The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Alex Bell Sub editors Matthew Winney, Harriet Williams EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Senior account manager Emma Stevens 01223 499462 emmastevens@bright-publishing.com DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck
MFT MAESTRO The Lumix GH6 is a great camera that deserves to succeed
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There’s an old saying that you wait ages for a bus to come along, then two appear. Whether this oldmaxim rings true for a large swathe of current filmmakers is debatable, but it fits for Micro Four Thirds cameras. You wait ages for a new one, then two turn up in the same week: the Panasonic Lumix GH6 and OM SystemOlympus OM-1 . Up until now, all Micro Four Thirds cameras have been resolutely stuck at 20.4 megapixels. While many thought these all had the same Sony-made sensor, there are at least three different versions – they just happen to have the same number of megapixels. The OM-1 sticks at 20.4, and as you can tell from its stacked sensor, it’s made by Sony. It also has on-sensor phase detection AF, like previous OMmodels. But the Lumix GH6 has a new 25-megapixel sensor that remains absent of PDAF. Panasonic does not reveal whomakes its sensors. Of the two cameras, the Olympus is a fine videomachine in terms of spec, but very much aimed at stills. The Panasonic is a decent stills camera, but firmly aimed at filmmakers, with spec higher than just about anything else on the market. We’d all be rushing out to buy the GH6 right now, if you don’t mind a sensor that’s quarter the size of full-frame. It used to be that Micro Four Thirds cameras were littler, lighter and cheaper. You could forgive its smaller sensor and lesser performance at high ISO settings for this advantage. But now, full-frame cameras are available at the same size, weight and price. So, why would anyone go for anything else? Well, the lenses really are more compact and affordable, so there is still a cost and size benefit. And in-body image stabilisation is far better than any larger-sensor camera; often, you can get away without a tripod or gimbal. The GH6 offers high frame rates and a massive choice of codecs that nothing else matches – andmore advanced audio, too. It’s in great-looking footage that the GH6 shines, though. It’s no prince of darkness, but at 3200 ISO or below, images are stunning –with organic and natural colours. If you’re scared a smaller sensor can’t cut it, take a look at the results from the GH6. Bigger doesn’t always mean better. To borrow yet another well-known, but misquoted phrase, reports of the death of Micro Four Thirds are greatly exaggerated.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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