GEAR
PANASONIC LUMIXGH6
“It has a new ‘audio info’ button on the top-plate, to quickly display audio settings and levels. Every camera will have this one day” All of these great features would be worthless if the camera didn’t deliver quality footage, especially since everyone knows that using a smaller sensor means there are inevitable compromises. GH6 sets new standards in terms of audio – as it can record four channels at once. Two are from the standard 3.5mm input jack, which could be stereo, or a mono channel and safety track for example. And there’s another two from the optional XLR audio input module, allowing use of XLR mics, plus a ‘broadcast safe’ setting with two levels of input gain. The camera has a new ‘audio info’ button on the top-plate, to quickly display all audio settings and levels. Every camera will have this one day. There’s a new battery, as used in the S5. The older GH5s will fit, but then you won’t be able to use all of the latest functions. It might get you out of a hole, though. A very nice touch is the BNC socket, which allows a timecode device to be plugged in for easy multi-camera edits. There are tally lights on the front and rear, plus which is a tilting, free-angle LED, just like the S1H flagship – it can be angled to avoid interference with any cables. One class-leading area is the improved five-axis in-body image stabilisation. Combined with a compatible Panasonic Dual IS2 image-stabilised lens, it offers up to 7.5 stops of anti-shake, which has to be seen to be believed – it is that good! It’s especially impressive for ‘human tripod’ handholding and moving shots, where it doesn’t quite compare to a gimbal, but isn’t far off. Just stunning. In a nod to working pros, the video control via tethering to a computer using Panasonic’s free software. Plus, you can now upload Cube LUTs. This will make a massive difference to the workflow of many creative moviemakers.
at 10-bit, for example. And much of that is due to the all-new processor, which also speeds up the readout, keeping rolling shutter issues to a minimum. It’s not a superfast stacked sensor as found on the newest Sony, Canon, Nikon and now Olympus mirrorless flagships, but is very quick. This speed allows for an array of codec and bit rate choices, and is also claimed to improve the AF. Panasonic is the only major manufacturer to stick with its contrast detect AF system, rather than transitioning to on-sensor phase detection. Every iteration of Panasonic’s ‘Depth FromDefocus’ AF system gets better. In the GH6, it’s actually usable and effective for most subjects, except fast-moving sports and wildlife. There are customisable settings such as sensitivity, face detection and tracking modes. These are all decent, but it has to be said they don’t compare to the best-in-class Sony and Canon offerings. Face/eye detection works well, but even when locked on to a subject, it can hunt slightly. Obvious out-of-focus point light sources will visibly move, as the DFD system does as much as it can to work things out. For some filmmakers, it won’t be an issue, as the AF is effective and manual focusing excellent. This is helped by focus peaking, and how you can adjust the feel and response of the fly-by-wire Panasonic lenses. It’s easy to see if you’ve nailed it on the rear screen,
FAN-TASTIC Cooling vents stop overheating issues, and the HDMI is full-size (above)
DETAIL DELIGHT The dedicated AF-ON button (left), audio info button and choice of Rec buttons are perfect additions to the Lumix
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PRO MOVIEMAKER
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