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MFT is dead!

Because it's RAW. So, it's only recording the RAW data of an area of the sensor 4096 pixels wide, which is a lot less than the sensor which is 5728 pixels wide.

Official certification by ARRI is surprising indeed! If anything can cause an explosion in seeing Panasonic mirrorless on film sets I work on, it would be THIS! Would instantly make the GH7 the #1 choice for crash cam / B Cam / etc, anything that needs very awkward mounting, such as mounting a camera for a shower scene or riding a motorbike or a snorricam.

I'm declaring this a successful launch. Some leaks, but not massive. No one knew about the Arri partnership as far as I know- surprise is always good. No one is crying in their corner because they weren't invited to the "show". I loved the GH6, but I replaced it with a S5ii. The main reason was for photography. Still, I miss all the other cool video features of the GH6 that the S5ii doesn't have, but suspect some will soon come (and better) in a firmware update (like PDAF at 100fps).

there are some s16 lenses with pl mount, and 2/3 lenses, they can be adapted to m43 mount. gh7 can do dci 4k prores raw hq 60p s16. with a good s16 lens like Zeiss 10-100mm, it is very powerful. right now there is not many good s16 digital cinema cameras.

Also the Arri LogC curve and color science is considered the best in the industry. One of the biggest selling points for Resolve is the ability to "mimic" LogC via a Color Space Transform, so now that you can get that in camera with the GH7 with IBIS, and usable AF... working natively in FCPX via ProRes or ProRes Raw, is a pretty big deal. The GH7 is THE camera I never knew I always wanted and probably won't get. Maybe.

GH7 definitely look like the best M43 ever I m tempted to dump the Sony and back to Pana again.

Here comes the u-turn!

The arri log is quite a nice surprise!! I am excited to see this camera come out and hope we get another, smaller m43 body soon with this sensor. That said, I actually bought a gh6 last week as it was being sold on clearance at a price I could not resist. It's even cheaper this week with the official gh7 launch. I got an open box gh6 with the 12-60mm 2.8-4 for $925 last week on best buy's website. It's even cheaper now, but they don't appear to have any left in my area. It may be worth checking in your area as a new gh6 with 12-60 will cost you all of $701 dollars, and if they have any open box ones, you can get one for under $550!!!! With the lens!! Wild times. Won't prevent me from adding a g9 ii or gh7 at some point, but man, cheap thrills.

It's raw. So of course you can't be using the full sensor with a scale down applied. Nah, raw means a crop of the sensor if you're not recording the full resolution. There is a big difference between "easy" vs a seamless integration into workflow (as professionals would demand).

Or more to the point, any data show that leather shoes helps to win Oscar more or easier than fabric or faux-leather? If we're going to talk about what matters, at least let's start asking the right questions.

Panasonic basically leap flogged all the Netflix Certified Cameras 😎 They NEED to sell these in the Truckloads to Influencers, Film School Students and Low Budget Filmmakers. Hope their Marketing gets it right this time. Hopefully they don't shoot a video on the Alexa35 and pass it off as the GH7 😉 Great time for M43

super 16 mm / 1 inch dci 4k prores raw hq 60 p. this is really something. finally, a 4k raw s16 cam is available to the general public. I am itching to pull the trigger now. either gh7 or om 1 mark ii. probably gh7 first, then wait for om1 mk iii.

The new DR Boost sounds like a better implementation. Hopefully, they fixed the chroma noise that plagued the GH6's DR Boost mode. I preferred the GH6 over the S5iiX, but the chroma noise was a deal breaker for me. I have to deal with it on my 5D3/ML Raw, no reason to mess with it on a modern camera if the shadows in bright daylight are riddled with it.

Oh boy, these Gerald studio colors, please make them undone! A pink ode to the purpleblind gear geeks. What was all that fuzz about! He holds a GH7 in his hands for complaining about missing out on dining with the gear gang in Osaka. I'm so grateful to myself I did not bother to watch his lamento. GH7 with Arri Log C, looking forward to its implementation. Would love Panasonic to send Andrew a camera to test, so I don't have to watch videos shot in a pink lit studio of a purple nightmare.

Chris and Jordan trying to up their thumbnail game, but succeeding only in inviting any number of rude photoshops:

The greatest thing about the GH7 - Arri logC. But as a paid upgrade.

The Pyxis is almost literally the exact guts of another BlackMagic camera that was released more than a year ago, but moved into a cube and people are peeing their pants in excitement for it. The FX3 is an A7S3 in a different body. The R5C is the R5 in a different body. The industry is full of successful cameras that are basically "cheaper camera, but cinema body." Not sure why Panasonic should be held to a different standard.

Panasonic proved to have the best body and thermal design in the market. Just remember that Gh4 (unlimited 4K had the same GH3 body (1080p). And we are still getting Sony cameras that heats like an oven... Gh7 appears to have exactly the same GH6 body that is good to me.

You're saying it like it's a bad thing, but people really like the G9 II. Putting its guts in a pro body, enabling internal raw, and charging only $300 more for it (judging by leaks) sounds pretty great to me.

Probably almost nobody. The C70 still has a market, though. Maybe the same way that DJI has supported it on the Ronin 4D for a while now? It's not out of the question that one or both companies negotiated a contract with Red/Nikon to allow it - that or maybe lawyers for both companies decided that PRR doesn't infringe the DJI patent enough that a lawsuit would be likely successful. I think DJI's is a paid upgrade which would imply that they pay a license fee. Maybe Panasonic just built that into the price.

yes. And i’m saying that even if you could take advantage of it, you would still have to put in the extra work to get it to match.

since i’m working as a DIT again on a feature, this time with an alexa35 as an A cam, and alexa mini as the B. both are shooting arriraw, we have custom log to log looks made for C4. davinci can debayer c3 raw footage into log C4. that being said, even with matching iso, WB settings, lens sets, and the mini debayered to C4, i still have to do a considerate amount of work of getting each shot to match from the same scene. nothing is ever seamless. you can only hope for a bit of saved time.

i have fantastic news: the a35 has log c4, which is quite different from c3. so you have to put in the same work as before if you want to match the cameras. it’s strange that panasonic licensed log c3 imo when Arri is abandoning it for something newer.

C400 is full frame 6k, so S16 should be a bit more than 2K. @IronFilm I'm interested to see the footage people will produce with the GH7. I liked Gh6 colours but wasn't so keen on the textures.

if gh7 has a firmware update of aria log c3 uncompressed prores4444. gh7 will sell like a hot cake. lol.

And now having seen what the GH7 is, yes indeed, this combo would tick every box for me other than very occasionally, but enough times to warrant one, throwing in something even wider for the full frame stills. But otherwise nothing I can fault with that set up for my needs.

The GH8 could keep everything exactly the same about the GH7 (not even adding 8K), but gives us four stage internal NDs (or perhaps eND) and a SDI BNC (or mini-SDI??) output with zero delay (and an independent full size HDMI output) and it would sell like hotcakes. Or maybe this could be called a "Panasonic GH7S"??? (a MFT camera inside a beefy "S2H body"???)

gh7's 4k prores or mp4 suppose to be oversampled from the full frame m43 sensor's 5.7k. gh7's 4k raw is 1x1 pixel by pixel mode. it is not oversampled. it is less detailed than the 5.7k raw. but the c4k raw is prores raw hq, 5.7k raw is prores raw. so the c4k raw has less compression. so it may not be much worse than the 5.7k raw. a little bit worse, maybe.

I don’t like this term ‘influencers’. There isn’t a single person on the planet that can say or do anything that would ‘influence’ me into buying or not buying anything, I’ll make my own mind up thanks. Content Creators because unless they are a working filmmaker, videographer or photographer, that is ‘all’ they are doing, - making content and reporting their findings and opinions. But influencing? Baa, I don’t think so. Not me anyway. I suppose there is an element for whom if X even touches a certain piece of kit, it’s an immediate buy just because X waxed lyrical about it. Anyway, rant mode off 😜

And I love how influencers try to hide cameras shortcomings, like when testing the IBIS only in certain conditions. Comparing the Open Gate and 4K IBIS performance while walking at 8mm only and saying there is no difference between these recording modes is a real joke.

🙌 Not 100% but a pair of GH7’s with the 10-25 and 25-50 twins is just about the perfect set up for me, especially compared with my current set up. First of all, it’s two matched cameras for ergos, batteries etc. Second, whilst there are comparable zooms in FF at the wider end, there are not at the longer end. Third, lighter and more portable set up for me. I don’t actually need all the bells and whistles and it’s the PDAF that swings it for me and why I skipped the GH6, but dabbled with the OM-1. The ONLY issue I had with the OM-1 was I was not a fan of the video quality, - it’s very purpose for me 😏 A single FF camera with a fast wider ‘indoor’ zoom plus a fast longer zoom for ‘outdoor’ and I’m done. 👾

Back in the day when I was testing c-mounts with m4/3, I was able to get full coverage with some 12.5mm lenses. In some respects, that was good enough, but I'd love to be able to use a 10mm Angenieux or Kern... or even some 6 or 8mm lenses, that's why I'd really love a true S16 sized sensor. Unfortunately, Panasonic probably isn't in business to make cameras solely for my interests... BASTARDS!!!

I think that is about as perfect a set up as there can be for my needs. I could even consider going back to the S1H as my full frame stills unit because it’s excellent in that role. Let’s see what the GH7 is…

https://www.dpreview.com/reviews/panasonic-gh7-initial-review Video The GH7's headline video feature is support for internal ProRes RAW recording, including both ProRes RAW and ProRes RAW HQ, using the camera's CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets. ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop. Raw CodecResolutionFrame RateCropDestination ProRes RAW or ProRes RAW HQ 5.7K (5728 x 3024) 29.97 25 24 23.98 Full widthCFexpress card or external SSD*DCI 4K (4096 x 2160) 59.94 50 29.97 25 24 23.98 1.41x

These are not the skintones you are looking for.

Is there an equivalent s16 crop mode in the GH7? I haven't looked into that yet. The GH6 didn't have one. Of course, almost any lens can be adapted to m4/3, but I'm talking a 1"ish sensor. I've owned my fair share of m4/3 cameras and shooting with adapted, vintage lenses have always felt wrong and made me dislike the format. The crop was never quite close enough to utilize wider c-mount lenses. Point is... for me... m4/3 always felt slightly handicapped for lenses. Am not a fan of speedboosters and dislike most of the native lenses I've used.

Real footage...

Yeah nobody wants to see your homemade porn, Kye.

Let's be honest here, though. How many current Panasonic S series shooters are excited about going back to m4/3 and its' lenses/crop? Show of hands? At the risk of sounding contradictory, with further thought, I find the GH7 release to be a bit... cynical... for lack of a better word. In less than a year, the S2H will be released with similar and/or better features. Is Panasonic just trying to get one last bit out of m4/3 and the unsold GH6 parts before they discontinue the entire m4/3 division? Wasn't there a rumor that they were getting out of the camera business? With the recent, although utterly stupid and repugnant, GeraldUndone "controversy" (nonsense) doesn't this release seem a bit odd... borderline full-stop weird? When you add the, out of left field, LogC aspect, is it possible that Panasonic is purchasing Arri like Nikon purchased Red and Panasonic is cleaning shop to release an entirely new division/lineup of cameras? With all that said, I'd really like to see Panasonic go full on weird and release a S16 c-mount camera with IBIS... go the other way and do something really ballsy!

He said not to quote him on it...

No 240fps 4k. Kasey will be disappointed.

There are tons of people using C70's and C300 II's. I doubt they're selling a ton of them these days, given that they're several years old and most people in the target market already have them and have been using them. I think that they know that their target market isn't people who want weird pretentious talk or wild claims, but working shooters who aren't spending all day on internet forums. (That is, not me - I'm unlikely to buy this camera any time soon and I hang out on internet forums too much) I'm guessing that it's either cost or that more people told them they wanted multiple base ISO's. It also gives people a potential reason to keep buying the C70 - which they really wouldn't have otherwise.

Looks pretty awesome! No real complaints from me yet, based on the CVP video. Worth an $8k spend for me? Meh... not really. But it looks really solid with most of the expected basics covered, even if it doesn't have anything wildly new. The one weird thing is that they have left out a DGO sensor. Seems like a strange choice, considering how the C70 has it.

So.... like almost every camera ever released? They're not starting from the ground up every year or two. Personally I care about the overall package, its usability, price and the results it delivers. I actually prefer when they re-use body designs as then I can re-use cages and rigging.

I was a happy GH6 user, but I didn't like the fan system. I find the one on the S5ii/x much more acceptable and discrete. I hope it's more on those lines than the latter. However, I find the flip-up or out screen a big reason to buy that camera over any other. It just worked perfectly and never really felt flimsy.

Exactly. And then they add 32bit float internal audio... even with the added cost, it's a game changer for the one man band filmmaker. That said, I'm probably not a customer. I've use the GH5, had the GH6 briefly and briefly had access to an S5iiX and I'm just not a Panasonic guy.

You gotta give it to Panasonic though, they took an entire market of loyal m4/3 users and halted any and all discussions about the full frame "myth" and made them loyal full frame shooters. And then when you think m4/3 is all but dead and buried... they flip the script and instead of releasing an S2H... they release the apex of m4/3 cameras. I guess they learned from their mistake of sitting on the GH6 release for so long. Release m4/3 first and then full frame a year later... Us dopes will buy both.

That is the GU special edition...

The GX8 (announced in July 2015) was AFAIK the first m43 camera with a 20Mp sensor. I almost bought one at the end of 2015 when Panasonic had a double-cashback promotion running, but didn't as there was no sensor-shift stabilization for video (lens OIS plus EIS for FHD, only lens OIS for 4k), so decided to wait for full video IBIS with dual-IS - eventually buying a G80 when it came out in autumn 2016. That said, whenever I've played with a GX8 in camera stores, I've always liked it (it has a nice 'premium' feel) and thought about buying it used a few times - partly for its large vari-angle viewfinder.