Panasonic VariCams Get Workout Courtesy of

For more than two years, has used the VariCam 35 4K cinema and two VariCam HS high-speed 2/3-inch cameras on diverse, award-winning projects

The Panasonic VariCam lineup is getting a true workout courtesy of New York-based production company The company has shot many high-profile projects with its VariCams, including Grand Slam Tennis and the Masters Golf Tournament for ESPN to promos for TruTV and a feature on the New York Yankees for ESPN’s SportsCenter. relies on Panasonic all three VariCam models for its sports productions.

For more than two years, has used the VariCam 35 4K cinema and two VariCam HS high-speed 2/3-inch cameras 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.

According to partner and multiple Sports Emmy award-winning cinematographer Bryan Brousseau, “Having all three VariCam models at our disposal gives us an excellent set of tools in the field—all the tools we need for the wide-ranging projects we shoot and the gamut of ‘looks’ these projects require.”
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 says. “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 notes 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-inch camera heads are separate from but dockable to a common, shared recording module,) purchased the VariCam LT six months ago. “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 adds. “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.”
Brousseau sys his choice of shooting formats is largely client-driven, with some preferring 4K, others Pro Res etc. When handles a project edit, the NLE platforms are Adobe Premiere Pro and Avid Media Composer.

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