VaricamLT: Varicam LT, Scarlet-W or something else?

Kohl said:
If you are so inclined, that would be very cool! Much obliged. Wishing you well with the new camera.
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Thank you Mr. Sudduth! I'll try to make it happen. I just posted in "our" Swedish Facebook-group to see if anyone is interested.
 
According to the Varicam Facebook page:
"VariCam LT Firmware Upgrade Ver.4.0 from 7th September.
-RAW output from SDI"

Hopefully there will be a Convergent Design upgrade for the O7Q too. :smile:
 
Congrats on Joining the Varicam LT owners fraternity.
Just to chime in a little late. I've owned The RED ONE, The SONY F5
Co-owned A RED EPIC.
I Now Own A Varicam LT and Kinefinity Kinemax 6k
And from a former Sony Cinealta and RED owner I can say unequivocally that the Panasonic Varicam Is the best in class. I am still forced to shoot sports (boxing) on the EPIC and it's a painful experience everytime because I really would rather shoot on the Varicam.
If we are talking objectively about the best camera based on image and reliability ETC. The Varicam has that hands down. the only thing even playing anywhere close to the varicam is the ARRI.
I'm hoping that the next Adobe Updates have full support for the LT codecs, but in the few moths of owning this camera I've become a lot better at Davinci resolve (12.5.1) supports all the codecs and nothing weird on the 4k 60p material anymore.
I'm curious about what the RAW has to offer because honestly the V.log in the AVC-I 4K422 has been solid. Actually out performing "RAW" from other cameras.
RED like CANON are great at marketing, Panasonic apparently isn't.
Example the say the varicams have 14+ stops of dynamic range, when independent test by GEOFF BOYLE (CML: cinematography Mailing list)
http://cinematography.net/UWE-2015/Varicam-PL-uwe-2015.html
Have showing the VAricam Sensors to have 15 stops of dynamic range. Any other manufacturer would be screaming 15+ if not 16 stops of dynamic range
the reds on the other hand have consistently measure significantly less than the claimed dynamic range

http://www.thebriannguyen.com/2016/...varicam-lt-complete-dynamic-range-comparison/

I think you made right deciesion.
Cheers
 
Mr. Davis, thank you for this information!
I'm a bit nervous about this purchase since so few seem to have used the camera and with IBC coming up I've been thinking that maybe there'll be a new "better" camera announced that I should've bought instead. After a bit of consideration I've realized that there probably won't be anything released now in the same category.

Arri: I don't think they will produce anything that I can afford. :smile:
Blackmagic Design: Even if they would announce something great, I think they have a lot to prove when it comes to delivery and QC. Unfortunately they still aren't an alternative for professional work, but I hope that will change in the future. I own a BMPCC and that's another deal. I bought it for a low price and the unit works, but I would never put out a larger sum on a BMD-camera yet. It's too risky.
Canon: They have just released the C700. Maybe they'll announce something else (new C100 or C500?) but I doubt it will be in the same category. Even though a new C500 with 4K internal 50/60p would be tempting, I doubt it would have the same price as the Varicam.
Kinefinity: As I wrote earlier, I know too little about it and don't like the rolling shutter I've seen from the Kinemax 6K. They are also too expensive for taking the risk, on my behalf. The Terra seems interesting, but there isn't any footage out yet as far as I know.
Red: Well, I was considering the Scarlet-W, but even that camera is too expensive for me and I also think (all things considered) that the Varicam LT is better for my uses. I don't think that Red will announce a new camera that will be available for purchase now.
Panasonic: They might actually release something interesting, but I doubt it will in any way compete with the Varicam LT. If I was Panasonic, I'd try to go for the FS7-range as well.
Sony: They are the most probable to release a new camera IMO, since the F5 and F55 have been sold for almost four years now. They'll probably release something new to go with their new raw-recorder and I think it'll have a competitive price and many great features. The image might be compete with the Varicam also, if they use a new sensor. On my personal behalf I have reasons not to be very happy with Sony (their service center in the UK). Even though that perhaps wouldn't stop me from buying a new Sony camera (if it was a very good camera) it definitely makes me more reluctant to do it.

As we all know, new cameras will probably be released soon again and they'll probably have great features. That's the way the business is and I like that it's evolving.
 
In the US, I can purchase a Scarlet-W with a Canon Aluminum mount and DSMC2 base package for $16,393.

I have V-mount batteries, so I would only require a card reader to get up-and-running (although another mini-mag would be nice) for the price of the body of the LT.

I'm sure your needs are different, but why is it now too expensive? Just wondering.
 
oron cohen said:
Me: look, this camera is great, it's called Varicam.
Producer: what? which company is that?
Me: panasonic.
Producer: Panasonic??
Me: Yes, it's great, it's better then Arri or RED, I'm telling you. (phone call after a couple of hours)
Producer: Oron, we thought about it, and we got a good rental deal on RED/ARRI, so we go with that this time, but let's test the Varicam maybe one day.
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I've shot two TV series now on the Varicam35 and both times the producers were completely open to it, especially after I showed them a low-light demo clip and pitched that we could shoot our night exteriors with far less gear than usual. No resistance from them. I also met on a Netflix series and the UPM asked what my camera of choice was and was relieved to hear Varicam--he was mostly glad I didn't say RED!
 
NorBro said:
In the US, I can purchase a Scarlet-W with a Canon Aluminum mount and DSMC2 base package for $16,393.

I have V-mount batteries, so I would only require a card reader to get up-and-running (although another mini-mag would be nice) for the price of the body of the LT.

I'm sure your needs are different, but why is it now too expensive? Just wondering.
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I guess it might have to do with duty fees. Since the Red cameras are made in the US (AFAIK) they should be less expensive there than over here. I also got a very good deal on the Varicam LT since it's a demo unit.
 
CharlesPapert said:
I've shot two TV series now on the Varicam35 and both times the producers were completely open to it, especially after I showed them a low-light demo clip and pitched that we could shoot our night exteriors with far less gear than usual. No resistance from them. I also met on a Netflix series and the UPM asked what my camera of choice was and was relieved to hear Varicam--he was mostly glad I didn't say RED!
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Thank you for joining Mr. Papert!

OT: I recently saw your "Steadicam is So Hot", it's very funny. :)
There's actually a TV-show with live audience here in Sweden where the steadicam-ops almost have star status, I've heard. The audience (at least the ladies) loves them.

To the subject:
I think that Mr. Cohen might have a point. At least here in Sweden I think it might be applicable since my experience is that a lot of people just do what others do, and some of the people I've talked with don't even know what the difference between cameras are, they've just heard someone say that this one or that one is the best, and they lack the knowledge to see any difference by themselves, so they play it safe.

But, you also have a very strong point in that the reduced lighting may well make some of them change their mind, as long as I get the chance to show them (some people just aren't interested in trying something new). To my advantage in that regard is that I do many productions by myself and hire people if I need help. Those clients never care about which camera I use, they just see the result. The more I think about my choice I feel more confident that it was the right one for me.
 
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NorBro said:
Got it, makes sense. Let us know how you like it!
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I just checked the EU price. The same package including one Red Mini-Mag would cost approx. $20060 here.

I got the "same" stuff (two 185W V-locks and a charger, 256 GB card, card reader) plus a PL-mount for about the same amount as the Scarlet-W price in the US.
 
RED cameras certainly have their share of issues - and I can't speak for this situation - but lots of times you'll learn that some disdain is attributed from a sour relationship with someone somewhere, or people are simply intimidated by the cameras.
 
NorBro said:
RED cameras certainly have their share of issues - and I can't speak for this situation - but lots of times you'll learn that some disdain is attributed from a sour relationship with someone somewhere, or people are simply intimidated by the cameras.
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The problem with Netflix having a Red problem is that they're been using their cameras on the "House of Cards", since Fincher is a Red fan. And, after three (?) seasons, they must know every quirk of the Red ownership and all that it entails. Off what was said, it seems that they would prefer not to have the headaches.
 
Those people get perfect cameras. And the backups for their backups are perfect cameras.

The rest of us are beta testers.
 
Maybe they shot the same scenes with their various cameras on a same day.
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I haven't had time to minutely compare as I am at work, but at first glance they look like exactly the same shots.
 
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