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Water ice is a far more complex substance than we might assume. Scientists have now created an exotic new form of ice in the lab, known as “plastic ice VII.” This strange version could exist naturally on other planets and moons in our solar system.
Category: Science
A new study has shown how individual components of our diet – the protein, carbohydrates, fiber and fats we eat – can improve or worsen sleep quality. The findings suggest that dietary interventions could be used to enhance sleep health.
Category: Wellness & Healthy Living, Body & Mind
Tags: Sleep, Diet, Macronutrients, University of Tsukuba
Last month, Honda expanded the outboard family built around the first-ever production V8 in its storied history of engine building. Now, the company is sliding some of the shinier new technology from those V8 outboard models down the line to V6 and inline-four motors. With outputs ranging between 100 and 250 hp, the updated 2025 outboard lineup now boasts handy new drive-by-wire technologies, new styling, improved durability and boosted efficiency.
Tags: Honda, Outboard Motor, Boats, Boating, Miami International Boat Show
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: DJIAll 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&HPress release:
DJI Launches All-New Compact and Lightweight Gimbal for Cameras and Smartphones DJI RS 4 Mini Delivers Efficient and Seamless Filming Experience for Content CreatorsFebruary 20, 2025 – DJI, the global leader in civilian drones and creative camera technology, today launched the DJI RS 4 Mini, an all-new compact and lightweight gimbal for cameras and smartphones that weighs just 890g (less than 2 pounds) and can carry payloads up to 2kg (4.4 pounds). Designed for the quick-filming needs of creators, the RS 4 Mini offers the automated axis locks first introduced in DJI’s flagship gimbals, allowing for faster setups, transitions, and breakdowns. Other features that deliver a more efficient and seamless filming experience include a new intelligent tracking module, faster switching to vertical shooting and Teflon™ coating for a smoother balancing experience.
"The Ronin Series continues to push the imaging industry forward as we bring new innovations to our ecosystem and democratize technology to more applications. Specifically, the DJI RS 4 Mini continues to feature our Emmy® Award-winning three-axis gimbal stabilization, offering seamlessly smooth and steady footage," says Ferdinand Wolf, Product Experience Director at DJI. "In adding the DJI RS 4 Mini to our offering, we have rounded out this generation of stabilizers to cater to every level of creator, from professional filmmakers to independent commercial videographers and content creators.
Next-Gen design for a more efficient workflow
The RS 4 Mini incorporates many proven features from DJI’s flagship gimbals, allowing creators to work more efficiently. With the 2nd-Gen auto-axis locks, creators can unlock the gimbal’s three-axis locks in one second, speeding up the filming, transition, and storage processes. The 3rd-Gen Native Vertical Switch offers the fastest switch experience in the RS series¹. With the meticulous upgrades to Teflon™ interlayers¹ and a fine-tuning knob, the RS 4 Mini can achieve smoother and more precise millimeter-level balancing when installing a camera.
Intelligent filming for stunning results
The RS 4 Mini Combo comes standard with the new DJI RS Intelligent Tracking Module¹ for intelligent framing and composition¹. Enabling ActiveTrack on any camera system or phone with or without the DJI Ronin app, it can keep a human subject in frame up to 10 meters, even in complex environments. Tracking can be enabled with one push of the trigger or an open-palm visual command.
In the new Responsive mode, the gimbal responds faster to hand movements upon start or stop, designed to suit fast-moving subject circling shots. Meanwhile, the classic Smooth follow mode provides a fluid gimbal response, ideally for normal subject following shots.
Other notable features include:
Price and Availability
DJI RS 4 Mini will be available for purchase today from authorized retailers and at store.dji.com with two purchase options available.
The standalone DJI RS 4 Mini retails for $369 and includes one Gimbal, Quick-Release Plate, RS 4 Mini Tripod, L-Shaped Multi-Camera Control Cable, USB-C Charging Cable and one Screw Kit.
The DJI RS 4 Mini Combo retails for $459 and adds a RS Intelligent Tracking Module and RS 4 Mini Briefcase Handle.
1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the product page on the official DJI website.
Located in the town of Thandarai, India, Vaazh House (designed by Vy Architecture Studio) merges cultural heritage with contemporary design to create a space that is both functional and deeply connected to its surroundings. The 1,500-square-foot (139-sq-m) residence incorporates a perforated curved wall that acts as a dynamic climatic buffer. Positioned to protect the house from the western sun, this wall allows for a playful interaction with light, while protecting the interior of the home from the intense heat.
Category: Architecture, Lifestyle
Tags: Eco-Friendly, sustainable design, Thermal mass, Home
California's Clone Robotics has just posted a video of its full-body Protoclone humanoid robot, and well … it's a wee bit creepy. The prototype's less disturbing Clone descendants, however, could one day be vacuuming our carpets.
Category: Robotics, Technology
Measuring just 6.6 m (21.7 ft) long, this tiny house offers a well-designed and open interior layout that sleeps two, plus guests, in comfort. It could also be a good fit for budding explorers as it can be outfitted with full off-the-grid functionality.
Category: Tiny Houses, Lifestyle
Tags: Building and Construction, Tiny Footprint, Micro-House, House, Home
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: LeicaLike 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: LeicaPress release:
Leica Summilux-M 50 f/1.4Wetzlar, 20 February 2025
Lenses from Leica boast a tradition that spans over 150 years. During this time, many handcrafted masterpieces have been created and have gone on to reach numerous milestones while defining trend-setting standards. The history of the legendary M-Lenses began over 70 years ago. Each of them tells a success story, with some of these legends now enjoying a renaissance decades later. This is the case for the new Leica Summilux-M 50 f/1.4.
The Summilux-M 50 f/1.4 (I) was launched onto the market in 1959 as the first lens released under the name Summilux. This is derived from the Latin “summa lux”, meaning “maximum light”. Since then, Summilux has become synonymous for particularly fast Leica lenses featuring an aperture of f/1.4 to f/1.7. The new interpretation combines the classic vintage look with state-of-the-art technology and is the fifth member of the Leica Classic Line. Just like the Summaron-M 28 f/5.6, the Thambar-M 90 f/2.2, the Noctilux-M 50 f/1.2 ASPH. and the Summilux-M 35 f/1.4, its timeless aesthetics are reminiscent of its historical predecessor.
The optical calculation is based on the second Summilux-M 50 f/1.4 (II), an almost unchanged version of which was produced from 1962 to 2004. It is noted for its impressive image quality and unmatched image characteristics at a wide aperture. The new Summilux-M also captures the moment in this unique look with particularly soft bokeh when a wide aperture is used, making it ideal for portrait photography. When stopped down, the new lens produces sharper and higher-contrast images than its historical predecessor. This is ensured by modern production techniques and the use of special types of glass. The new edition of this classic lens fulfils all the requirements of modern M-Cameras with a high-resolution sensor. Compared to its historical predecessor, it offers even more creative freedom thanks to its extended close focusing distance of 0.7 m.
Like all M-System lenses, the new Summilux-M proudly bears the “Made in Germany” label and is testament to the quality for which Leica lenses are known all around the world. The new lens is made by hand from solid brass and fitted with a high-quality, round vintage lens hood. As the new standard lens in the Leica Classic Line, it combines a charming vintage design with technical precision par excellence.
The Summilux-M 50 f/1.4 is the first Leica lens to come in the newly designed packaging. The high-quality boxes do not contain any plastic at all and are also produced in Germany.
The Leica Summilux-M 50 f/1.4 is now available worldwide from all Leica Stores, the Leica Online Store and specialist retailers. The recommended retail price is EUR 3,850.00 incl. VAT.
Product Photos by Dale Baskin
89%Overall scoreJump to conclusionThe 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 specificationsThe 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:Buy now:
Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What's new: SensorThe 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.
29.97, 25, 24, 23.98p 59.94, 50p 119,88, 100p 5.8K (Full sensor height) 20.5 ms — — 5.7K (1.9:1) 13.1 ms 13.1 ms — DCI 4K (1.9:1) 13.2 ms 13.2 ms 7.0 ms UHD 4K (16:9) 14.1 ms 14.1 ms 7.4 msThe 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.
VideoThe 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.
Raw Codec Resolution Frame Rate Crop DestinationProRes RAW
or
ProRes RAW HQ
5.7K (5728 x 3024)*Supports SSDs up to 2TB capacity
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 AFIn 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 featuresWhile 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 improvementsImage 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 comparesThe 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 models 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.
Panasonic GH7 Panasonic GH6 Sony FX30 Fujifilm X-H2S Nikon Z6III MSRP at launch $2200 $2200 $1800 $2500 $2500 Sensor size/type Four Thirds6K (1.78:1)
5.4K (1.78:1)
4K/60p (full width)
4K/120p (1.29x crop)
FHD/240p
N-Raw
ProRes RAW HQ
ProRes 422 HQ
H.265 (Long GOP)
H.264 (Long GOP)
Zebras
Peaking
Fixed LUT preview
Waveforms
V-Log
Arri LogC3*
HLG
CinelikeD2
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 controlsThe 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 screenRemember 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 audioThe 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 fanThe 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.
BatteryThe 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 capabilitiesThe 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.
Our video and social media Director, Mykim Dang, used the GH7 to shoot a short video profile of Flowfold, a Maine-based manufacturer of outdoor bags committed to using sustainable materials. 5.7KThe 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.
Resolution Frame rate Chroma Comp. Codec Bitrate (Mbps) Card type 5.7K (5760 x 4320)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.
Resolution Frame Rate Chroma Comp. Codec Bitrate (Mbps) VFR Card typeDCI (4096 x 2160)
1.41x crop
DCI (4096 x 2160)
or
UHD (3840 x 2160)
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 AnamorphicLike 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 SceneOur 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.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.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 1000A 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
AutofocusThe 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.
PerformanceNot 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 autofocusVideo 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 autofocusSince 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 Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.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 BoostThe 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 stabilizationThe 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 What we like What we don'tAt 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 3200It 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.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Panasonic Lumix DC-GH7Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Panasonic GH7 is a Micro Four Thirds camera with a strong focus on shooting video, and is an evolutionary upgrade from its predecessor, the GH6. The addition of phase-detect autofocus makes it more usable for run-and-gun video, and it gains 32-bit float audio recording and improved dynamic range as well. Although it's a hybrid camera with deep feature sets for both stills and video, it's really video where it excels.Good forSerious videographers who need support for a video-centric workflow.Not so good forUsers who primarily want to shoot still photos rather than video.89%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcgh7","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared with its peersLike 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.
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Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Product Photos by Dale Baskin
89%Overall scoreJump to conclusionThe 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 specificationsThe 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.
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$2155 at Amazon.com What's new: SensorThe 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.
29.97, 25, 24, 23.98p 59.94, 50p 119,88, 100p 5.8K (Full sensor height) 20.5 ms — — 5.7K (1.9:1) 13.1 ms 13.1 ms — DCI 4K (1.9:1) 13.2 ms 13.2 ms 7.0 ms UHD 4K (16:9) 14.1 ms 14.1 ms 7.4 msThe 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.
VideoThe 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.
Raw Codec Resolution Frame Rate Crop DestinationProRes RAW
or
ProRes RAW HQ
5.7K (5728 x 3024)*Supports SSDs up to 2TB capacity
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 AFIn 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 featuresWhile 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 improvementsImage 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 comparesThe 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.
Panasonic GH7 Panasonic GH6 Sony FX30 Fujifilm X-H2S Nikon Z6III MSRP at launch $2200 $2200 $1800 $2500 $2500 Sensor size/type Four Thirds6K (1.78:1)
5.4K (1.78:1)
4K/60p (full width)
4K/120p (1.29x crop)
FHD/240p
N-Raw
ProRes RAW HQ
ProRes 422 HQ
H.265 (Long GOP)
H.264 (Long GOP)
Zebras
Peaking
Fixed LUT preview
Waveforms
V-Log
Arri LogC3*
HLG
CinelikeD2
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 controlsThe 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 screenRemember 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 audioThe 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 fanThe 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.
BatteryThe 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 capabilitiesThe 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.
Our video and social media Director, Mykim Dang, used the GH7 to shoot a short video profile of Flowfold, a Maine-based manufacturer of outdoor bags committed to using sustainable materials. 5.7KThe 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.
Resolution Frame rate Chroma Comp. Codec Bitrate (Mbps) Card type 5.7K (5760 x 4320)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.
Resolution Frame Rate Chroma Comp. Codec Bitrate (Mbps) VFR Card typeDCI (4096 x 2160)
1.41x crop
DCI (4096 x 2160)
or
UHD (3840 x 2160)
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 AnamorphicLike 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 SceneOur 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.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.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 1000A 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
AutofocusThe 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.
PerformanceNot 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 autofocusVideo 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 autofocusSince 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 Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.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 BoostThe 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 stabilizationThe 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 What we like What we don'tAt 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 3200It 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.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Panasonic Lumix DC-GH7Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Panasonic GH7 is a Micro Four Thirds camera with a strong focus on shooting video, and is an evolutionary upgrade from its predecessor, the GH6. The addition of phase-detect autofocus makes it more usable for run-and-gun video, and it gains 32-bit float audio recording and improved dynamic range as well. Although it's a hybrid camera with deep feature sets for both stills and video, it's really video where it excels.Good forSerious videographers who need support for a video-centric workflow.Not so good forUsers who primarily want to shoot still photos rather than video.89%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcgh7","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared with its peersLike 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.
Buy now:
$2155 at Amazon.com Sample galleryPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.If you're thinking of getting an injection for back pain, you might want to think again. A panel of experts has examined the practice, found serious issues with its use – including financial gain – and issued strong recommendations to avoid it.
Category: Chronic Pain, Illnesses and conditions, Body & Mind
Tags: Chronic pain, Back Pain, Spinal, Pain, Nerves
Microsoft says it's made a major breakthrough in quantum computing capabilities with the Majorana 1, its first quantum chip, and the first of its kind to be powered by what are called topological qubits.
Category: Quantum Computing, Science
Asteroid 2024 YR4 has grabbed headlines lately, after NASA calculated a 1-in-32 chance of an impact in 2032 – the highest chance ever for an asteroid of hazardous size. Thankfully, new observations have dropped that probability to almost zero – for Earth, anyway.
Tags: Astronomy, Asteroid, Asteroid Redirect Mission, NASA, ESA
Canada is set to begin work on a high-speed inter-city rail network – the largest infrastructure project in the country's history. Spanning 621 miles (1,000 km), its lines will help commuters travel between Toronto and Montréal – the two biggest cities in Canada – within three hours, or half the time it would usually take. The trains will go from Toronto to Quebec City, also stopping in Peterborough, Ottawa, Laval and Trois-Rivières.
Category: Transport
Tags: Trains, High speed train, Canada, Public Transport
People who sit on the low or high side of normal vitamin B12 levels are still at risk of cognitive impairment, according to a new study. The researchers behind the study say we need to rethink the ‘healthy’ range for the vitamin that plays a key role in brain and nerve health.
Category: Alzheimer's & Dementia, Brain Health, Body & Mind
Tags: Cognitive functioning, Brain, Dementia
The Canon PowerShot V1 has a 16-50mm equivalent lens. Despite its vlogging focus it can capture Raw stills, too.
Rendering: Canon
Canon has announced the PowerShot V1 large-sensor vlogging compact, but for now, at least, it is only available in Asia. We get the impression it will be made more widely available at some point in the near future but Canon has given no details.
The V1 is a "video-first" compact camera with a 16-50mm equivalent, F2.8-4.5 zoom lens. It's built around a 22-megapixel Type 1.4 (18.4 x 12.3mm) sensor with Canon's Dual Pixel AF II system. It features a fully articulating rear display and a windscreen for its top-mounted microphones, but no built-in flash or electronic viewfinder.
Key specifications:The camera has a control ring around its lens, but we don't know if it rotates smoothly or clicks when turned.
What is a Type 1.4 sensor?The sensor is essentially the same size as a Four Thirds chip, but in the wider 3:2 aspect ratio. Its pixel size matches that of the 33MP EOS R7, strongly suggesting it is a variant or cropped version of that sensor: an approach Canon previously took with its G1X series of large-sensor enthusiast cameras.
Conceptually, the Canon PowerShot V1 is something like a PowerShot G1X Mark II (pictured), mixed with Sony's ZV-1 Mark II vlogging compact.
Photo: Richard Butler
The V1 can shoot 4K video at up to 30p using 5.7K readout from approximately the full width of its sensor, or can deliver 60p from a 1.4x cropped region. As with the EOS R7, that equates to a roughly 1:1 pixel region of the sensor. The camera has a built-in fan, and we're told it can shoot 4K/60 for over two hours if you set the overheat threshold to 'High.'
Even with that 1.4x crop, the 8.2-25.6mm lens still gives a 26-71mm equivalent field of view when shooting 60p video.
We were impressed by the sensor in the EOS R7, so the idea of a compact that can shoot Raw using a cropped version of that sensor is an attractive one. That's especially true as the V1 has the Human and Animal detection modes from the R7, and full P, A, S, M control modes.
Video capabilities Rendering: CanonThe V1 can capture 10-bit Log footage using the Canon Log3 response curve, giving the option to color grade after shooting. It can also tether to a smartphone over USB and Wi-Fi and, if connected to a computer, be used as a video camera for streaming. Though Canon's specs show its USB-C port as only supporting USB 2.0 speeds (480Mb/s).
The new compact has optical stabilization that can be combined with electronic stabilization in video mode. There's also a 'Subject Tracking IS' mode that uses the stabilization (optical and digital) to maintain the subject's position in the frame and correct for motion.
The camera also has dedicated movie scene modes for "close-up demos," where the autofocus will override face detection if you hold something up close to the camera and one that applies a skin-smoothing effect to the output.
Rendering: CanonThere are mic and headphone sockets to enable high-quality audio capture, along with Canon's multi-function hot shoe connector, which allows the use of audio accessories and a range of flashguns. The camera has an in-lens shutter, which should allow flash sync all the way up to its 1/2000 sec mechanical shutter limit. There's also a built-in 3EV neutral density filter to allow the use of video-appropriate shutter speeds when shooting in bright light.
For now, the PowerShot V1 is only being released in Japan, China, Korea, Hong Kong and Taiwan, with the company saying it will be available in late April 2025. Our first chance to get our hands on it will be at the CP+ trade show in Japan next week.
Rendering: Canon Canon PowerShot V1 specifications Body typeBody typeCompactSensorMax resolution5750 x 3840Effective pixels22 megapixelsSensor photo detectors24 megapixelsImageBoosted ISO (maximum)51200White balance presets6Custom white balanceYesImage stabilizationOpticalImage stabilization notes5.0EV correction (center)CIPA image stabilization rating5 stop(s)Uncompressed formatRAWFile format"A space that can turn into a trailer, instead of a trailer that can turn into a space." It may sound like a negligible difference upon first read, but the Touchdown trailer from Expandable proves that it's actually a significant one. The new towable living space serves as a panoramic designer mobile home that drops to ground level with a retractable chassis and grows its floor plan with an electric expansion system, ensuring that off-grid living feels the polar opposite of "roughing it." It's definitely a space first, a trailer second.
Category: Tiny Houses, Lifestyle
Tags: Trailer, trailers, Smart Home, smart RV, RV, Caravan, Off-grid, Transformable
When you're backcountry camping, you'll likely be carrying a tent while using a trekking pole. The Trek-Tent combines both of those things in one device, which can reportedly be converted into a tent in just one minute.
Tags: Tent, Trekking, Pole, Camping, Kickstarter, Transformable
Apple has announced its latest iPhone in an expansion of the iPhone 16 lineup. The iPhone 16e is the lineup's cheapest model, essentially serving as a replacement for the budget-focused iPhone SE, though at a not as budget-friendly price. While the 2022 iPhone SE started at $429, the iPhone 16e is available for pre-order for $599. Even though it's not exactly cheap, it is $200 less than the standard iPhone 16.
The iPhone 16e features the latest A18 chip and the brand new Apple C1 modem. It is the first iPhone to use a modem developed by Apple itself, which Apple has been trying to do for years. The 6.1-inch OLED display is the same size as the standard iPhone 16, so those hoping for the return of a smaller model are out of luck. Apple also killed off the iPhone's Touch ID interface with the 16e, instead relying on the Face ID-enabled notch.
While Apple built the iPhone 16e with plenty of new and advanced technology, as a budget model, it naturally comes with compromises to keep the price relatively low. Unfortunately, the camera system on the 16e seems to take the biggest hit with only a single rear facing camera.
A sample from the iPhone 16e's 48MP Fusion camera.
Photo: Apple
Instead of the multi-camera array we've got used to seeing on modern phones, the 16e relies on a single 48MP module with a 26mm equiv F1.6 lens. By default this is used to deliver 24MP images, giving a result mid-way between the 12MP resolution of the filter array and the 48MP resolution of the photo sites.
Apple describes it as a "two-in-one camera system," which it says can "zoom with optical quality," up to 56mm equiv. to give a telephoto option. This is a rather grandiose way of saying that it crops in to use the central quarter of its sensor. Even with the benefits of combining multiple images, using a significantly smaller sensor area will mean lower image quality than using the full chip.
It's an approach we first saw in the iPhone 15 models, where a 12MP region of the 48MP sensor is used to deliver a 2x 'zoom.' The central quarter of the sensor does have 12 million photosites but these will almost certainly be behind a Quad Bayer-style 3MP array, so the results will need to be re-interpreted to give 12MP output.
And while Apple describes that both the 26mm equiv camera and 52mm equiv crop are taken using an F1.6 lens, this is slightly misleading in that the photographic impact of F1.6 changes with sensor size.
Portrait mode on the iPhone 16e.
Photo: Apple
Both of the rear facing cameras offer optical image stabilization. As is expected for smartphone cameras these days, they rely on computational photography and provide access to Apple's Night mode and Portrait mode. Beyond the 2x telephoto offering, the phone offers 10x digital zoom. The front of the phone features a standard 12MP F1.9 selfie camera. For video, the iPhone 16e promises "stunning videos" in up to 4K resolution with Dolby Vision up to 60 fps.
Naturally, Apple still promises excellent image quality across the board. It certainly is a significant step up from the iPhone SE, which only offered a single 12MP main camera and no Dolby Vision video. Additionally, the iPhone 16 and 16 Plus both feature a 48MP Fusion camera, which provides excellent results despite the reliance on what is effectively virtual zoom. The 16 and 16 Plus, though, have the addition of an ultra wide camera as well. That is not the case on the 16e, so users will be more limited on the new model.
For those who want a smartphone camera for capturing for memories and to serve as, well, a phone, the iPhone 16e is certainly a worthy device. But photography enthusiasts or those looking to get the most out of their smartphone camera will likely be a bit disappointed and limited by the camera setup.
In 2020 an incredible video went viral. It featured a former ballet dancer named Marta Cinta González Saldaña, suffering from severe Alzheimer’s disease in her senior years. In the video, Saldaña listens to a piece of music from Tchaikovsky’s Swan Lake and suddenly flashes awake beginning to move to a dance routine she presumably rehearsed over and over in her younger days.
Category: Alzheimer's & Dementia, Brain Health, Body & Mind
Tags: Digital music, Brain, Memory, Alzheimer's disease, Dementia, ADHD
