RED Helium

RED WEAPON 8K S35 Helium

With its innovative design, the 4K camera module unit (AU-V35C1) is separate but dockable to the recording module unit (AU-VREC1), which is also interchangeable with Panasonic’s new 2/3” camera module unit (AU-V23HS1) (see separate news release). This system flexibility can be expanded with an umbilical cable between the s35mm 4K camera and the AVC-ULTRA recorder, providing “box” camera functionality for jibs, cranes and other “remote” camera needs. This common recorder module is also interchangeable with Panasonic’s new 2/3” 1080p camera, enabling professionals to switch between s35mm and 2/3” camera heads to best suit their creative needs.

“Evoking the VariCam heritage of gorgeous, cinematic image rendition, this VariCam 35 establishes new standards for 4K production,” said Steve Cooperman, Product Manager, Panasonic System Communications Company of North America. “With its expanse of formats ranging from flawless 4K RAW output to more practical 4K, UHD, 2K and HD capture, the VariCam 35 represents a matchless option for premier digital capture.”

The VariCam 35 utilizes a new Panasonic super 35mm MOS sensor for 4096 x 2160 (17:9) 4K image capture; this imager when combined with the AVC-ULTRA codecs for 4K enables very manageable and practical 4K production file sizes. The new imager boasts an impressive 14+ stops of latitude, and faithfully captures high-contrast, wide dynamic range imagery without compromise. Powerful color management capabilities provide a much extended color gamut for impeccable image fidelity, and permit support for an Academy Color Encoding System (ACES) workflow for full fidelity mastering of original source material.

Among the camera/recorder’s top-level production features are real-time, high frame rate, variable speed 4K recording up to 120fps, proving the capability for master level 2K/FHD recording; and advanced workflows with parallel simultaneous 4K/ UHD, reference 2K/HD and proxy recordings for in-camera on-set color grading and monitoring / editing ease. The camera also features a newly-developed OLED electronic viewfinder (EVF) with optical zoom functionality. Lastly, 24-bit LPCM audio is added for in-camera audio master recording.

The VariCam 35 will deliver an unprecedented breadth of recording formats, including 4K and UHD in AVC-ULTRA 4K, and 2K and FHD in AVC-Intra 100/200.* Addressing the need for high-speed file exchange, the camera encodes high-resolution proxy files in parallel with 4K and 2K production formats, enabling fast, efficient offline editing, at bit rates from 6 Mbps down to 1.5Mbps. Wireless workflows for proxy streaming and metadata management will also be available.

The VariCam 35 will use Panasonic’s new expressP2 card for high frame rate and 4K recording (see separate news release). The camera is equipped with a total of four memory card slots, two for expressP2 cards and two for microP2 cards. The new expressP2 card can record up to 130 minutes of 4K/24p content. The microP2 card is designed for recording HD or 2K at more typical production frame rates.

  • DSMC2 EVF Viewfinder
  • DSMC2 4.7" Touch LCD
  • DSMC2 Base Expander
  • Wooden Camera D-Box
  • Arri Top Handle Assembly
  • Arri BP-8 Base Plate
  • 4 x 480GB RED Mini SSD Magazines
  • 1 x G-Tech Mini Red Station
  • 6 x 12V Onboard Batteries
  • 2 x 12V Block Batteries

Weight 5kg
Body Dimensions L 34.7cm x W 18cm x H 23cm
Operating Temps 0°C to +40°C
Sensor Specs 1.88
Sensor Type Super 35 MOS 8.9 Megapixel
Pixel Count 4096 x 2160
Base ISO 800/5000
Latitude 14 stops
Frame Rate 1-120fps
Frame Rate 60 fps at 8K Full Format (8192 x 4320)
75 fps at 8K 2.4:1 (8192 x 3456)
60 fps at 7K Full Format (7168 x 3780)
75 fps at 7K 2.4:1 (7168 x 3024)
75 fps at 6K Full Format (6144 x 3240)
100 fps at 6K 2.4:1 (6144 x 2592)
96 fps at 5K Full Format (5120 x 2700)
120 fps at 5K 2.4:1 (5120 x 2160)
120 fps at 4K Full Format (4096 x 2160)
150 fps at 4K 2.4:1 (4096 x 1728)
150 fps at 3K Full Format (3072 x 1620)
200 fps at 3K 2.4:1 (3072 x 1296)
240 fps at 2K Full Format (2048 x 1080)
300 fps at 2K 2.4:1 (2048 x 864)
Recording Formats 8K Full Format (8192 x 4320), 2:1, 2.4:1, 16:9, 14:9, 3:2, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x
7K Full Format (7168 x 3780), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
6K Full Format (6144 x 3240), 2:1, 2.4:1, 16:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x, 1.25x
5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, 1:1, and Ana 2x, 1.3x
3K Full Format (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
2K Full Format (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x
RProRes Recording Formats 422 HQ, 422 and 422 LT at 4K (4096 × 2160) up to 29.97 fps
4444 XQ and 4444 at 2K (2048 × 1080) up to 120 fps
422 HQ, 422 and 422 LT at 2K (2048 × 1080) up to 120 fps
Avid Recording Formats DNxHR HQX at 4K (4096 × 2160) 12-bit up to 29.97 fps
DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 29.97 fps
DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps
DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps
DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps