Question: You've used the VariCam on diverse assignments. Tell us about them.

Michel: I have used the VariCam for commercials, documentaries and dramas. It has the ability to be used as a 'run and gun' camera and yet, it has functions of tonality, contrast and color that can be fine-tuned and controlled to create the most impressionistic imagery.

Recently, I used three VariCams as the main cameras and three Panasonic HVX200s (hand-held DVCPRO HD P2 camcorders) as insert and crash cameras on a series of extreme-action commercials produced by Anonymous Content for Leo Burnett/Chicago. The HVX200s in 720p mode allow you to shoot onto P2 cards at 60fps progressive, capturing action with a slow-motion ability at the flip of the switch.

This past year I have witnessed advertisers and commercial production houses switching from film to HD. I recently shot a national McDonald’s spot, “Within Reach,” with the VariCam for director Mark Dippé at Rhythm and Hues.

Question: You also shot a high-profile spot for Converse. You found the VariCam to be a good match as well.

Michel: I was approached by director Judy Starkman to shoot the commercial Klownen for Converse. There was a time crunch for the talent and the location so our operation had to be precise and expedient. The location itself (an all-white room) offered challenges of extreme contrast and the need to control and reproduce the color of the costuming and the skin tones of the hip hop dancers.

I chose the VariCam, which was supplied by Plus8 Video in Burbank, because I knew that fine-tuning the imagery in post-production would be limited, and I could actually “dial in” a very specific look using the camera’s menu: gamma, color and highlight control. I used Zeiss Digiprime lenses to accent a very crisp, non-distorted yet wide-angle look. The camera’s variable frame rate also came into play because I was able to highlight the action with this capability.

Question: What are your overall views concerning the camera’s performance?

Michel: I have preferred the VariCam over other HD cameras in its class because of its color palette and true-to-life reproduction of skin tone and latitude, the variable frame rate, its overall weight, the user-friendly intuitive menu system and the enthusiasm and support that Panasonic provides for its products.

Question: Talk about the logistics and dynamics of your VariCam shoots.

Michel: I approach any HD shoot as if it were a film shoot. I grew up on sprockets and this background, I believe, is what gives me a strong foundation to adapt myself to digital acquisition. However, with HD my approach is as if I am shooting reversal film. I am more critical of exposure and the latitude that I have. I am diligent with my highlight levels and overexposure. With film, I tend to overexpose for a fat negative. With HD, I tend to underexpose.

Question: Talk a little about the VariCam’s dynamic range and color rendition.

Michel: The camera’s ability to deal with extreme highlights and, at the other end of the scale, low-light situations with its Cine Gamma mode make it a very versatile tool.

Question: What are your thoughts on VariCam’s variable frame functionality?

Michel: As a dramatic cinematographer, I always used variable speeds on film
cameras to heighten an action or convey an emotion. When the VariCam came forward with this option, I sought out the camera and tested it and found it very exciting that digital now had a true variable speed capability.

Question: How did your interest in HD acquisition evolve?

Michel: In 1989, I was attending an ACS Workshop where an esteemed colleague, John Seale, ACS, ASC, was sharing his knowledge of cinematography and filmmaking. Afterwards, we were discussing different shooting techniques and the subject of video arose. Many of us were condescending of video as an acquisition format, and John replied that in his opinion cinematographers must seek out and learn everything about video, because in 20 years it would be recorded on a little disc and be satellited around the globe to the cinemas! From that day on I never thought of video again as “recording on rust” and set out to learn as much as I could about this format.

Question: What have you found to be different about shooting HD?

Michel: HD acquisition is not any faster or more efficient than film. It has its own issues which always need to be addressed. As a cinematographer, one has to be knowledgeable and prepared for any situation which may arise during shooting. You still have to bob and weave and dance on your feet! What I love about what I do is the challenge of lateral thinking!

Question: In general, how are the projects you shoot on VariCam edited and finished?

Michel: The projects are typically edited with Apple’s Final Cut Pro and then either output via a Panasonic DVCPRO HD deck or downconverted to Digital Betacam for an SD finish.

Question: What do you say to colleagues about the VariCam?

Michel: I believe the key to success with any proposed production is to know the workflow of the proposed project and then test the tools that might be applicable to the schedule, style, and logistics of the shoot. Panasonic’s VariCam is a multitasked camera that offers many solutions and an array of creative possibilities.