CW Network Series ‘Containment’ Shot With VariCam 35 4K Camera

Cinematographers William Wages ASC and John Smith each shoot six episodes of the upcoming dramatic series Containment, slated for a mid-season premiere on the CW Television Network. Containment follows an epidemic that breaks out in Atlanta, leaving the large city quarantined and those stuck on the inside fighting for their lives. In separate interviews to shoot six of twelve season one episodes, DPs Wages and Smith each pitched the VariCam 35 to series Executive Producer Julie Plec.

Co-Directors of Photography William Wages ASC and John Smith shot Containment was shot last summer and autumn on sets and practical locations in Atlanta. The production rented four Panasonic VariCam 35s from SIM Digital; its Bling Digital division provides post-production services to the series. A and B cameras were predominantly used hand-held; a third VariCam 35 was dedicated to Steadicam work, and the fourth was used for second units and back-up. The cameras were outfitted with Fujifilm Fujinon 19-90mm and 85-300 zoom lenses, and 14mm and 16mm Primes.

The main acquisition format was Apple ProRes 4444, used with Panasonic's V-Log curve, which maximizes the VariCam 35's expansive dynamic range. The production also utilized the Lumix GH4 updated with V-Log L curve for select 4K shooting.

“I like the way the VariCam 35's super 35mm sensor looks. The flesh tones feel film-like, with beautiful rolloff of the highlights . Also, with the VariCam 35 you get native 4K shooting, and I admire its modular design, the ability to split the camera/recorder in half.”
DP John Smith

Both DPs said that the ISO5000 setting was intrinsic to the production. "We shot ISO5000 all the time, almost every day,” Wages noted. "We were able to drastically cut our studio lighting package. For example, we lit a 120' by 20' day backdrop with only 19 2K fixtures, and in most scenes had to dim it down because it was too bright."

“The VariCam 35's internal ND filters are fantastic,” Smith said. “Also, we took advantage of the ability to load LUTs into the monitoring channels. And the camera is as rugged as promised: we worked in sweltering conditions in Atlanta, 100 degrees, 95% humidity, with excellent performance.”

“The VariCam 35's latitude is such that I find you use only a tenth of the light you need with other cameras: a huge time-saver,” Wages said. “The camera renders tonalities more smoothly than other cameras, ably handling our broad range of skin tones and shaving years off the actors.”

You might also like...

Transforms: Part 6 - The Discrete Cosine Transform (DCT)

The Fourier Transform is complex in the mathematical sense, which means that each coefficient is represented by complex number.

HDR: Part 4 - Surviving Modern Colorimetry

Most people are aware that any color can be mixed from red, green and blue light, and we make color pictures out of red, green and blue images. The relationship between modern color imaging and the human visual system was…

Preparing To Broadcast ​Commonwealth Games Birmingham

The 2022 Commonwealth Games will be the biggest sports event on UK shores since London 2012 with around 1.5 billion global audience expected to watch over the 11 day event beginning July 28. Bidding for the host broadcast contract began in summer of 2019 with the…

Orbital Virtual Productions - New Large Scale Virtual Production Stages In Downtown LA.

Nobody’s risking much, in 2022, by assuming we’re living through the genesis of virtual production. There are enough high-profile productions happening to lend the technique some legitimacy, and while the surge in both interest and the provision of facilities mak…

The State Of Film

On one hand, film might seem dead. On the other, the last few months have seen a flurry of activity which is emblematic of a wider interest in the field that’s continued ever since the technology fell out of m…