DJI announced the Osmo Mobile 7 and 7P smartphone gimbals earlier this week, but that wasn’t the end of things. Now, the company has announced a new version of its lightweight camera gimbal. The RS 4 Mini sees quite a few upgrades over the RS 3 Mini, borrowing features from its more expensive siblings in the flagship RS 4 lineup. DJI focused most of its updates on providing a “more efficient and seamless filming experience,” along with better performance.

In order to streamline the process of using the gimbal, DJI added its automatic axis locks to the RS 4 Mini, which were previously only found on DJI’s flagship gimbals. These allow the stabilizer’s three axis locks to automatically unlock when you turn the gimbal on and automatically lock when turning it off. It is the first DJI gimbal to use the company’s 2nd-Gen axis lock technology that allows it to unlock in only a second. It should be easier and faster to get shooting or pack away the gimbal.

The 3rd-Gen Native Vertical Switch, which DJI says “offers the fastest switch experience in the RS series, ” also makes things more efficient. Plus, DJI updated the folding structure, making the axis arms fold flatter so that they take up less space when packed away.

The DJI RS Intelligent Tracking Module enables automatic subject tracking with any phone or camera. Image: DJI

One of the most exciting new features for solo vloggers is the DJI RS Intelligent Tracking Module, which is included in the RS 4 Mini Combo. This little device is similar to the Multifunctional Module released with the Osmo Mobile 7P, though without the fill light. Like the Multifunctional Module, the Intelligent Tracking Module features a dedicated camera to enable Active Track on any phone or camera. It can track subjects up to 10 meters (33 feet) away, and DJI promises it will function reliably even in complex scenes.

Of course, the main goal of any gimbal is to smooth footage; that has not fallen by the wayside on DJI’s latest camera gimbal. DJI improved the stabilization of the RS 4 Mini, moving the device to its 4th-gen stabilization. This update relies on more advanced algorithms to provide better results for smoother footage. The company also added a new Responsiveness Mode, allowing the gimbal to react better to fast hand movements. As a result, it should provide better results when tracking fast or sudden movement.

Image: DJI

All of these features do result in a slightly heavier weight. The RS 4 Mini comes in at 890g (2lbs), compared to the RS 3 Mini’s 795g (1.75lbs). It maintains the same 2kg (4.4lbs) payload, though, which means it can handle most mirrorless cameras and even quite a few lightweight cinema cameras. Plus, it promises 30% better battery life for a total operating time of 13 hours.

The DJI RS 4 Mini is available for purchase today from DJI’s website and authorized retailers. The standalone DJI RS 4 Mini costs $369, while the DJI RS 4 Mini Combo is $459.

Buy now:

$369 at DJI

$369 at B&H

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Leica has announced an updated version of one of its iconic lenses, expanding the Leica Classic Line in the process. The Summilux-M 50mm F1.4 (I) was launched in 1959 as the first offering under the Summilux umbrella. Thus, the lens has 65 years of history under its belt. This marks the fifth lens in the Leica Classic Line, joining the ranks of the Summaron-M 28mm F5.6, Thambar-M 90mm F2.2, Noctilux-M 50mm F1.2 ASPH and the Summilux-M 35mm F1.4.

The Summilux name is derived from the Latin “summa lux,” which means “maximum light,” in reference to its wide F1.4 aperture. The new lens stays true to its roots in form and function. In fact, Leica says that the Summilux-M 50mm F1.4 (II) is “an almost unchanged version” of the lens that was produced from 1962 to 2004. Indeed, like the original, it features seven lens elements in five groups. It also keeps the 12-blade aperture diaphragm of the historic model.

Photo: Leica

Like the first iteration, the updated Summulux-M 50mm promises “impressive image quality” with soft bokeh at wide apertures. It isn’t all original, though. Leica says that it will be sharper and have higher contrast than its historical predecessor due to modern production techniques. Leica didn’t offer any more details about how that improved quality is achieved, though. “The new edition of this classic lens fulfils all the requirements of modern M-Cameras with a high-resolution sensor,” says Leica. Another benefit of the second edition is a shorter close focusing distance of 0.7m (2.3ft), down from the original version’s 1m (3.3ft).

The Summilux-M 50mm F1.4 (II) features the “Made in Germany” label. It is made by hand from solid brass and comes with a round vintage lens hood. Leica also says it will be the first Leica lens in the newly designed packaging, which does away with all plastic.

The Leica Summilux-M 50mm F1.4 (II) is now available for purchase through Leica Stores, the Leica Online Store and specialist retailers for $3895.

Buy now:

$3895 at Leica

$3895 at B&H

Sample images:

Photo: Leica

Photos: Leica

Photo: Leica

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89%

Overall score

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The Panasonic Lumix DC-GH7 is the latest in Panasonic’s line of high-end cameras historically aimed at video shooters. We say ‘historically’ because the GH7 makes a strong case for being a true photo-video hybrid. It includes flagship video features like internal ProRes RAW recording, optional 32-bit float audio and 4K/120p capture, along with all the photography features found on Panasonic’s more recent G9 II model.

Key specifications

• 25.2MP BSI CMOS sensor with parallel gain readouts
• Phase-detection autofocus
• ProRes RAW / HQ internal recording
• 32-bit Float audio capture via optional accessory
• Arri LogC3 gamma profile (optional paid upgrade – see below)
• UHD or DCI 4K in 10-bit 4:2:2 up to 60p
• Slow-mo UHD or DCI 4K in 10-bit 4:2:0 at up to 120 fps
• 5.7K full-width capture at up to 60p
• 5.8K full-sensor ‘open gate’/anamorphic capture at up to 30p
• 60 fps burst shooting with AF and pre-capture
• External SSD recording
• LUT support for photos and video
• 1 x CFexpress Type B, 1 x UHS-II SD slot
• Tilting/fully-articulating rear screen
• Built-in fan for unlimited recording

The Panasonic Lumix DC-GH7 has a suggested retail price of $2199, the same as the GH6 at launch in 2022.

Additionally, Panasonic has partnered with Arri, a leading manufacturer of digital cinema cameras, to bring Arri’s LogC3 profile to the GH7. LogC3 matches Arri’s color and tone response and allows the use of LUTs designed for Arri cameras. Since enabling this feature requires paying a license to Arri, LogC3 is an optional $200 upgrade, and can be installed by purchasing Panasonic’s DMW-SFU3A software upgrade key.

Index:

• What’s new?
• How it compares
• Body and controls
• Video
• Image quality
• Autofocus
• Video performance
• Conclusion
• Sample gallery
• Specifications
• Press release

What’s new:

Sensor

The GH7 is built around a revised version of the sensor from the GH6. Although the two cameras share the same resolution, the GH7 uses the same 25.2MP BSI CMOS sensor found in the more recent Lumix G9 II, which gives it the updated capabilities of that camera.

The most notable is support for Panasonic’s ‘Phase Hybrid’ phase-detection autofocus system. This promises to be a boon for video shooters as it enables the camera to interpret distance and depth in a scene and can acquire focus on a desired subject without overshooting or creating a pulsing effect while trying to maintain focus on a relatively static subject.

The sensor is also pretty fast, and our readout speed tests show that its performance is almost identical to the GH6. We don’t expect the rolling shutter to be a problem in most situations.

The other benefit of the new sensor is the improved version of the camera’s dual output gain system. In a nutshell, the sensor employs two parallel readout paths with different gain levels: a low-gain path to capture highlights and a high-gain path to capture cleaner shadows. The data from both paths is combined as a 16-bit Raw file, allowing enough room to encode the wider dynamic range.

On the GH6, the high gain (shadow) path was only used at ISO settings three stops above base ISO (ISO 800 in standard color modes / ISO 2000 in V-Log) when using Dynamic Range Boost mode. On the GH7, however, Panasonic has reduced the lowest step used by the high-gain path, and it now works beginning at base ISO.

Find out more about dual conversion gain, dual output gain and how they work

However, it’s worth noting that the GH6’s base ISOs were 100 for standard color modes and 250 for V-Log. On the GH7, they’re 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode suggests the high-gain path is applying one stop more gain than the low path in its base state (rather than the 3-stop difference required in the GH6). This doesn’t explain how Panasonic can offer a mode with a high-gain component while maintaining the same ISO 100 rating for standard gamma. Interestingly, when you exceed 60fps (where the dual output mode can’t operate), the minimum ISO in V-Log drops to 250, suggesting this might still be the true ‘base’ state.

32-bit Float audio

The optional DMW-XLR2 adapter has two XLR and one 3.5mm mic input and three dials to control the gain of each input. It can power mics that accept 48V phantom power.

While it’s become common for rivals to offer 4-channel audio if you attach a module to connect XLR mics, the GH7 becomes the first camera to cross our desks that offers 32-bit Float audio capture.

32-bit Float audio doesn’t encode its data directly as numerical values. Instead, it captures them as scientific notation, with most bits encoding the value and the last few describing the magnitude (i.e., how many zeros there should be after the value). This enables a much wider range of values to be encoded than just using all 32 bits to record the number directly.

To make use of this extra capacity, you’ll need the new DMW-XLR2 microphone adapter ($499). It features two analog-to-digital converters (ADCs), one with amplification applied to boost the quiet sounds and the other with no gain to protect much louder sounds. It’s still possible to clip loud sounds if you exceed the capacity of your microphones, but the system should accurately capture everything that’s fed into it.

This means you don’t need to worry nearly as much about capture levels and can fit it down into a narrower dynamic range for playback during the edit.

When recording 4-channel audio, this display allows you to view all four channels’ input levels simultaneously, though only two can be monitored live. When recording 32-bit float audio, the meters will always be green.

With the DMW-XLR2, you can record up to four channels of 32-bit Float audio so long as all your audio is routed through the adapter: if you use the camera’s mic input, everything drops down to conventional 24-bit capture.

There’s a display for setting all four channels’ input levels, but only two can be monitored live during recording. If you’re in 32-bit Float capture, the VU meters will always appear green, no matter how high they peak.

Video

The GH7’s headline video feature is support for internal ProRes RAW recording, with ProRes RAW and RAW HQ options, using the camera’s CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets.

ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop.

The GH7 also gains the ability to record proxy files, which are lower resolution, lower bit rate versions of each video clip captured by the camera. You can optionally apply a LUT to proxy files as they’re recorded for a more finished look while saving your full-resolution footage in ungraded V-Log. This can be handy for projects requiring a rapid turnaround.

The GH7 retains all of the video modes present on the GH6, including 4K/120p, 5.7K up to 60p, 1080 at up to 240p in 10-bit mode, 1080 up to 300p in Variable Frame Rate mode (without AF or audio), open gate recording and anamorphic lens support. Except for the most basic MP4 modes, the GH7’s video modes are all 10-bit, and it can shoot 4K 4:2:2 at up to 60p and 4K 4:2:0 at up to 120p.

In an improvement we’ve been requesting for years, it’s now possible to magnify the on-screen image while recording video to check focus. In a nod to social media shooters, the camera’s gyro will also detect when a video is shot in vertical format.

Subject recognition AF

In addition to gaining phase-detect autofocus, the GH7 inherits the subject recognition modes found on the G9 II and S5II (with firmware 3.0) and adds some new bells and whistles of its own. Like those cameras, it can detect humans, animals, cars and motorcycles, but it adds two new subject types to the menu: trains and airplanes.

Yes, the GH7 has a true ‘trains, planes and automobiles’ subject recognition system.

Human detection can identify eyes, face and body (prioritized in that order) or just eyes and face; similarly, animal detection can identify eyes and body, or just bodies. For other subject types, the GH7 lets you specify your preferred target: when shooting trains, planes, and motor vehicles, you can specify whether you want to prioritize focus on the front of the vehicle or the entire vehicle; when using front-of-vehicle priority for cars and motorcycles, the camera will prioritize focus on a driver/rider’s helmet if it can identify one.

Subject recognition works in both still and video modes.

Photography features

While initial attention on the GH7 will likely focus on video, Panasonic has ensured that the camera is also a photography powerhouse. In fact, the GH7 includes all the photography features found on its sibling, the G9 II, and matches its performance to boot. This includes 10 fps burst shooting with mechanical shutter, 60 fps with continuous autofocus with electronic shutter, or 75 fps with single AF. You can also pre-capture up to 1.5 seconds at those same frame rates.

Other features that carry over from the G9 II include Panasonic’s handheld high-res mode, which captures 50.5MP or 100MP images in either Raw or JPEG format, and Live Composite mode, a multi-exposure mode that only captures areas of the frame that change in brightness with each exposure.

The GH7 also gets Panasonic’s Real-time LUT system and integration with the new Lumix Lab smartphone app. Real-time LUTs allow you to instantly apply a LUT to a photo (or video) as it’s captured, providing a finished look straight out of the camera. The Lumix Lab app has numerous LUTs available for download and also makes it easy to create your own; you can transfer your favorite LUTs to the camera so they are available at any time. The GH7 includes 39 memory banks for custom LUTs.

This image, captured on the Lumix S9, illustrates how Panasonic’s real-time LUT system allows you to generate your own custom looks straight out of camera. Photo by Dale Baskin

We explored real-time LUTs and the Lumix Lab app in detail as part of our Panasonic S9 initial review, so we recommend giving those sections a read if you want to learn more.

Other improvements

Image stabilization on the GH7 is rated at 7.5 stops per CIPA standard, both for in-body stabilization and when using Dual I.S. 2, which helps maintain this performance with longer lenses. It also includes Boost I.S., which tries to cancel all movement for a tripod-like look, and E.I.S., which is meant to correct distortion that occurs during video shooting.

Like other recent Lumix cameras, the GH7 incorporates Frame.io camera-to-cloud function, which automatically uploads video proxy files or images to Adobe’s Frame.io service.

How it compares

The GH7 sits at the high end of the Micro Four Thirds market, though in the video space, it’s highly competitive with the best video-oriented APS-C cameras. The GH series has enjoyed a well-deserved reputation for excellence in video. Still, the competition in this category has become fierce, with rivals now offering compelling video-oriented of their own.

Can the GH7 stand out among the crowd? We compare it to other video-centric models, including the Sony FX30 and Fujifilm X-H2S. We’ll also include the Nikon Z6III, a full-frame camera with a strong video feature set, in the comparison.

From a specs standpoint, the GH7’s main advantages are ProRes RAW, which can also be found on the Z6 III, 32-bit Float audio, and the ability to add Arri’s LogC3 gamma profile (as a paid upgrade).

Other than those callouts, the cameras are reasonably well-matched on paper, but we don’t use them on paper; we use them in the real world, where other design considerations can be as critical as specs. The Sony FX30 stands out in that respect. It is designed with multiple 1/4″-20 mounting points so you can build the exact rig you want. On the flip side, it’s the one camera in the cohort exclusively focused on video and might not be a good choice as a hybrid camera.

The Nikon may seem like the odd duck here, given that it has a full-frame sensor. However, it has an impressively strong video feature set, and with a retail price within spitting distance of the GH7, it merits serious consideration as an alternative. One thing the table doesn’t capture? The Nikon will surely surpass the other models in still image quality.

Body and controls

The GH7’s body is essentially unchanged from the GH6. It’s built on the same chassis, has the same dimensions, and all buttons and ports are in the same locations. Actually, there is one very minor change, but it isn’t visible when looking at the camera. We’ll get to that in a moment.

There’s a certain logic to this approach. Serious video shooters tend to use a lot of accessories, including camera cages, off-camera recorders, microphones, and maybe even rails, matte boxes, or a follow focus. Keeping the same body from one generation to the next makes it easier for users to upgrade, knowing their existing accessories will continue to work.

EVF and rear screen

Remember that one minor change we mentioned? This is where you’ll find it. The GH7’s electronic viewfinder (EVF) receives a very minor update: it still uses the same 3.68M-dot OLED (1280 x960px) screen, but the viewfinder’s magnification has increased from 0.76x to 0.8x (in equivalent terms). This doesn’t impact the size or shape of the body, but it makes the EVF just a bit nicer to use.

The GH7 features the same 1.84M-dot (960 x 640px), 3″ rear touchscreen mounted on a hybrid tilt/articulated hinge. This allows you to extend the screen out from the back of the camera and tilt it up about 45 degrees, flip it out to the side, or both. The latter has the advantage of keeping the screen clear of the camera’s ports so that it doesn’t interfere with any cables.

Audio button and 32-bit Float audio

The GH7 includes a dedicated button that provides direct access to the camera’s audio settings, which frequent video shooters will appreciate. Out of the box, the camera captures 48kHz, 24-bit audio using its internal mics and up to 96kHz, 24-bit audio from an external mic connected to the camera.

As mentioned above, the GH7 can also capture 4-channel 32-bit Float audio. This requires the optional DMW-XLR2 adapter, which includes two XLR inputs and one 3.5mm input. You must run all audio sources through the XLR2 adapter to use 32-bit Float recording.

All four audio channels are output over HDMI.

Built-in fan

The GH7 includes the same built-in fan as the GH6 to keep the camera cool while shooting video, with the fan located outside the camera’s sealing. With its standard settings, the fan allows for unlimited recording at resolutions and frame rates up to DCI 4K/60p.

Panasonic tells us the GH7 can provide unlimited recording at all resolutions and frame rates. However, opening the Thermal Management menu and changing the setting from standard to ‘High’ may be necessary in some of the more demanding modes.

“The GH7 can provide unlimited recording at all resolutions and frame rates.”

The fan can be configured to run continuously at a set speed or in one of two auto modes: one that prioritizes keeping the body cool and the other that only engages when absolutely necessary.

Battery

The GH7 uses the same DMW-BLK22 battery found on other recent Lumix models. When used with SD cards and the Panasonic 12-60mm F2.8-4 lens, it can power the camera to a CIPA rating of 380 shots or 100 minutes of continuous video; using CFexpress cards reduces this by about 10%. This is essentially the same performance as the GH6.

The battery does have one notable limitation: When recording files to an external SSD, it’s only possible to record at frame rates up to 60p, no matter what codec or resolution you’re using. This is due to the extra power required to operate the SSD. Since the SSD occupies the camera’s USB-C port, connecting the camera directly to an external power source simultaneously isn’t an option.

To circumvent this, Panasonic has introduced the DMW-DCC18, a dummy battery with a USB-C port that can be connected to external power or a battery pack. When used, it will allow you to record to SSDs using any frame rate as long as you have a PD-rated power source that can deliver 9V, 3A.

Video capabilities

The GH7 supports a dizzying array of resolutions, frame rates, and codecs to choose from, along with comprehensive tools to support a video workflow. This grows to an even greater number, thanks to the inclusion of both ProRes and ProRes RAW capture.

“The GH7 supports a dizzying array of resolutions, frame rates, and codecs.”

Frankly, it would be impractical for us to list every possible combination here – something that takes 11 full pages out of the camera’s 977-page user manual, not including special modes like VFR – so we’re going to focus primarily on the 5.7K and 4K modes that will interest most users.

Before we dive into the details, it’s worth noting that the GH7 can use autofocus and record sound at almost every resolution and frame rate, up to 240fps in FHD mode. If you need to go faster than that, there’s a 300fps VFR mode without AF or audio capture. Also, with the exception of basic MP4 files, all video modes on the GH7 can capture 10-bit video.

5.7K

The GH7 isn’t the first GH camera to capture 5.7K video, but it is the first to support 5.7K ProRes RAW capture, which can be recorded either internally to the camera’s CFexpress card or to an attached SSD. (The GH6, could capture 5.7K video using the standard ProRes or H.265 codecs.)

ProRes RAW provides additional flexibility when editing. It’s possible to adjust settings like white balance or exposure offsets that are baked into gamma-encoded file types. A Raw workflow introduces other challenges, though: the data rates are enormous, and, while providing flexibility, the files might require more downstream processing than other formats, including sharpening and noise reduction. In many cases, it’s a lot more efficient to use a non-Raw format unless you really require the benefits of a Raw workflow.

When shooting in 5.7K, the camera captures video in the DCI (17:9) aspect ratio.

4K: DCI and UHD

Although 5.7K video is impressively detailed, we expect many video shooters will choose to use the camera’s 4K modes unless they require flexibility to zoom or pan at the editing stage.

The GH7 can capture 4K video using either the 16:9 UHD or 17:9 DCI aspect ratio. However, ProRes and ProRes RAW are limited to the 17:9 DCI format.

Additionally, 4K ProRes RAW video comes with a 1.41x crop. By virtue of being a Raw format, it captures a native 4K region from the middle of the sensor rather than using oversampled (i.e. processed) data from the full width of the sensor.

With such a mind-boggling number of combinations, just finding the settings you want in the camera’s menus can be a challenge. Fortunately, the GH7 continues the ability to filter video modes, including by frame rate, resolution, codec, VFR mode, HLG and proxy recording capabilities, and favorites can be saved to a designated “My List” for quick access.

5.8K / 4.4K Anamorphic

Like its predecessor, the GH6, the GH7 can capture ‘open gate’ 4:3 footage from its entire sensor. Open gate recording provides additional flexibility to zoom, pan or add stabilization in post-processing. It can also be used in combination with anamorphic lenses to leverage the full area of the camera’s sensor when de-squeezed to a widescreen format.

1080 (Full HD)

While not a headline feature, the GH7 retains the ability to capture the full range of full HD video modes, which are directly comparable to the camera’s 4K options. This includes the choice of All-I or LongGOP codecs as well as the choice of 4:2:2 or 4:2:0 color modes.

Full HD video can be captured at frame rates up to 240fps with support for autofocus and audio recording, or up to 300fps in VFR mode without AF or audio. It can be captured in ProRes 422 and ProRes 422 HQ at up to 60p

Image quality

Studio Scene

Our test scene is designed to simulate a variety of textures, colors and detail types you’ll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

If you’d like to see a comparison to more photography-oriented peers, you can view the studio scene for the G9 II, which has the same photography specs and uses the same sensor.

The GH7 is capable of capturing impressive levels of detail, thanks to its 25MP sensor. At base ISO, the results are broadly comparable to its APS-C peers, though it’s not quite up to the level of the full-frame Z6III.

The sensor handles noise well, outperforming its predecessor, the GH6, by a hair. It falls a short of the APS-C sensor in the X-H2S, while managing to keep a bit closer to the a6700, though it can’t beat physics and match it. Predictably, the full-frame sensor in the Z6III outpaces the other models here. At very high ISOs, we observe much the same pattern.

JPEG images deliver good detail, visible in the fine stitched texture of The Beatles’ clothing. It also handles natural textures, like hair, gracefully, without looking oversharpened.

At higher ISOs, the JPEG engine does a good job of controlling noise, however, this comes at the expense of fine detail, with the GH7 falling a behind the other cameras in this cohort.

The GH7 produces very good colors using its standard JPEG settings. A look at the color patches reveals slightly vibrant pinks, with subtly pale yellows and blues. In real-world photos, we found colors very natural and pleasing, similar to other recent Panasonic models we’ve used.

Olympus ED 40-150mm F2.8 Pro @120mm | F2.8 | 1/400 sec | ISO 1000 Photo: Dale Baskin

Dynamic range

A sensor with a wide dynamic range provides more latitude to boost shadows with a minimal increase in noise, and our tests show that the GH7 has ample room for pulling up shadows at base ISO. Its performance isn’t quite as good as the larger APS-C sensors in this regard, falling about 2/3 EV behind the other sensors across the image, but it will mostly be in the deepest shadows where you notice the difference.

I exposed this photo for the highlights in the sky, which left the foreground very dark. I raised the shadows approximately 3.5 stops in Adobe Camera Raw to recover details in and around the road. Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F4 | 1/20 sec | ISO 400 Photo: Dale Baskin

Dynamic range is one of the GH7’s most notable improvements relative to its predecessor, the GH6. That camera exhibited significant shadow noise at base ISO, only improving from ISO 800 upwards when its DR Boost mode engaged. By implementing dual parallel gain at ISO 100, Panasonic has enabled the GH7 to be much more competitive in this regard.

Exposure Latitude | ISO Invariance

Autofocus

The most notable – and possibly most anticipated – upgrade to the GH7 is the addition of phase-detect autofocus, in the form of Panasonic’s Phase Hybrid AF system.

Performance

Not surprisingly, we found the GH7’s autofocus system performed better than its predecessor, which relied on Panasonic’s Depth-from-Defocus (DFD) system, delivering a more reliable, more confident experience.

The camera had no trouble identifying the bird in this photo when subject detection was set to ‘Animal’, even against this busy background. Olympus ED 40-150mm F2.8 Pro @150mm | F2.8 | 1/2000 sec | ISO 1250 Photo: Dale Baskin

The camera’s subject detection modes are very quick to identify subjects and work across both photo and video modes. However, subject tracking still lags behind the best-in-class AF systems we’ve used. Specifically, while the system is quick to identify subjects, it’s not quite as tenacious at sticking to subjects as they move, particularly if they move quickly.

Video autofocus

Video is where phase-detect autofocus makes the greatest impact on the GH7’s performance. DFD was notorious for not being decisive enough for video use; this frequently resulted in undesirable artifacts, most notably a slight fluttering of the image when the AF system attempted to confirm focus on a subject or predict focus when a subject started to move.

“Video is where phase-detect autofocus makes the greatest impact on the GH7’s performance.”

We haven’t encountered this with the GH7, making it much more suitable for run-and-gun use or any other application that requires autofocus, for that matter.

Subject identification and tracking work impressively well in video mode, particularly human and animal identification. Combined with phase-detect autofocus, it delivers reliable and predictable results in most situations. It’s a level of confidence we haven’t previously experienced when using a GH camera.

Photography autofocus

Since the photography features of the GH7 are identical to the G9 II, we would broadly expect it to perform similarly, or the same, as that camera, and this has been consistent with our experience. In a nutshell, it performs very well but isn’t quite as dependable as the best of its peers. One continued frustration: if the camera doesn’t detect a subject right away, it will sometimes flash a red box and leave you waiting for up to a second before starting to focus.

To read our in-depth analysis of the G9 II’s AF system for photography, which matches our experience with the GH7, you can read the autofocus section of our Panasonic G9 II review.

Video performance

Video quality

Panasonic’s GH cameras set high expectations for video, and the GH7 continues this trend. It delivers essentially the same results as its predecessor, the GH6, though with improved dynamic range at lower ISOs (more on that below).

Straight out-of-camera, it doesn’t look quite as crisp as rivals like the Fujifilm X-H2S or the Nikon Z6III. Historically, Panasonic hasn’t baked quite as much sharpening into its files, resulting in a less crunchy out-of-camera look. However, those files typically sharpen up nicely in post-processing if desired, leaving a lot of flexibility for an editor.

The GH7 delivers very similar results even when shooting 4K/120p high frame rate video. In this mode, it continues to use the full area of its sensor to render oversampled 4K footage, and it solidly outperforms other video-oriented models here.

At its highest 5.7K resolution settings, the GH7 is capable of capturing quite a bit of additional detail. However, it still falls noticeably short of the level of detail generated by Panasonic’s own S5II when shooting in 6K mode. For maximum flexibility, you can capture 5.7K using ProRes RAW, but you’ll need to do some downstream processing to make the most of it.

DR Boost

The GH7 provides more flexibility than the GH6 to capture a wider dynamic range using an expanded range of ISO settings. For the comparison below, we shot our DR test wedge using both cameras so that the very brightest patch just reached the clipping point, as shown by the video waveforms from DaVinci Resolve Studio.

GH7 V-Log (24p) ISO 2000 1/640 sec F10 DR Boost	GH6 V-Log (24p) ISO 2000 1/640 sec F10 DR Boost	GH7 V-Log (24p) ISO 500 1/160 sec F10 DR Boost	GH6 V-Log (24p) ISO 500 1/320 sec F10

The first two buttons illustrate the impact of Panasonic’s DR Boost mode. Both cameras were shot in V-Log at ISO 2000, the lowest ISO at which the GH6 supports DR Boost mode (ISO 800 when shooting in standard color modes). Since both cameras benefit from DR Boost mode at this ISO, the waveforms look very similar, as do the resulting video images.

However, the GH7 gains the ability to use DR Boost mode all the way down to its nominal base ISO of 500 in V-Log (ISO 100 in standard color modes). The next two buttons illustrate the advantage this gives it over the GH6 when shooting at ISOs below 2000: we’ve had to give the GH6 a whole stop less light to prevent the brightest tones in our test chart from clipping.

Note that the sensor’s dual output gain system, which makes DR Boost possible, can’t operate at frame rates exceeding 60p, so if you’re planning to shoot at higher frame rates, you can expect the dynamic range to match that of the GH6 without DR Boost enabled.

Image stabilization

The GH7 gains Panasonic’s Active I.S. technology, first introduced on the S5II series. Active I.S. is designed to more effectively dampen dramatic movements when walking while filming or using longer lenses and takes advantage of a new, higher precision gyroscope, which it shares with the G9 II. It’s not an option you can switch on and off, but something the camera does automatically.

“Active I.S. is designed to more effectively dampen dramatic movements when walking.”

Recent GH cameras have delivered impressive image stabilization, particularly in Boost I.S. mode, which is designed to correct all camera movement to simulate the effect of using a tripod for a stationary shot. Active I.S. is intended to play a somewhat analogous role, but when the camera is moving to deliver a smooth, if not quite gimbal-like performance when walking with the camera. In our experience, it’s quite effective.

When Active I.S. is combined with the camera’s electronic stabilization modes, it turns in a very impressive performance that could be mistaken for a gimbal. It’s not magic, though. As with a gimbal, it still requires good technique to get the best results, but if you can manage that, it’s another useful tool in the camera’s bag of tricks.

Conclusion

At a high level, the GH7 delivers exactly what we expect from a GH camera: excellent video quality with an extensive set of tools for video shooters. It even adds some new tricks to its bag in the form of internal ProRes RAW recording and the ability to capture 32-bit float audio when used with Panasonic’s XLR2 adapter.

Whereas previous GH-series cameras were primarily aimed at video shooters, Panasonic included all the photography features from its sibling, the G9 II, on the GH7. If you want Panasonic’s best Micro Four Thirds camera for either photography or video, this is it – you can get it all in one package.

The inclusion of phase-detect autofocus is a hugely beneficial addition, particularly for video, and it effectively eliminates our biggest pain point with previous GH models: the tendency of the AF system to pulse or flutter during video capture as it tried to confirm or predict a subject’s movement. Still, autofocus continues to be an area where the GH7 still lags behind the best of its peers, most notably in photography. It’s generally quite good at identifying subjects, but it’s not always as effective at tracking them.

Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F2.8 | 1/40 sec | ISO 3200 Photo: Dale Baskin

It used to be that you could count on every new GH camera to be first across the line with the latest video features, and there was a time when a GH camera was the obvious go-to choice for serious video users, but the landscape has evolved. It’s still one obvious choice for video aficionados, but can it still stand out in a market where almost every new model purports to be a “hybrid” camera?

In short, yes.

The GH7 sets itself apart not just with specs, but with an implementation that reflects the needs of a serious video shooter: shutter angle, a built-in fan, pro audio capture, a proven and flexible Log curve, and incredible image stabilization that’s designed around videography use cases. It sports a vast, but sensible array of codecs and frame rates, and offers little touches like the ability to filter them and save your favorites to a custom list. Yes, other cameras include some of these features, but they don’t all work in concert like they do on the GH7.

In essence, the GH7 is the result of continuous improvement that started with the original GH1 16 years ago, and at this point, it’s pretty dialed in. If you just want a hybrid camera that excels at photos and can also capture good video, there are other options. But if you want a production tool that’s been refined over generations and polished to a shine – while also being able to shoot stills when needed – the GH7 is a great choice, in a way that raw specs simply can’t convey, and for that, it wins our Silver Award.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

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Compared with its peers

Like the GH7, the Fujifilm X-H2S has a long list of advanced video features, though it doesn’t have the same attention to detail around those features; the GH7’s more polished video toolset makes it a more dependable camera for shooting video. However, photo image quality is better, and it’s worth choosing for stills even if the AF doesn’t live up to its fast shooting promise. It’s also the only system to rival Micro Four Thirds’ range of compact lenses.

If you would prefer a purpose-built camera for video, the Sony FX30 is worthy of consideration. Its boxy body is built from the ground up for video use and includes half a dozen threaded attachment points so you can build your rig, your way. It also has more dependable autofocus and better battery life, though you’ll need an external recorder to capture Raw video. Whatever you do, don’t get it for photography; it’s not made for it and doesn’t include a mechanical shutter.

If you have a significant interest in shooting stills and don’t mind its larger lenses, the Nikon Z6III is a very strong choice, with much better image quality and a more sophisticated AF system. While its video specs are competitive on paper and it’s capable of producing high-quality video, the GH7’s dependability and refined video implementation make it a superior choice for video work.

Finally, it’s worth considering Panasonic’s own G9 II, particularly if video is more of a ‘sometimes’ activity rather than your primary focus. It includes the exact same photography features, and all but the most advanced video options, from the GH7, but in a body that’s almost 20% lighter and less expensive. Also like the GH7, it benefits from a large catalog of size-appropriate lenses that can keep your kit small if desired.

Sample gallery

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