The new Panasonic VariCam LT 4K has arrived at John Barry Sales

This camera is a game changer!

With more customers wanting 4K origination, the new Panasonic VariCam LT provides exceptional results and it has some great features.

The Varicam LT has the same specs and uses the same Super 35 image sensor as the Varicam 35 cinema camera.

While the Varicam has many features, as you would expect from a camera at this level, one of the best features is the Dual ISO recording.

The camera has a native ISO of 800 and 5000, which is also adjustable and with 14+ stops of wide latitude, picture quality is exceptional. The native 5000 ISO lets you capture images in very low light situations.

Since the camera features dual codec recording, it means the user can record a “Primary” codec as well as a smaller “Proxy” file. There is also in in-camera colour grading function and it supports AVC Intra, Apple Pro Res & 4K codecs.  Consider what this means from a workflow perspective, as Panasonic say, it’s a revolution!

Another exciting feature is the changeable lens mount, not an adaptor! The camera ships as standard with an EF mount, however, this can be removed & replaced with the optional  PL mount, the PL mount will be selling for $2,000.00 inc. GST, the PL lens mount is also now in stock.

For our Gimbal and Drone users, the Varicam has a small body size and weight of 2.7kg (body only)

We will be setting up the camera for demo sessions with the Shape Wooden Handle and the Small HD 502 with Side Finder and lens options for demo from Xeen and Tokina.

For customers wanting more information or to book a demo time, please contact Josh Papp on 1800 717 710  or email

Varicam LT Rig at John Barry Sales

Into the Badlands | Cineo Lighting

Source: Into the Badlands | Cineo Lighting


Into The Badlands, a “genre-bending martial arts series,” is an action drama hit for AMC that showcases more than innovative fight choreography but also a complex range of visual styles. Set in a dystopian future where a feudal society has taken shape after civilization has collapsed, the series is loosely based on a 16th Century Chinese story, Journey to the West. The plot follows the journey through the Badlands of a trained assassin and the young boy he rescues after a deadly attack as the two seek enlightenment. The setting of the Badlands, the differences between the feudal barons, the mix of close interiors, and sweeping exteriors all offer a wealth of visual possibilities.

The show has a very stylized look and feel, due in no small part to the masterful work of Director of Photography Shane Hurlbut, ASC. The show is shot in a variety of locations, with a mix of color temperatures—bright, day lit exteriors; flickering nighttime in the rain; warm and colorfully lit interiors, to dark and dangerous spaces. The full range from bright to dark and everything in between is used to great effect with rich saturated colors used often to support the characters’ traits and their place in the plot itself. Hurlbut had multiple lighting units on the shoot and the Fight Unit lighting team includes Gaffer Jeff Stewart and Best Boy John Gorman, who had served as a U.S. Marine, is known to most in the industry as “Jarhead.” The Fight Unit lighting team quickly realized that shooting Into The Badlands would prove to be very complex and chose an array of Cineo Lighting products to illuminate the non-traditional shoot and to ensure that they perfectly match the First Unit’s shots which are done with a more traditional film lighting rig.

Stewart and Jarhead need to think through a lot of variables when arranging the lighting to get the illumination needed and the match to the First Unit. “When you’re shooting a show that’s as darkly lit as this; with a lot of fire effects and things like that, it’s very crucial that you get the lights in the exact position necessary, so that you can get the costumes, the distinct facial features, etc,” explains Jarhead. “It’s a challenging show to work on, it has you thinking every day. We don’t shoot a normal day scene; we’re shooting a day scene inside of an old fort or factory. When Jeff and I found out what the lighting for Badlandswas going to be like, we knew we wanted to get Cineo involved, because that’s the lighting that we were going to need to pull this off. We could not have done this shoot without the versatility of the Cineo products. My first purchase was the Cineo Matchstix and I have just expanded my inventory of their products from there.”

Hurlbut felt the selection to use Cineo Lighting products made sense, especially considering the need to light in a challenging array of locations. “What I loved about the Cineos were their small size that packs a wallop,” says Hurlbut. “You can hide them in small places as well as their light weight nature fits in small soft boxes that can move quickly and deliver the perfect quality of light I am looking for.” Jarhead and the rest of the lighting team agree with Hurlbut and really appreciated the fact that they could use the Cineo Lighting products just about anywhere. Ideal for both interior and exterior shoots as well as in the elements; there were no limitations to where they could be used. “The Cineo products helped out because the lights are so compact in design, and their versatility makes them amazing,” Jarhead comments. “We liked using the Cineo Matchstix in some of the trickiest locations. We used that light in in a lot of places, especially when we were shooting in an old abandoned power plant. When there wasn’t a place where we could easily put an HS light, I would use a Matchstix. I actually used rare-earth magnets and added a pin receiver on the magnets. That allowed me to mount the lights inside of an old boiler, in tunnels, and places like that. That worked out really well.”

The team also relied on the Cineo Maverick and the Cineo HS units. “Those lights have so much punch. For example, there’s a scene where you’ll see a character running through a series of tunnels,” says Jarhead. “If you look at all that lighting, those were all Cineo HS lights. We would run HS lights in every tunnel. I would say by far that the HS was the most used light on the entire shoot. The rain was our biggest challenge for many of the scenes shot. When it comes to HMIs, all it takes is one drop of water on that glass and the lens will crack. You’re talking 18,000 watts; and the lens gets up to about 300 degrees. The Mavericks and the HS don’t have that issue but they give you the punch. Another nice things is with the different capabilities of the Cineo products you just change a panel or dim it down, where with an HMI to cut it down, you are putting scrim after scrim, after diffusion in front of the light.”

Not needing to haul the large and heavy HMIs around all the time was another plus. “We shot a lot of locations where it came in handy that the Cineo lights are so compact and come in their own cases,” points out Jarhead. “Instead of having the guys push HMIs fitted onto rolling stands out into an open field for a half mile; it’s easier for the guys to transport the Cineo gear in a cable cart.”

With the wide variety of colorful costumes and sets, accurate color rendition is important. With a wide varieties of ethnicities amongst the cast, accurate skin tone reproduction was equally important. “Skin tones were very important,” Jarhead says. “We have a great cast with many Asian and African American actors and there is a wide array of skin complexions. One of the things we did was use a custom-made gold and white checkerboard that we put on four by bounce card. Basically what that does is just give a great warm light against the Asian complexion. That skin tone on camera looks completely different if you don’t use a bounce. We take an HS and bounce it into the custom checker board for a lot of the close up profiles. Especially in the first episode, when the lead is sitting in his character’s little cabin, the only lights we used inside that cabin were the Cineo HS and the Mavericks; they gave us this great light to work with doing that scene and throughout the shoot.”

Appreciation of the engineering and design that went into the cold phosphor technology behind all of the Cineo Lighting products and their reliability over time is why Jarhead wants them in his the lighting inventory. “The problem with most LED panel lights is that they’re great for the first two years that you own them, but then the color temperature starts to shift. When Cineo came up with the HS light and the phosphor panel they solved those issues. It’s just amazing the way that light is designed with the phosphor panels, those panels make the lights completely versatile as you can go all the way up to 6,500K with the panels. They are by far my favorite light that’s out on the market right now.”

Panasonic Announces Compact 4K Super 35 Varicam LT Cinema Camcorder

Panasonic today unveiled the VariCam LT, representing the next generation of 4K cinema cameras. The VariCam LT camcorder  inherits the same super 35mm sensor and superb imaging capabilities that distinguish the award-winning VariCam 35, but with significant reductions in size, weight and price. Continue reading “Panasonic Announces Compact 4K Super 35 Varicam LT Cinema Camcorder”

SHAPE – Supporting Black Magic Cinema Cameras!

After completing my first blog about the Blackmagic Cinema Camera used on the “Deep Seeded” shoot, I went in search of a solution so  I did not have to combine parts from multiple manufacturers to rig out the BMCC.

I came across a few brands that looked good but were mainly cage only options and very expensive. I wanted something that had the ability to go shoulder mounted quickly and had a few different options like offset or straight.

My next criteria was that the complete setup needed to be light weight and made from quality parts. Was I asking too much considering every quality product I have tried weighed a tonne?

The next requirement was a top handle that was easily moved from front to back depending on the configuration to balance out the rig.

A brand was mentioned on a Phillip Bloom Video and the word “lightweight” caught my attention. Shape was the company, so I went to their website and saw they had a lifetime warranty. The gear is made in Quebec Canada.

Below is a YouTube video of the product.

John Barry Sales now has stock and product on display in the Melbourne showroom of this magnificent product. Come in and check it out!

Joshua Papp


Film Lighting Masterclass by Richard Curtis

Richard Curtis from John Barry Sales gave a great Masterclass in Film Lighting fundamentals, the audience comprised of eager camera students from JMC Academy.

They were treated to a great lesson in film lighting equipment, the uses of specific gels and diffusers and how that effects the contrast and level of light on the subject. Richard demonstrated on Film Gear lighting equipment  and displayed a vast range of lights from the little 300w’ers to the 2k fresnel.

Richard explained the benefits of distancing the diffuser from the light source and how that interacts with the shadows and contrast of the subject, he also explained the importance of handling professional lighting equipment and grip basics.

With over 25 years of experience, Richard Curtis has a wealth of knowledge and experience, not just in lighting but in the film television industry and the transformation of Australia’s motion picture landscape, from celluloid to digital. He is the right man to talk to about anything lighting and he’s especially excited about John Barry Sales’ range of FilmGear lighting products. For any FilmGear, Kino Flo or any other lighting enquiries, please contact Richard Curtis from John Barry Sales.



Awesome Panasonic Cameras!

John Barry are offering some great deals on the Panasonic range of AVCAM Cameras. The range of Panasonic cameras start with the very affordable AG-AC90EN AVCCAM Camera.

 The AC90 debuts a premium professional AVCCAM HD recording mode, the PS mode (28 Mbps, 60p only), and also records video in the PH mode (average 21 Mbps/Max 24Mbps), the HA mode (approx.17 Mbps), and the extended recording HE mode (approx. 6 Mbps) as well as SD (at 9 Mbps.) Shooters will find invaluable its wide 29.8mm to 357.6 mm (35mm equivalent)12X optical zoom lens with three independent adjustable rings for zoom, focus and iris for a wide viewing angle, the AC90 can record in 1920×1080/50p,50i or 25p for premium versatility in a production environment. We have slashed more than a hundred dollars off the AG-AC90!

To purchase the Panasonic AG-AC90 click here.

 This latest AVCCAM camcorder AG-AC130 & AG-AC160 are among the first to enjoy the benefits of advanced SDXC media card compatibility in addition to existing SDHC card support. The AG-AC130 & AG-AC160, which incorporate a high-sensitivity 1/3 type, full-HD 2.2 megapixel 3MOS imagers to capture native 1920 x 1080 resolution images, with a new, wider 22x HD zoom lens. SDXC is the newest SD memory card specification that supports memory capacities above 32GB and up to 2TB.

Newly added to the Panasonic AVCCAM lineup, the AG-AC160 and AG-AC130 Memory Card Camera Recorders offer a host of advanced functions. The lens, camera section and recorder section of these models have been significantly revamped by incorporating cutting-edge technologies. The AG-AC130 can record in 1080/50i/25p and 720/50p or 25p while the bigger brother AG-AC160 can switch between PAL and NTSC formats allowing it to also record in 1080/59.94i/29.97p/23.98pN or 720/59.94p/29.97p or 23.98pN the AG-AC160, also include the professional industry HD/SDI signal and variable frame recording.

To purchase the Panasonic AG-AC130 click here.

To purchase the Panasonic AG-AC160 click here.

When you purchase these great Panasonic AVCCAM Products at John Barry Sales you are eligible to get three years worth of warranty from Panasonic, now that’s piece of mind!

“Deep Seeded” shoot using the Black Magic Cinema Camera


“Deep Seeded” shoot using the Black Magic Cinema Camera

I recently had the pleasure of shooting with a talented crew for a short film called “Deep Seeded” staring  Rain Fuller and Tim Ross and directed by Nick Bufallo.

For the shoot we got our hands on the Red MX, a full set of Zeiss primes and the Blackmagic Cinema Camera.  Aaron Farrugia  (DOP) and Kitty May shot  A camera using the Red MX and Sarah Turner and myself shot on the Blackmagic Cinema camera.

Over the last month of using the BMCC I have tried many configurations that would overcome some of the cameras limitations. I came up with my own configuration using multiple manufacturers’ accessories for handheld and tripod for this particular shoot.

Due to the form factor of the camera – similar to a HDSLR – it has no room for built in ND’s so the options are a Matte Box or an ND fader.  

The Matte Box is from Wondlan and has 4×4 and 4x 5.65 filter trays which can have two in at one time and are rotatable. This was very handy as at times we had extreme light fluctuations so we stacked ND 1.6 and 1.3 Schneider filters together. The ND fader we used was an INCA pro and covers 2-8 stops. We found this great for the run and gun shots.

For the hand held rig I used a pair of carbon fibre 15mm rails 45cm long with Manfrotto Sympla handles and shoulder pad. This fit perfectly in the Petrol carry bag PDRB-3 and packed down quickly without having to pull everything apart. Even though I had this handheld rig I still found it easy enough to remove from the rig to shoot without it when necessary.

A limitation to the BMCC that potential customers brought up on forums was the lack of a  removable battery which limited  running time to 1.5 hours.  Personally I have always used a V Lock system on my Canon 5d MK 111 and used the same one on the BMCC and found this a good way to get over this hurdle. The Wondlan battery base plate and rail mount is a great power solution with two 12v ports… one to power the camera via D-Tap and the other to power the SDI to HDMI converter. It also has a 5v to power a 5 inch monitor like the Marshall and 7.2v if you want to use a Canon DSLR instead of the BMCC. Off a standard size V-Lock and the camera running most of the time I got around 4+ hrs powering camera, SDI-HDMI converter and monitor. For run and gun shots without the rig I knew I had at least one hour of shooting before I needed to return it to the rig.

The BMCC has HD-SDI out and this is a professional standard for broadcast monitors.  So to use a HDMI monitor like the 5 inch Marshall, I used the Black Magic SDI to HDMI battery converter. It also has a SDI split to go out to a director’s monitor.

The Marshall 5 inch monitor was a god send in the bright conditions as the touch screen on the BMCC is very reflective and is hard to see. I also put a Hoodman  7” hood over the BMCC hood to further reduce the glare. The 5 inch Marshall was used by the 1st AC for pulling focus and has focus assist and peaking. Under normal conditions the BMCC monitor is perfectly fine.

After getting over the BMCC limitations and finding the right kit for the camera I found it enjoyable and very easy to use. The final 2.5k raw files looked amazing and once graded will be incredibly pleasing.  Having 13 stops of dynamic range, 2.5 K raw, 1080 Pro Res (HQ) and Da Vinci Resolve (full version) shipping free with the camera (RRP $1085) is amazing. I would recommend this camera to anyone wanting to shoot high quality film but to be aware that you need more than just the camera to get underway. Also look out for a new range of BMCC specific rigs coming soon to John Barry.

Joshua Papp