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

Prior to climbing onto the Varicam train I was also in the pre-oder line for Kinefinity TERRA, so I saw a lot of footage from the 6K sensor they were using in the TERRA 6K models (which CEO Jihua claimed has a dual-gain mode like ARRI cameras) and now extensively sifting through Varicam footage I am left wondering if they share the same sensor?
 
I doubt it. The Terra models are 5K and 6K, also they seem to have a lot more rolling shutter, although that can be a processing issue rather than an issue with the sensor. I haven't seen much footage from the Terra but to me the colours and handling of highlights look different.
 
Milan O. said:
I doubt it. The Terra models are 5K and 6K, also they seem to have a lot more rolling shutter, although that can be a processing issue rather than an issue with the sensor. I haven't seen much footage from the Terra but to me the colours and handling of highlights look different.
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You are right. The rolling shutter artifacts on the Varicam are highly contained. I had read some analysis of the rolling shutter on the Varicam, which had some numbers, cannot remember where now. However, looking at this footage is reassuring: https://vimeo.com/171133916

This is a general question: How useful do most of you regular shooters find the EVF? Most of the shoots I have been on (dramatic, odd documentary, commercials, etc.) were all usually achieved without an EVF. Predominantly I have worked off monitors. When buying the body & EVF together Panasonic does offer a generous $4500 rebate till March 31st which takes the final price of a new unit to $17100, but I am wondering will I have any use for it considering I already have an Odyssey 7Q+ which can be used for monitoring from the same SDI connection.
 
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Few things.
I own both the Varicam LT and the Kinefinity Camera. They Aren't the same sensor.
Do not quote me on this but from what I have put to together the Panasonic sensor is an in house sensor that no one else has access to, "probably" manufactured by TowerJazz Panasonic Semiconductor Co (TowerJazz Panasonic are allegedly also behind a few LEICA sensors ) Panasonic's sensor is inherently cleaner, More Usable Dynamic range and probably the best rolling shutter. (The true test of this being Muzzle flashes from blank guns, since I just shot an action project. Last time I did this on the Sony F5 the rolling shutter on the Sony CMOS sensor failed me miserably). Where the cameras are similar is how they render skin Tones and colors. Which says a lot for the Kinefinity, putting it in a class with only 2 other cameras:The Varicams, and the Arri . It's the reason I kept my kinefinity Kinemax 6k to use as a B camera for the varicam LT.

With regards to the Varicam package, It bought my PRO EX package 9 months ago now, and I had the debate about the view finder as many have, but also as any varicam LT shooter who has the Varicam Viewfinder will confirm. YOU SHOULD ABSOLUTELY GET THE PANASONIC VIEWFINDER. it makes the user experience of the camera exponentially better. It's also an AMAZING Viewfinder.

As someone who will always opt for new over even slightly used, I'd say take advantage of the rebate before it expires if you can. From my understanding there are no plans to extend it past the march 31st date .
Cheers
 
Run&Gun said:
I talked to one of my reps when the V35 came out and the sensor is all in-house Panasonic.
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That is 100% correct. The sensor was designed and built by panasonic specifically for the Varicam35, then subsequently used in the LT.
 
sean007davis said:
If you're interested in a budget lens combination for the LT that yields cinematic images and complements the way the Varicam subtly renders colors I'd recommend you try some of the older Nikon glass

Nikon 17-55mm f/2.8 DX
Nikon 24-70mm f/2.8
Nikon 80-200mm f/2.8

If you own the lens do what I did and get the Leitax mounts for Nikon and permanently convert the lenses to EF mount.
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Sean, how do you control aperture once you have replaced the native Nikon mounts with the Leitax EF dumb mounts? From what I know, and can make out from photos of their bodies, for these Nikon lenses the aperture is controlled electronically, there seems to be no manual control ring like the older AI & AI-s lenses?
 
The older Nikon AI and AIs have manual iris controls and manual (only) focus much like the older Canon FD series of lenses. They are full 35mm (still picture) frame and have a long flange focal distance so it is just an adapter to mount them or change the mount to a "passive" EF mount. You can change many of the FD lenses to a passive EF mount as well so this makes another option for you. FD to EF mounts are around $100 and pretty easy to swap, there is at least one thread in the DIY section of the forums.
 
Greg_E said:
The older Nikon AI and AIs have manual iris controls and manual (only) focus much like the older Canon FD series of lenses
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The list of Nikon zooms that Sean mentioned are not the older AI or AI-s kind, they seem to have electronic control of aperture?
 
Having owned and shot Red for a number of years, I wouldn't go back. Got a loaner LT from Panasonic last week and it's in a different league to the Scarlet W in my opinion. Better DR, better skin tones, better colour in general and way more sensitivity. It's just a simple, rock-solid camera that doesn't exaggerate its specs.

However, a Red Scarlet-W is a much easier camera to sell to clients/producers and being in greater demand it might hold its value better. But Panasonic are a nicer company to deal with and they don't rely on bs marketing to hype their products.
 
Is the skin tone better than a dragon or helium sensor?

I find that Varicam tends to get a purplish tint in the shadows (when slightly under exposed), and skin tone has a weird pink and yellow thing going on. It is not the worst, but I definitely don't prefer it.

As far as better dynamic range, I can only see that the distribution of the tone curve is different between Varicam and Red. The Varicam is biased towards preserving the highlights, whereas the Red is a bit more linear, and has a lot of detail in the shadows that can be pulled up.

Varicam "native" 5000 iso is a bit of an over statement, but still a valuable function and opens up creative possibilities, but the helium sensor doesn't seem too far behind (speculating based on recent test footage, and my limited experience with the V35) But the ISO 5000 is not the cleanest out there.

That said, a varicam seems like a nicer camera to use than a red or alexa mini frankenrig for one man banding.
 
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Yes it is!

I guess its very subjective, but when shooting white and black skin tones I've not found any colour weirdness going on and the highlight DR helps with pale skin. I have seen some funny colour with Varicam footage on Netflix, but I've also seen a lot of appauling Dragon footage on there as well. Maybe that's just a Netflix thing.

Certainly the native 5000 isn't as clean as the 800, but its way better than anything Red or Arri can do at that level. Red originally claimed 2000 iso would be as clean as 800, but that never happened. The Dragon sensors may well have shadow detail but they're pretty noisy sensors. Also, keep in mind that Red have 'recalibrated' ISO for Helium as the Dragon was always dimmer at an equivalent ISO.

Helium is in a different price bracket so it should be better than the VLT and Scarlet. But is has less DR than the Dragon, which is a stop less in highlights over the Alexa and Varicam.
 
Many VariCam users choose to set the native ISO to 5000 and then use negative gain to set the sensor to 2500-3200 ISO. This creates a very clean, robust image, which some prefer to the 800 ISO native.

Anyone who would like to demo a VariCam LT can shoot me a PM. It's really a great camera.
 
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