The Panasonic LUMIX GH6 was released in February 2022 and is the successor of the famous LUMIX GH5. This updated version brought a lot of exciting features to the table, including a new sensor capable of recording internally at up to 5.7K at 60 frames per second, internal ProRes recording capabilities, and slow-motion recording at up to 300 fps.

Less than a week after the release of its handy Universal Accessories lineup, American manufacturer Wooden Camera is already back with a cage and accessory kits for the Panasonic LUMIX GH6. However, they’re a little “late to the party,” to say the least, or they just took their time to design their kits.

Wooden Camera Panasonic LUMIX GH6 cage

Let’s start with the core of this Wooden Camera ecosystem for the Panasonic LUMIX GH6: the cage. This one-piece cage is made entirely of aluminum and fully wraps around your camera to protect it. The cage weighs 308g/0.68 lbs, which can seem a little bit heavy, considering the LUMIX GH6 weighs 823g/1.81 lbs.

The cage attaches to your camera via one 1/4″-20 screw at the bottom and a cold shoe adapter on top. Obviously, the cage does not block any input/output ports, dials, or the battery door.

On the cage’s left, right, and top sides, you’ll find multiple 1/4″-20 and 3/8″-16 mounting points with locating pins. Unfortunately, there is no built-in NATO rail or cold shoe mount, which I find odd since the cage attaches to the camera via the cold shoe mount and blocks it.

On the right side of the cage, you’ll find a removable HDMI and USB-C clamp, which is always handy to protect your ports.

At the bottom, you’ll find four M4 threaded holes and two 1/4″-20 mounting points. In addition, the cage comes with an Arca-Swiss quick-release plate with a built-in lens support mount. This Arca plate can be used vertically or horizontally, depending on your needs.

Base and advanced kits

Wooden Camera also released base and advanced kits for the Panasonic LUMIX GH6. Both kits include the cage, a 3/8″-16 top handle, and a lightweight 15mm dovetail. This dovetail is the same as the one for the FUJIFILM GFX-100S and X-H2/H2S. The lower dovetail slot is ARRI standard for attaching to compatible ARRI dovetails or the included Quick Dovetail.

The advanced kit includes an extra 8″ safety dovetail which is ARRI standard.

Pricing and availability

The Wooden Camera Panasonic LUMIX GH6 cage is $399, the base kit retails for $924, and the advanced kit will set you back $1,104. All products are available now.

For more information, please visit Wooden Camera’s website here.

What do you think about these Wooden Camera rigging solutions? Did you already rig your LUMIX GH6 with a cage? Don’t hesitate to let us know in the comments down below!

The Panasonic LUMIX line of cameras has been part of our production arsenal since 2007 with the introduction of the GH1. Later in 2018, Panasonic announced the LUMIX S1 and S1R, their first full-frame cameras. Some of the cameras in the LUMIX line were okay, while others were excellent. A camera like the GH5 will always be remembered as a monumental piece of equipment due to its “industry first” features in mirrorless cameras, such as 4K/60p, 1080p 180fps slow motion, and 10-bit internal recording. I am not exaggerating by saying that Panasonic was the first company to emphasize video recording in mirrorless cameras for the benefit of filmmakers.

The last to join this distinguished family of Micro Four Thirds cameras was the LUMIX GH6 (here are our review and our Lab Test). In this interview, next to general questions about the LUMIX line of cameras, I went a bit deeper with questions asking Koyama-san about the GH6 itself and some of the features it has and/or doesn’t have.

Here is a full line-up of questions we discussed:

1:23 – Product planning team
2:04 – Process of creating a camera
4:16 – Planning the GH line
11:09 – GH6 and its strongest selling points
13:13 – AF System
16:17 – Internal ND System
18:34 – GH6’s shape
20:18 – Two camera lines: L mount and MFT
21:38 – Is there another pocket-sized camera, such as GH1, planned?
23:38 – Future prospects for the GH line cameras

What do you think Panasonic should bring to the market next and which feature is your beloved LUMIX camera still missing? Please share with us your thoughts in the comment section below.

The new Micro Four Thirds flagship mirrorless camera from Panasonic – the long-awaited LUMIX GH6 – has finally been officially announced back in February 2022. Since then, we put the camera through its paces in our tests – make sure to check these in case you missed it.

• Johnnie’s Panasonic LUMIX GH6 Review
• Gunther’s Panasonic LUMIX GH6 Lab Test – Rolling Shutter, Dynamic Range, and Latitude

As was the case with Panasonic’s previous cameras, the GH6, too, is scheduled to get multiple firmware updates that unlock various new features. The major firmware update to version 2.0 was officially announced roughly a month ago. Today, it becomes available to the public as a free download from the Panasonic Support Website. Let’s quickly recap what the new firmware update brings.

Panasonic LUMIX GH6 firmware v2.0

First, the new firmware unlocks the ability to record 12-bit ProRes RAW externally with the Atomos Ninja V or Ninja V+ recorders. The GH6 outputs raw video signal over its HDMI port with the following recording modes available:

Sensor area: Micro Four Thirds Anamorphic (4:3)

• 5.8K (5760×4320) at 23.98, 25, 29.97fps
• 4.4K (4352 x 3264) at 50, 59.94fps

Sensor area: Micro Four Thirds (17:9)

• 5.7K (5728×3204) at 23.98, 25, 29.97, 50, 59.94fps
• C4K (4096×2160) at 23.98, 25, 29.97, 50, 59.94, 100, 119.88fps – with pixel-to-pixel sampling

The Atomos Ninja V+ will support all these recording modes. The older Ninja V is limited to 5.8K anamorphic and 5.7K 17:9 up to 29.97fps and C4K 17:9 up to 59.94fps.

Internal ProRes in DCI 4K and FullHD

On top of the already included 5.7K ProRes internal recording, the GH6 with the firmware v2.0 can now record ProRes in DCI 4K (4096×2160) and FullHD (1920×1080) formats as well. For both resolutions, users can choose between two different ProRes flavors (422 or 422 HQ) and can pick any of the following frame rates: 23.98, 24, 25, 29.97, 50, and 59.94fps. The maximum bitrates are 1.9Gbps for C4K at 59.94fps and 454Mbps for FullHD at 59.94fps.

The good news is that there are no limitations on recording time. Please note that the internal 4K DCI ProRes recording requires CFexpress Type B media.

Price and availability

As I mentioned above, the new firmware update v2.0 is available right now free of charge and can be downloaded from the Panasonic Support Website. Unlike some previous Panasonic cameras, the GH6 does not require any paid firmware upgrade to unlock certain features – it contains the full feature set right out of the box. The camera itself can currently be purchased for $2,198 (around €2,335 including VAT in Europe).

Are you using the GH6 for your video work already? What do you think about the camera so far? Will you take advantage of one of the new features of the firmware v2.0? Let us know in the comments section underneath the article.

Released at the beginning of the year, the Micro Four Thirds Panasonic LUMIX GH6 carries on the legendary image quality of the GH series. Here at CineD, we covered the camera in detail. In case you missed them, I highly recommend checking out our review, Lab Test, and Q&A with Panasonic. Also, a new firmware update for the camera is now released bringing external ProRes RAW recording with NINJA V/V+ next to internal ProRes recording in C4K and FHD. You can read all about it here.

SHAPE is a little late to the party here since other accessory manufacturers have already launched their rigging solutions for the camera. These include SmallRig, Zacuto, 8Sinn, and Tilta, just to name a few. Nonetheless, the Canadian company seems to be offering some valid options. Let’s take a closer look.

SHAPE Cage for Panasonic LUMIX GH6

The SHAPE cage for the Panasonic LUMIX GH6 is made of CNC-machined aluminum and weighs approximately 0.48kg. It offers countless 1/4”-20 threaded holes as well as seven 3/8”-16 mounting points with anti-rotating holes.

The cage attaches directly to the body via a bottom 1/4”-20 screw and there’s no need to remove the camera’s strap hooks or cable doors to make it fit. All buttons, dials, and controls remain easily accessible to the user. The same applies to the native hot shoe mount as well as media and battery slots.

The cage comes with an included HDMI cable clamp as well as a top handle that attaches via a 3/8”-16 screw with locating pins. The handle offers additional mounting points, a horizontal rod holder, four extra cold shoe mounts, and what seems to be a solid grip. It can also be mounted on the side for better handling of the camera when shooting vertically.

Pre-bundled rigs

Along with the cage-only option, SHAPE offers four pre-bundled rigs for both handheld/tripod or shoulder-style shooting. Depending on the chosen configuration, additional accessories might include a 15mm LWS baseplate system with rods, a shoulder mount rig, a single-rod follow focus, and a single tray 4×5.65” matte box.

Price and availability

These new cage and kits for the Panasonic LUMIX GH6 are now available for pre-order on SHAPE’s website. The cage-only option (with top handle) retails for $225 and an additional handle can also be purchased separately for $49.

Finally, pricing for the pre-bundled rigs varies as follows:

• Full Camera Cage with 15mm LWS Rod System – $420
• Shoulder Mount Rig – $795
• Kit with Matte Box and Follow Focus – $1,189
• Shoulder Mount Kit with Matte Box and Follow Focus – $1,499

Have you ever shot on the Panasonic LUMIX GH6? What do you think of these rigging solutions from SHAPE? Let us know your thoughts in the comment section below!

Panasonic launched the LUMIX GH6 a couple of weeks ago. This new flagship MFT mirrorless camera can record internally in up to 5.7K at 30fps in Apple ProRes. If you’re a slow-motion addict, you’ll enjoy the camera’s new FullHD at up to 300fps capabilities.

Also, the LUMIX GH6 features 5-axis IBIS stabilization with Dual IS for select lenses. Furthermore, Panasonic claims they worked hard on the GH6’s autofocus performances, including an advanced DFD AF with 315-area and face/eye/head/body/animal recognition.

In our review, my colleague Johnnie found that the AF performances improved significantly from the previous model. However, firmware updates are necessary for these select lenses to get the best Panasonic LUMIX GH6 stabilization and autofocus performances.

Panasonic MFT lenses: firmware updates

If you plan to use a Panasonic LEICA DG or LUMIX G lens with your new Panasonic LUMIX GH6, chances are you can now update your lens to benefit from all your camera’s latest features. Below is the complete list of all the Panasonic MFT lenses that you can update via a firmware update.

As you can see, most LEICA DG lenses are covered, including the famous Panasonic Leica DG Vario-Elmarit 12-60mm F/2.8-4 Aspherical Power OIS, the Leica Summilux 12mm F/1.4 ASPH, and the Leica DG Nocticron 42,5 mm F/1.2 ASPH, to list a few.

Also, some popular Panasonic LUMIX G lenses are covered, including the Lumix X 12-35mm F/2.8 ASPH.

Price and availability

All these lenses firmware updates are now available to download for free from Panasonic’s website. Update your lens today to get the best out of your brand new Panasonic LUMIX GH6.

Do you often use your Panasonic LUMIX G mirrorless camera in autofocus mode? Don’t hesitate to let us know in the comments down below!

EDIT: The firmware update program for Panasonic lenses for better AF performance is now available for download by clicking here. 

Winter is slowly fading away in Austria and although it was an extremely windy day I teamed up with Helmut, who is a general manager by trade but a birdwatcher by heart to help me find out just how well Panasonic did with the new LUMIX GH6. First off, I will be honest with you guys, bird watching is completely new to me and it never really caught my attention. But after spending the day in the field with Helmut I can understand why this hobby is so relaxing to him. 

As our decision to go out was spontaneous, I have to confess, I was not well equipped for the task, as I didn’t even have a proper zoom lens with me. But at the end of the day, this is a camera review and not a masterpiece for the National Geographics, and as such, I can now come back to you with a definite conclusion. The LUMIX GH6 shows strength when it comes to autofocus performance, image stabilization, video quality, and overall picture aesthetics. This camera can serve small teams of news gatherings, just as much as creators without any major hiccups. (Lowlight filming is OK, but I would not go higher than ISO3200)

In my opinion, this is the best mirrorless camera Panasonic has created so far. When using it I had the feeling of complete freedom and ease of use, meaning, there are hardly any “marketing settings” which are mostly good on paper but function poorly in the field. One good example is slow-motion – I guess we all got kind of tired seeing unusable high frame rate specification which serves no one but the manufacturer’s marketing team. But in this case, it’s not so. 240fps is absolutely clean and usable while 300fps can be very clean depending on how complex the recording scene is. By the way, both are 10bit and in HD resolution. If your production requires a 4K resolution, the highest you can dial and record is 120fps. Nice! (Continuous AF in high frame rates is depending on the lens)

Now, let me run you through what’s new and what captured my attention

Firstly, the LUMIX GH6 has a completely new Venus engine (processor) and a 25 million pixels Micro Four Thirds image sensor. I can only assume that the delay in delivering the camera to the market was partly because of the need to fine-tune these two components to work together well and within the high specifications benchmark Panasonic established. 

Maximum resolution/frame rate wise, this camera can record in 5.7K up to 30p (17:9), and 5.8K in up to 30p in open gate 4×3. (I really love this mode when filming with an anamorphic lens as the freedom to re-frame your shot without losing resolution is indeed very nice). Filming in anamorphic 4×3 open gate mode in 4.4K 50/60p is also possible with the new LUMIX GH6. 

Speaking of which, we have seen the “open gate” recording option in previous GH models, so I am truly hopeful that 4×3 recording can also be combined with ProRes in a future firmware update. Currently, open gate is being offered in H.265 only, and in our lab test findings, the codec tends to crash the shadows in an obvious way, especially when compared to ProRes internal recording.  

Another big plus for Panasonic is that almost all the available recording formats in this camera are 10bit!

Apple ProRes Internal Recording

The LUMIX GH6 is the second mirrorless camera after the Nikon Z 9 to offer a proper in-camera recording format, and in this case, it even comes in two flavors. One can choose between two Apple ProRes variations, 4:2:2 and 4:2:2 HQ. Both are offered in 5.7K resolution and up to 30p. The difference is the higher bitrate the latter has. (Spoiler, this is my recommended Codec to work with). A future firmware update will bring additional flexibility when working with internal ProRes recording, and I will elaborate a bit more on this later.

Enhanced Autofocus Performance

Many of you might agree that the Achilles’ point of the LUMIX line of cameras is their autofocus system for video usage. In recent years this has become very noticeable, especially as other companies have made constant improvements in this field. Now, Panasonic is still relying on their contrast base DFD focusing system, yet this time, I think that I finally saw the light and am happy to report that the new camera is very capable of maintaining focus properly while filming with it. There is one fundamental condition thought, and this is the need to update ANY of the Panasonic lenses you have in your arsenal if you are after a proper AF performance. Thankfully, the update will be available for free soon. In the video you see above, I used the Panasonic LEICA 12-60mm (with updated lens firmware) and I also tried the OLYMPUS 12-100mm lens as I was very curious to see how it performs, although I’m not sure how and if Panasonic will support 3rd party lenses. All in all, the OLYMPUS lens did very well, considering the fact it is not a LUMIX lens. 

Dynamic Range Boost

Well, this might be one of the most significant improvements of this new camera over its predecessors. So forget what you know about Dual ISO, meaning two separate “best ISO settings”, and welcome two constant ISO recordings (high and low) that merge into one single output. How this is done in real-time is beyond my technical expertise, but obviously, it is like having a constant HDR recording in different recording modes. But what really matters is, that it’s the first time I feel like Panasonic got it right! No more “too clean mojo-less” image, one that feels as if it’s controlled by extensive Noise Reduction. When filming in this mode, the video has a very organic feel to it, with a pleasant noise texture and not less impressive, a higher Dynamic Range indeed! 

Here is what you need to know in order to enjoy the new feature: 

• DR Boost (DBR) is available up to 60fps (Or less)
• Base ISO in V-log/HLG is 2000. If you are into filming in lower ISO settings, you must turn off DR Boost (Base ISO will become 250)
• Base ISO in all other picture profiles is 800 when DRB is set to “ON”. 
• One will gain at least 2(!) stops of DR when using filming with DRB “ON”.

My colleague Gunther has already run our camera lab test with the LUMIX GH6 and we both agreed that DR boost must be offered by Panasonic as the default recording option and not as it is now, that the default is set to “off”. 

Enhanced IBIS performance

With time, Panasonic developed a reputation of having a solid body/lens stabilization performance, but I think they did even better with this 5-Axis Dual I.S 2 system, at least with the two lenses that I’ve used. Needless to say, lenses without any built-in stabilization function can still be used as the camera body I.S still functions. If you are using an anamorphic lens, remember to dial your “squeeze ratio” for maintaining good stabilization performance.

Heat management

The LUMIX GH6 inherited a similar cooling fan system as the LUMIX S1H (but at a reduced size), and the result is the possibility to record “unlimited” time when filming up to C4K/60p 4:2:2 10bit. I used ProRes 5.7K/25p and be it a long interview indoors or outdoors, I did not have any issues. In general, CFexpress cards, the camera processor, and the sensor are the ones that create the internal heat so it seems as if the cooling system is working nicely.

Audio

When it comes to audio there are many “LUMIX first” options to explore. Here are a few: 

• 48kHz 24bit recording quality external or with the internal camera microphones
• 4ch audio when adding Panasonic’s XLR microphone adapter
• 96kHz 24bit audio recording when using an external microphone
• Sound monitoring channel setting is possible
• HDMI 4ch audio data output

What I really like is the new physical “audio information button” on top of the camera that allows direct access to the sound menu. Very useful indeed but with one missing function, controlling the headphones volume. As an independent shooter, it would have been really nice to have it all under one camera menu. 

There are other small but essential new “goodies” that make the life of a cameraman using this camera a bit easier, such as: 

• Front/back Tally light
• Front/top Recording buttons and additional possibility to “assign them around” 
• The LCD monitor can be moved freely when an HDMI cable is connected 
• The focus area can be enlarged during recoding (for assisting with accurate focusing)
• .CUBE files are now compatible with the GH6 camera 
• Anti-rotation pinhole for tripod camera plates 
• Timecode In/Out socket with bundled BNC cable   

Future Firmware Update

It is nice to see that Panasonic is already raising the bar by offering even more complete filming tools and with the future firmware update one can expect the following: 

• DCI 4K ProRes 422 HQ/422
• FHD ProRes 422 HQ/422
• USB-SSD Direct Recording (At this stage it is not clear what type of external recording will be available, but let’s hope for Cinema DNG option)
• HDMI 4K/120p RAW video Data Output for Atomos Ninja V+
• And more…(I took this short line from Panasonic’s press release with anticipation to be surprised…)

So far so good, but as always, here is what I wish to be improved, or at least, I see as a missed opportunity (without mentioning an internal ND filter)…

Things that needs to be improved

Let’s start by talking about the camera body design. For me, this is a COMPLETELY missed opportunity to expose an engaging new fresh design. The camera looks as if it is was from 5 years ago (Wait, this is when the GH5 was announced…). Gunther my colleague still has his trusted LUMIX GH1 and in comparison, the level of design and attention to detail is of a different class.

Next is the front record button. Unfortunately in the sample camera I have, it is MUCH too sensitive up to the point that I had to disable it altogether. I hope that production units do not suffer from this phenomenon.

Then, there is the EVF. All in all, I wish it were a higher quality to make manual focusing easier. On top, the EVF cannot be controlled over the camera menu and again, I can’t tell if it is only on my sample unit but it constantly flickers depending on how bright or dark my object of filming is. (Just to clarify, it is as if aperture or ISO are changing automatically).

Next on my list is a momentary freeze when starting to record in ProRes and it is not comfortable to work like this. BTW, playback ProRes files in-camera can result in total freeze. It happened to me a few times and if you encounter the same behavior, you will need to take the battery out in order to restore order.

Last but not least, here is a weird thing that I only noticed now (Happens with other LUMIX GH cameras too). When using manual lenses and accidentally pressing the lens release button, the picture will go black. I’m not sure if Panasonic is trying to protect some of the electronics here, but with some manual lenses, this can turn into an issue depending on where their aperture ring is.

Additional Notes/Thoghts

• High resolution 4×3 open gate recording option is great to have, but currently, it is in H.265 codec only. Hopefully, Panasonic can consider having this mode with ProRes codec too.

• For achieving full Resolution functionality and recording in ProRes, make sure to be using the newest Panasonic batteries. Older ones will fit, but you will be restricted to record up to 4K MOV. 

• In this new camera, one can find two media slots. Personally, I think the CFexpress is the way to go if the aim is to achieve high-resolution codec recording options, so I’m happy to see that Panasonic moved forward with this, but also included an SD card option for those who do not need the “bells and whistles” recording functions. (Mind you that there are restrictions to what can be recorded into the SD card resolution/frame rate wise.)

Conclusion

Let me start by asking if a Micro Four Third camera still has a valid place in today’s market. My answer is, absolutely yes, but mainly because of the vast amount of lenses out there. Originally, MFT had the upper hand when it comes to camera size, but in modern times, this advantage has disappeared. While it’s great to see Panasonic committing to this format, I’m sure it is not easy to develop two separate lines (MFT next to full-frame) considering the costs involved. I’m very curious to see how this will evolve throughout the upcoming years.

In regards to the LUMIX GH6 itself, I really like what Panasonic did here. One noticeable improvement is the overall color “pipeline”. If in the past I highlighted the fact that images are hard to grade (too reddish) and “too smooth” (Extensive noise reduction), now it is a think of the past. So all in all, It is a great overall performer.

I also want to dedicate a short paragraph to OM System, a direct competitor, which coincidently, brought their OM-1 on the market at the same. Although I did not have a chance to test their new camera, it seems as if there is very little to compare, besides the sensor size. If you are a filmmaker, the LUMIX GH6 might be the wiser purchase over the OM-1 as both are at the same exact price point. 

Talking about price, I really wonder how the filming community will react as Pansonic is currently running a special promotion at B&H and one can get the LUMIX S5 full-frame camera body only at $1898, or, with a 20-60mm lens for $2198. This aggressive pricing can only confuse potential customers and result in them buying nothing. If Panasonic cares about selling as many possible GH6 cameras, the advantage should be definite.

The LUMIX GH6 will be available during the middle of March. For more information, head to Jakub’s my colleague news article by clicking here.

What do you think about the LUMIX GH6 camera? Is this the camera you’ve been waiting for? Feel free to share your thoughts with us in the comment section below.

Please have a look at our other articles covering the specs of the new GH6 and Johnnie’s full review (here) – in short, this camera is very impressive on paper: internal 5.7K ProRes HQ recording (finally!!) using V-Log, a new dynamic range boost mode combining a high and low gain (ISO2000 and ISO800) into one image plus several other new key features. Wow! 

Looking back at the very successful LUMIX GH line, each and every release was a milestone in the camera landscape. As some of you might know from previous posts of mine, my large sensor camera journey started in 2009 with the Panasonic LUMIX GH1 camera, having owned several 3 chip camcorders before. 13 years ago I was totally stunned what the GH1 camera had to offer: it was small, had a great image quality and I was able to adapt virtually any lens using adapters. The first 50$ Canon 50mm f1.4 lens that I bought was offering super shallow depth of field on the GH1 and made me feel like a pro back then ;-)

Fast forward to 2022 I sometimes find myself ranting why this or that feature of a new camera is missing – I’m certainly spoiled by recent camera technology. Time to put things into perspective and have a little look what the starting point really was with the original LUMIX GH1 that I loved so much.

If you want to jump directly to the LUMIX GH6 results, please skip the below section.

How was the starting point of image quality with the LUMIX GH1?

Now, several generations of LUMIX GH cameras later the GH6 is on the table, feeling big and heavy next to my trusty old LUMIX GH1 camera – using Vitaliy Kiselev’s hack to increase the AVCHD bitrate to 25Mbit/s in FullHD ;-).

So what has improved in the last 13 years? 

Resolution – the GH1 was able to record video in 8 bit FullHD (1920×1080), using a standard REC709 profile (anyone remember “smooth”? ;-)). The GH6 records 5.7K ProRes HQ V-Log video – that is more than 8x the resolution plus a professional LOG encoding in internal ProRes HQ!

Rolling shutter – the LUMIX GH1 shows 25.4ms – well, the GH6 just halves that (less is better).

Dynamic range – let’s have a look at the waveform shooting our standard XYLA21 chart with the GH1 – 8 usable stops are visible: 

8 stops!? How was I ever able to shoot anything on the GH1 with that seemingly poor dynamic range? Well – interestingly enough, when I now look at some of my early GH1 films on Vimeo they look totally fine to me… it is glaringly obvious that camera technology hasn’t been limiting us anymore for a very very long time. 

Coming back to the GH6, as you will see below it has almost 5 stops more dynamic range than the GH1 – how amazing is that?

With that small recap on the starting point of the Lumix GH series, let’s look at the brand new GH6:

LUMIX GH6 Rolling Shutter

As usual, our 300Hz strobe light was used to generate the sequence of black and white bars, thereby enabling the measurement of rolling shutter: at 5.7K in 25p and 50p a solid value of 12.7ms is obtained (less is better):

Comparing that to other MFT cameras like the LUMIX GH5 II (lab test here) showing 13.9ms or the LUMIX BGH1 (lab test here) showing 11.9ms, it falls right in between. The leader of the MFT pack is the Z CAM E2 with 11.2ms.

In 4K 100p mode, the rolling shutter becomes even smaller, reading 7.1ms.

LUMIX GH6 Dynamic Range

If you are not aware of how we do our dynamic range testing, please have a look here.

As mentioned earlier, the GH6 offers a new “dynamic range boost” mode, where two ISO values (ISO 800 and 2000) are combined into a single exposure. This DR boost mode can be turned on and off.

EDIT – we reached out to Panasonic to clarify the base ISO’s of the GH6 with or without DR boost mode:

• DR Boost “ON”: V-Log / HLG: ISO2000
• DR Boost “ON”: other picture profiles: ISO800
• DR Boost “OFF”: V-Log / HLG ISO250 (initially we thought 800).
• DR Boost “OFF”: other picture profiles: ISO100

Dynamic Range Boost Mode ON – shooting our standard XYLA21 chart using 5.7K ProRes HQ V-Log mode at ISO2000 (base ISO for DR boost) the following waveform plot is obtained on a 5.7K timeline:

About 12 stops can be identified above the noise floor, plus a faint 13th and a hint of a 14th stop.

IMATEST confirms this, calculating 11 stops at a signal to noise ratio (SNR) of 2, and 12.2 stops at SNR = 1:

In the middle graph above the blue “12.2” line, you can see about 2 additional stops buried in the noise floor.

Those are really good results for a Micro Four Thirds sensor camera – state of the art!

Plus, I definitely like the organic-looking noise floor – in ProRes HQ not too much internal noise reduction is added as it seems.

The LUMIX GH5 II camera shows about 10.5 stops and 11.5 stops at SNR = 2 and 1 respectively. The LUMIX BGH1 camera is a tad better at 11.6 / 12.7 stops at SNR = 2 / 1, however, more noise reduction is used on this camera per default which cannot be turned off.

Dynamic Range Boost Mode OFF – without the DR boost mode engaged, the base ISO is 250 (not 800 as we initially thought). In 5.7K V-Log ProRes HQ mode at ISO 250 9.4 / 10.5 stops are obtained at SNR = 2 / 1:

Those results are on the lower end of the dynamic range spectrum for MFT sensor-based cameras – the footage is very noisy, as can be seen in the waveform below:

Also, note how the image clips at 80% IRE – compared to the DR boost mode, where the image clips a tad below 90% IRE. Hence, DR boost mode adds more than one stop in the highlights and is less noisy in the shadows. To give you dynamic range at another ISO value, DR Boost “OFF”, in 5.7K V-Log ProRes HQ mode at ISO800 it is 9.2 / 10.4 stops at SNR = 2 / 1. So from ISO2050 to ISO800 you loose about 0.2 stops.

Switching the codec to H265 5.7K V-Log ISO 2000 DR Boost mode “ON” – strangely, the code value distribution changes – now clipping occurs at 80%, the noise floor sits higher at around 12% – effectively cramming the dynamic range into a smaller code value bucket:

IMATEST calculates higher values in H265, 11.5 / 12.8 stops at SNR = 2 / 1: 

However, this time in H265 not so much shadow information is available, it looks like more noise reduction is going on internally. In the middle graph above the blue “12.8” line, about 1 additional stop is visible inside the noise floor. 

So, you actually have a nice choice here: ProRes HQ preserves the “raw” sensor image in a better way leaving all options for postprocessing but is a tad noisier, whereas H265 is very efficient in storage space and gives good DR values out of the box without the need for much postprocessing. But looking at the noise floor in the waveform plot it seems that it also has a lot more noise processing going on internally which cannot be turned “OFF”.

At ISO800 in H265 – dynamic boost mode “OFF” – again higher values than with ProRes HQ are obtained, 9.8 / 10.9 stops at SNR = 2 / 1.

In summary, although H265 reads higher dynamic range values at SNR = 2 / 1, I really like the ProRes HQ images more as they show a very nice, organic noise floor with additional stops that can be retrieved in post-processing. Dynamic range boost mode really works well and adds almost two stops of dynamic range – very nice!

LUMIX GH6 Latitude Results

As written in earlier lab reports, latitude describes the capability of a camera to retain colors and details when over or underexposed and normalized back to a zero baseline exposure level in post.

In our case, we have a standard studio scene where the base exposure is (arbitrarily) set to 60% luma value on the waveform for the forehead of our talent, in this case, my dear colleague Johnnie. Camera settings were again 5.7K ProRes HQ V-Log – one set of tests with dynamic range boost “ON” at ISO2000 and another one using “OFF” at ISO800.

We used the ZEISS 35mm T1.5 Compact Prime for the tests. Which unfortunately is quite soft at T1.5.

Dynamic Range Boost mode “ON”

At 3 stops over (T1.5), pushed back to base exposure the following image is obtained:

The red channel at Johnnie’s forehead is close to the clipping value of around 896 in the 10bit space (V-Log ISO2000). On the left side, some patches of the Datacolor Spyder are already clipping.

From there we underexpose the scene by stopping down the iris of the lens from T1.5 to T8, and then onwards by reducing the shutter speed from 1/25 to 1/50, 1/100s, and 1/200 seconds – giving us 8 stops of exposure variation. Let’s see if the camera can cope with that. For reference, the shadows on our standard studio scene are 5 stops below the subject’s face.

The base exposure CineD studio scene looks like this:

Let’s jump ahead at 3 stops underexposure, pushed back to base exposure:

Fine noise is starting to appear, but all is fine so far.

At 4 stops under, pushed back quite some noise is showing up, but it is finely dispersed, looking very organic:

With noise reduction in post, it can easily be cleaned up, see below including the DaVinci Resolve settings:

However, faint horizontal lines are showing up, especially after noise reduction – it looks like we are reaching the limits of underexposure.

Let’s have a look at 5 stops under:

Very strong chroma noise is showing up, as well as horizontal and vertical lines. Let’s see if noise reduction in post can save this:

Well, unfortunately, the answer is no. The image shows a very strong pinkish cast. Just for fun I tried to quickly color correct it, but there are large pink and green blotches in the image which prevent that – game over.

All in all, that leads to 7 stops of exposure latitude (3 over to 4 under)! Wow, that is really good for an MFT camera – it is actually on the same level like the full-frame Sony a7S III which is using a 4 times larger (full-frame) sensor.

The best (consumer) full-frame cameras like the Panasonic S1H or the Sony A1 manage 8 stops of exposure latitude. For reference, the ARRI Alexa Mini LF that we tested here showed 10 stops of exposure latitude (5 over to 5 under). 

Using dynamic range boost mode “OFF”, a slightly worse result is obtained. Johnnie’s forehead is close to clipping the red channel at 2 stops over:

At 4 stops under, heavy noise starts to appear:

However, noise reduction manages to clean up the image:

However, larger blotches of pinkish noise appear after noise reduction, indicating that we are approaching the limit of underexposure.

At 5 stops under and pushed back to base, noise becomes atrocious:

Noise reduction can save the image to an extent, but I feel it is not really usable anymore – horizontal & vertical lines do appear which are difficult to remove in post:

Hence, without “dynamic range boost mode” the LUMIX GH6 at ISO800 performs worse than the Lumix GH5 II – showing about 6 stops of exposure latitude. With DR boost mode “ON” it is on a similar level with 7 stops in our standard CineD studio scene.

In essence, we find the same result: DR boost mode gives an additional stop in the highlights.

Summary

The new Panasonic LUMIX GH6 shows very strong results for an MFT sensor-based camera in the lab. The rolling shutter value at 5.7K is quite good at 12.7ms, in the middle ground compared to other MFT cameras (the Z CAM E2 shows 11.2ms for example). 

In terms of dynamic range and latitude the new dynamic range boost mode works very well and helps to achieve solid results: 11 stops at SNR = 2 and 7 stops of exposure latitude.

Combine that with internal ProRes HQ codec and V-Log, and you have another strong contender in the LUMIX GH line. Did I mention already that camera technology hasn’t been limiting us anymore for a very very long time?

Are you shooting with the LUMIX GH line of cameras? What are your experiences? Tell us in the comments below!

During today’s online event, Panasonic announced a handful of new stuff. We prepared three separate posts about the news – click here to read all about the newly announced Panasonic LUMIX GH5M2 camera or here to read about the new firmware updates for the LUMIX G series cameras – GH5S, G9, and G100. This article focuses on the LUMIX GH6 Development announcement, so let’s take a look at what awaits us with this highly anticipated camera.

Panasonic LUMIX GH6 Development Announcement

The Panasonic LUMIX GH5 announcement happened in September 2016 during the Photokina trade show. That is almost five years already. If I am not mistaken, that is the longest we had to wait for a new generation LUMIX GH camera. Sure, we got the GH5S in January 2018, then the BGH1 last year, and now the GH5M2. These were, however, not truly new-generation LUMIX GH cameras. I am glad Panasonic does not neglect its Micro Four Thirds and that the company promises to bring very interesting features with the upcoming GH6.

Panasonic says the LUMIX GH6 will have a new high-speed Micro Four Thirds sensor and Venus Engine image processor. This hardware combination will enable the camera to internally capture the following video modes:

• DCI 4K (4096×2160) 60p 10-bit 4:2:2 without time limitation when used under certified operating temperature (not yet further specified by Panasonic)
• 4K 120p 10-bit High Frame Rate (HFR) and Variable Frame Rate (VFR)
• 5.7K 60p 10-bit

According to Panasonic, the GH6 will also accommodate a variety of recording modes and shooting assist functions. The camera is designed for photo/video hybrid-use. At the moment, there is no information about the exact sensor resolution or whether it has IBIS or not. From the announced 5.7K video mode we can, however, calculate that the sensor will have at least 24MP (5700 x 4275 pixels, assuming the sensor will, again, be 4:3).

New Leica DG 25-50mm f/1.7 MFT Lens

In addition to the GH6, Panasonic also announced they are working on a new Micro Four Thirds lens together with Leica – the Leica DG 25-50mm f/1.7. It should complement the existing Leica DG 10-25mm f/1.7 zoom lens (H-X1025) by adding a mid-telephoto range of 50-100mm (full-frame equivalent). According to Panasonic, both lenses will have a similar shape to ease the workflow when switching between them.

Price and Availability

Since this is only a development announcement, it is too early to talk about the price. For reference, the GH5 was around $2,000 and the GH5S around $2,500 when the cameras started selling. Personally, I don’t expect the GH6 to be priced under $2,500. The good news is, however, that the camera is planned to be released this year, so the wait should not be too long.

When it comes to the Leica DG 25-50mm f/1.7 lens, there is no information about price or availability yet.

Do you still use the LUMIX GH5, GH5S, or other Micro Four Thirds cameras? Are you looking forward to the GH6? Let us know in the comments section underneath the article.