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Panasonic x Arri: Software upgrade adds Arri LogC3 to Panasonic GH7 (and GH6)

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Panasonic x Arri: Software upgrade adds Arri LogC3 to Panasonic GH7 (and GH6)


Last week’s launch of the Panasonic GH7 was exciting for video shooters, with features like 32-bit Float audio and internal ProRes RAW recording making headlines. However, Panasonic also made a parallel announcement that will turn some heads.

The company has partnered with Arri, a leading manufacturer of cinema cameras, to bring Arri’s LogC3 profile to the Panasonic GH7 and GH6, which will allow for color matching between those models and Arri’s digital cinema cameras. Enabling the feature requires paying a license fee to Arri, so users will have to pay this fee.

As a result, it should be possible to mix the GH7 into a shoot with Arri cameras, potentially offering advantages where a smaller camera is needed, such as on a small gimbal or drone.

Panasonic says LogC3 on the GH7 uses a curve that conforms to the standard sensitivity of ISO 800 on Arri cameras. This is the ‘native’ ISO of Arri cameras when shooting LogC3, with the curve giving up to 7 2/3 stops of highlights above middle grey and 6 1/3 below. Other ISO settings don’t change the gain applied and simply shift the middle grey point, exchanging DR between highlights and shadows. Arri LUTs are typically calibrated to ISO 800.

The GH6 and GH7 do apply differing gain between their ISO settings, meaning the same amount of highlight range is maintained. Panasonic says it has carefully calibrated each ISO setting so that the color and tone response is properly matched back to the LogC3 ISO 800 curve. This means the camera can be used at different ISO settings or in Auto ISO but still deliver footage that works will with Arri LUTs.

The base ISO of the GH7 in LogC3 mode is 320 and you don’t need to limit either the GH6 or GH7 to the range in which they can use their twin sensor readouts (DRBoost mode), you simply capture a stop less highlight when operating outside this range.

This means that Panasonic users will be able to use the Arri Look Library, a library of LUTs that can be used to convert LogC3 footage to one of dozens of Arri’s high-quality looks.

Additionally, since the GH7 can store custom LUTs, these Look LUT files can be loaded into the camera. When combined with Panasonic’s real-time LUT system, users also have the option to output a specific Arri look straight out of camera, or to proxy files.

LogC3 is an optional $200 upgrade that users can install on their cameras by purchasing Panasonic’s DMW-SFU3A software upgrade key. Panasonic notes that the upgrade will also work on the Lumix GH6, though without the added advantage of Panasonic’s real-time LUT system.

Panasonic licenses ARRI LogC3 from ARRI for the LUMIX GH7

Newark, N.J. (June 5, 2024) – Panasonic is proud to announce a new Software Upgrade Key DMW-SFU3A (sold separately) on the LUMIX GH7. With this upgrade, ARRI LogC3* is enabled, and seamless color matching with ARRI’s digital cinema cameras can be achieved. The image processing of the ARRI LogC3 curve on LUMIX GH7 has been certified by ARRI for the implementation of this function. The options for Log recording, which provides rich color information and wide dynamic range, have been expanded to include ARRI LogC3 in addition to the conventional V-Log, further improving LUMIX’s workflow compatibility.

*ARRI LogC3 is a Log gamma developed by ARRI and used in ARRI digital cinema cameras. Please note: ALEXA 35 uses ARRI LogC4.
*On the LUMIX GH7, ARRI LogC3 can be used for 10bit recording in Creative Video mode.

1. Video production using a wide variety of ARRI Looks

Video data shot with LUMIX GH7 in ARRI LogC3 can easily be converted to your favorite look. The ARRI Look Library contains 87* high-quality ARRI Looks to choose from, and in the ARRI Look Library simulator available online, you can easily check the ARRI Look File that best fits your shooting style and scenario. It is also possible to store the LUT package for 709 conversion (ARRI Look Library LogC3 to Rec709 3D-LUTs) in the LUT Library of the LUMIX GH7 and combine it with the REAL TIME LUT function to capture videos with ARRI LUTs straight out of the camera.
*As of June 5th, 2024

2. Production workflow compatible with a variety of viewing devices

Using the ARRI Look Library (log-to-log), you can color grade videos recorded with ARRI LogC3 and apply the desired ARRI Look within the log space. Additionally, by using the LUT package (ARRI_LogC3_v1-2_LUT_Package) you can convert the color space of various display devices, allowing you to output the ARRI Look according to the desired color space in SDR and HDR.

3. Video production combined with ARRI digital cinema cameras

Shooting in ARRI LogC3 on the LUMIX GH7 is a perfect solution for situations that require added flexibility, such as mounting on a gimbal or drone. The LUMIX GH7 can easily match colors in shooting situations where cinema cameras, such as the ARRI ALEXA Mini, are used as the main camera. Furthermore, when DMW-SFU3A is installed, ARRI LogC3 in the LUMIX GH7 employs a curve that conforms to the standard sensitivity of ISO 800 of the ARRI camera. As the gamma curve does not change depending on the ISO sensitivity, users can use the same editing workflow no matter which ISO they shoot at. It also enables recording at ISO Auto, which is unique to mirrorless cameras.

In addition, ARRI LogC3 recording can also be used on the LUMIX GH6 in the same way as the LUMIX GH7 by using the Software Upgrade Key DMW-SFU3A, with the exemption of the REAL TIME LUT function which is not available on this model.



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On this day: Hasselblad launches first medium format mirrorless

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On this day: Hasselblad launches first medium format mirrorless


We’d never before seen so much silicon wrapped up in such a small package

Photo: Samuel Spencer

The Hasselblad X1D beat Fujifilm to the market by three months in 2016 to become the first mirrorless medium format camera. It wasn’t the first “affordable” (or, at least, sub-$10,000) medium format option: that credit goes to Pentax and its 645D and Z, but it was the first larger-than-full-frame digital camera to be designed as a self-contained ILC with no mirror.

It was built around the same 50MP CMOS sensor as the 645Z, which also underpinned the Fujifilm GFX 50 models, producing some excellent image quality. Hasselblad’s modern minimalist design was eye-catching, and the operability improved significantly through a series of firmware updates (though it never offered the mass-market slickness of the GFX models).

One of the factors that allowed the Hasselblad to be so small was the decision to build leaf shutters into all the XCD lenses, rather than having a physical shutter in the camera body. This resulted in a camera that could sync with flashes all the way up to each lens’s maximum shutter speed. Though this came at the cost both of higher lens prices and of polygonal bokeh, as the shutter/aperture mechanisms had relatively few blades. This second issue was somewhat resolved by an update that allowed the aperture to be opened a fraction beyond the widest listed value, so that the blades don’t intrude on the image.

Click here to see the nearly 200 photos we’ve published from the X1D

Alongside the X1D came the first series of medium format lenses designed specifically for 44x33mm digital, giving some excellent results (to the point that moiré is a significant risk even when stopped-down to F5.6, given the lack of low-pass filter on the X1D’s sensor). It also led to the only instance we’ve seen of a manufacturer referring to equivalent f-numbers. It’s probably no surprise that it would be one of the only companies to solely produce larger than full-frame systems.

We were in the fortunate position to borrow a Hasselblad, Pentax 645Z and Fujifilm GFX 50S at the same time and use them alongside one another, and looked at their comparative strengths and weaknesses. We hope to do something similar with the more refined 100MP cameras from Hasselblad and Fujifilm in the coming months.



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On this day: Hasselblad launches first medium format mirrorless

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On this day: Hasselblad launches first medium format mirrorless


We’d never before seen so much silicon wrapped up in such a small package

Photo: Samuel Spencer

The Hasselblad X1D beat Fujifilm to the market by three months in 2016 to become the first mirrorless medium format camera. It wasn’t the first “affordable” (or, at least, sub-$10,000) medium format option: that credit goes to Pentax and its 645D and Z, but it was the first larger-than-full-frame digital camera to be designed as a self-contained ILC with no mirror.

It was built around the same 50MP CMOS sensor as the 645Z, which also underpinned the Fujifilm GFX 50 models, producing some excellent image quality. Hasselblad’s modern minimalist design was eye-catching, and the operability improved significantly through a series of firmware updates (though it never offered the mass-market slickness of the GFX models).

One of the factors that allowed the Hasselblad to be so small was the decision to build leaf shutters into all the XCD lenses, rather than having a physical shutter in the camera body. This resulted in a camera that could sync with flashes all the way up to each lens’s maximum shutter speed. Though this came at the cost both of higher lens prices and of polygonal bokeh, as the shutter/aperture mechanisms had relatively few blades. This second issue was somewhat resolved by an update that allowed the aperture to be opened a fraction beyond the widest listed value, so that the blades don’t intrude on the image.

Click here to see the nearly 200 photos we’ve published from the X1D

Alongside the X1D came the first series of medium format lenses designed specifically for 44x33mm digital, giving some excellent results (to the point that moiré is a significant risk even when stopped-down to F5.6, given the lack of low-pass filter on the X1D’s sensor). It also led to the only instance we’ve seen of a manufacturer referring to equivalent f-numbers. It’s probably no surprise that it would be one of the only companies to solely produce larger than full-frame systems.

We were in the fortunate position to borrow a Hasselblad, Pentax 645Z and Fujifilm GFX 50S at the same time and use them alongside one another, and looked at their comparative strengths and weaknesses. We hope to do something similar with the more refined 100MP cameras from Hasselblad and Fujifilm in the coming months.



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Our favorite ‘natural worlds’ pictures: DPReview Editors’ Challenge results

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Our favorite ‘natural worlds’ pictures: DPReview Editors’ Challenge results


June includes multiple days devoted to celebrating nature, including World Environment Day (June 5), World Oceans Day (June 8) and World Rainforest Day (June 22). In that spirit, we chose ‘Natural Worlds’ as the theme for our most recent Editors’ Choice photo challenge, with over 100 readers submitting entries.

We love seeing your work! Thanks to everyone who submitted. We couldn’t call out every image we liked, so we restrained ourselves to a baker’s dozen (in no particular order).

If you don’t see your work here today, don’t despair. We’ll soon announce a new Editors’ Choice challenge.

Also, a quick reminder to keep comments constructive and civil. These are images submitted by your fellow readers who took the time to share their work. Rule #1: Be nice. That’s it, there is no rule #2.



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