AGENDA
NEWS
Arri style comes to Panasonic
HOW THE LUT UPGRADE WORKS Paying an additional $200 for a Software Upgrade Key allows use of Arri’s LogC3, a well- loved colour look. This means the GH7 should match with Arri’s digital cinema cameras, making it an ideal B cam in larger shoots. cars, motorcycles, trains and planes. The sensor doesn’t have a low-pass filter since moiré is removed through intelligent detail processing from its updated Venus Engine. This has twice the power of previous generations, which enables 240fps variable frame rate footage. The fast sensor readout limits rolling shutter distortion. A CFexpress Type B card can record 5.7K Apple ProRes 422 HQ and ProRes Raw HQ, or the SD slot can capture up Just when you thought development of Micro Four Thirds cameras had stalled, Panasonic launches the flagship Lumix GH7. This beast packs in 32-bit float audio with an optional audio interface, internal ProRes Raw recording, phase detection autofocus and the ability to use Arri’s LogC3 gamma. It uses a new 25.2-megapixel, back- side illuminated CMOS sensor and offers unlimited 4K/60p 4:2:2 10-bit internal recording thanks to a cooling fan, plus 5.7K/60p, 4K/120p and 240fps in FHD, ProRes Raw internal capture and more than 13 stops of dynamic range. Frame. io Camera to Cloud compatibility allows proxy videos to be uploaded directly for sharing or editing. Autofocus remains active up to 200fps. The camera allows open gate recording, so one shot can be cropped in post for all social media platforms in different aspect ratios. There is a custom Real Time LUT function and the GH7 shoots Apple ProRes 422 HQ and ProRes 422 internally. It offers vastly improved AF thanks to phase detection autofocus with recognition for people, animals, The option to use Arri LogC3 is only available when shooting in ProRes 422, ProRes 422 HQ and All-Intra codecs. You can’t use Arri LogC3 when recording in ProRes Raw, as that can only be done in V-Log. Once the footage is recorded in Arri LogC3, the footage can be converted using the Arri Look Library, which contains 871 styles to
SD card slot records up to 600Mbps when using UHS-II U3 Class 10 SD cards. Both video and stills can be recorded to an external SSD connected via USB-C. The in-body, sensor-shift, five-axis image stabilisation offers 7.5 stops of boost and works with Panasonic lens OIS, but there is a slight crop. By using the optional DMW-XLR2 adapter, 32-bit float audio is available. The massive range can be fully adjusted in post without degradation in quality. The GH7 streams directly via Wi-Fi, USB tethering or wired Ethernet LAN. It supports up to UHD 4K/59.94p via wired LAN using RTP/RTSP. A three-inch, free-angle, 1.84-million-dot LCD tilts toward the shooter, enabling high and low angles; this has an improved locking mechanism. The 3.68-million-dot OLED viewfinder has 0.76x magnification for bright, eye-level monitoring. A 3.5mm headphone jack is located on the side of the camera. The GH7 costs £1999/$2198 body only or £2499/$2798 with a Leica 12-60mm f/2.8-4 lens. you to output the Arri Look according to the desired colour space in SDR and HDR. Arri LogC3 recording also works for the GH6 in the same way as the GH7 by using the same Software Upgrade Key, with the exception of the Real Time LUT function which is not available on the older model. Obviously, the LUT doesn’t magically turn the GH7 into a perfect match for the Arri as it doesn’t have the same dynamic range. The base ISO when shooting in Arri LogC3 is 320, as opposed to 500 when shooting V-Log. This is because the LogC3 curve was designed for cameras with a higher dynamic range. So, to avoid excessive noise, it’s best not to underexpose the footage. panasonic.com
to 10-bit 4K/120p footage. The GH7 still has the ability to record high bit rates and unlimited recording times regardless of the codec, resolution or frame rate. Shooting in V-Log and V-Gamut gives 12+ stops of dynamic range, increasing to 13+ stops by using Dynamic Range Boost mode, available for recording up to 60fps. One circuit uses ISO 800 for strong colour saturation while maintaining highlight detail, while ISO 2000 captures shadows. The final image is a composite created inside the camera. This new Lumix also supports 12- bit Raw video output in 5.7K, C4K and anamorphic 5.8K, or 4.4K via HDMI to an Atomos Ninja V recorder in ProRes Raw. Profiles for up to ten anamorphic lenses can be stored and footage de-squeezed from 1.3x, 1.33x, 1.5x, 1.8x or 2x. Simultaneous internal and external recording via the HDMI is also possible. And the dual card slots provide options depending on bit rate. The CFexpress is needed for Apple ProRes Raw and 422 HQ plus 800Mbps 4:2:2 10-bit All-Intra. The
choose from. It is also possible to store the LUT package for Rec. 709 conversion
in the LUT Library of the GH7, and then combine it with the Real Time LUT function to capture videos with Arri LUTs straight out of camera. By using the LUT package, you can convert the colour space of many display devices, allowing
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