Camera setup is centered around the control panel, which, like the ones on the Alexa, F5 and F55, and C700, has six context-sensitive softkeys and a rotary knob for settings. Pressing the INFO button gives you six pages of status information. Pressing VIEW turns the screen into a monitor, showing the same information displayed in the EVF. The panel gives you a large, clear status display and speedy access to most high-level settings; 90% of what you need to fiddle with during a shoot is available with a couple of button-presses, without having to dive into the setup menus (the most common tweaks-white balance, shutter angle, frame rate, and exposure index-can be set using the EVF menus without even bothering with the control panel). Most of the parameter pages are like this: you can save up to 12 settings in each one, and they sort numerically, so you can save a whole bunch of custom white balances, frame rates, or shutter angles / shutter speeds for quick recall.



The PLAY button displays the recorded clip list and lets you view metadata, repair damaged clips, sort them according to clip marks and text memos, and play them back. Pressing the knob plays back the clips. Pressing the MENU button drops you into conventional scrolling menus. VariCams have a unique menu structure and organization, different from other Panasonic cameras and (of course) from cameras from other manufacturers. Klingons aside, a quick tour of the control panel and menu system is in order. It’s not quite as convenient, perhaps, but it still works, just as the Starship Enterprise can still be conned from Auxiliary Control when the saucer section is detached or the main bridge is occupied by obstreperous Klingons. So, for example, if you need a certain frame rate but can’t seem to enable it, you need to check-at a minimum-MAIN CODEC and MAIN PIXEL and SDI RAW, and possibly RAW OUTPUT, too. And because it’s a VariCam, it supports variable frame rate recording (VFR), with the rates depending on the frame size, sensor scan, and codec setting. The LT uses a 4K-native single sensor with a conventional Bayer-pattern color filter array. The camera captures pixel-for-pixel 4K (4096_2160) and UHD (3480_2160) material; downsampled 2K (2048_1080) and HD (1920_1080) from the same sensor area, and pixel-for-pixel center-cropped 2K and HD.



There are people that every Friday night log into cams dot com or imlive or even AWE to chat with the same models. One of the great things about an adult chat website is the fact that you are ultimately in control of the kind of experience you are going to have. The addition of a webcam, for instance, means players will be able to hear and see one another, and chat as if they were sitting around a real table playing poker. Already a former mayor, a high-powered attorney, a real estate mogul and a financier have all been accused by police of being clients of a Zumba instructor turned alleged prostitute in a scandal that has rocked a small Maine town. The police are an option, too, if it comes to that. Here, too, you can toggle grading corrections for playback. Those frustrated with various Sonys that can’t use a LUT during playback will be happy to note that the VariCam allows LUTs and CDLs porno to watch apply for playback as well as while recording. You can set MAIN COLOR porno to watch a variety of looks; here we’re in V-Log, so we also have access to grading controls: we can choose separate LUTs for main and proxy recordings, and/or CDLs (Color Decision Lists, with R,G,B offset, power, and slope settings-essentially lift, gamma, and gain-plus saturation).



If you’re wondering why you can’t tweak chroma or knee, check MAIN COLOR to make sure you’re in a mode that allows such tweaks, but also check SDI RAW, because raw output forces MAIN COLOR to V-Log, where no tweaks are allowed. That’s the key to configuring this camera: get those four main settings right (and RAW OUTPUT if you’re set up for 10-bit raw), and for the most part, everything else you expect to have working should be available to you. RAW OUTPUT, a necessary and critical qualifier when SDI RAW is set to a 10-bit format (10-bit raw can be output as single-link or dual-link, and which one you choose determines what frame rates are available). Note that different color renderings can be set for main and proxy recording; the EI status shows not only a setting of ISO 5000 but a base ISO of 5000; that raw output is set to 10-bit UHD while UHD is also recorded on the P2 card. The VariCam LT is a "world camera" supporting all the world’s popular base frame rates (or "system frequencies" in Panasonic parlance): 23.98p, 24p, 25p, 29.97p, 50p, and 59.94p. In 1080-line modes, it also records 50i and 59.94i interlaced signals.



The camera’s base has a good selection of 1/4" and 3/8" mounting sockets. If you get one of the shoulder mounts (there’s a "Cinema Style" and an "ENG Style"; both have 15mm LWS rod sockets and mounting rosettes in front, while the Cinema Style I tested has a longer front extension and allows 15mm rods in the rear), its dovetail plate attaches to a couple of the baseplate sockets while still leaving others free. The arm itself allows 2.25" (57mm) of extension adjustment. Rosettes allow the control grip on its arm to be attached at any angle. The grip is made of hard plastic with light texturing for traction. The grip is secured with its own rosette, so it too can be angled to taste. The grip has a rear mounted REC button, two user-assignable buttons (neatly placed on the inside and on the top where they’re unlikely to be mashed accidentally), and a control dial at the front. Panasonic’s HVX200 of a decade ago worked in either DV tape mode or P2 card mode, and that switch similarly split the camera’s functionality into two flavors. For almost half a century, I have followed a tradition practised in many Eastern European countries and created an 'Easter tree' - a sprouting branch or two from the garden decorated with wooden eggs, rabbits and birds.