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Panasonic Lumix GH6 Review | Photography Blog

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March 17, 2022
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Introduction

The Panasonic Lumix GH6 is a flagship Micro Four Thirds sensor mirrorless camera aimed at both videographers and stills photographers.

Successor to the popular GH5 and GH5 II cameras, this 2022 model now features up to 5.7K 60p 10-bit internal video with unlimited recording and Apple ProRes 422 HQ support, a brand new 25.2 megapixel sensor with no low-pass filter, and the latest high-speed and high-performance Venus Engine.

Other key new improvements include an updated contrast-detect autofocus system with a new AF algorithm and 315 focus points, expanded ISO range of 50-25600, dual CFexpress card (Type B) and UHS-II V90 SD memory card slots, improved Dual I.S. (Image Stabiliser) now worth up to 7.5-stops slower shutter speed, and 75fps burst shooting mode at full 25 megapixel resolution (AF-S mode only).

The splash- and dust-proof GH6 also offers built-in Wi-Fi and Bluetooth connectivity, 1/8000th top shutter speed, 1/250th second flash sync speed, 1,728-zone metering system, a 3,680K-dot OLED electronic viewfinder with 120fps frame rate, a 1.84M pixel 3-inch swivelling and tilting LCD screen, touchscreen control system with touch-based functions like Touch AF/AE and Touch Shutter, a completely silent electronic shutter, support for USB-C charging and 14 (AFS) / 8 (AFC) fps burst shooting.

The Panasonic Lumix GH6 is made in China. It’s available now in black only, priced at £1999 / $2199 body only, £2199 with the standard 12-60mm f3.5-5.6 lens, and £2599 / $2799 with the Leica 12-60mm f/2.8-4.0 lens.

Ease of Use




Panasonic Lumix GH6

Measuring 138.4 x 100.3 x 99.6mm / 5.45 x 3.95 x 3.92in. and weighing 739g / 1.63lb body only, the Panasonic Lumix GH6 is significantly larger and heavier than the GH5 II model that it effectively succeeds, which measures 138.5 x 98.1 x 87.4mm and weighs 647g.

This is largely due to the heat-sink and forced-cooling fan mechanism that Panasonic have integrated into the design of the GH6, which helps to provide impressively unlimited recording times in every available video mode that the camera offers.

The downside is that the camera is noticeably deeper than the GH5/II by 12mm, something that is particularly evident in the rear LCD screen area which protrudes quite a long way out from the back of the camera.

The GH6’s body is made out of magnesium alloy, with a full die-cast front and rear frame. Every joint, dial, and button is sealed to ensure that the GH6 is splash/dust-proof and also freeze-proof down to -10 degrees Celsius.

The camera has a shutter release life of 200,000 shots. As with the previous GH5 and GH5 II models, this is one of the most well-constructed Panasonic cameras that we’ve ever reviewed, and should stand up to some serious abuse.

The GH6 ships either body only, with the Panasonic 12-60mm f3.5-5.6 lens, or with the excellent Leica 12-60mm f/2.8-4.0 lens that we reviewed it with.

Despite the fast maximum apertures on offer, the Leica 12-60mm optic is still relatively small and light, and delivers great image quality whilst being fast to focus and completely silent, perfect for video use.

Whereas optional battery grips were available for the previous GH5 and GH5 Mark II models, Panasonic have taken the rather strange decision not to make one for the new GH6. So there’s no way to house an extra battery to extend the overall battery life or make the camera bigger for better handling with longer, heavier lenses.




Panasonic Lumix GH6

Panasonic have once again significantly upgraded the image stabilisation system on the GH6. The Dual I.S. system incorporates a new super high-precision gyro sensor with a new algorithm to combine the 2-axis stabilisation from the lens (if it has OIS built-in) and 5-axis stabilisation from the camera body, resulting in compensation for up to 7.5-stops slower shutter speed, which impressively is 1 stop better than the already excellent GH5 II.

Unlike a conventional DSLR camera, or indeed most modern rival mirrorless cameras, which typically use a phase detection auto-focus system, the Panasonic Lumix GH6 continues to employ a contrast detection based AF system, similar to that more commonly used by compact cameras.

The Panasonic GH6 continues to use the same DFD contrast-based auto-focusing system that all previous GH-series cameras have employed – anyone expecting Panasonic to implement phase-detection on this new model will be sorely disappointed.

It does offer more AF areas though, increased from 225 on the previous GH5 series cameras to 315 AF points on the GH6. Also Panasonic have updated their AF algorithms to offer faster performance and less visible pulsing than before.

There are a wide range of AF modes on offer, including Tracking, Full Area, Zone (Horz/Vert), Zone , 1-Area+, 1-Area and Pinpoint, with the option to enable the Human Detection, Face/Eye Detection and Animal+Human Recognition auto-focusing algorithms for every AF mode except Pinpoint.

In practice, there were few occasions when the GH6 failed to lock onto the subject, especially when using the centre AF point, resulting in a generally responsive and importantly reliable AF system for most subjects.

Having said that, it did struggle a little more often than desired with erratic, fast-moving subjects such as sports and wildlife, and it definitely still lags behind the best phase-detect AF systems from other mirrorless camera manufacturers.

On the front of the Panasonic Lumix GH6 is a small focus-assist and self-timer indicator lamp, lens release button, two customisable unmarked Function buttons, metal lens mount and a flash sync socket.




Panasonic Lumix GH6

Brand new to the GH6 is a second, additional one-touch movie record button finished in a vibrant red which is perfect for using with the camera in portrait orientation.

A direct consequence of the GH6’s size increase is the sculpted, rubberised hand-grip that’s even deeper and therefore nicer to use than the one on the GH5 cameras. It’s easily big enough to fit three, if not four, fingers around it.

By default the Fn4 button (the higher one on the front) enlarges the Live Display during video recording whilst the lower Fn3 button cleverly toggles between showing a live preview of the effects of the current aperture (effectively a digital version of Depth of Field Preview) and the current shutter speed.

The latter proves especially useful for beginners, providing a visible way of checking how different shutter speeds will affect the capture of different subjects – running water is a good example.

The majority of the GH6’s exterior is matt black plastic, with the handgrip, front panel and left-hand compartments finished in a more tactile rubberised coating.

Found on top of the Panasonic GH6 are the burst mode/bracketing/self-timer/time-lapse dial on the left, external flash hotshoe, stereo microphones, lockable shooting mode dial surrounded by the on/off switch, shutter release button, front and rear control dials, white balance, ISO and exposure compensation buttons, audio information button and a large one-touch movie record button that’s bright red. There’s also a tiny LED to indicate if wi-fi is on or off or if USB charging is in operation.

The row of white balance, ISO and exposure compensation buttons make it extremely easy to access the camera’s key exposure controls, while the dual control dials make it straightforward to use the fully Manual shooting mode.

The native ISO range of both the GH5 II and the GH6 is 100-25,600, but on the GH6 it can be extended down to ISO 50 if required for both stills and video. Note that for video, the maximum level is 12800 ISO on both cameras.




Panasonic Lumix GH6

The GH6 has both a traditional mechanical shutter and a silent electronic shutter, which as well as not spooking your subject ensures that it’s completely sharp by avoiding pixel shifting. The Delay Shutter option helps to remove the effect of hand-shake by releasing the shutter after a specified time (8, 4, 2 or 1 seconds).

The start-up time from turning the Lumix GH6 on to being ready to take a photo is impressively quick at less than a second. It takes about 1/2 second to store a JPEG image, allowing you to keep shooting as they are being recorded onto the memory card – there is no perceptible LCD blackout between each image. Storing a single RAW image takes around 1 second and doesn’t lock up the camera in any way – you can use the menu system or shoot another image while the first file is being written to memory.

The Panasonic Lumix GH6 has a good continuous shooting mode which enables you to take 14 frames per second using the mechanical shutter with the focus and exposure locked at the first frame or a much slower 8fps with full-time AF tracking.

The new model can only shoot continuously for up to 95 JPEGs or 65 RAW files, though, compared to 999 JPEG or 108 RAW files for the GH5 II.

The GH6 does also offer a headline grabbing 75fps mode at full 25 megapixel resolution for up to 200 JPEG or Raw images, but this is sadly limited to AF-S mode only using the electronic shutter, so it’s not suited to sports and wildlife photography.

The lockable shooting mode dial on top of the camera lets you choose from the different exposure modes. The usual selection of Program, Aperture Priority, Shutter Priority, and Manual are available for the more experienced photographers.

Additionally there are 4 custom modes, marked C1, C2, C3 and C4, which allow you to configure your favourite settings and quickly access them, Intelligent Auto for less experienced users, and the Creative Movie mode which provides access to all of the camera’s extensive range of video options.

The Panasonic Lumix GH6’s range of 8 different filter effects, which were denoted by an artist’s palette on the GH5’s shooting mode dial, are now only accessible via the main menu system (effectively replaced by the C4 mode). There are also 15 different customisable Photo Styles which still allow full control of the camera’s settings.




Panasonic Lumix GH6

The red movie record buttons on the top and front of the camera allow you to start recording a movie with a single push of a button and then stop recording by pressing the same button, regardless of which shooting mode is currently selected. This is a lot more intuitive than having to select the movie mode then press the shutter button, although you can still start/stop movie recording via the GH6’s shutter button if you wish.

The Creative Movie shooting mode, accessed via the mode dial on top of the GH6, allows you to set the shutter speed, aperture or both settings manually during recording (a Program option is also available). Changing the shutter speed is especially suitable for shooting fast-moving subjects, whilst the ability to control the aperture is convenient when there are several subjects in the frame positioned at different distances.

The Panasonic Lumix GH6 has a plethora of movie options, making it one of, if not the, the most full-featured interchangeable lens cameras on the market in terms of video. It also represents a big step forward when it comes to video specs and performance, even compared to the already very capable GH5 II model.

The new Panasonic GH6 model ups the ante by providing 5.7K 30p internal video recording available in ProRes 422 HQ and ProRes 422 for the first time in the LUMIX series.

It also offers 4:2:2 10-bit Cinema 4K 60p internal recording as well as simultaneous output in 4:2:2 10-bit Cinema 4K 60p over HDMI.

Other improvements include 4:2:0 10-bit 4K 120p (equivalent to 5x slow motion) and 4:2:2 10bit FHD 240p HFR (High Frame Rate) options, plus 5.7K 4:2:0 10-bit 60p/50p and 5.8K 30p/25p/24p 4:2:0 10-bit anamorphic 4:3 modes recorded utilising the full area of the sensor.

The LUMIX GH6 also contains V-Log/V-Gamut for the first time in the LUMIX G Series Micro Four Thirds camera line-up which provides 12+ stops of wide dynamic range, and there’s a brand new Dynamic Range Boost mode which expands it to 13+ stops.

The GH6 uses the full area of the sensor to record then downsamples it in-camera, which means that your framing won’t be cropped when composing.




Panasonic Lumix GH6

The GH6 is one of the few cameras that isn’t geographically limited, as you can choose from both NTSC and PAL settings, so you get the full range of frame rates regardless of where you bought the camera.

The Focus Transition tool allows you to create three focus points, between which the GH6 automatically shifts the focus at a constant speed. There’s a choice of five different speeds, and you can choose whether to start the transition immediately when recording begins or add a 5 or 10 second delay.

Importantly the GH6 offers unlimited video recording time in all modes by employing a forced-cooling fan mechanism to combat over-heating.

Dolby-quality stereo sound is recorded during video capture via the internal mics on top of the camera, which is a big improvement on the rather muffled noises recorded by most digital cameras, helped by the wind cut function which blocks out most of the noise from background wind.

You can also add the optional DMW-XLR1 XLR microphone adapter which attaches via the hotshoe and offers two XLR audio inputs with physical switches and dials for changing the levels, gain, and low cut filter of each input individually.

Live streaming is perhaps the biggest feature that has been removed from the new GH6. The GH5 M2 is capable of wireless live streaming in 1080/60p at 16Mbps via the LUMIX Sync smartphone app, or by connecting directly to a Wi-Fi router, but the GH6 rather surprisingly doesn’t support this at all. Maybe it will be added in a future firmware update.

On the rear of the Lumix GH6 is exactly the same 3 inch LCD screen with 100% scene coverage and 1,840K dot resolution as found on the GH5 II. The rotating, free-angle monitor, which is hinged on the left side of the camera (looking from the rear), can be flipped out and twisted through 270 degrees.

You can use the screen as a waist-level viewfinder, holding the camera overhead, and even for turning the GH6 on yourself for arm-length self-portraits. There’s also the added benefit of folding the screen away against the camera body to protect it when stored in a camera bag, preventing it from becoming marked or scratched.




Panasonic Lumix GH6

The 1,840K pixel screen offers a wider colour gamut and brightness that has been improved by 150% compared to the original GH5.

The Auto Power LCD function automatically detects the current lighting conditions and boosts the LCD backlighting by up to 40% when shooting outdoors in bright sunshine, helping to keep the screen visible. The handy level gauge indicates the two directions of horizontal lean and front/rear tilt.

The Panasonic Lumix GH6 inherits the GH5’s clever touchscreen interface. Panasonic have wisely restricted the amount of things that you can do by interacting with the screen, and indeed you can still operate everything on the camera without having to push and prod the LCD at all.

You would be missing out on a lot of genuinely useful functionality, though, which really improves the overall shooting experience. A clever feature called Touchpad AF allows you to move the focus point area with your finger on the LCD while you’re looking through the EVF.

The most immediately noticeable function is the ability to use the 1-area AF mode to focus on your main subject simply by touching it on the LCD. If the subject then moves, the Panasonic Lumix GH6 cleverly follows it around the screen using the the AF tracking function. If the subject exits the frame entirely, simply recompose and tap it again to start focusing. Impressive stuff that makes focusing on off-center subjects fast and intuitive.

It is a little too easy to accidentally press the screen and set the focus point to the wrong area for the current subject, but a simple tap in the middle of the LCD will center the AF point (or you can turn this feature off altogether). The size of the AF point itself can also be changed via an interactive onscreen slider.

If you prefer to manually focus rather than use the fast AF system, you can magnify any part of the subject by 1x, 5x or 10x by simply dragging the image around the screen. The final touchscreen ability from an image composition point of view is the ability to release the shutter, with a small icon on the right hand screen enabling this functionality, and then a single on-screen tap all that’s required to take the picture.

All of the menu options can be changed via the touchscreen interface, including the Main menu system. You can also control image playback by touching the screen, with the ability to tap a thumbnail to see the full-size version, scroll through your images by dragging them from side to side, and magnifying them up to 16x.




Panasonic Lumix GH6

The Panasonic GH6 has exactly the same electronic viewfinder as the GH5 II. The OLED unit has a large 1.52x (0.76x on 35mm equiv.) magnification, 100% field of view, 1000:1 contrast ratio and 3,680K-dot resolution, resulting in one of the better EVFs that we’ve used. The EVF (and also the main LCD screen) operate at a native rate of up to 120fps, twice as fast as the original GH5, which helps make it flicker-free.

The Panasonic Lumix GH6 has a time lapse function in which you can set the time interval and the number of images to take, plus a multi-exposure option that lets you combine up to four exposures in a single frame, while the Stop Motion Animation mode allows you to create unique stop motion videos. Sadly the 6K Photo modes, Post Focus and Focus Stacking options have all disappeared from the new GH6.

The Wi-Fi function (802.11ac) lets you use your smartphone to change the camera settings (focus setting, exposure compensation, ISO, WB and Photo Styles) and even fire the shutter button remotely (including interval video recordings), while the auto transfer function automatically backs up your photos onto a tablet. You can also use GPS data from your smartphone to record the shooting location onto your images. The Bluetooth option establishes a low-energy, permanent connection between the camera and a smart device for easier transfer of images.

On the rear of the Panasonic Lumix GH6, from left to right, is a Lock Lever for locking the current controls/settings, a Playback button, Af area button which is surrounded by the AF Type switch, separate AF On button, the rear control dial, which is used for, amongst other things, changing the aperture and shutter speed by turning from left to right and back again, and a thumb-controlled joystick. This is much better positioned than on the GH5 and allows you to quickly and easily select the AF point without taking your eyes off the subject.

Underneath are the Quick Menu, Back/Delete and Display buttons. In shooting mode, the Display button alternates between turning the display off, the main camera settings as icons, no settings at all, and an Info Display which shows the current key settings in a clear graphical format. You can additionally press the Q.Menu button and then use the navigation pad to move between the onscreen options.

The Q.Menu button provides quick access to most of the principal controls, including ISO speed, image size, image quality and white balance (there are 12 settings in total, depending upon the shooting mode selected). You can still access all of these options from the main menu system too.




Panasonic Lumix GH6

The Panasonic Lumix GH6 has a traditional 4-way navigation pad system with a circular scroll wheel and Menu/Set button in the centre. Unlike other G-series cameras, the four directions on the d-pad don’t have a specific function, other than to move through and select options, playback images etc. The circular scroll wheel can also accomplish many of the same things.

The main menu system on the GH6 is very clear and straight-forward to use and is accessed by pressing the Menu/Set button in the middle of the navigation pad. There are up to 6 main menus represented by a column of icons on the left of the screen, depending on which shooting mode you’re currently using, which then show up to 7 sub-menus each showing 8 options onscreen at once.

On the bottom of the Panasonic Lumix GH6 is a metal tripod socket, importantly in-line with the middle of the lens barrel, and the battery compartment housing the same DMW-BLK22 battery as found in the GH5 II. Battery life is a maximum of 380 still images / 100 minutes of video when using an SD memory card or 350 images / 90 minutes of video when using a CFexpress card.

On the right side are the Remote port for use with the optional remote shutter release and the dual CFexpress card (Type B) and UHS-II V90 SD memory card slots.

On the left is the Mic socket for use with a 3.5mm external microphone, and three connection ports, including a port for external headphones (again 3.5mm in size), USB-C port and a very welcome full-sized HDMI port for connecting the GH6 to a HD television or monitor.

Image Quality

All of the sample images in this review were taken using the 25M Fine JPEG image size option, which produces an average image size of around 12Mb.

The GH6 is the first Panasonic Micro Four Thirds camera to push past the 20 megapixel barrier, utilising a brand new 25.2-megapixel Live MOS Sensor with no low-pass filter.

The Panasonic Lumix GH6 produced images of outstanding quality during the review period. It produces noise-free images at ISO 100 to 1600, with limited noise starting to appear at ISO 3200. ISO 6400 and 12800 exhibit quite visible noise and loss of fine detail, while the fastest setting of 25600 looks much better on paper than in reality.

The various Photo Styles and Filters allow you to quickly and easily customise the look of the camera’s JPEG and Raw images before you take them. The night photograph was excellent, with the maximum shutter speed of 60 seconds and Bulb mode of up to 30 minutes allowing you to capture plenty of light.

The High Resolution Mode successfully creates much larger 50 or 100 megapixel images and can be employed when the camera is mounted on a tripod and also hand-held. It’s still best reserved for use with non-moving subjects.

Noise

There are 10 different ISO settings available on the Panasonic Lumix GH6 which you can select at any time if the camera is in one of the creative shooting modes. Here are some 100% crops which show the noise levels for each ISO setting for both JPEG and RAW formats.

JPEG

RAW

ISO 50 (100% Crop)

ISO 50 (100% Crop)
iso100.jpg iso100raw.jpg

ISO 100 (100% Crop)

ISO 100 (100% Crop)
iso100.jpg iso100raw.jpg

ISO 200 (100% Crop)

ISO 200 (100% Crop)
iso200.jpg iso200raw.jpg

ISO 400 (100% Crop)

ISO 400 (100% Crop)
iso400.jpg iso400raw.jpg

ISO 800 (100% Crop)

ISO 800 (100% Crop)
iso800.jpg iso800raw.jpg

ISO 1600 (100% Crop)

ISO 1600 (100% Crop)
iso1600.jpg iso1600raw.jpg

ISO 3200 (100% Crop)

ISO 3200 (100% Crop)
iso3200.jpg iso3200raw.jpg

ISO 6400 (100% Crop)

ISO 6400 (100% Crop)
iso6400.jpg iso6400raw.jpg

ISO 12800 (100% Crop)

ISO 12800 (100% Crop)
iso6400.jpg iso6400raw.jpg

ISO 25600 (100% Crop)

ISO 25600 (100% Crop)
iso6400.jpg iso6400raw.jpg

File Quality

The Panasonic Lumix GH6 has 2 different JPEG image quality settings available, with Fine being the highest quality option. Here are some 100% crops which show the quality of the various options, with the file size shown in brackets.

Fine (8.2Mb) (100% Crop)

Standard (3.1Mb) (100% Crop)
quality_fine.jpg quality_normal.jpg

RAW (36.5Mb) (100% Crop)
quality_raw.jpg

High Resolution Mode

The Panasonic Lumix GH6’s High Resolution Mode combines 8 shots into a 100 megapixel image to create a super high-resolution photo. There’s also a smaller 50.5 megapixel setting. The resulting 100MP Raw files are 144Mb in size!

Off (100% Crop)

On (100% Crop)
high_resolution_off.jpg high_resolution_mode1.jpg

Photo Styles

Panasonic’s Photo Styles are preset combinations of different sharpness, contrast, saturation and noise reduction settings. The 15 available Photo Styles are shown below in the following series, which demonstrates the differences. There are also four Custom options so that you can create your own looks.

Standard
photo_styles_01.jpg

Vivid
photo_styles_02.jpg

Natural
photo_styles_03.jpg

L.ClassicNeo
photo_styles_04.jpg

Flat
photo_styles_05.jpg

Landscape
photo_styles_06.jpg

Portrait
photo_styles_07.jpg

Monochrome
photo_styles_08.jpg

L.Monochrome
photo_styles_09.jpg

L.Monochrome D
photo_styles_09.jpg

L.Monochrome S
photo_styles_09.jpg

Cinelike D2
photo_styles_09.jpg

Cinelike V2
photo_styles_09.jpg

Like709
photo_styles_09.jpg

V-Log
photo_styles_09.jpg

Filter Effects

The Panasonic Lumix GH6 offers a range of digital filter effects that can be applied to both JPEG and Raw files, with 8 different options available in the main menu.

Expressive
filters_01.jpg

Retro
filters_02.jpg

Old Days
filters_03.jpg

High Key
filters_04.jpg

Low Key
filters_05.jpg

Sepia
filters_06.jpg

Cross Process
filters_13.jpg

Bleach Bypass
filters_16.jpg

Night

The Panasonic Lumix GH6’s maximum shutter speed is 60 seconds and there’s also a Bulb option for exposures up to 30 minutes long, which is excellent news if you’re seriously interested in night photography.

The shot below was taken using a shutter speed of 30 seconds at ISO 100. If the Long Exposure NR main menu option is set to ON, the camera takes the same amount of time again to apply noise reduction, so for example at the 15 second setting the actual exposure takes 30 seconds.

iso6400.jpg

Sample Images

This is a selection of sample images from the Panasonic Lumix GH6 camera, which were all taken using the 25.2 megapixel Fine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

Sample RAW Images

The Panasonic Lumix GH6 enables users to capture RAW and JPEG format files. We’ve provided some Panasonic RAW (RW2) samples for you to download (thumbnail images shown below are not 100% representative).

Sample Movies & Video

This is a sample 5.8K/25p movie at the quality setting of 5670×4320 pixels at 25 frames per second. Please note that this 21 second movie is 510Mb in size.

This is a sample 5.7K/50p movie at the quality setting of 5728×3024 pixels at 50 frames per second. Please note that this 21 second movie is 759Mb in size.

This is a sample 4.4K/50p movie at the quality setting of 4352×3264 pixels at 50 frames per second. Please note that this 21 second movie is 760Mb in size.

This is a sample C4K/100p movie at the quality setting of 4096×2160 pixels at 100 frames per second. Please note that this 16 second movie is 577Mb in size.

This is a sample C4K/50p movie at the quality setting of 4096×2160 pixels at 50 frames per second. Please note that this 16 second movie is 1.21Gb in size.

This is a sample C4K/25p movie at the quality setting of 4096×2160 pixels at 25 frames per second. Please note that this 16 second movie is 1813Mb in size.

This is a sample 4K/100p movie at the quality setting of 3840×2160 pixels at 100 frames per second. Please note that this 15 second movie is 587Mb in size.

This is a sample 4K/50p movie at the quality setting of 3840×2160 pixels at 50 frames per second. Please note that this 15 second movie is 1.17Gb in size.

This is a sample FHD/200p movie at the quality setting of 1920×1080 pixels at 200 frames per second. Please note that this 16 second movie is 421Mb in size.

Product Images

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Conclusion

The new Panasonic Lumix GH6 delivers virtually everything that an aspiring one-man/woman videographer could ever want from a hybrid camera.

Offering every conceivable combination of settings under the sun, commendably all with unlimited recording thanks to the integration of a heat-sink and fan, this really is the swiss-army-knife of the mirrorless world.

The only so-called “missing” feature is 8K recording, something that several full-frame rivals now offer, but we think that 5.7K/60p and 4K/120p recording and the plethora of other options on offer more than makes up for this.

Such a clear focus on movie-making doesn’t mean that the GH6 is less accomodating to photographers. With a brand new 25 megapixel sensor that finally breaks the 20mp barrier and 100-megapixel handheld high-resolution shooting, Panasonic clearly haven’t forgotten the stills shooter.

It’s not all good news, however, as several features from the GH5 II have completely disappeared from this new model, including 6K/4K Photo Modes, Focus Stacking and Post Focus, and Live Streaming. We don’t really know why any of these have been removed, or whether they’ll be added to the GH6 at a later date via a firmware update – we certainly hope so.

Also, the GH6 is the biggest and heaviest Panasonic Micro Four Thirds camera to date, an unavoidable consequnce of its built-in fan – if you want your MFT camera to be small and unassuming, you’ll need to look elsewhere.

Finally, while the updated contrast-detection AF system is faster and more reliable than before, it still doesn’t compare that well to the best phase-detect AF systems from other mirrorless camera manufacturers, including the GH6’s main MFT rival, the OM System OM-1.

Overall, the much anticipated Panasonic GH6 has been well worth the wait. Compared to 2021’s incremental GH5 II release, the new GH6 represents a much bigger step forward, especially for videography where it simply has no real competition at its £$2000 price-point.

5 stars

Ratings (out of 5)
Design 4.5
Features 5
Ease-of-use 4.5
Image quality 5
Value for money 5

Main Rivals

Listed below are some of the rivals of the Panasonic Lumix GH6.

The EOS R6 is the best ever Canon mirrorless camera – there, we said it! If you want to find out why, carry on reading our in-depth Canon EOS R6 review, complete with full-size sample photos and videos.

The Nikon Z6 II mirrorless camera is an evolutionary upgrade of the original Z6, principally improving the autofocusing, buffer and video and adding a second memory card slot. Is this enough to compete with its main rivals? Find out now by reading our in-depth Nikon Z6 II review, complete with full size sample photos and videos…

The new OM-D E-M1 Mark III is a serious camera for serious photographers, designed to showcase the very best that Olympus has to offer. In the increasingly competitive high-end camera market, does it have what it takes to stand out from the crowd and attract new users as well as satisfy existing ones? Read our Olympus OM-D E-M1 Mark III review to find out…

Panasonic have enjoyed a lot of success with the video-centric GH5 camera, and now they’ve turned their attention to the enthusiast and professional stills photographer with the release of the exciting new G9. Read our in-depth Panasonic G9 review now to find out more…

The much anticipated Panasonic GH6 may be on the near-horizon, but the brand new GH5 Mark II is here right now. What does the new version offer, and can it really improve on the best-selling original? We find out in our review of the Panasonic Lumix GH5 II mirrorless camera, complete with sample photos, test shots, videos and more…

The Panasonic Lumix GH5 is one of the most hotly-anticipated cameras of 2017, offering even more video options than its popular predecessor and seriously beefed up photo capabilities. Read our in-depth Panasonic Lumix GH5 review complete with with sample photos, test shots, videos and more…

The Panasonic Lumix GH5S is a new video-centric mirrorless camera that excels in low-light conditions thanks to it’s 10 megapixel sensor, latest Venus processing engine, and innovative Dual Native ISO technology. Check out our Panasonic Lumix GH5S review for our full verdict…

The Panasonic S5 is a brand new hybrid full-frame mirrorless camera that’s equally as capable at shooting both stills and video. In an ever more crowded market, does the Lumix S5 offer enough to stand out against the likes of the Sony A7 III, Canon EOS R and Nikon Z6? Read our in-depth review of the Panasonic S5 to find out, complete with full-size sample photos and videos.

The Sigma fp L is a 61 megapixel, 35mm full-frame mirrorless camera that shoots 4K/30p video. It’s aimed at both demanding film-makers and stills photographers alike, but can this 2021 update of the original fp model really satisfy the needs of both types of user? Find out out now by reading our in-depth Sigma fp L review, complete with full-size sample JPEG and Raw images and videos.

The new Sony Alpha A7 IV is a new 33 megapixel, 4K/60p video, 10fps burst shooting, cutting-edge auto-focusing hybrid full-frame mirrorless model that pulls no punches in its bid to be the only camera that you need. Find out why we think this is one of the best all-round cameras of 2021 by reading our in-depth Sony A7 IV review…

Sony are attempting to turn the camera world on its head by creating a new 35mm full-frame camera that’s the same size and weight as one with a smaller APS-C sensor. Have they succeeded with the new Sony A7C, and is it a great camera in its own right? Find out now by reading our Sony A7C review complete with full-size sample photos and videos.

It’s been 5 long years since its popular predecessor was launched, but now the new Sony A7S III full-frame mirrorless camera is finally with us! Is this the most capable hybrid 4K video camera available today? Find out now by reading our in-depth Sony Alpha 7S III review, complete with full-size photos and videos for you to download and evaluate…

Review Roundup

Reviews of the Panasonic Lumix GH6 from around the web.

The mirrorless filmmaking world may have become more focussed on full-frame cameras since Panasonic’s GH Lumix series emerged, but the GH6 shows that there’s still life in the Micro Four Thirds sensor format. Small and lightweight but packed with a remarkable array of video options and excellent image quality, the GH6 also boasts superb handling and image stabilization and perhaps the best contrast-based autofocus yet seen on a Panasonic camera. It’s a dependable stills camera, too.

Read the full review »

Independent filmmakers and creatives would struggle to find a camera with a more comprehensive list of high quality recording options. While some may feel that having a Micro Four Thirds sensor and contrast autofocus is outdated, the GH6 holds its own with cameras almost twice its price in terms of functionality and image quality and excels beyond the competition with unbeatable in-body stabilisation.

Read the full review »

If you’re after a hybrid camera focused towards video, especially high frame rate 4k, the Lumix GH6 becomes one of the most compelling models around. You get 4k 120 with no reduction in quality, internal 5.7k ProRes, unlimited recording thanks to active cooling, pro-level assist tools including waveform and vectorscope monitors, full V-Log, support for anamorphic, excellent built-in stabilisation and a cunning screen mechanism.

Read the full review »

Specifications

TYPE

  • Type

    • Digital Single Lens Mirrorless camera

  • Lens mount

IMAGE SENSOR

  • Type

    • Live MOS sensor (17.3 x 13.0 mm)

  • Camera effective pixels / Total pixels

    • 25.21 megapixels / 26.52 megapixels

  • AR (Anti Reflection) coating

  • Aspect ratio / Color filter

    • 4:3 / Primary color filter

  • Dust reduction system

LATITUDE

  • Dynamic Range Boost ON: 13+ stops (V-Log)
    Dynamic Range Boost OFF: 12+ stops (V-Log)

STILL IMAGE

  • Recording file format

    • JPEG (DCF, Exif 2.31), RAW

  • Aspect ratio

  • File size (Pixels)

    • 4:3

      • 5776×4336(L) / 4096×3072(M) / 2944×2208(S) / 11552×8672(XL)* / 8192×6144(LL)* *High Resolution Mode.

    • 3:2

      • 5776×3848(L) / 4096×2728(M) / 2944×1960(S) / 11552×7696(XL)* / 8192×5464(LL)* *High Resolution Mode.

    • 16:9

      • 5776×3248(L) / 4096×2304(M) / 2944×1656(S) / 11552×6496(XL)* / 8192×4608(LL)* *High Resolution Mode.

    • 1:1

      • 4336×4336(L) / 3072×3072(M) / 2208×2208(S) / 8672×8672(XL)* / 6144×6144(LL)* *High Resolution Mode.

  • Image quality

    • RAW / RAW+Fine / RAW+Standard / Fine / Standard

  • Color space

MOTION PICTURE

  • Recording file format

    • MOV: H.264/MPEG-4 AVC, H.265/HEVC, Apple ProRes
      MP4: H.264/MPEG-4 AVC, H.265/HEVC

  • Audio format

    • MOV: LPCM (2ch 48kHz/24-bit, 96kHz/24-bit*) (4ch 48kHz/24-bit**, 96kHz/24-bit**)
      MP4: AAC (2ch 48kHz/16-bit)
      *When attaching Φ3.5mm microphone or DMW-XLR1 (sold separately). **When attaching DMW-XLR1 (sold separately).

  • System frequency

    • 59.94Hz / 50.00Hz / 24.00Hz

  • Image area of video

  • MOV (*¹) (*²) *HLG is selectable.

    • 59.94Hz [5.8K] 5760×4320 (4:3)

      • 29.97p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        23.98p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

    • 59.94Hz [5.7K] 5728×3024 (17:9)

      • 59.94p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        47.95p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        29.97p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        23.98p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

    • 59.94Hz [4.4K] 4352×3264 (4:3)

      • 59.94p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        47.95p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

    • 59.94Hz [C4K] 4096×2160

      • 119.88p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        59.94p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        59.94p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        47.95p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        47.95p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        29.97p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        23.98p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        *When Dynamic Range Boost is set to OFF.

    • 59.94Hz [4K] 3840×2160

      • 119.88p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        59.94p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        59.94p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        47.95p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        47.95p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        29.97p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        23.98p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        *When Dynamic Range Boost is set to OFF.

    • 59.94Hz [FHD] 1920×1080

      • 239.76p, 800Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)*/**
        239.76p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*/**
        119.88p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)*
        119.88p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        59.94p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        59.94p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        59.94i, 100Mbps (4:2:2 10-bit ALL-Intra) / 50Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        47.95p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        47.95p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        29.97p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        29.97p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        23.98p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        23.98p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        *When Dynamic Range Boost is set to OFF. **When Image Area of Video is set to FULL.

    • 50.00Hz [5.8K] 5760×4320 (4:3)

      • 25.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

    • 50.00Hz [5.7K] 5728×3024 (17:9)

      • 50.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        25.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

    • 50.00Hz [4.4K] 4352×3264 (4:3)

      • 50.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

    • 50.00Hz [C4K] 4096×2160

      • 100.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        50.00p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        25.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        *When Dynamic Range Boost is set to OFF.

    • 50.00Hz [4K] 3840×2160

      • 100.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        50.00p, 800Mbps (4:2:2 10-bit ALL-Intra) / 600Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        25.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        *When Dynamic Range Boost is set to OFF.

    • 50.00Hz [FHD] 1920×1080

      • 200.00p, 800Mbps (4:2:2 10-bit ALL-Intra) / 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)*/**
        200.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*/**
        100.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)*
        100.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        50.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        50.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        50.00i, 100Mbps (4:2:2 10-bit ALL-Intra) / 50Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        25.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        25.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        *When Dynamic Range Boost is set to OFF. **When Image Area of Video is set to FULL.

    • 24.00Hz [5.8K] 5760×4320 (4:3)

      • 24.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

    • 24.00Hz [5.7K] 5728×3024 (17:9)

      • 48.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        24.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

    • 24.00Hz [4.4K] 4352×3264 (4:3)

      • 48.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

    • 24.00Hz [C4K] 4096×2160

      • 120.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        24.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        *When Dynamic Range Boost is set to OFF.

    • 24.00Hz [4K] 3840×2160

      • 120.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        24.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        *When Dynamic Range Boost is set to OFF.

    • 24.00Hz [FHD] 1920×1080

      • 120.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)*
        120.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        24.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
        24.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
        *When Dynamic Range Boost is set to OFF.

  • MP4 (*¹)

    • 59.94Hz [4K] 3840×2160

      • 59.94p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)*
        29.97p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)*
        23.98p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)*
        29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
        23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
        *HLG is selectable.

    • 59.94Hz [FHD] 1920×1080

      • 59.94p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
        29.97p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
        23.98p, 24Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

    • 50.00Hz [4K] 3840×2160

      • 50.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)*
        25.00p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)*
        25.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
        *HLG is selectable.

    • 50.00Hz [FHD] 1920×1080

      • 50.00p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
        25.00p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

    • 24.00Hz –

  • Apple ProRes (*¹) (*²)

    • 59.94Hz [5.7K] 5728×3024 (17:9)

      • 29.97p, 1.9Gbps (Apple ProRes 422 HQ) / 1.3Gbps (Apple ProRes 422) (H.264/MPEG-4 AVC, LPCM)
        23.98p, 1.5Gbps (Apple ProRes 422 HQ) / 1.0Gbps (Apple ProRes 422) (H.264/MPEG-4 AVC, LPCM)

    • 50.00Hz [5.7K] 5728×3024 (17:9)

      • 25.00p, 1.6Gbps (Apple ProRes 422 HQ) / 1.1Gbps (Apple ProRes 422) (H.264/MPEG-4 AVC, LPCM)

    • 24.00Hz [5.7K] 5728×3024 (17:9)

      • 24.00p, 1.5Gbps (Apple ProRes 422 HQ) / 1.0Gbps (Apple ProRes 422) (H.264/MPEG-4 AVC, LPCM)

VARIABLE FRAME RATE

  • MOV (*¹) *HLG is selectable.

    • 59.94Hz [5.7K] 5728×3024 (17:9)

      • 29.97p (Maximum output of sensor is 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        23.98p (Maximum output of sensor is 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *When Image Area of Video is set to FULL.

    • 59.94Hz [C4K] 4096×2160

      • 59.94p (Maximum output of sensor is 120fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        29.97p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)
        29.97p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        23.98p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)
        23.98p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *Maximum output of sensor is 60fps when Dynamic Range Boost is set to ON.

    • 59.94Hz [4K] 3840×2160

      • 59.94p (Maximum output of sensor is 120fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        29.97p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)
        29.97p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        23.98p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)
        23.98p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *Maximum output of sensor is 60fps when Dynamic Range Boost is set to ON.

    • 59.94Hz [FHD] 1920×1080

      • 59.94p (Maximum output of sensor is 240fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)*
        59.94p (Maximum output of sensor is 300fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        29.97p (Maximum output of sensor is 240fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)*
        29.97p (Maximum output of sensor is 300fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        23.98p (Maximum output of sensor is 240fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)*
        23.98p (Maximum output of sensor is 300fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *Maximum output of sensor is 60fps when Dynamic Range Boost is set to ON.
        *Maximum output of sensor is 120fps when Image Area of Video is set to PIXEL/PIXEL.

    • 50.00Hz [5.7K] 5728×3024 (17:9)

      • 25.00p (Maximum output of sensor is 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *When Image Area of Video is set to FULL.

    • 50.00Hz [C4K] 4096×2160

      • 50.00p (Maximum output of sensor is 120fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        25.00p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)
        25.00p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *Maximum output of sensor is 60fps when Dynamic Range Boost is set to ON.

    • 50.00Hz [4K] 3840×2160

      • 50.00p (Maximum output of sensor is 120fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        25.00p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)
        25.00p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *Maximum output of sensor is 60fps when Dynamic Range Boost is set to ON.

    • 50.00Hz [FHD] 1920×1080

      • 50.00p (Maximum output of sensor is 240fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)*
        50.00p (Maximum output of sensor is 300fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        25.00p (Maximum output of sensor is 240fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)*
        25.00p (Maximum output of sensor is 300fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *Maximum output of sensor is 60fps when Dynamic Range Boost is set to ON.
        *Maximum output of sensor is 120fps when Image Area of Video is set to PIXEL/PIXEL.

    • 24.00Hz [5.7K] 5728×3024 (17:9)

      • 24.00p (Maximum output of sensor is 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *When Image Area of Video is set to FULL.

    • 24.00Hz [C4K] 4096×2160

      • 24.00p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)
        24.00p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *Maximum output of sensor is 60fps when Dynamic Range Boost is set to ON.

    • 24.00Hz [4K] 3840×2160

      • 24.00p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)
        24.00p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *Maximum output of sensor is 60fps when Dynamic Range Boost is set to ON.

    • 24.00Hz [FHD] 1920×1080

      • 24.00p (Maximum output of sensor is 240fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM)*
        24.00p (Maximum output of sensor is 300fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
        *Maximum output of sensor is 60fps when Dynamic Range Boost is set to ON.
        *Maximum output of sensor is 120fps when Image Area of Video is set to PIXEL/PIXEL.

VIEWFINDER

  • Type

  • Pixels

    • Approx. 3.68 million dots

  • Field of view / Magnification

    • Approx. 100% / Approx. 1.52x / 0.76x (35mm camera equivalent) with 50 mm lens at infinity; -1.0 m-1, when the aspect ratio is set to 4:3

  • Eye point / Diopter adjustment

    • Approx. 21 mm at infinity; -1.0 m-1 / -4.0 – +3.0 (dpt)

  • Eye sensor

REAR MONITOR

  • Type

    • TFT LCD monitor with static touch control

  • Monitor size

    • Tilt free-angle, 3.0-inch (7.6cm), 3:2 aspect

  • Pixels

    • Approx. 1.84 million dots

  • Field of view

FOCUS (*³)

  • Type

  • DFD technology

  • Focus mode

    • AFS (Single) / AFC (Continuous) / MF

  • AF mode

    • Tracking / Full Area AF / Zone (Horizontal/Vertical) / Zone / 1-Area+ / 1-Area / Pinpoint
      *Automatic Detection can be turned ON to switch between Human/ Face/Eye/ Animal+Human. Except when Pinpoint is set.

  • AF detective range

    • EV -4 – 18 (F2.0, ISO100 equivalent, AFS)

  • AF custom setting

    • AF Sensitivity, AF Area Switching Sensitivity, Moving Object Prediction

  • AF assist light

  • AF lock

    • Set the Fn button in custom menu to AF lock

  • Focus ring control

    • Nonlinear / Linear* (90°/ 120°/ 150°/ 180°/ 210°/ 240°/ 270°/ 300°/ 330°/ 360°/ 720°/ 1080°/ Maximum) *When a compatible lens is attached.

  • Others

    • AF-ON, AF-ON: Near Shift, AF-ON: Far Shift, Focus Limiter, Focus Peaking, 1-Area AF Moving Speed, Continuous AF (during motion picture recording), Focus/Shutter Priority, Focus Switching for Vert/Hor, AF/AE Lock Hold, AF+MF, MF Assist, MF Guide, Focus Ring Lock, Show/Hide AF Mode, Shutter AF, Half Press Shutter, Quick AF, Eye Sensor AF, Loop Focus Frame, Enlarged Live Display (Video), Touch Shutter, Touch AF/AE Function, Touch Pad AF, Lens Focus Resume

EXPOSURE CONTROL

  • Light metering system

    • 1,728-zone multi-pattern sensing system

  • Light metering mode

    • Multiple / Center Weighted / Spot / Highlight Weighted

  • Metering range

    • EV0-18 (F2.0 lens, ISO100 equivalent)

  • Mode dial

    • Program AE (P) / Aperture Priority AE (A) / Shutter Priority AE (S) / Manual Exposure (M) / Creative Video (P/A/S/M)* / Custom 1, 2, 3, 4 / Intelligent Auto
      *The same exposure operations as P/A/S/M mode is available.

  • Exposure compensation

    • 1/3 EV step ±5EV (±3EV for motion picture)

  • Dynamic Range Boost

  • ISO sensitivity (Standard output sensitivity)

    • Still image

    • Motion picture

      • [Normal]
        Dynamic Range Boost OFF (Base ISO 100): Auto / 50 (Extended ISO) / 100-12800
        Dynamic Range Boost ON (Creative Video Mode) (Base ISO 800): Auto / 800-12800

        [V-Log]
        Dynamic Range Boost OFF (Base ISO 250): Auto / 125 (Extended ISO) / 250-12800
        Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800

        [Hybrid Log Gamma]
        Dynamic Range Boost OFF (Base ISO 250): Auto / 250-12800
        Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800

        *Switchable between 1/3 or 1 EV step.

  • AE lock

    • Set the Fn button in custom menu to AE lock

IMAGE STABILIZATION SYSTEM

WHITE BALANCE

  • White balance

    • AWB / AWBc / AWBw / Daylight / Cloudy / Shade / Incandescent / Flash / White Set 1, 2, 3, 4 / Color temperature setting 1, 2, 3, 4

  • White balance adjustment

    • Blue/Amber bias, Magenta/Green bias

  • Color temperature setting

SHUTTER

  • Type

  • Shutter speed

    • Still image: Bulb (Max. 30 minutes), 1/8,000 – 60
      Electronic front curtain shutter: Bulb (Max. 30 minutes), 1/2,000 – 60
      Electronic shutter: Bulb (Max. 60 sec), 1/32,000 – 60
      Motion picture: 1/25,000 – 1/25
      Creative Video M mode / MF mode: 1/25,000 – 1/8

  • Self timer

    • 10sec, 3 images / 2sec / 10sec / Custom Time

  • Remote control

    • Remote control by DMW-RS2 (sold separately)

  • Silent mode / Shutter type

    • Yes / Yes (Auto / Mechanical / Electronic front curtain / Electronic / Electronic+NR)

BRACKET

  • AE bracket

    • 3, 5, 7 images in 1/3, 2/3 or 1 EV step, max. ±3 EV, single/burst

  • Aperture bracket

  • Focus bracket

    • 1 to 999 images, focus steps can be set in 10 levels

  • White balance bracket

    • 3 images in blue/amber axis or in magenta/green axis, color temperature setting

BURST SHOOTING

  • Burst speed

    • Mechanical shutter / Electronic front curtain shutter

      • H: 14 frames/sec (AFS/MF), 8 frames/sec (AFC) (with Live View)
        M: 6 frames/sec (AFS/MF) (with Live View), 5 frames/sec (AFC) (with Live View)
        L: 2 frames/sec (AFS/MF/AFC) (with Live View)

    • Electronic shutter

      • SH75: 75 frames/sec (AFS/MF)
        SH60: 60 frames/sec (AFS/MF)
        Sh30: 20 frames/sec (AFS/MF)
        H: 14 frames/sec (AFS/MF), 7 frames/sec (AFC) (with Live View)
        M: 6 frames/sec (AFS/MF) (with Live View), 5 frames/sec (AFC) (with Live View)
        L: 2 frames/sec (AFS/MF/AFC) (with Live View)

  • Number of recordable images

TIME LAPSE SHOT

STOP MOTION ANIMATION

FLASH

  • Flash type

    • TTL External Flash (sold separately)

  • Flash mode

    • Auto* / Auto/Red-eye Reduction* / Forced On / Forced On/Red-eye Reduction / Slow Sync. / Slow Sync./Red-eye Reduction / Forced Off *For iA only.

  • Flash synchronization

    • 1st Curtain Sync, 2nd Curtain Sync.

  • Flash output adjustment

  • Synchronization speed

  • Wireless control

    • Yes (When using DMW-FL200L / FL360L / FL580L (sold separately)), Wireless Channel: 1ch/2ch/3ch/4ch

  • Flash sync socket

EXTRA TELE CONVERSION

  • 2.0x (EX S), 1.4x (EX M) *Only for still image recording.

PHOTO STYLE

  • Photo Style

    • Standard / Vivid / Natural / L. Classic Neo / Flat / Landscape / Portrait / Monochrome / L. Monochrome / L. Monochrome D / L. Monochrome S / Cinelike D2 / Cinelike V2 / Like709 / V-Log / Hybrid Log Gamma / My Photo Style 1-10

  • Picture adjustment

    • Contrast / Highlight / Shadow / Saturation / Color Tone / Hue / Filter Effect / Grain Effect / Color Noise / Sharpness / Noise Reduction / ISO / WB
      *Adjustable settings vary depending on the Photo Style mode.

FILTER

  • Expressive / Retro / Old Days / High Key / Low Key / Sepia / Cross Process / Bleach Bypass

MOTION PICTURE FUNCTION

  • Master pedestal level

  • Luminance level

    • 8-bit: 0-255 / 16-235 / 16-255
      10-bit: 0‒1023 / 64‒940 / 64‒1023

  • Wave form monitor / Vectorscope

  • LUT view assist

    • Supported file types: .vlt, .cube
      Monitor / HDMI

  • HLG view assist

    • Monitor (MODE1 / MODE2 / OFF) / HDMI (AUTO / MODE1 / MODE2 / OFF)

  • Anamorphic desqueeze display

    • 2.0x / 1.8x / 1.5x / 1.33x / 1.30x / OFF

  • Synchro scan

  • SS/Gain operation

    • Shutter Duration/ISO / Angle/ISO / Shutter Duration/dB

  • Color bars / 1kHz test tone

    • Yes (SMPTE / EBU / ARIB) / Yes

  • Knee control

  • Red REC frame indicator

VERTICAL POSITION INFORMATION

  • Still image / Motion picture (ON/OFF)

LEVEL GAUGE

FUNCTION BUTTON

  • REC

    • Exposure Comp. / Dynamic Range Boost / Sensitivity / White Balance / Photo Style / Metering Mode / Aspect Ratio / Picture Quality / Picture Size / 1 Shot Spot Metering / Long Exposure NR / Min. Shutter Speed / 1 Shot RAW+JPG / Filter Effect / One Push AE / Touch AE / Exposure Mode / Synchro Scan / AF Mode / AF Detection Setting / Detecting Subject / AF Custom Setting(Photo) / AF Custom Setting(Video) / Focus Limiter / Focus Limiter Range Set / Focus Peaking / Focus Peaking Sensitivity / 1-Area AF Moving Speed / Focus Ring Lock / AE LOCK / AF LOCK / AF/AE LOCK / AF-ON / AF-ON: Near Shift / AF-ON: Far Shift / Focus Area Set / Enlarged Live Display (Video) / Flash Mode / Flash Adjust. / Wireless Flash Setup / Drive Mode Setting / Bracketing / Silent Mode / Image Stabilizer / Shutter Type / Ex. Tele Conv. / Rec. File Format / Rec Quality / Rec Quality (My List) / Variable Frame Rate / Time Code Display / Audio Information / Sound Rec Level Disp. / Mute Sound Input / Sound Rec Level Adj. / Sound Rec Quality / Sound Rec Level Limiter / 4ch Mic Input / XLR Mic Adaptor Setting / Sound Monitoring Channel / Image Stabilizer / E-Stabilization (Video) / Boost I.S. (Video) / Image Area of Video / Focus Transition / Q.MENU / Rec/Playback Switch / Video Record / Video Record (Creative Video) / LVF/Monitor Switch / Dial Operation Switch / Preview / Preview Aperture Effect / Constant Preview / Level Gauge / Histogram / Luminance Spot Meter / Frame Marker / Photo Grid Line / Live View Boost / Monochrome Live View / Night Mode / LVF/Monitor Disp. Set / Video-Priority Display / Zebra Pattern / LUT View Assist (Monitor) / LUT View Assist (HDMI) / LUT Select / HLG View Assist(Monitor) / HLG View Assist (HDMI) / Sheer Overlay / I.S. Status Scope / WFM/Vector Scope / Anamorphic Desqueeze Display / Color Bars / Focus Ring Control/ Zoom Control / Step Zoom / Zoom Speed / Lens Information / Destination Card Slot / Wi-Fi / Fan Mode / Save to Custom Mode / No Setting / Off (Disable Press and Hold) / Restore to Default

  • PLAY

    • Magnify from AF Point / LUT View Assist (Monitor) / HLG View Assist (Monitor) / Anamorphic Desqueeze Display / RAW Processing / Delete Single / Protect / Rating 1, 2, 3, 4, 5 / Copy / Rec/Playback Switch / LVF/Monitor Switch / Video Record / Video Record (Creative Video) / Night Mode / Card Slot Change / Sound Monitoring Channel(Play) / Wi-Fi / Fan Mode / Send Image (Smartphone) / LUT View Assist (HDMI) / HLG View Assist (HDMI) / No Setting / Off (Disable Press and Hold) / Restore to Default

OSD LANGUAGE

  • Please refer to “OSD” Sheet

PRINT

INTERFACE

  • USB

    • USB Type-C (SuperSpeed USB 10Gbps (USB 3.2 Gen2))

  • HDMI (*⁴)

    • HDMI

      • HDMI TypeA
        Audio: ON / OFF, MP4: 2ch, MOV: 2ch (When [4ch Mic Input] is set to OFF.), 4ch (When [4ch Mic Input] is set to ON.)

    • Monitor-through

      • 4:2:2 10bit (When [Rec Quality] is set to [4:2:2 10bit] or [4:2:0 10bit].)
        4:2:2 8bit (When [Rec Quality] is set to [4:2:0 8bit].)
        Down Convert: Auto / C4K/4K / 1080p / 1080i / OFF

    • Playback

      • 59.94Hz: 8K/30p* / C4K/120p** / C4K/60p / C4K/30p / 4K/120p** / 4K/60p / 4K/30p / 1080/120p / 1080p / 1080i / 720p** / 480p**
        50.00Hz: 8K/25p* / C4K/100p** / C4K/50p / C4K/25p / 4K/100p** / 4K/50p / 4K/25p / 1080/100p / 1080p / 1080i / 720p** / 576p**
        24.00Hz: 8K/24p* / C4K/120p** / C4K/24p / 4K/120p** / 4K/24p / 1080/120p / 1080p
        *Only for still image playback. **Only for playback.

  • Remote input

  • Audio

    • Build-in microphone

      • Stereo
        Wind Noise Canceller: OFF / Standard / High

    • External microphone / External audio device input

      • φ3.5mm for external microphone / external audio device
        MIC (Plug-in Power) / MIC / LINE
        Wind Cut: OFF / Low / Standard / High *When attaching DMW-MS2 (sold separately).
        Special Mic: Stereo / Shotgun *When attaching DMW-MS2 (sold separately).

    • XLR microphone

      • Yes with DMW-XLR1 (sold separately)

    • 4ch mic input

      • Yes with DMW-XLR1 (sold separately)

    • Speaker

    • Headphone output

  • Card slot

    • Slot 1: CFexpress Card (CFexpress Type B)
      Slot 2: SD Memory Card / SDHC Memory Card* / SDXC Memory Card*
      *Compatible with UHS-I/UHS-II UHS Speed Class 3 standard SDHC/SDXC Memory Cards and UHS-II Video Speed Class 90 standard SDXC Memory Cards.

TC IN/OUT

  • TC IN/OUT

    • Yes with BNC Converter Cable (bundled)

  • Count up

  • Time code mode

    • Drop Frame / Non-Drop Frame (When system frequency [59.94Hz] is selected.)

  • HDMI time code output

  • External TC setting

    • TC Synchronization / TC Output Reference

FAN

  • Auto1 / Auto2 / Fast / Normal / Slow / OFF* *OFF can be set when in iA/P/A/S/M mode.

LAMP

  • Tally Lamp (front/rear) / Card Access Light / Power Indicator / Charging Light/Network Connection Light

WIRELESS

  • Wi-Fi

    • 2.4GHz (STA/AP) (IEEE802.11b/g/n)
      5GHz (STA) (IEEE 802.11a/n/ac)
      Security: WPA/WPA2/WPA3
      Please refer to “Wi-Fi” sheet

  • Bluetooth

    • Bluetooth® v5.0 (Bluetooth Low Energy (BLE))

DUST AND SPLASH RESISTANT*

  • Yes.
    *Dust and Splash Resistant does not guarantee that damage will not occur if this camera is subjected to direct contact with dust and water.

POWER

  • Battery

    • Li-ion Battery Pack (7.2V, 2200mAh, 16Wh) (bundled)
      USB power supply, USB power charging, USB power delivery

  • Battery life (CIPA standard)

    • When using CFexpress Card

      • Approx. 330 images, 750 images (Power Save LVF mode*) with H-ES12060 / DMW-BLK22
        Approx. 350 images, 800 images (Power Save LVF mode*) with H-FS12060 / DMW-BLK22
        *Using a Lexar CFexpress Type B card. Under the test conditions specified by Panasonic based on CIPA standard. When the time to get in the sleep mode is set to 1 sec.

    • When using SD memory card

      • Approx. 360 images, 850 images (Power Save LVF mode*) with H-ES12060 / DMW-BLK22
        Approx. 380 images, 900 images (Power Save LVF mode*) with H-FS12060 / DMW-BLK22
        *Using a Panasonic SDXC memory card. Under the test conditions specified by Panasonic based on CIPA standard. When the time to get in the sleep mode is set to 1 sec.

  • Continuous recordable time (Motion picture) (*¹)

    • When using CFexpress Card

      • MP4 [4K/60p]: Approx. 80 min with H-ES12060 / H-FS12060
        MP4 [FHD/60p]: Approx. 90 min with H-ES12060 / H-FS12060

    • When using SD memory card

      • MP4 [4K/60p]: Approx. 90 min with H-ES12060 / H-FS12060
        MP4 [FHD/60p]: Approx. 100 min with H-ES12060 / H-FS12060

  • Actual recordable time (Motion picture) (*¹)

    • When using CFexpress Card

      • MP4 [4K/60p]: Approx. 40 min with H-ES12060 / H-FS12060
        MP4 [FHD/60p]: Approx. 45 min with H-ES12060 / H-FS12060

    • When using SD memory card

      • MP4 [4K/60p]: Approx. 45 min with H-ES12060 / H-FS12060
        MP4 [FHD/60p]: Approx. 50 min with H-ES12060 / H-FS12060

DIMENSIONS / WEIGHT

  • Dimensions (W x H x D)

    • Approx. 138.4 x 100.3 x 99.6 mm / 5.45 x 3.95 x 3.92 inch (excluding protrusions)

  • Weight

    • Approx. 823g / 1.81 lb (SD Memory Card x 1, Battery, Body)
      Approx. 739g / 1.63 lb (Body only)

OPERATING ENVIRONMENT

  • Operating temperature (*⁵)

    • -10°C to 40°C (14°F to 104°F)

  • Operating humidity

STANDARD ACCESSORIES

Note

  • (*1) About motion picture recording

    – The cards that can be used for recording vary depending on the motion pictures bit rate and format type.
    Motion pictures with 72Mbp or less: CFexpress card, SD memory card with SD Speed Class with Class 10 or Video Speed Class 10 or higher
    Motion pictures with 200Mbp or less: CFexpress card, SD memory card with UHS-I / UHS-II UHS Speed Class 3 (U3) or Video Speed Class 30 or higher
    Motion pictures with 400Mbp or less: CFexpress card, SD memory card with Video Speed Class 60 or higher
    Motion pictures with 600Mbp or less: CFexpress card, SD memory card with Video Speed Class 90
    Motion pictures with 800Mbp or more, variable frame rate with ALL-Intra, or Apple ProRes: CFexpress card

    – A new file will be created to continue recording if the continuous recording time exceeds the following conditions.
    Motion pictures with less than 72Mbps: 30 minutes
    Motion pictures with 72Mbp or more: the maximum file size is 4 GB

    – A new file will be created to continue recording if the file size exceeds the following conditions.
    [MP4] in [FHD]: 4GB
    [MP4] in [4K]: 96GB
    [MOV] in 600Mbps or less: 192GB
    [MOV] in 800Mbps: 640GB
    [ProRes] in [5.7K]: 640GB

    – 4:2:2 10-bit recording is a recording mode for film production and the video needs to be processed on PC. The original video cannot be played on standard TV, Blu-ray Disc™ recorder and Blu-ray Disc™ player. It may cause problems such as freezing when played on these devices.

    – When the ambient temperature is high or continuous recording is performed, the camera may stop the recording to protect itself. Wait until the camera cools down.

    (*2) High-res audio is selectable only when attaching Φ3.5mm microphone or DMW-XLR1 (sold separately).
    (*3) About AF
    – Continuous AF is not available for High Frame Rate video shooting above 120p (200p or 240p). It will be the AFS operation for 1-Area AF. 200p High Frame Rate video shooting requires a firmware update for the compatible lens.
    – Automatic Detection is not available for High Frame Rate video shooting above 60p (100p or 120p).
    – Tracking and Automatic Detection are not available when using HDMI cable or USB connection cable for High Frame Rate video shooting (100p or 120p) above 60p.

    (*4) To output motion pictures with 4K or higher,use an Ultra High Speed HDMI cable (Type A–Type A plug, up to 1.5 m (4.9 feet) long).

    (*5) The camera may stop recording when used in lower or higher than recommended operating temperature: -10 to 40 degrees.

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