Panasonic Lumix DMC-GH1

In summary

A sophisticated ‘hybrid’ camera that combines SLR-like controls for still capture with HD video plus stereo sound recording.Like some of the most recent DSLRs, Panasonic’s new DMC-GH1 offers the added benefit of high-definition video capture – but also provides stereo sound recording. First shown at Photokina 2008, the GH1 is based on Panasonic’s first Micro Four Thirds System (MFT) camera, the DMC-G1, and offers most of the same features for still capture. Unlike the G1, which came in black, red and blue, the GH1 will only be sold locally with a black body. In line with their MFT design, both cameras lack reflex mirror viewfinders but they provide the interchangeable lenses and sophisticated controls of the DSLR format in smaller, lighter bodies and are offered with MFT lenses. . . [more]

Full review

Like some of the most recent DSLRs, Panasonic’s new DMC-GH1 offers the added benefit of high-definition video capture – but also provides stereo sound recording. First shown at Photokina 2008, the GH1 is based on Panasonic’s first Micro Four Thirds System (MFT) camera, the DMC-G1, and offers most of the same features for still capture. Unlike the G1, which came in black, red and blue, the GH1 will only be sold locally with a black body. In line with their MFT design, both cameras lack reflex mirror viewfinders but they provide the interchangeable lenses and sophisticated controls of the DSLR format in smaller, lighter bodies and are offered with MFT lenses.
Differences between the two G-series models are also small – although not in RRPs. Whereas the G1 could be purchased with a G Vario 14-45mm f/3.5-5.6 ASPH. MEGA O.I.S. lens for $1,649 and as a twin-lens kit (with an additional 45-200mm lens) for $2,199, the GH1 is being offered initially only in kit form with a new 14-140mm, f/4.0-5.8 lens that features MEGA O.I.S stabilisation and has been designed to complement the new camera. A review of this lens can be found here.
Although the kit lens for the G1 isn’t sold separately, the $1999 RRP of the lens represents more than half of the overall cost of the GH1’s $3,299 kit price, leaving the value of the camera body at $1300. (Whether it will be sold at this price is still being decided.)

Front view of the Lumix DMC-GH1 with the adjustable LCD monitor extended. (Source: Panasonic)

Rear view with the LCD monitor reversed, showing the main button controls – including the red button for direct video record/pause. (Source: Panasonic)

Top view with the G-Vario 14-140mm kit lens fitted. (Source: Panasonic)
There’s not a huge difference in size and weight between the GH1 and Olympus’s smaller DSLR cameras. In fact, the overall shooting weight of the GH1 and lens, at 903 grams, is 168 grams more than the E-620 with battery, memory card and 40-150mm lens. However, like Panasonic’s original G1, the E-620 can’t shoot high-definition video.

Video Capabilities
The main feature that differentiates video captured with a DSLR or MFT camera from video recorded with a camcorder is depth of field control. Since this facility depends on sensor size, for any focal length and aperture combination, the larger the sensor the shallower the depth of field the photographer can utilise.
The resolution of the sensor is relatively unimportant since HD video clips are recorded at 1920 x 1080 (Full HD1080) or 1280 x 720 pixels (720p).The DSLR and MFT cameras – and particularly those with larger image sensors – allow photographers to set wide lens apertures that isolate the subject from the background.
There are other features where camcorders retain the lead, notably in providing adjustable LCD screens and electronic viewfinders (EVFs) that make shooting video more comfortable and provide a decent view of the subject, regardless of ambient lighting. DSLRs, in contrast, tend to have fixed (or less mobile) LCDs and rely on them for shot composition because video capture is only supported in Live View mode. Soundtrack recordings also tend to be monaural in DSLRs while camcorders record in stereo.
The new MFT cameras combine some of the best features of both camps and provide a much closer integration between still and video shooting controls, similar to what you’d find on a compact digicam. The GH1’s adjustable LCD screen mimics a camcorder’s screen but you can also use the EVF for shooting video, setting this model a step ahead of Olympus’s Pen E-P1, which is due for release next month and lacks a built-in finder.
These two MFT cameras bring the number of video-capable interchangeable-lens cameras on the market up to six and are the first to offer stereo sound recording. A table comparing key features of these cameras can be found on the Photo Review website. Click here to view the table.
The GH1’s stereo microphones are located in the top of the flash housing while a socket for a remote microphone is located under a flip-up cover just in front of the left side strap lug. An external microphone can plug into the camera’s hot shoe. Audio tracks are recorded in Dolby Digital Stereo Creator format – and all video clips are accompanied by a soundtrack (which can be over-dubbed when clips are edited).
The GH1 provides two video recording modes: AVCHD and Motion-JPEG. AVCHD, which uses MPEG-4/H.264 compression, is used for high-definition video capture with a widescreen (16:9) aspect ratio. Two resolution settings are offered: 1920 x 1080 (Full HD1080/24p) and 1280 x 720 pixels. With the former, the sensor output is 24 frames/second (fps), while the latter provides 60 fps output. With the latter, you have four resolution and two aspect ratio choices: 1280 x 720 and 848 x 480 pixels at 16:9 and 640 x 480 and 320 x 240 pixels at 4:3. Frame rates for all are 30 fps.
Full HD video clips are recorded at maximum bit rate of 17 megabits/second (Mbps) using variable bit rate recording (which means the amount of data depends on the level of detail in the subject and speed of subject movement). When we inserted a 2GB SDHC card in the camera (the maximum recording capacity), the on-screen display indicated we could record 15 minutes and 23 seconds of HD video (both resolutions), whereas for SD video, only 8 minutes and 20 seconds was available for HD recording at 60 fps or 20 minutes and 55 seconds for wide VGA.
When shooting video, up to 2GB of video can be recorded continuously, regardless of which format and frame rate is selected. Typical recording times on a 2GB capacity card are shown in the table below.

Video format	Aspect ratio	Picture Mode	Picture size (pixels)	Frame Rate	Bit rate	Recording time/ 2GB card
AVCHD	16:9	FHD	1920 x 1080	24 fps		15 mins
		SH	1280 x 720	60 fps	17 Mbps	15 mins
		H	1280 x 720		13 Mbps	20 mins
		L	1280 x 720		9 Mbps	29 mins
Motion JPEG	16:9	HD	1280 x 720	30 fps	n.a.	8 mins 20 secs
		WVGA	848 x 480		n.a.	21 mins 20 secs
	4:3	VGA	640 x 480		n.a.	22 mins 10 secs
		QVGA	320 x 240		n.a.	64 mins 00 secs

When you select the movie mode via the mode dial, video can only be recorded in the GH1’s P, A, S and M shooting modes, which are selected via the menu system. With these settings you’re free to adjust the aperture, exposure, ISO, shutter speed and white balance as you would for shooting stills. This means spending time setting up the camera before shooting each clip.
You can control depth-of-field by adjusting the aperture settings in the A shooting mode, selecting a wide aperture to isolate subjects from the background or a small aperture to have everything in the scene looking sharp. Shutter speeds are adjustable in the S and M modes between 1/30 and 1/4000 second, while the P and A modes automatically set the shutter speed in a band that spans from 1/60 to 1/1000 second.
Panasonic also provides a dedicated Motion Picture button beside the thumb pad on the rear panel of the camera. This acts as a quick on/off control for video recording when you’ve set the camera for still capture in the other shooting modes, including the ‘intelligent’ auto (iA) setting, which automatically selects the most suitable scene mode on the basis of the light pattern detected. Exposure settings are non-adjustable when this button is used, which makes using the camera more like shooting video with a digicam.
Unlike some video-capable DSLRs, the autofocusing system works while clips are recorded, regardless of whether the camera is set to AF-S or AF-C mode and the face detection system helps it to lock on key subjects. You can also zoom in and out with the lens while shooting video, although at the risk of picking up a little zoom noise on the soundtrack. Zoom speeds are also slower for video recording. Image stabilisation defaults to Mode 1 (continuous bidirectional) for all video recording.
Panasonic recommends Class 6 cards (the fastest) be used for all video recordings. (The new Class 10 32GB SanDisk Extreme SDHC cards would be ideal for this camera.) Regardless of the video format and resolution, a maximum file size of 2GB applies to continuous recordings. To view your HD movies on a widescreen TV set, you must purchase an HDMI mini cable.
Until recently, few devices could play back AVCHD clips. However, many recent HDTV sets – and personal computers – are able to handle the H.264 MPEG codec and can playback AVCHD footage from the GH1. Older computers will probably struggle if they don’t have a fast CPU and adequate amount of RAM.
What Else is New?
To support video recording, Panasonic has developed a new shutter mechanism for the GH1 and it appears to be similar in operation to the shutter in Olympus Pen E-P1. Both cameras have two shutter blinds, which are open at rest. (You can see the sensor when you remove the lens).
When you press the shutter button, the first blind closes in preparation for the exposure. It then opens, followed by the second blind, which terminates the exposure. When video is recorded, both blinds remain open, allowing an electronic shutter (like those used in many digicams) to control exposures.
Aside from its video capabilities, there are a few small differences in functionality between the GH1 and the G1. The new model offers one more aspect ratio setting, adding a 1:1 option to the previous model’s 4:3, 3:2 and 16:9 settings. Interestingly, the different ratios are achieved by cropping the image in a similar fashion to the popular DMC-LX3. Consequently, whereas high-resolution images from the G1 were 4000 pixels wide, regardless of aspect ratio, with the GH1, the 4:3 images are 4000 pixels wide, while widths of the 3:2 and 16:9 images are 4128 pixels and 4352 pixels respectively. The illustrations below provide examples from the different aspect ratio settings.

4:3 aspect ratio (32mm focal length, ISO 100, 1/200 second at f/5.6).

3:2 aspect ratio (32mm focal length, ISO 100, 1/200 second at f/5.6).

16:9 aspect ratio (32mm focal length, ISO 100, 1/200 second at f/5.6).

1:1 aspect ratio (32mm focal length, ISO 100, 1/200 second at f/5.6).

Panasonic has also updated the face detection system in the new model, giving it a similar ability to’remember’ registered faces and ‘optimise’ exposures when they are detected to the systems on recent Lumix digicams. Face Recognition must be set to Memory in the camera’s menu system and up to six people can be registered in the camera’s memory, along with such information as their name and birthday.
Otherwise, the G1 and GH1 are physically and functionally similar, although the GH1 stands 6 mm taller than its ‘partner’. Click here for our full review of the G1. Interestingly, the weight of both cameras is the same – and they use the same rechargeable lithium-ion battery pack. CIPA ratings for battery life are also the same, presumably based on still image capture, rather than video recording.
The user manual is comprehensive and well indexed and the Contents pages make it easy to locate most functions – including those you may seldom use. There’s also an excellent troubleshooting section; just in case something doesn’t operate as you expected. Information about the kit lens, battery and charger and memory cards is also included, along with details of how to connect the camera to a computer and TV set.
Sensor & Image Processor
The GH1’s 4/3-type Live MOS sensor appears to be the same as the chip used in the G1 but Panasonic has added a high-speed readout for recording HD movies. Linked to the sensor is the Venus Engine HD, which incorporates two CPUs and allows long-time movie recording in AVCHD while maintaining low power consumption. It also supports the camera’s HDMI output. As in the G1, the image processor separates chromatic noise from luminance noise and applies the optimal noise reduction to each. Independent gradation control is provided for each of the R, G and B colours to further ensure accurate colour reproduction.
We’ve already mentioned the addition of an extra aspect ratio for still images and the different ways in which the new camera handles each aspect ratio crop. Typical still image sizes are shown in the table below.

Aspect ratio	Image Size	Resolution	Fine	Standard
4:3	RAW	4000 x 3000	15.5MB
	L	4000 x 3000	6.4MB	3.2MB
	M	2816 x 2112	3.2MB	1.6MB
	S	2048 x 1536	1.7MB	0.87MB
3:2	RAW	4128 x 2752	13.8MB
	L	4128 x 2752	5.7MB	2.8MB
	M	2928 x 1952	2.8MB	1.5MB
	S	2064 x 1376	1.5MB	0.79MB
16:9	RAW	4352 x 2448	11.6MB
	L	4352 x 2448	4.9MB	2.4MB
	M	3072 x 1728	2.4MB	1.2MB
	S	1920 x 1080	1.2MB	0.6MB
1:1	RAW	2992 x 2992	11.6MB
	L	2992 x 2992	4.9MB	2.4MB
	M	2112 x 2112	2.4MB	1.2MB
	S	1504 x 1504	1.2MB	0.6MB

Continuous shooting speeds top out at three frames/second in the High Speed mode and two frames/second for Low Speed. JPEG images can be recorded to the limit of memory capacity, although burst speeds will slow as more shots are captured. For raw files or RAW+JPEG pairs, a limit of seven shots per burst applies.
Playback and Software
Playback settings for still pictures are essentially the same as in the G1 but the GH1 gives users the option to play ‘only still images,’ ‘only motion images,’ or ‘both’. When choosing to play ‘only motion images,’ you can also elect to play AVCHD and Motion JPEG videos separately. The standard play/pause, stop and fast or frame-by-frame forward and rewind controls are provided.
If you’ve recorded still images and video clips on the same memory card, you can play them back as a ‘slideshow’ with seamless transitions between stills and video. If you haven’t added sound bites to still pictures, background music can be added to slideshows, with a choice of Natural, Slow, Swing or Urban themes. The recorded soundtrack takes precedence over added music when video clips are played, while an Off setting switches off the background music for still images.
Owners of Panasonic’s Viera TV sets can playback recorded images and videos by inserting the camera’s memory card in the Image Viewer slot on the TV set or DIGA Blu-ray Disc Player. They can also use the set’s remote control to operate the GH1 for playback.
The software disk contains PhotoFun Studio, which is used for acquiring, managing and editing still images. It’s only compatible with Windows XP and Vista operating systems. Ichikawa Soft Laboratory’s Silkypix Developer Studio is provided in Windows and Mac versions for editing raw files from the GH1. Also on the disk are QuickTime and a USB driver, both for Windows. We’ve already covered these applications in Photo Review’s review of the Lumix DMC-LX3.

Performance
The viewfinder on the review camera was just as sharp and colour-accurate as the EVF on the G1 we tested. However, its dynamic range was rather low, making blocked-up shadows and blown-out highlights common. You can set the camera to swap between it and the LCD, depending on which you use through two IR sensors in the right side of the eyepiece. Other similarities between both models were also obvious in our tests.
Overall performance for still shooting was as we expected on the basis of our tests on the Lumix DMC-G1. In adequate lighting, the contrast-based AF system was fast and generally accurate for shooting stills but AF lag became noticeable when light levels dropped and it took almost a second to find focus in many night shots.
Metering was accurate under most conditions, particularly with the multi-pattern mode. However, the sensor’s dynamic range appeared to have been designed for gentler Northern Hemisphere lighting as the test camera was unable to handle subjects with a wider-than-normal brightness range. (An example is provided below.) Image noise became apparent in shots taken at ISO 800 and was very obvious by ISO 3200, where colour noise combined with pattern noise and banding to make shots virtually unusable.
Imatest showed JPEG resolution to be slightly below expectations for a 12-megapixel camera at ISO 100. Raw files converted with the supplied Silkypix Developer Studio 3.0 SE software without any tweaking provided little or no improvement. However, as we were completing our tests, Adobe released an update to its Camera Raw plug-in for Photoshop. Raw files from the test camera, converted in ACR with no additional tweaking, produced images with a resolution that was up to expectations for the GH1’s sensor resolution. The graph below shows the results of our tests.

The kit lens delivered its highest resolution at the widest aperture settings for the shorter focal lengths but performed best at around f/8 from about 50mm on. A full review of this lens, which includes resolution, chromatic aberration, flare and bokeh assessments, can be found on the Photo Review website.
Auto white balance performance was similar to that of Panasonic’s compact digicams. The test camera failed to completely eliminate the colour cast of either incandescent lighting or fluorescent lighting. Both pre-sets came close to neutrality and manual measurement produced neutral colours under both types of lighting. With adequate scope for in-camera tweaking of colour balance, this issue is largely irrelevant for serious photographers.
Flash performance was generally very good and the built-in flash provided even illumination of an average-sized room throughout the camera’s ISO range. Flash exposures were also well balanced for low-light portraits in which flash provided the main illumination.
Our video tests were recorded on a 4GB ATP ProMax Class 6 SDHC card. Video recorded with the review camera was generally good – for the selected recording format and quality settings. In the AVCHD Full HD mode, the picture quality of video clips was excellent and the ability to control depth-of-field by adjusting the lens aperture came in handy for many situations.
Unfortunately, autofocusing in the AVCHD modes was slow. Furthermore, although clips showing stationary and slow-moving subjects were generally smooth, the system had problems tracking fast-moving subjects and also with moderately-fast panning movements. This happens because it is key-frame-based (i.e. based on recording the full amount of data only for key frames). Although it reduces the data load the image processor is required to handle, it requires significantly more processing power to compress and decompress clips.
At the same time, the sensor in the GH1 is much larger than the sensors in HD camcorders, giving the image processor more data to handle. To complicate matters further, the camera actually records HD clips at 25 frames/second and then up-converts them to 50 frames/second in-camera. These factors add to the image processor’s data handling load so it’s probably no surprise to see jerky clips when the system is pushed ‘to the max’.
Although we used the fastest card we had at the time, it would be interesting to see whether video recorded on the new Class 10 32GB SanDisk Extreme SDHC cards, which are significantly faster than Class 6 cards, would appear smoother. Interestingly, clips recorded with 1280 x 720 pixel resolution were noticeably smoother for moving subjects.
In the Motion JPEG mode, the picture quality of clips taken with the HD mode was marginally lower (but also more than acceptable) and less jerky than the AVCHD clips. Artefacts became increasingly visible at lower resolution settings in this mode and VGA clips were pretty ordinary.
Sound quality was generally good and the built-in pair of microphones performed creditably, given their limitations. However, the optional DMW-MS1E stereo microphone (RRP $299), which clips onto the GH1’s hot shoe and plugs into the mini stereo jack on the side panel, produced cleaner, crisper audio – and is therefore to be recommended.
We conducted our timing tests with the same card as we used for our video tests, in order to assess optimal performance levels. It took just under two seconds to power-up the camera for shooting and almost half a second longer for the camera to power-down after we switched it off. For single-frame capture, it took 3.3 seconds, on average, to process each image file, regardless of whether it was in JPEG or raw format or a combination of both. Using flash added only fractions of a second to image processing times.
In high-speed burst mode, the camera recorded seven Large/Fine JPEGS or 4 raw files per burst. Frame rates averaged 2.8 frames/second for JPEGs and 2.5 frames/second for raw files. When RAW+JPEG (Large) was selected, up to four images could be recorded in a burst at a rate of 2.35 frames/second.
Swapping to low-speed burst mode not only slowed capture rates; it also reduced the number of files that could be recorded in a burst to three Large/Fine JPEGS or two raw files. In both cases, frame rates averaged 2.2 frames/second. Processing appeared to be on-the-fly in both burst modes as it took an average of 3.5 seconds to process and store images, regardless of which mode or file format was used.
Conclusion
The main problem Panasonic can expect when trying to sell this camera is the total price of the package. Although living up to its promise of providing good still and video capabilities in a small and lightweight package, when compared to current DSLR models – and to the immanent Olympus Pen E-P1, the GH1 faces the following obstacles:
1. It looks and feels like a DSLR but is neither significantly smaller nor lighter than most of its rivals.
2. Its price is significantly higher than competing cameras, largely as a result of the high price of the kit lens. (No body-only price has been announced as yet and, with the small number of MFT lenses currently available, potential buyers are faced with purchasing the camera with either the kit lens or the even more expensive 7-14mm f/4.0 ASPH lens.)
3. Its sensor is 1/4 the size of a 35mm frame, which puts it at a disadvantage against even entry-level DSLR sensors.
4. Battery capacity is lower than competing DSLRs.
5. The user manual doesn’t provide adequate explanations for some functions.
On the positive side, the integration of video with still capture is much better than we’ve found in any of the DSLRs we’ve reviewed to date and the video and audio quality are better than some of these models. Excellent video clips quality – and the ability to control depth of field when shooting video – will also attract enthusiast still/video photographers who wish to use both options.
Buy this camera if:
– You want a compact, SLR-like, interchangeable-lens camera that makes it easy to shoot both still pictures and HD video clips.
– You want a Live View system that works as well as those on most digicams.
– You’d like an adjustable LCD monitor with above-average resolution.
– You’d like most of the controls and functions offered in professional DSLR cameras – including manual focusing and zooming.
– You’re interested in shooting raw files and are prepared to edit them in Photoshop or Photoshop Elements.
Don’t buy this camera if:
– You require noise-free images at high ISO settings.
– You require high burst speeds and buffer capacity plus fast cycle times. (The buffer can only hold five raw files!)
– You want a wide range of accessories to build your system. (You’ll have to wait a while for the MFT system to grow.)

IMATEST GRAPHS
JPEG images

Raw images converted in Adobe Camera Raw

SAMPLE IMAGES

Auto white balance with incandescent lighting.

Auto white balance with fluorescent lighting.

Two examples of the review camera’s dynamic range limitations: Top: 15mm focal length, ISO 100, 1/100 second at f/10. Below: 54mm focal length, ISO 100, 1/125 second at f/6.3.

Close-up. 4.3mm focal length, ISO 100, 1/125 second at f/3.2.

14mm focal length, ISO 100, 1/320 second at f/7.1.

140mm focal length, ISO 100, 1/320 second at f/8.

Digital zoom (140mm focal length, ISO 100, 1/320 second at f/5.8.)

Long exposure at ISO 100 (25mm focal length, 60 seconds at f/5)

Long exposure at ISO 3200 without noise reduction processing (25mm focal length, 6 seconds at f/8)

Long exposure at ISO 3200 with noise reduction processing (25mm focal length, 6 seconds at f/8)

 

Flash exposure at ISO 100 (87mm focal length, 1/30 second at f/5.8)

Flash exposure at ISO 3200 (87mm focal length, 1/30 second at f/5.8)

Still frame from AVCHD video clip recorded in HD mode (140mm focal length).

Still frame from Motion JPEG video clip recorded in HD mode (140mm focal length).

Still frame from Motion JPEG video clip recorded in VGA mode (140mm focal length).

Additional sample images can be found in the review of the G Vario HD 14-140mm f/4.0-5.8 lens.

 

Specifications

Image sensor: 4/3-inch (18.0 x 13.5mm) Live MOS sensor with 13.98 million photosites (12.1 megapixels effective)
A/D processing: 12-bit
Lens mount: Micro Four Thirds system (Four Thirds lenses via adaptor)
Focal length crop factor: 2x
Digital zoom: Max. 4x
Image formats: Stills – RAW, JPEG (Exif 2.21), Fine & Standard compression; 4:3, 3:2, 16:9, 1:1 aspect ratios; Movies ““ AVCHD/QuickTime Motion JPEG
Image sizes: Stills – 4:3 ratio: 4000 x 3000, 2816 x 2112, 2048 x 1536, 3:2 ratio: 4128 x 2752, 2928 x 1952, 2064 x 1376, 16:9 ratio: 4352 x 2448, 3072 x 1728, 1920 x 1080, 1:1 ratio: 2992 x 2992, 2112 x 2112, 1504 x 1504; Movies: 1920 x 1080 @ 24 fps; 1280 x 720, 848 x 480, 640 x 480, 320 x 240 @ 30 fps
Image stabilisation: MEGA O.I.S. (optical)
Dust removal: SSWF
Shutter speed range: 60 to 1/4000 second plus Bulb (max. 4 minutes); flash synch at 1/160 second
Exposure compensation: ±3EV in 1/3EV steps
Exposure bracketing: 1/3 – 2/3EV Step for +/- 2EV across 3 ,5 or 7 frames
Self-timer: 2 or 10 second delay
Focus system: Contrast detection AF. Manual focusing supported
Focus modes: Single AF, continuous AF, Face detection, AF tracking, 23 area/1 area focusing
Exposure metering: 144-zone multi-pattern sensing system with Intelligent Multiple, Centre-Weighted, Spot modes
Shooting modes: iAuto, Program AE, Aperture Priority AE, Shutter Priority AE, Manual plus 10 Scene pre-sets: Close-up (Flower/Food/Objects/Creative), Sports (Normal/Outdoor/Indoor/Creative), Portrait (Normal/Soft Skin/Outdoor/Indoor/Creative), Night Portrait (Night Portrait/Night Scenery/Illuminations/Creative), Baby (x2), Scenery (Normal/Nature/Architecture/Creative), Party, Pet, Sunset
Picture Style/Control settings: Colour: Standard, Dynamic, Nature, Smooth, Vibrant, Nostalgic; Black and White: Standard, Dynamic, Smooth plus My Film1, My Film2, Multi Film
Colour space options: sRGB, Adobe RGB
ISO range: Auto, ISO 100, 200, 400, 800, 1600, 3200; Intelligent ISO in Live View Mode
White balance: Auto, Daylight, Cloudy, Shade, Incandescent, White Set 1,2, Kelvin (2500-10000K in 100K steps), Flash, White balance adjustment (Blue/Amber bias, Magenta/Green)
Flash: Built-in pop-up flash (GN 11); range approx. 45 cm to 6.2 m; Auto, Auto/Red-eye Reduction, Slow Sync./Red-eye Reduction, Slow Sync., Forced On/Off, Forced On/Red-eye Reduction modes; Hot-shoe for TTL Auto with Optional FL220, FL360, FL500 flash units
Flash exposure adjustment: ±2EV in 1/3EV steps
Sequence shooting: 3 frames/second (high speed); max. 5 RAW frames
Storage Media: SD/SDHC cards
Viewfinder: Colour LCD EVF with approx. 1,440,000 dots; field of view approx. 100%; diopter adjustment -4 to +4 dpt; 17.5mm eyepoint
LCD monitor: Free-angle 3.0-inch TFT LCD with 460,000 dots (field of view approx. 100%)
Live View modes: 2x, 4x digital zoom, up to 2x Extra Optical zoom, Highlight display, Guidelines (3 patterns), real-time histogram
Video Capture: Yes; HD widescreen video with stereo audio; SD video recording also supported
Data LCD: no
Playback functions: Single, 12, 30-thumbnail display, Calendar display, Zoomed playback (16x max.), image rotation (except for RAW), Slide show (duration is adjustable, also manual controllable), Playback of favourite pictures, Resizing (selectable number of pixels), Trimming, Protection, Aspect conversion, DPOF print setting
Interface terminals: USB 2.0 Hi-Speed, HD AV output, Mini HDMI (Type C); PAL/NTSC video; stereo Mic-IN
Power supply: Lithium-ion battery pack (7.2V, 1250mAh) CIPA rated for 330 shots/charge (LCD) or 350 shots/charge (EVF)
Dimensions (wxhxd): 124.0 x 89.6 x 45.2 mm (body only)
Weight: Approx. 385 grams (body only); 903 grams with battery, card and 14-140mm lens

 

Retailers

 

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Ted’s Cameras

 

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Rating

 

RRP: $3,299 (with Lumix G Vario HD 14-140mm, f/4.0-5.8 ASPH./MEGA O.I.S. lens)

Rating (out of 10):

• Build: 8.5
• Ease of use: 8.5
• Image quality: 8.5 (stills); 9.0 (video)
• OVERALL: 8.0

Buy