ADVERTISEMENT FEATURE CVP Is theGH6 right for you? The brand-new Panasonic packs incredible filmmaking spec, in an expensive, hugely competitive marketplace S o much has changed since Panasonic launched the Lumix GH5 back in 2017. Large-sensor cameras have emerged as probably
the biggest trend, while electronics are significantly more expensive with some big price increases. But with the new Lumix GH6, Panasonic has pretty much bucked the trend on both counts. While some cameras have almost doubled in price between generations, the GH5 was £1699 at launch five years ago, while the far more capable GH6 has only crept up to £1999. That makes it well-priced against anything of a similar spec. And, of course, it keeps the smaller Micro Four Thirds sensor, although it’s a brand-new version with an increase in resolution to 25.2 megapixels – and some clever tricks up its sleeve. While the benefits of a significantly lower price and smaller physical size have largely been eroded, there are still plenty of reasons to choose a Micro Four Thirds camera. It has advantages over full-frame, or even APS-C sensors. The lenses are much lighter and more affordable. A smaller sensor gives deeper depth-of-field, which some shooters may want for run-and-gun. And longer lenses have increased reach due to the sensor size. The short flange distance and small sensor mean lots of lenses can be used, from vintage to full-frame, or you can go
with a focal reducer to gain extra light and a wider view. Micro Four Thirds sensors limit dynamic range and performance in low light. And the full-frame look is popular, as a wider field of view can be achieved with shallower depth-of-field. This might not be that important to you, though. The GH6 feels right at home for anyone who has used a Panasonic before, and has a processor that’s twice as fast as any fitted to the Lumix GH or S series. Full V-Log, combined with a new sensor and processor, gives up to 13 stops of dynamic range in the new boost mode. This has two different circuits for each pixel, which the camera combines for more range, and it works in all formats up to 60fps. Base ISOs are high in V-Log or HLG, so you require a strong ND filter on the front – especially using Boost when the base is ISO 2000. Other colour profiles reduce the base ISO to 800. In terms of formats, it’s impressive. There is a wide choice of codecs, but the headline of 5.7K captured in ProRes 422 or 422 HQ is an industry-standard format. You can achieve 5.7K in a range of frame rates, but this demands a CFexpress Type B card. So, media costs will ramp up if you want these settings. More ProRes formats will be coming via a firmware update.
PANASONIC: THE CAMERAS FOR FILMMAKERS
Panasonic has a large range of mirrorless cameras, which means the GH6 will be compared to other Lumix models – all of which are designed around shooting exceptional video. The full-frame S5 is one of Panasonic’s newest – and is very popular. Because of its price point and image quality, it will be compared to the GH6. The GH6 is Panasonic’s most complete camera to date, so the S5 lacks some of its features. The S5 does offer a larger sensor in a smaller body, at a slightly lower price tag, but the GH6 has much more robust recording options! For streaming, the GH5 II is a better choice for some. Panasonic also offers box-style cameras – the BGH1 and BS1H – but these are aimed at much more specific applications than their mirrorless counterparts! There are lots of Lumix models to choose from, and it can get confusing looking at them all. If you need advice, don’t hesitate to get in contact with our knowledgeable sales and tech team.
BIG-SCREEN STAR The Blackmagic 6K Pro has a very large rear touchscreen, but no EVF, unless you buy one as an optional extra. It’s still a great camera, though
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