ALL-SINGING ALL-DANCING PANASONIC LUMIX GH6 IS A VIDEO STAR

THE MUCH-ANTICIPATED NEXT-GEN Lumix GH series M43 mirrorless camera is unashamedly targeting professional video makers, although there are a few new features that will appeal to photographers. Panasonic sees the GH6 as the more compact – and more affordable – alternative to its pro-level video cams so it’s been equipped with significantly more high-end features and capabilities than the GH5 II. Consequently, as a hybrid, the GH6 is more a video camera that can also do a good job as a stills camera than the other way around.

It’s built around a new ‘Live MOS’ CMOS sensor with an increased effective resolution of 25.2 megapixels – likely due to a BSI-type design, but Panasonic isn’t saying – and mated with the 11th generation version of the ‘Venus Engine’ processor which is twice as fast as previously. A key feature of the new feature is a development of the ‘dual gain’ circuitry which has two base ISOs to improve the signal-to-noise ratios at the higher sensitivities. Now there is a simultaneous dual high/low gain output to combine high saturation and low noise which enhances the detailing in both the highlights and the shadows. It’s a technology that’s used in some high-end cinema cameras and Panasonic calls it ‘Dynamic Range Boost’. Since both images are captured at the same time, there are none of the after effects or subject limitations of conventional multi-shot HDR capture. The faster processor allows it to happen at up to 60 fps when shooting video. The dynamic range is a claimed 13 stops. Dynamic Range Boost operates automatically when shooting stills – the high ISO base set at 800 – and is selectable when recording video at higher ISOs (varying according to the colour mode).

In-body image stabilisation – using a new, higher-precision five-axis gyro sensor – now provides 7.5 stops of correction (up from 6.5) for camera shake with ‘Dual I.S. 2’ which is in concert with the lens-based OIS. Sensor shifting is used to deliver the GH6’s ‘High Resolution’ mode which now delivers 100 megapixels images – either RAWs or JPEGs – and has a hand-held mode. Some nifty in-camera processing deals with any subject movement during the multiple captures, dropping just this section of the image back to the single 25 MP capture to eliminate ghosting or blur. Continuous shooting for stills is at up to 75 fps with the sensor shutter and the AF/AE locked to the first frame. There are 50 fps and 60 fps modes and the burst length is up to 200 frames with both RAW and JPEG capture. However, the GH6’s star turns are undoubtedly its video capabilities which start with internal recording in the Apple ProRes 422 or 422 HQ formats at 5.7K – i.e. using the full width of the sensor – and 25/30 fps, with 4K DCI and Full HD to come later in the via a firmware upgrade. The key advantage of Apple ProRes recording incamera is that it eliminates the need for lengthy transcoding post-camera when editing in this format. Beyond this, the GH6 offers a staggering choice of combinations of resolutions, frame rates, colour depth, codecs and compression routines (in fact, the full list takes up several pages). So, for example, you can record 4K DCI (i.e. 4096x2160 pixels) at up to 50/60 fps with 10-bit 4:2:2 colour and All-I intraframe compression with the H.264 codec – which gives a bit rate of 800 Mbps – and then work your way down from here. Both 4K DCI and UHD are available at the 100/120 fps rates (and Full HD up to 240/300 fps) for slow-motion effects, but the most demanding data processing options use the more efficient H.265 codec.

For the same reason, one of the GH6’s memory card slots is now for CFexpress Type B which is really needed for anything processing at above 600 Mbps… 5.7K 30 fps ProRes 422 HQ is at a massive 1900 Mbps. The GH6 gets the full-fat V-Log gamma profile (rather than the narrower V-LogL of the previous models) and V-Gamut that has a colour space wider than BT.2020. It also has the Cinelike D2 and Cinelike V2 ‘Photo Style’ presets.

For wide-screen anamorphic recording, the GH6 delivers 5.8K at 24/25/30 fps with 10-bit 4:2:0 colour when using dedicated anamorphic lenses or filters. Conveniently, it’s possible to display de-squeezed footage for monitoring in real time.

The GH6 also records 4K DCI with 10-bit

4:2:2 colour at up to 50/60 fps both internally and externally via HDMI simultaneously. The inclusion of HDMI 2.1 support in the coming firmware upgrade will ramp this up to 4K DCI internal/external at up to 100/120 fps.

Panasonic says it investigated relying entirely on passive cooling for the GH6, but it would have necessitated a camera bigger than the S1H so it has included a fan for active cooling located behind the monitor screen. It enables essentially unlimited clip lengths – at least as far as thermal issues are concerned – even at high resolutions and frame rates. This is a first for a GH series camera and Panasonic claims it doesn’t compromise the GH6’s weather protection or make any noise that would be picked up on a sound track.

Not surprisingly, the feature list is also lengthy, but worth noting here is a fully-articulating monitor screen, four-channel audio recording (via the optional DMW-XLR1 XLR mic adapter), in-camera 4K time-lapse recording, a full-size HDMI connector, front and rear tally lamps, upgraded DFD autofocusing using 315 zones (up from 225), and the higher-capacity 2200 mAh battery from the S5.

The Lumix GH6 is expected to be available locally sometime in April priced at $3699 body only. There are various kit options available, including with the Lumix G Vario 12-60mm f/3.55.6 ASPH Power OIS zoom at $3999 and the Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 ASPH Power OIS zoom at $4799. For more information visit www.panasonic.com.au