GEAR
PANASONIC LUMIXGH6
Right now, the big news is that the GH6 is Panasonic’s most advanced camera yet. It records up to 5.7K in ProRes 422 and 422 HQ, to a CFexpress Type B memory card. The vast majority of resolution and codec choices are 10-bit 4:2:2, with just a handful of 10-bit 4:2:0 versions thrown in. It is capable of up to C4K at 60p in full 4:2:0 10-bit All-Intra – plus the more compressed Long GOP options – and cranks to C4K/120p, with sampling dropped to 4:2:0 10-bit. For the highest resolution of 5.8K, you can shoot full-sensor open gate in anamorphic at up to 30p. There are lots of anamorphic options on board, including 2, 1.8, 1.5, 1.33 and 1.3x de-squeeze. Or, if speed is your thing, go to HD and shoot 300fps for incredible slow motion – and that’s even in 10-bit. There’s no AF or audio at speeds this high, but there is at up to 240fps. And Panasonic has included a 50i recording option for TV broadcast use, when speed is of the essence. Waveform and vectorscope monitoring are here, and there’s full-fat V-Log gamma included, rather than as a paid-for extra. And waveform is now adjustable in size. Like the GH5 range, it has a full-size HDMI port and second card slot for a common SD. If you employ a V90- class card, this will work with most codecs up to 600Mbps – but for any data-intensive codecs, you will need the CFexpress card.
In any frame rate up to 120fps, the signal is oversampled for the best quality, while at 240fps it’s pixel-binned – and the difference is noticeable. But these superfast frame rates are still good. At 300fps, it’s pixel-binned and cropped, ideally used for special-effects shots with plenty of light and not too much dynamic range. Chances are, these shots are only for a few seconds anyway. When it comes to dynamic range, the camera’s 10-bit codecs make it much more suitable for recording in V-Log, to squeeze every bit of highlight and shadow detail from the sensor. This is also helped by the new Dynamic Range Boost function, which works in a similar way to Dual Gain Output on the
Canon EOS C70 and C300 Mark III cinema cams. In Boost setting, the signal is simultaneously recorded in two different ways – one at higher ISO, one at lower. This is combined in-camera to produce footage with up to around 11.5 stops of usable dynamic range, according to our tests. Without Boost, it’s around 1.5 stops fewer. This setting only works at frame rates of 60fps or below, and the minimum ISO jumps up to 2000. It really does the job, but is best saved for when you need to retain bright highlights. Shooting in V-Log or HLG, the native ISO is 250, so 2000 is a large increase. In standard modes, including Cinelike D2 and V2, the base ISO is 100, but Boost moves that up to 800. With around 60 codec and frame rate choices, the GH6 uses a filtering system in its menu that it borrowed from the S1H. But, once you dig down, it quickly becomes apparent the real strength of the new Panasonic is that just about every mode is available in various combinations of bit depth and chroma subsampling. So, you can shoot C4K, 4K or HD in any available frame rate
WOOFERS AND TWEETERS The audio quick menu (above) is a great new feature. Dynamic range is good, but really high-contrast scenes (top) can dog even the GH6
CONTROL FREAK Buttons for most-used functions are easy to get to – and the tilting, articulating screen is ideal for filming
“Dynamic Range Boost works at frame rates of 60fps or below, and theminimumISO jumps up to 2000”
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