12-bit 444 AVC Intra on the Varicam 35.
I think it's amazing that the Varicam LT costs less than $10K, and I think it might be the best bargain out there. Of course that doesn't mean most FS7 or C200 owners are going to jump ship to Panasonic, but for many of us still holding onto older cameras the Varicam LT is looking pretty good.
https://www.panasonicvisualsystems.com/home/cinematographer-matthew-clark-shoots-amazon-studios-comedy-feature-late-night-with-the-varicam-35
Objectively the dual ISO capability of the Varicam LT puts it in a completely different category from virtually everything else on the market for narrative or even documentary work. I believe respected DPs like Charles Papert when they say that the Varicam LT's dual ISO capability saves them time and money. Although it was shot with the LT's big brother, the Varicam 35, DP Matthew Clark credits that same Varicam dual ISO for his small crew being able to shoot Amazon's "Late Night" in up to 4 locations in one day. He said 'the camera allowed us to move fast and have a good base when we moved out to those night exteriors and even the night interiors. For example, working with a China ball, we could light an entire room."
Color science preferences are obviously subjective but I don't I'm along when I say I find Varicam LT image to be more pleasing than than that from FS7.
Again, I'm not disparaging the FS7, and I think it's a killer for corporate, event work, and even low budget narrative work. I just most producers will any a little money to spend would choose the Varicam LT for narrative work, especially now that ProRes RAW is in the picture. I would love to see a comparison between graded ProRes RAW on the LT and the 12-bit 444 AVC Intra on the Varicam 35.
I think it's amazing that the Varicam LT costs less than $10K, and I think it might be the best bargain out there. Of course that doesn't mean most FS7 or C200 owners are going to jump ship to Panasonic, but for many of us still holding onto older cameras the Varicam LT is looking pretty good.
https://www.panasonicvisualsystems.com/home/cinematographer-matthew-clark-shoots-amazon-studios-comedy-feature-late-night-with-the-varicam-35
NorBro
Major Contributor
Panasonic users would be proud.
Source: https://ymcinema.com/2019/05/28/the-cameras-behind-netflix-best-series-spoiler-red-dominates
Source: https://ymcinema.com/2019/05/28/the-cameras-behind-netflix-best-series-spoiler-red-dominates
Wait what, this doesn't making sense.
Are you saying a producer swapped out a DoP owner op of an Arri Mini for a DoP owner op of a FS7?
Purely because of the different cameras, an FS7 over a Mini?
(and not for any other reason: lower cost of a FS7 / better skill of the other DoP / etc)
If so that seems like a case of producer madness to me :-/
Realdvxuser
Well-known member
morgan_moore
Major Contributor
Ill repeat - I think the LT is an excellent camera, and as FS7 owner op Im not a huge fan of the FS7 - it is just a 'good enough' tool. Production like CP works on are sensible to use the LT.
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The producer is excellent and started his career at Arri. Very not mad.
That DP happens to be an owner of the FS7* and wanted to shoot Alexa Mini. The producer had to break the news that (using the mini) would exclude having a matching B/C cam, would have no redundency (not a spare one), use more data, take more DIT time, need heavier duty grip etc
I agree (with the producer) that shooting with two 'good enough' cameras is better than shooting with one great one when one is doing drama with a tight schedule. No matching in the grade and as he said the FS7 is 'netflix approved' so 'good enough'
Ulitimately I dont know the details.
*I dont know if thier FS7 would have been 'free' to the production - I doublt it knowing that DP is not of the 'give it away school' of doing business.
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I own a LT, loved it so far but I still never saw any gorgeous movie or Netflix show shot with a Varicam. I read that the Deuce was shot with a Varicam, I watched some episode of the second season and indeed it was gorgeous, then I saw that the second season was not shot on the Varicam, and the first season doesn’t look half as good. Everytime I check something shot with it there is something lacking. At first I was thinking that it was some color correction choice and taste, but it seems it’s more than that finally.
Mitch Gross
Veteran
This is a ridiculous survery, btw. If you look into his process for gathering information it is a horrible subsample of Netflix productions. VariCams have been used to shoot something like 50 series for Netflix and a huge number of features, concerts, comedy specials, and so on. This survey is NOT an accurate reflection of Netflix production cameras.
Mitch Gross
Veteran
Anyone see Master of None on Netflix? I thought it looked quite nice. Shot on VariCam.