I was a GH4 shooter but skipped the GH5/GH6 to get BRAW recording in a micro 4/3 mount with the BMPCC4K. I'm still working with that camera every day because I love the image so much, despite how awkward the pocket 4k is. And every day I wish I had the articulating screen, autofocus, long battery life, IBIS etc of a GH camera. But never enough to give up raw recording. Hello GH7!
I used two GH5 cameras extensively and loved them. Now I've got the S5IIX, and there's no way I could go back to Micro 4/3 just because the stills performance of full frame is so much better. So I guess all I can do is look forward to some of these features making it to the next S5 series camera. Because I probably shouldn't buy a GH7 exclusively for video.
Best GH7 reviews of the 5 I have seen. It was spoken by someone who actually shoots video and thus cares about things a video shooter would care about. Great insight. Subscribed.
It’s cool but is it that big of a deal? You can easily convert any log format into another gamma curve. I frequently use CineMatch to convert to over camera log profiles. I guess it’s good for simplicity on set handing over footage though
Internal Blackmagic RAW would be amazing. If they could figure out a way to squeeze built-in ND filters into something in this form factor, it would be a total game-changer. The BMPCC 6K Pro did it, so I don't think it's impossible. But that camera had plenty of other limitations.
@@carlyates2487 We can see that from the c70, c400, fx6 and fx9 that the mount and flange isn't the issue. The issue is, where do the ND's go when not in use? and if you want ibis along with it then the ND'S themselves need to cover the full ibis area, not only be the size of the sensor. I'm not sure anyone is after a mirrorless camera that is as large as the c70? Well, I guess maybe if it was the true do it all hybrid camera. However if anyone was to pull it off I could see it being Lumix on the smaller MFT sensor. P.S, Love the work Carl, keep it up!
@@carlyates2487 If Sony can make E-mount cinema cameras like the FX6 with built-in ND filters, then it's not the mount, it's the form factor. It might be time to rethink the photo camera form factor a bit. You could say the same thing about the Canon C400 with the RF mount, etc.
I do love the Panasonic GH series, I’ve owned the gh4, gh5, gh5s and gh6. Currently have them still and use them when I’m not using my C70. I probably won’t upgrade but it’s great to see them alive and kicking
I have had a GH5 for awhile now and have loved this camera. Sold my Canon 5d Mark II & III to change systems and have never looked back. One of the few things I always hated was the auto focus, fixed! Sure not as good a Bokeh as the full frame however almost half the weight on equivalent lenses, makes a big difference when your holding a camera and gimbal for hours. And then there is the travel aspect of size and weight with m4/3 cameras. This is on my next to buy list. I have watched several review but this one was really good, simply and succinct and went over all the best features. Great job!
Thank you! I absolutely love the GH7. The two features that are really important to me are the always on DR Boost mode (so effectively not having to think about that), and the 32 bit float audio.
Point of correction that might confuse some people - 0:54 - "Very efficient and easy to playback codec" - This statement applies to ProRes (and All-I codecs), but not to ProRes Raw - as now your desktop software has to debayer each frame in real time with the ProRes Raw, so the files are both massive and require some processing on your computer - much more intensive to run than All-i, or ProRes.
THIS is what the GH6 should have been. Now we have it. The new audio recording plus Arri C3 Log. All reports are that the colors are stunning. This is going to be a huge hit among indie filmmakers. We have entered mirrorless video nirvana.
@@carlyates2487 Easy to recommend and I am betting plenty of people will be asking for it. It is like when the GH4 hit the market with the new 4K. Instant hit. This new audio and Arri log are going to drive many people to Lumix once again, at least until the others catch up. For me, the Panasonic stabilization plus anamorphic support keep me in the GH and G9 line. For many others it will be the new audio plus stabe that will bring them to the GH7. Definite game changer, and once you discover how much better Lumix stabe is, it is hard to give that up.
32bit recording only prevents clipping of the D/A conversion. That's great but we still need to manage the analog mic preamp levels and RF levels on wireless transmitters. What I want to see as an industry standard on all cameras is built in time code sync over bluetooth. The bluetooth part is already there.
As a Z8 user i can agree…internal Raw is absolutely amazing. But i much prefer Nikons approach, as their NRAW works flawlessly in Resolve and is a dream to work with…
@@PhotoVideoTechOz also incorrect from the reporting, it can do all four channels in 32bit float, they just need to be coming in from the XLR module and not using the in body 3.5mm jack which is an option.
I think the GH7 will definitely shake up the industry. I think it's newest features are huge. The PDAF, internal 32-bit audio, internal ProRes Raw. And plus the choice of adding the ARRI C3 Log profile to its recording capabilities. I shot a feature film with the GH5. And given what the GH7 offers, I can easily see shooting a feature with the GH7 as well.
So, the only thing to think about is if you need an extreme low light capability or not (rare situations for most people) and depth of field for artistic purposes. For hand held and outdoor filmmaking, weight/size concerns and amount of lens available, it’s a no-brainer choice.
I love my GH6 but would really like the new auto focus. I use a Zoom F6 and have been using 32 bit float for a while with Resolve auto sync for audio. I also use BRAW and Resolve so Prores RAW isn't a thing for me. BRAW for green screen is a must.
Please SOMEBODY do a detailed low light test. It is the main crux of these cameras, with minimal improvement since the GH5 and I haven't found a video addressing it.
A camera can't change the industry Carl, but a mind or a film can. :) The GH7 is what the GH6 should have been. RAW for Premiere is fine for me. Black Magic are not the most forward thinking team in my experience. DMW XLR 1 was huge for me. It was great. I would love to use the DMW XLR2 with a GH7 after this recession.
@@Filmmaker809 the 32 bits is internal camera setting , th XLR2 is mainly the receiver of the signal! YET, since I own a DMW XLR! and usually cover almost all with 1or 2 mics I am happy that I do not need to invest th 500$ for 32bites on the GH7. GREAT! Thanks for the replay and the connection! And HAPPY THAT PANASONIC PEOPLE DID NOOT BLOCK THE FEATURE.... OT AT LEAST NOT YET.... ;)
can someone please clarify what 50fps 4:3 Open Gate modes this camera supports? Proxies at the least? any improvements over the Gh6? or is it just 4.4k with a significant crop?
Nice review as always!! Question when you have a moment... do you happen to know what modes phase detect autofocus works in? As in, does autofocus in 240fps or the 4k 120 modes?
I don’t know what firmware was on these preproduction cameras that was sent out for RUclipsrs to test and review because when I finally got my GH7 from B&H the autofocus is horrible and to make sure I wasn’t doing the wrong thing or had the wrong settings I had a video chat with B&H camera specialist and they was having the same result with their camera using the same lens Leica 12-60 so they are contacting Panasonic to see what is going on.
I cant believe we getting a GH7 before an S1H v2!!!! Common Panasonic i'm about to go get a C400, but i get it all the semi-pros made this one of Panasonic's top seller. If you're dropping 4K you're at least getting 4K120 to overkill 8K from other camera's of equal to similar price from canon or Sony I'm sure no one's buying the S1H or it would have been updated by now while in the lifespan of just the S1H there is GH6 and now GH7 release (unless it's coming in the next few days or hours)
I hear you, but I think this is a great sign for the S1hii. Because they're taking their time with it. Remember the Gh6 was the first camera they forced too soon and was made to be forgotten essentially. Anytime panasonic pushes a camera back, usually it ends up being totally worth it. Similar to how the G9ii ended up being superior to the gh6. My hope is the S1h is actually a panasonic made sensor, or at least unique to them.
Those who wanted to go L-mount have already done so. A lot of us (probably the majority) stayed with MFT because of the smaller lenses, but have been neglected in the L-mount push. It is now time for Panasonic to get back to looking after its core user base, and bring us some real MFT compacts instead of the stupidity of a so-called compact S9 that uses great big full frame lenses. A MFT S9 equivalent makes sense, The full frame S9 does not.
I was thinking recently with the spate of audio devices selling the 32bit float as their lead feature it was only a matter of time before cameras had in built in. They're using the feature in this case it would seem to sell the audio add-on in order to use it. But that add on is expensive so I'll not be getting it. It also stops you using a top handle. There's no reason it can't just be in camera through the mini jack, none at all. There are plenty of cheap devices out there use a mini jack input that have 32bit float. We'll see it in the next generation of cameras without this limitation though, just a matter of time.
@@ConatyP Yes. A few weeks ago there was a patent leaked about a new fullframe box camera from Panasonic. It’s looked different than the current BSH1 as it had a side handle and a flip screen.
Has anybody actually measured the dynamic range of those "32-bit" audio inputs? Just a simple floor test with a 150-ohm terminated XLR plug would tell us a lot (I have several, but I don't yet have a GH7). 32-bit doesn't really achieve anything if it isn't coupled with extremely low-noise, multi-stage preamps and A2Ds. I've owned or used plenty of "32-bit" devices, and IMO the only ones that really provide added practical range are the Sound Devices MixPre II and (recently) 8-series.
I’ve graduated beyond M43. Though I previously owned 5 GH5s bodies. Honestly, I would be excited to see these features make their way into a S2H body… along with the fabled Organic sensor that Panasonic said work was completed on. And if that sensor is just a pipe dream, perhaps a stacked sensor combined with built in EVND would be an acceptable substitute?
No. What will change the industry is interesting content that we want to see. As soon as you have an amazing script with amazing actors, film it with a 50 year old VHS cam, I'll watch it, film the crap I see streaming these days with an Alexa, I'll pass. New toys and new technologies are for losers with no content or ideas. Good night and good luck.
anyone who says 32bit float audio is the best feature since sliced bread is a salesman with a sales pitch. It only helps if you have large dynamic range, a very small set of scenarios. phase detect auto focus is long overdue. Olympus has been doing this for a long time. So nothing earth shaking there. Panasonic is just playing catch up.
No new exciting lens for the system for 2 years. Panasonic seems spend most effort on L mount full frame now. And smarphone that will use m4/3 sensor is not far away.
@@carlyates2487 To be fair, the Leica lenses are excellent....and I'm not sure about the smartphone comment - unless we start getting smartphones with built in fans for cooling!
Theres definitely some truth in that. But a smaller sensor platform will always be able to do more as the processor needs to do less work on the sensor.
Carl, have you seen the short film shot on GH7 "A Wave In Time?" Gorgeous. If you have not seen it yet, I am sure you will love it: ruclips.net/video/mRutsCXJuwY/видео.htmlsi=a9s6MwffBr2gDGaf From their description: "This is a cinematic, documentary style short film shot by filmmaker Osamu Hasegawa that follows the daily lives of two people that depicts the small but peaceful, beautiful happiness that lies in our everyday lives. Shot on LUMIX GH7 mainly in C4K 60p ProRes RAW and a mix of 4K 120p, 5.8K Open Gate recording mode as well as 32-bit float audio with XLR2 mic adapter." I would add that they also highlight photographic abilities.
@@carlyates2487 There have been several of these kinds of things uploaded by Lumix, and the footage looks fantastic from this camera, but most interesting to me is a behind the scenes of a director using the GH7 as B cam to an Arri Alexa and editing the footage together. It is a fight scene, and the GH7 gets accidentally kicked out of his hand twice and he says that he loves how he can put the GH7 into risky situations and get POV shots that he either wouldn't risk with the more expensive camera, or cannot get because of the size of the Arri. And while he thought he must have killed the GH7 from it hitting a brick wall, the camera kept working. ruclips.net/video/IF49-7-QuHk/видео.htmlsi=QCYXmYUcK8dNoyl7 Seems to me you are going to have plenty of clients wanting this camera, both those who work with Arri cameras, and the rest of us not able to afford Arri production, but wanting that level of footage. Looks like Panasonic was very clever about how they planned this camera. They knew that it would fail if it was simply a GH6 with just a couple of gimmick extra features. People react badly to that sort of thing, and they knew the couple of new things had better be very special indeed. Well, they knocked it out of the park. They hit it for a six :)
Having 32-bit float audio recording in camera and inside the video files is a really big deal. I could see this coming to most cameras in time and being a huge change for the industry.
This GH7 has almost identical price and weight of a S5IIX. If we added the XLR adaptor for its 32bit float recording, price would be even higher. Besides the richer video recording choices and most importantly the internal raw video feature, I was wondering how much is its distance when comparing to a full frame S5IIX. Definitely worse but how much worse.
The footage on WhoIsMatt's channel looks rubbish and equally here Is it faulty? Or needs firmware update Finally, photographers and film makers are very demanding 😂😝 I want, I want, lol 😂😝🤪❤️
Could this shitty camera change the industry? Oh yup… All of Hollywood is giving up their Alexa cameras and their red cameras and they’re going to shoot on this piece of crap… It’s going to change the world!
32-bit isn’t a magic carpet ride to the land of perfect audio. Yes it can capture sound data outside the 24-bit range. At the same time it comes with a couple of big *buts*. 1. If you over drive or under stage the mic itself, then you can still end up with 32-bits of bad sound. 2. You will have to normalize your sound track to 24-bit for most deliverables which can make for an extra step in post, or you can end up handing over files a client can’t handle. So 32-bit in the new dongle is a nice to have feature but it can easily lull you into a false sense of audio security and leave you with a different kind of garbage sound.
Blackmagic Resolve's boycott of ProRes RAW is so myopic. Everyone knows BRAW is proprietary BS and for that reason alone will never make it as an industry standard. The fact that Apple is not married to any one camera brand is why ProRes won the format war.
I'd love to see them make both this and the S5 II X into a box style camera like the BGH1 but more aimed around cinema production than live multicamera which the BGH1 was.
OK, so I hope I don’t sound too cranky here….but telling people that 32 bit float means you no longer have to care about listening while you’re recording is just silly. As if the only thing related to audio is levels? You really should listen for mic placement, interference, shirt and handling noise, etc. (all the stuff that 32 bit float does not fix). Proper monitoring of audio is still necessary in professional work.
That is definitely not what I was telling people. I said "you never have to worry about setting your record levels while filming ever again". Thats purely how loud you have recorded it. Apart from that, your sound is still your sound. The type of microphone you use, background noise, wind, clothing rustles, EQ, compression... all of that is still relevant.
@@carlyates2487 Fair enough, sorry for being a bit harsh. There is a massive proliferation out there of the "32 bit float fixes everything, and you don't even need to wear headphones!" That message is just very misleading. My apologies for taking you to task on that. On a different note, how did Panasonic get ProRes RAW and 32 bit in the same camera for $2,000? Panasonic absolutely leads the way in value on their cameras. Cost for features is unmatched with Panasonic.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
I was a GH4 shooter but skipped the GH5/GH6 to get BRAW recording in a micro 4/3 mount with the BMPCC4K. I'm still working with that camera every day because I love the image so much, despite how awkward the pocket 4k is. And every day I wish I had the articulating screen, autofocus, long battery life, IBIS etc of a GH camera. But never enough to give up raw recording. Hello GH7!
BRAW is amazing... not gonna lie. It's hard to work without RAW... I'm on B&H right now eyeballing the GH7.
I imagine you’ll be very impressed with the image from the GH7.
I used two GH5 cameras extensively and loved them.
Now I've got the S5IIX,
and there's no way I could go back to Micro 4/3 just because the stills performance of full frame is so much better.
So I guess all I can do is look forward to some of these features making it to the next S5 series camera.
Because I probably shouldn't buy a GH7 exclusively for video.
The GH5S had RAW output
@@CNC-Time-Lapsejust do it man we need some new soil on YT
Best GH7 reviews of the 5 I have seen. It was spoken by someone who actually shoots video and thus cares about things a video shooter would care about. Great insight. Subscribed.
And you weren't subscribed before?
* rings bells * "shame, shame, shame,shame, shame..."
Excellent, great to hear. Thanks for watching.
Everyone forgetting about ARRI C3 Log support
I work for LUMIX- To be fair, we kept that secret until the June 5th 2pm California time.
They didn’t know.
@@PANAFRAZER I figured that was something they weren’t aware of. That’s awesome though. Probably why we never get any leaks for anything!
I wasn’t told about it! I’ll be looking into it though
It’s cool but is it that big of a deal? You can easily convert any log format into another gamma curve. I frequently use CineMatch to convert to over camera log profiles.
I guess it’s good for simplicity on set handing over footage though
@@PANAFRAZER was hoping you would be on the launch stream!
*I'm very excited to see the new improvements on the GH7. I look forward to the new S1H MK II release !*
Same!
Bro dropped the C400 video AND GH7 video?!? Sheeeesh. We are ONE step closer to the S1H II!!!! Let’s goooo!
Its been a busy week!
Feel that the 25mp sensor is totally new! It's a major new m43 sensor. It looks new and resolves beautifully. Or it is just me?
Very high quality video and review. Spot on.
Internal Blackmagic RAW would be amazing.
If they could figure out a way to squeeze built-in ND filters into something in this form factor, it would be a total game-changer. The BMPCC 6K Pro did it, so I don't think it's impossible. But that camera had plenty of other limitations.
The 6K pro only managed it because of that very long EF mount turret. Can’t do that with a mirrorless mount.
And no ibis
@@carlyates2487 We can see that from the c70, c400, fx6 and fx9 that the mount and flange isn't the issue. The issue is, where do the ND's go when not in use? and if you want ibis along with it then the ND'S themselves need to cover the full ibis area, not only be the size of the sensor. I'm not sure anyone is after a mirrorless camera that is as large as the c70? Well, I guess maybe if it was the true do it all hybrid camera. However if anyone was to pull it off I could see it being Lumix on the smaller MFT sensor. P.S, Love the work Carl, keep it up!
@@carlyates2487 If Sony can make E-mount cinema cameras like the FX6 with built-in ND filters, then it's not the mount, it's the form factor. It might be time to rethink the photo camera form factor a bit. You could say the same thing about the Canon C400 with the RF mount, etc.
@@carlyates2487they do it with RF which is also a mirrorless mount with a small flange distance similar to L-mount.
I do love the Panasonic GH series, I’ve owned the gh4, gh5, gh5s and gh6.
Currently have them still and use them when I’m not using my C70.
I probably won’t upgrade but it’s great to see them alive and kicking
It'll be interesting to see this side by side with the GH6. Theres definitely lots here that is a big improvement, but lots that is very similar.
Can we take a moment to acknowledge Carl's great lighting in this review. 👏🏻
AWESOME Features REVIEW for an AMAZING CAMERA! Internal 32B Float recorded straight to your footage is my fav too.
Thx
I have had a GH5 for awhile now and have loved this camera. Sold my Canon 5d Mark II & III to change systems and have never looked back. One of the few things I always hated was the auto focus, fixed! Sure not as good a Bokeh as the full frame however almost half the weight on equivalent lenses, makes a big difference when your holding a camera and gimbal for hours. And then there is the travel aspect of size and weight with m4/3 cameras. This is on my next to buy list. I have watched several review but this one was really good, simply and succinct and went over all the best features. Great job!
Thank you! I absolutely love the GH7. The two features that are really important to me are the always on DR Boost mode (so effectively not having to think about that), and the 32 bit float audio.
Point of correction that might confuse some people - 0:54 - "Very efficient and easy to playback codec" - This statement applies to ProRes (and All-I codecs), but not to ProRes Raw - as now your desktop software has to debayer each frame in real time with the ProRes Raw, so the files are both massive and require some processing on your computer - much more intensive to run than All-i, or ProRes.
THIS is what the GH6 should have been. Now we have it. The new audio recording plus Arri C3 Log. All reports are that the colors are stunning. This is going to be a huge hit among indie filmmakers. We have entered mirrorless video nirvana.
Yes, this feels like a much more complete and easier camera to recommend than the gh6.
@@carlyates2487 Easy to recommend and I am betting plenty of people will be asking for it. It is like when the GH4 hit the market with the new 4K. Instant hit. This new audio and Arri log are going to drive many people to Lumix once again, at least until the others catch up. For me, the Panasonic stabilization plus anamorphic support keep me in the GH and G9 line. For many others it will be the new audio plus stabe that will bring them to the GH7. Definite game changer, and once you discover how much better Lumix stabe is, it is hard to give that up.
Black magic raw internal upgrade would be awesome 😊
32bit recording only prevents clipping of the D/A conversion. That's great but we still need to manage the analog mic preamp levels and RF levels on wireless transmitters.
What I want to see as an industry standard on all cameras is built in time code sync over bluetooth. The bluetooth part is already there.
32-bit float doesn't erase all other issues with audio. But it does make a huge difference
About the autofocus - what lenses have you tested out? Do some of the older or cheaper lenses keep up?
32 bit audio recording embedded will be the next big feature in all next gen camera updates.
Does the XLR unit only provide 32-bit float on the GH7 or can I use this on other Lumix cameras, like the S5IIX?
A few months ago I thought in my head why they didn't have a camera with 32-bit float internal so clearly I should get credit for them reading my mind
It was only a matter of time before someone managed it. Well done Lumix for being the first!
@@carlyates2487 I know right, glad to see them still innovating, I hope an S5III gets it too down the line 👏
As a Z8 user i can agree…internal Raw is absolutely amazing. But i much prefer Nikons approach, as their NRAW works flawlessly in Resolve and is a dream to work with…
So it has 3 audio channels? Are they recorded separately to the video file? Nice to see the focus on audio.
No, you can choose which audio channels go into the video. The xlr unit can’t send all 3 at once.
Yes it can. 4 channels 2x xlr, 1x left and right 3.5mm can be recorded into the video file, but not 4ch in full 32bit 96khz.
@@carlyates2487 incorrect, it can send all four channels (3/4 are a stereo pair)
@@PhotoVideoTechOz also incorrect from the reporting, it can do all four channels in 32bit float, they just need to be coming in from the XLR module and not using the in body 3.5mm jack which is an option.
I think the GH7 will definitely shake up the industry. I think it's newest features are huge. The PDAF, internal 32-bit audio, internal ProRes Raw. And plus the choice of adding the ARRI C3 Log profile to its recording capabilities. I shot a feature film with the GH5. And given what the GH7 offers, I can easily see shooting a feature with the GH7 as well.
So, the only thing to think about is if you need an extreme low light capability or not (rare situations for most people) and depth of field for artistic purposes. For hand held and outdoor filmmaking, weight/size concerns and amount of lens available, it’s a no-brainer choice.
Great as always, but why you are not mentioning the ARRI LOG C? This is even bigger and bold feature that is a real one!
Built in ND filter please.
I love my GH6 but would really like the new auto focus. I use a Zoom F6 and have been using 32 bit float for a while with Resolve auto sync for audio. I also use BRAW and Resolve so Prores RAW isn't a thing for me. BRAW for green screen is a must.
Why he didn’t talk about arri log?
Please SOMEBODY do a detailed low light test. It is the main crux of these cameras, with minimal improvement since the GH5 and I haven't found a video addressing it.
I use m43 cameras in low light, it can handle some of those applications.
A camera can't change the industry Carl, but a mind or a film can. :) The GH7 is what the GH6 should have been. RAW for Premiere is fine for me. Black Magic are not the most forward thinking team in my experience. DMW XLR 1 was huge for me. It was great. I would love to use the DMW XLR2 with a GH7 after this recession.
can the DMW XLR 1 be used on the GH7? It seems possible.. *
@@victorcarrera7335 Yes, but I am disappointed about the DMW XLR2 not being able to use 32bit float audio on GH5s etc.
@@Filmmaker809 the 32 bits is internal camera setting , th XLR2 is mainly the receiver of the signal! YET, since I own a DMW XLR! and usually cover almost all with 1or 2 mics I am happy that I do not need to invest th 500$ for 32bites on the GH7. GREAT! Thanks for the replay and the connection! And HAPPY THAT PANASONIC PEOPLE DID NOOT BLOCK THE FEATURE.... OT AT LEAST NOT YET.... ;)
are you SURE that you can do 32 bits audio ONLY with the XLR2? What about if the gh7 is connected to the XLR1 adapter???? (2:40) reference, kid. * :)
can someone please clarify what 50fps 4:3 Open Gate modes this camera supports?
Proxies at the least? any improvements over the Gh6? or is it just 4.4k with a significant crop?
Same 4.4k mode yea
Hey Carl, does it work with the XLR1 module still? My colleague was asking as he’s interested and didn’t really want to buy the xlr2 yet
We don't have one here to test, but believe it will work.
@@carlyates2487 and it will record 32 bits+? It seems possible... check check...
How about autofocus on the speedboosters?
Autofocus needs native lenses, not adapters for the most part.
Wait a moment... so the XLR2 can only send either the 1+2 OR the 3 to the Camera, NOT 1+2 AND 3, so NOT the 4 Channels? That would be a total bummer
Nice review as always!! Question when you have a moment... do you happen to know what modes phase detect autofocus works in? As in, does autofocus in 240fps or the 4k 120 modes?
Can the original XLR adaptor be used with the GH7, or only the new one?
That’s a good question! I’ll try and find out.
I don’t know what firmware was on these preproduction cameras that was sent out for RUclipsrs to test and review because when I finally got my GH7 from B&H the autofocus is horrible and to make sure I wasn’t doing the wrong thing or had the wrong settings I had a video chat with B&H camera specialist and they was having the same result with their camera using the same lens Leica 12-60 so they are contacting Panasonic to see what is going on.
so, you are saying that the audio is perfect for concerts, at any volume?
I cant believe we getting a GH7 before an S1H v2!!!! Common Panasonic i'm about to go get a C400, but i get it all the semi-pros made this one of Panasonic's top seller. If you're dropping 4K you're at least getting 4K120 to overkill 8K from other camera's of equal to similar price from canon or Sony I'm sure no one's buying the S1H or it would have been updated by now while in the lifespan of just the S1H there is GH6 and now GH7 release (unless it's coming in the next few days or hours)
I hear you, but I think this is a great sign for the S1hii. Because they're taking their time with it. Remember the Gh6 was the first camera they forced too soon and was made to be forgotten essentially. Anytime panasonic pushes a camera back, usually it ends up being totally worth it. Similar to how the G9ii ended up being superior to the gh6. My hope is the S1h is actually a panasonic made sensor, or at least unique to them.
@@CanditoTrainingHQ fair enough
Those who wanted to go L-mount have already done so. A lot of us (probably the majority) stayed with MFT because of the smaller lenses, but have been neglected in the L-mount push. It is now time for Panasonic to get back to looking after its core user base, and bring us some real MFT compacts instead of the stupidity of a so-called compact S9 that uses great big full frame lenses. A MFT S9 equivalent makes sense, The full frame S9 does not.
@@artistjohagreed. A m43 version of the s9 with this sensor would be great.
Given the price, specs and features - has this just killed the camcorder market? Looking forward to the S1Hmk2!
On a more technical nitpicky note, I do believe it's more appropriate to say that the phase detect AF comes from the G9ii, not the S5ii.
The S5 II was their first camera to have the new phase detect AF system though
I was thinking recently with the spate of audio devices selling the 32bit float as their lead feature it was only a matter of time before cameras had in built in. They're using the feature in this case it would seem to sell the audio add-on in order to use it. But that add on is expensive so I'll not be getting it. It also stops you using a top handle. There's no reason it can't just be in camera through the mini jack, none at all. There are plenty of cheap devices out there use a mini jack input that have 32bit float. We'll see it in the next generation of cameras without this limitation though, just a matter of time.
Yeah, I can't see this add-on selling, so expensive and will be redundant in 6 months
Panasonic actually sold Lumix cameras with AF that did not work. Do you buy a car with 3 wheel or that's missing the steering wheel?
32 bit in Sony cameras would be great! not to mention internal RAW recording. I still wonder why no one else have added them?
32bit float is fantastic.
Panasonic needs to get a box camera out for $4K-$5K. They still have an opportunity for a spot in the middle of the market.
It's coming.
@@Aviciizreally?
@@ConatyP Yes. A few weeks ago there was a patent leaked about a new fullframe box camera from Panasonic. It’s looked different than the current BSH1 as it had a side handle and a flip screen.
@@Aviciiz at long last 👍
I better get news about S5iix getting 32bit float and pro res raw update soon or I'm selling
I think the 32bit is a hardware feature of the new XLR audio accessory so there is a good chance it could come to the S5II with firmware.
@@edjefferson9175 I wondered the same thing. That would be a great move if so. It would be fantastic on the S5 II X
Has anybody actually measured the dynamic range of those "32-bit" audio inputs? Just a simple floor test with a 150-ohm terminated XLR plug would tell us a lot (I have several, but I don't yet have a GH7).
32-bit doesn't really achieve anything if it isn't coupled with extremely low-noise, multi-stage preamps and A2Ds. I've owned or used plenty of "32-bit" devices, and IMO the only ones that really provide added practical range are the Sound Devices MixPre II and (recently) 8-series.
This camera should be in a square box format. Don’t you think?
I have 32bit audio on my dji pocket 3
The DJI mic has 32bit float in it. But the Pocket 3 has 48Khz 16-bit ACC ?
If only it was Braw instead of Prores Raw. 12:1, 8:1, etc makes raw useable in most applications
Fantastic camera but the image color of Lumix m4/3 seems washed out or pale IMO. Color fidelity seems not rich compared to full frame counterparts
Just worried about huge files and the need of a beefy computer:)
The 5.8K Prores Raw is very large, you aren't wrong.
Is this a green screen?
I’ve graduated beyond M43. Though I previously owned 5 GH5s bodies. Honestly, I would be excited to see these features make their way into a S2H body… along with the fabled Organic sensor that Panasonic said work was completed on. And if that sensor is just a pipe dream, perhaps a stacked sensor combined with built in EVND would be an acceptable substitute?
No. What will change the industry is interesting content that we want to see. As soon as you have an amazing script with amazing actors, film it with a 50 year old VHS cam, I'll watch it, film the crap I see streaming these days with an Alexa, I'll pass. New toys and new technologies are for losers with no content or ideas. Good night and good luck.
anyone who says 32bit float audio is the best feature since sliced bread is a salesman with a sales pitch. It only helps if you have large dynamic range, a very small set of scenarios.
phase detect auto focus is long overdue. Olympus has been doing this for a long time. So nothing earth shaking there. Panasonic is just playing catch up.
No new exciting lens for the system for 2 years. Panasonic seems spend most effort on L mount full frame now. And smarphone that will use m4/3 sensor is not far away.
It’s a good point about the lenses. If this camera does well though that’s bound to spark some more releases.
@@carlyates2487 To be fair, the Leica lenses are excellent....and I'm not sure about the smartphone comment - unless we start getting smartphones with built in fans for cooling!
I think it's a great camera, but it's too late for m43: all RUclips creators moved to Sony/Canon/FF lumix and have no reason to move back.
Theres definitely some truth in that. But a smaller sensor platform will always be able to do more as the processor needs to do less work on the sensor.
Carl, have you seen the short film shot on GH7 "A Wave In Time?" Gorgeous. If you have not seen it yet, I am sure you will love it: ruclips.net/video/mRutsCXJuwY/видео.htmlsi=a9s6MwffBr2gDGaf
From their description:
"This is a cinematic, documentary style short film shot by filmmaker Osamu Hasegawa that follows the daily lives of two people that depicts the small but peaceful, beautiful happiness that lies in our everyday lives.
Shot on LUMIX GH7 mainly in C4K 60p ProRes RAW and a mix of 4K 120p, 5.8K Open Gate recording mode as well as 32-bit float audio with XLR2 mic adapter."
I would add that they also highlight photographic abilities.
Sure, looks great
@@carlyates2487 There have been several of these kinds of things uploaded by Lumix, and the footage looks fantastic from this camera, but most interesting to me is a behind the scenes of a director using the GH7 as B cam to an Arri Alexa and editing the footage together. It is a fight scene, and the GH7 gets accidentally kicked out of his hand twice and he says that he loves how he can put the GH7 into risky situations and get POV shots that he either wouldn't risk with the more expensive camera, or cannot get because of the size of the Arri. And while he thought he must have killed the GH7 from it hitting a brick wall, the camera kept working. ruclips.net/video/IF49-7-QuHk/видео.htmlsi=QCYXmYUcK8dNoyl7
Seems to me you are going to have plenty of clients wanting this camera, both those who work with Arri cameras, and the rest of us not able to afford Arri production, but wanting that level of footage.
Looks like Panasonic was very clever about how they planned this camera. They knew that it would fail if it was simply a GH6 with just a couple of gimmick extra features. People react badly to that sort of thing, and they knew the couple of new things had better be very special indeed. Well, they knocked it out of the park. They hit it for a six :)
Am I the only one hearing a fire alarm in the background?
Panasonic S5 mark2 x remains the best choice ❤
The S5 II X is a fantastic camera. I agree.
why on earth does this camera get so little attention
m4/3
Yes. It will change the videography industry into a meat industry.
Having 32-bit float audio recording in camera and inside the video files is a really big deal. I could see this coming to most cameras in time and being a huge change for the industry.
@@carlyates2487 Yes, I can already taste the meat. I'll personally transition from wedding videography to cattle farming.
Why are you using clickbait title. What industry is the GH7 going to change? Lot's of cameras produce a better image.
Sony & Canon're finished! Panasonic deserves it's spot as the King 😂
GH7 could change the industry? Yes if this was 2017 maybe
Nice camera, But rather have my s5IIx
This GH7 has almost identical price and weight of a S5IIX. If we added the XLR adaptor for its 32bit float recording, price would be even higher. Besides the richer video recording choices and most importantly the internal raw video feature, I was wondering how much is its distance when comparing to a full frame S5IIX. Definitely worse but how much worse.
The footage on WhoIsMatt's channel looks rubbish and equally here
Is it faulty? Or needs firmware update
Finally, photographers and film makers are very demanding 😂😝
I want, I want, lol 😂😝🤪❤️
Could this shitty camera change the industry? Oh yup… All of Hollywood is giving up their Alexa cameras and their red cameras and they’re going to shoot on this piece of crap… It’s going to change the world!
32-bit isn’t a magic carpet ride to the land of perfect audio. Yes it can capture sound data outside the 24-bit range. At the same time it comes with a couple of big *buts*. 1. If you over drive or under stage the mic itself, then you can still end up with 32-bits of bad sound. 2. You will have to normalize your sound track to 24-bit for most deliverables which can make for an extra step in post, or you can end up handing over files a client can’t handle. So 32-bit in the new dongle is a nice to have feature but it can easily lull you into a false sense of audio security and leave you with a different kind of garbage sound.
Naw the A7SIII already did that LOL
Which bit?
Blackmagic Resolve's boycott of ProRes RAW is so myopic. Everyone knows BRAW is proprietary BS and for that reason alone will never make it as an industry standard. The fact that Apple is not married to any one camera brand is why ProRes won the format war.
I'm not interested with this Camera, give me a cube camera. Give me the successor to the BGH1
I'd love to see them make both this and the S5 II X into a box style camera like the BGH1 but more aimed around cinema production than live multicamera which the BGH1 was.
Another one who's saying that Panasonic autofocus is as good as canon Sony......it's not at all.....
Resolve just hurting themselves.
It's really strange isn't it
No BRAW? no buy!
OK, so I hope I don’t sound too cranky here….but telling people that 32 bit float means you no longer have to care about listening while you’re recording is just silly. As if the only thing related to audio is levels? You really should listen for mic placement, interference, shirt and handling noise, etc. (all the stuff that 32 bit float does not fix). Proper monitoring of audio is still necessary in professional work.
That is definitely not what I was telling people. I said "you never have to worry about setting your record levels while filming ever again". Thats purely how loud you have recorded it. Apart from that, your sound is still your sound. The type of microphone you use, background noise, wind, clothing rustles, EQ, compression... all of that is still relevant.
@@carlyates2487 Fair enough, sorry for being a bit harsh. There is a massive proliferation out there of the "32 bit float fixes everything, and you don't even need to wear headphones!" That message is just very misleading. My apologies for taking you to task on that. On a different note, how did Panasonic get ProRes RAW and 32 bit in the same camera for $2,000? Panasonic absolutely leads the way in value on their cameras. Cost for features is unmatched with Panasonic.
Nonsense m4/3 saga continues..
Horrible title
A m4/3 max price should be 1.5k