Richard Sweeney with Varicam LT and Bryan Brousseau with Varicam 35 shooting ESPN documentary 100Things in Australia. Credit Eric Diebner
NYC production company, hsc.tv has used the Panasonic VariCam 35 4K cinema and two VariCam HS high-speed 2/3” cameras for over two years on diverse, award-winning projects ranging from network sports to documentary features to television promos and commercials. Most recently, the production company added a VariCam LT 4K cinema camcorder to its roster of current generation VariCam products.
hsc.tv purchased the Panasonic VariCam LT six months ago. hsc.tv partner and multiple Sports Emmy award-winning cinematographer Bryan Brousseau explained: “I’d occasionally used a DSLR as a ‘B’ camera to the VariCam 35, but once the LT—with the same sensor and similar features—became available, it seemed like a better choice,” Brousseau continued. “I know it would open up different shots for us: the LT is so light, we can put it on a MoVI, I just used it on a Steadicam for a pharmaceutical spot, and it’s a perfect match with the 35.”
Cinematographer Richard Sweeney with Varicam LT on Freefly MoVI Pro shooting a feature for the Masters broadcast.
Brousseau, who still owns (and occasionally uses) first and second-generation VariCams, said his early adoption of the VariCam 35 was driven by the camera’s super 35mm sensor, its dual native ISOs of 800/5000, and the ability to shoot slo-mo and regular speed at the same time. “Given our heavy involvement in sports, it seemed logical that we could use the VariCam 35 for interviews and portraits, then switch over to the HS camera head for long lens game action,” he said. “We make pretty extensive use of the dual-recording option as well. The ability to record slo-mo and regular speed at the same time is helpful in documentary situations where sync sound is important--it’s like having an extra camera in the field.”
Brousseau noted that equipment efficiencies are also realized by having the Varicam 35 and two HS cameras share two recorders. (The VariCam 35/HS are designed so that the 4K and 2/3” camera heads are separate from but dockable to a common, shared recording module,)
Brousseau said his choice of shooting formats is largely client-driven, with some preferring 4K, others Pro Res etc. When hsc.tv handles a project edit, the NLE platforms are Adobe Premiere Pro and Avid Media Composer.
You might also like...
In the five months since The Broadcast Bridge published Frank Beacham’s article discussing Using the iPhone for Professional Video there have been many world events that offered ideal opportunities to cover events with smartphones rather than traditional ENG camcorders. O…
The waitress in the New York City coffee shop placed her brand new $6,000-plus camcorder on the table where I had been expecting my breakfast.
Broadcasters are moving to the cloud, but the change requires careful planning. Consultant Tony Orme provides a tutorial on important factors to consider when moving to cloud operations. The first critical question to ask is Private or Public? This article…
An Iris-free lens? This revolutionary technology will be here soon. But what will it mean to shooters and videographers and the images they capture?
Broadcasters and videographers use various strategies and elements of craft to effectively communicate our stories to viewers. First and foremost, the storytelling imperative requires a clear communication of genre.