Panasonic has once again called on the engineering and technical expertise of Codex to develop with them a totally integrated and smaller VariCam camera–the new VariCam Pure digital cinematography camera.
The Panasonic VariCam Pure is a RAW-only camera that takes the VariCam range to a whole new level. The combination of Codex and Panasonic was proven with the VariCam 35 and Codex V-RAW recorder, used on projects such as Netflix’s Death Note and The OA. So Panasonic turned to Codex for this next generation camera.
The VariCam Pure is a modular camera solution providing in-camera recording that directly addresses the needs of cinematographers and camera crew who desired a compact but powerful camera system that could be used in any situation.
Michael Bravin, engineering supervisor at Sim Digital in Hollywood, said, “It’s great to see such purposeful product development in the collaboration between Codex and Panasonic. They have teamed-up to not only offer RAW recording for the VariCam 35, but also to raise the bar even higher. By tightly integrating this new V-RAW recorder with the VariCam for a smaller lighter, frankly better, system, we now can more effectively meet the needs of our clients on high end 4K RAW productions.”
This expanded toolkit for digital capture is enabled by Codex’s battle-tested recording media–Codex Capture Drive–providing the gateway to an entire production-to-post workflow via Codex Production Suite. Codex continues to provide one workflow, no matter what camera you shoot with.
“Those who have seen this new camera system have been impressed,” said Codex VP Brian Gaffney, who added, “This combination is a powerful new tool for 4K RAW recording, and is just the kind of camera that studios are looking for to produce 4K content for the cinema or the home. We support camera choices at the front-end with a single workflow that simply and safely moves your data from production into post and beyond.”
Panasonic will showcase VariCam Pure at IBC 2016, Hall 11, Stand C45, and Cinec 2016, Stand 2-B01.
Rom-Com Mainstay Hugh Grant Shifts To The Dark Side and He’s Never Been Happier
After some difficulties connecting to a Zoom, Hugh Grant eventually opts to just phone instead.
"Sorry about that," he apologizes. "Tech hell." Grant is no lover of technology. Smart phones, for example, he calls the "devil's tinderbox."
"I think they're killing us. I hate them," he says. "I go on long holidays from them, three or four days at at time. Marvelous."
Hell, and our proximity to it, is a not unrelated topic to Grant's new film, "Heretic." In it, two young Mormon missionaries (Chloe East, Sophie Thatcher) come knocking on a door they'll soon regret visiting. They're welcomed in by Mr. Reed (Grant), an initially charming man who tests their faith in theological debate, and then, in much worse things.
After decades in romantic comedies, Grant has spent the last few years playing narcissists, weirdos and murders, often to the greatest acclaim of his career. But in "Heretic," a horror thriller from A24, Grant's turn to the dark side reaches a new extreme. The actor who once charmingly stammered in "Four Weddings and a Funeral" and who danced to the Pointer Sisters in "Love Actually" is now doing heinous things to young people in a basement.
"It was a challenge," Grant says. "I think human beings need challenges. It makes your beer taste better in the evening if you've climbed a mountain. He was just so wonderfully (expletive)-up."
"Heretic," which opens in theaters Friday, is directed by Scott Beck and Bryan Woods, co-writers of "A Quiet Place." In Grant's hands, Mr. Reed is a divinely good baddie — a scholarly creep whose wry monologues pull from a wide range of references, including, fittingly, Radiohead's "Creep."
In an interview, Grant spoke about these and other facets of his character, his journey... Read More