Panasonic Lumix DC-GH6

      Photo Review 8.8

      In summary

      For its capabilities and performance the GH6 remains one of smallest video cameras on the market.

      Just like the GH4 and GH5 before it, the GH6 is the camera of choice for those who want the most professional video quality available at the time coupled with the ability to capture decent stills shots.


      Full review

      Announced on 22 February, the Lumix GH6 is the latest model in Panasonic’s video-centric GH series. A new 25.2-megapixel sensor – the highest resolution so far for M4/3 cameras – combines with an updated Venus Engine processor that is twice as fast as previous generations.  Fast sensor readouts allow internal recording of 5.7K 30p video in Apple ProRes 422 HQ format or FHD video at up to 200 fps for super-slow motion recordings. Still images can be recorded handheld at 100 megapixels with the High Resolution Mode. We reviewed the GH6 with the 12-60mm f/3.5-5.6 Lumix G lens.

      Angled view of the Lumix GH6 camera with the H-FS12060E kit lens. (Source: Panasonic.)

      The GH6 is available in four configurations: the body only at AU$3699 (RRP), the basic ‘M’ kit with the 12-60mm f/3.5-5.6 Lumix G lens at AU$3999, the ‘PRO’ kit with the 12-35mm f/2.8 Lumix G lens and the ‘Leica’ kit with the 12-60mm f/2.8-4.0 Leica DG lens, both of which are priced at AU$4799.  The new camera is a significant upgrade on the GH5, which was launched more than five years ago and which received a relatively minor ‘Mark II’ update in May 2021.

      Who’s it For?
      When the GH5 arrived it was the most sophisticated, video-orientated camera on the market and, therefore had few (if any) real competitors. Times have changed and the GH6 must compete with the OM-1 (which is slightly cheaper) and ‘full frame’ cameras like the Sony α7 IV and Canon EOS R6, which have similar price tags. The table below compares key features of the GH6, GH5II and OM-1, which all have M4/3 sensors and include support for anamorphic lenses.

      Panasonic GH6 Panasonic GH5 II OM-1
      Sensor Resolution Actual: 26.52 MP Effective: 25.2 MP (5776 x 4336) Actual: 21.77 MP
      Effective: 20.33 MP
      Actual: 22.9 MP
      Effective: 20.4 MP
      Shutter Speed Electronic front curtain shutter
      1/2000 to 60 sec. Up to 30 min. in Bulb mode;
      Electronic Shutter
      1/32000 to 1 sec. to 60 sec. in Bulb mode
      1/25,000 to 1/8 sec. in Movie mode
      Electronic shutter
      1/16000 to 60 Seconds
      Up to 60 Seconds in Bulb mode
      Electronic Front Curtain Shutter
      1/2000 to 60 Sec.
      Up to 30 Min. in Bulb mode
      Mechanical shutter
      1/8000 to 60 Seconds
      Electronic Front Curtain Shutter
      1/320 to 60 Seconds
      Electronic Shutter
      1/32000 to 60 Seconds
      ISO Sensitivity Photo: 100 to 256,000 (Ext: 50)
      Video: 100 to 12,800 (Ext: 50)
      Photo: 200 to 25,600 (Ext: 100 to 25,600)
      Video: 200 to 12,800 (Ext: 100 to 12,800)
      200 to 102,400 (Ext: 80 to 102,400)
      Metering Method Centre-weighted average, Highlight weighted, Multiple, Spot Centre-weighted average, Highlight weighted, Multiple, Spot Centre-weighted average, Highlight weighted, Multi-zone, Spot
      Exposure Compensation -5 to +5 EV (1/3 EV steps) -5 to +5 EV (1/3 EV steps) -5 to +5 EV (1/3, 1/2, 1 EV steps)
      Metering Range 0 to 18 EV 0 to 18 EV -2 to 20 EV
      White Balance Presets Auto, Cloudy, Colour Temperature, Daylight, Flash, Incandescent, Shade, White Set 1, White Set 2, White Set 3, White Set 4 Auto, Cloudy, Colour Temperature, Daylight, Flash, Incandescent, Shade, White Set 1, White Set 2, White Set 3, White Set 4 Auto, Sunny 5300K, Shadow 7500K, Cloudy 6000K, Incandescent 3000K, Fluorescent 4000K, Underwater, Flash 5500K, One-touch 1-4, Custom
      Continuous Shooting Mech. shutter
      Up to 14 fps – 65 frames (Raw) / 95 frames (JPEG)
      Elect. shutter
      Up to 75 fps – 200 frames (Raw) / 200 frames (JPEG)
      Up to 12 fps at 20.3 MP
      Up to 30 fps at 18 MP
      Up to 60 fps at 8 MP
      Mech. shutter
      Up to 10 fps at 20.4 MP – 139 frames (Raw) / 169 frames (JPEG)
      Elect. shutter
      Up to 20 fps at 20.4 MP – 108 frames (Raw) / 116 frames (JPEG)
      Self Timer 2/3/10-second delay 2/10-second delay 2/12 second delay + 3 Custom settings with adjustable delay, interval and focus
      Max. Image Sizes 25.2 MP (5776 x 4336) 20.33 MP (5184 x 3888) 20 MP (5184 x 3888)
      Bit Depth 10-Bit 14-Bit 12-Bit
      Max. Video resolution H.264/MOV/MPEG-4 AVC/ProRes 422 HQ 4:2:2 10-Bit; 5728 x 3024 at 29.97p [1900 Mb/s], 23.98p/24.00p [1500 Mb/s], 5728 x 3024 at 25p [1600 Mb/s] H.265/MOV 4:2:0 10-Bit 6K  Anamorphic (4992 x 3774) at 23.98p/24.00p/25p/29.97p [200 Mb/s]
      DCI 4K (4096 x 2160) at 50p/59.94p [200 Mb/s]
      H.265 Long GOP/MOV 4:2:0 10-Bit DCI 4K  (4096 x 2160) at  23.98p/25p/29.97p/50p/59.94p [77 to 152 Mb/s]
      IP Streaming None RTMP & RTMPS: 1280 x 720 to 1920 x 1080 at 25p, 29.97p, 50p, 59.94p None
      Media Slot 1: CFexpress Type B
      Slot 2: SD/SDHC (UHS-II or U3/V30]
      Dual slot: SD/SDHC/SDXC (UHS-II or. V90 Dual slot: SD/SDHC/SDXC (UHS-II)
      Video I/O 1 x HDMI Output 1 x HDMI Output 1 x Micro-HDMI Output
      Audio I/O 1 x 3.5 mm TRRS headphone/mic, 1 x 3.5 mm TRRS output 1 x 3.5 mm TRS stereo headphone output, 1 x 3.5 mm TRS stereo mic input 1 x 3.5 mm TRS stereo mic. (Plug-in Power) input, 1 x 3.5 mm TRS stereo headphone output
      Power I/O 1 x USB Type-C Input/Output 1 x USB Type-C Input/Output USB PD bus power compliant
      Other I/O 1 x USB Type-C (USB 3.2 / 3.1 Gen 1) Data In/Out (Shared with power input), 1 x 2.5 mm Sub-Mini control input 1 x USB Type-C In/Outt (Shared with Power Input), 1 x 2.5 mm Sub-Mini
      1 x PC sync socket FlashSync output
      1 x USB Type-C (USB 3.0 SuperSpeed), 1x 2.5mm remote control jack, 2x 3.5mm jacks for mic & headphones
      Wireless 5 GHz Wi-Fi 5 (802.11ac) video/audio output, control Bluetooth, Wi-Fi 2.4 / 5 GHz Wi-Fi
      Monitor Articulating 3-inch, 1,840,000 dot touch screen Vari-angle 3-inch, 1,840,000 dot touch screen Vari angle 3-inch, 1,620,000 dot touch screen
      EVF 3,680,000 dots 3,680,000 dots 5,760,000 dots
      Focus Type DFD Contrast detection: 315 points DFD Contrast detection: 225 points Phase/Contrast detection: 1053 points
      Autofocus Sensitivity -4 to +18 EV -4 to +18 EV -6 to +19 EV
      Flash Auto, Auto/Red-Eye Reduction, Forced On, Forced On/Red-Eye Reduction, Off, Slow Sync, Slow Sync/Red-Eye Reduction; 1/250 Sec.; -3 to +3 EV (1/3 EV steps) Auto, Auto/Red-Eye Reduction, Forced On, Forced On/Red-Eye Reduction, Off, Slow Sync, Slow Sync/Red-Eye Reduction; 1/250 Sec.; -3 to +3 EV (1/3 EV steps) Fill Flash, First-Curtain Sync, Manual, Off, Red-Eye Reduction, Second-Curtain Sync, Slow Sync; 1/250 Sec.; -3 to +3 EV (1/3, 1/2, 1 EV steps)
      External Flash Connection Hot Shoe Hot Shoe, PC Terminal Hot Shoe, PC Terminal
      Battery DMW-BLK22 Lithium-ion, 7.2 VDC, 2200 mAh (Approx. 350 shots) DMW-BLK22 Lithium-ion, 7.2 VDC, 2200 mAh (Approx. 400 shots)  BLX-1  Lithium-ion (Approx. 520 shots)
      Material of Construction Magnesium alloy Magnesium alloy Magnesium alloy IP53 rated weather sealing
      Dimensions (W x H x D) 138.4 x 100.3 x 99.6  mm 138.5 x 98.1 x 87.4  mm 134.8 x 91.6  x 72.7  mm
      Weight 739 g (body only);  823 g (body with battery & cards) 727 g (body with battery & cards) 511 g (body only); 599 g (with battery & cards)
      RRP (body only) AU$3699 AU$2699 AU$3299

      It’s also competing against Panasonic’s own ‘full frame’ model, the Lumix S5, which is also cheaper; and the S1R, which is a little more expensive but has almost double the resolution. It’s quite a crowded market.

      Like the GH5S, the GH6 is first and foremost a video shooter’s camera. It’s different from the GH5S in several important ways while retaining some key features but it’s also much better when it comes to resolution, stabilisation and dynamic range and overall video capabilities.

      There have been physical changes (outlined below) that make it easier to operate and ‘under the hood’ enhancements that make it one of the most capable non-professional ‘hybrid’ cameras currently available.

      Unfortunately, the GH6 is stuck with the same contrast-detection AF system as its predecessors, which is not as fast and accurate as the hybrid phase- and contrast-detection systems in the OM-1 or the latest cameras from Sony, Nikon and Canon. Even though it’s only it’s 12 grams heavier than its predecessor, that’ rather heavy for a M4/3 camera. Its battery life is also underwhelming.

      Build and Ergonomics
      The body of the new camera is larger than that of the GH5S, thanks in part to a deeper grip. It’s also thicker because it includes a built-in active cooling fan to keep the sensor and processor temperatures within usable ranges while they process high-resolution video data. Recording high-resolution video has also necessitated the provision of faster, higher-capacity memory cards. To that end, the GH6 is the first M4/3 camera with a CFexpress Type B card slot in addition to an SD UHS II slot.

      Side views of the GH6 body. The left side shows the vents for the active cooling system outlined in red. The port and card compartment covers have been removed to show the interfaces below them. (Source: Panasonic.)

      One disadvantage of this arrangement is users can’t back-up the highest-resolution video files without attaching an external recorder. A future firmware update is expected to support recording to an external SSD recorder via the USB-C 3.2 port, which can also be used to power the camera while shooting. Also coming via a future firmware update is the ability to record ProRes RAW to an external Atomos recorder.

      Front view of the GH6 body with no lens fitted. (Source: Panasonic.)

      All the buttons and dials are in roughly the same places as on previous models, with a few exceptions. A second video record button has been added to the front panel, low down where it is easy to reach with the left hand’s index finger. In addition, a second programmable function button has been added above the existing preview/Fn3 button between the grip and the lens mount.

      On the top panel, the video recording button has been moved back and there’s a new audio information button right of the mode dial on the top panel with a charging/network connector light embedded beside it.

      Top view of the GH6 body with no lens fitted. (Source: Panasonic.)

      A new ‘Operation Lock Lever’ that lets you lock out any controls you want has been added to the rear panel left of the playback button and the Display button has been shifted down beside the Cancel/Delete button. The rear panel also gains a tally lamp.

      The rear panel of the GH6 with the monitor reversed
      . (Source: Panasonic.)

      The vari-angle monitor now tilts up through 45 degrees to keep it clear of the microphone and HDMI ports for vlogging.  The screen can also be positioned to ensure it’s not blocked by cables when external recorders are in use.

      This image shows the GH6 in use with the vari-angle monitor pulled outwards and tilted. (Source: Panasonic.)

      The resolution of the monitor and EVF remain unchanged from the GH5 II. The full-sized HDMI Type A port carries over from the GH5 II but the USB-C port is upgraded to a USB 3.2 Gen2 version.

      The camera offers both mechanical and electronic shutter options, with the mechanical shutter rated for 200,000 cycles. The mechanical shutter has a range of 60 to1/8000 seconds plus Bulb, while the electronic shutter’s range is 6 to 1/32,000 second. Movie shutter speeds range from 1/25 to 1/25,000 second.

      The battery appears to be the same as in the GH5 II but its capacity is lower at between 330 and 350 frames with a CFexpress card or 360-380 frames with an SD card (or roughly double those capacities when Power Save LVF mode is used). Movie recording times vary between 45 and 90 minutes, depending on the memory card used and whether recording is continuous or stop-start recording.

      Sensor and Processor
      As mentioned, the new sensor in the GH6 is the highest resolution chip so far for M4/3 cameras. Redesigned from the ground up – and unimpaired by a low-pass filter –  it has an effective resolution of 25.2 megapixels for stills and can record 5.7K 30p video using the high-quality Apple ProRes 422 HQ or ProRes 422 codecs for visually lossless, high bit-rate footage. (More on video capabilities below.)

      Panasonic is using technology that has more in common with the approaches taken in sensors used by cinema cameras made by Arri and Canon, which combines two data steams with different levels of amplification. A high gain output provides improved noise characteristics in the shadows is mixed with a low gain output that retains the highlight information that would otherwise be clipped, resulting in a wider dynamic range.

      The native aspect ratio of the 17.3 x 13.0 mm sensor is 4:3, but the camera also offers 3:2, 16:9 and 1:1 crops. The 4:3 frame has a resolution of 5776 x 4336 pixels but the camera also provides a high resolution mode that records and composites multiple frames captured in a fraction of a second to produce a 100-megapixel (11552 x 8672 pixels) image in the native aspect ratio.

      Handheld recording, which takes advantage of built-in sensor-shift stabilisation, is available and motion blur processing can be applied to minimise blurring when frames are merged. Users can also opt to save recorded frames separately instead of allowing the camera to combine them. The camera also provides a lower resolution option, which records at resolutions from 50 megapixels to 37.5 megapixels, depending on the selected aspect ratio.

      Against expectations, Panasonic has stuck with its proprietary DFD contrast-based autofocus technology. While it’s been improved since the GH5, with 315-area detection (up from 225 in the GH5) and faster processing speeds, it doesn’t rival the phase detection systems in competing cameras, which are faster but no less precise.

      The introduction of AI technology has resulted in welcome improvements to subject recognition and tracking. The camera can now home in on human faces and eyes as well as the subject’s head or body as well as offering animal+human recognition for every AF mode except Pinpoint. Birds and vehicles aren’t listed in the detection menu, which is also a bit behind the times. On the plus side, when subject detection is enabled, the focus will automatically switch from body recognition to face, then eye recognition as the subject approaches the camera.

      The GH6 also provides more focusing selection patterns, along with an updated joystick to enable quick and precise focusing. Selecting the Face Priority mode when multi-pattern metering is used now prevents unwanted exposure changes, a valuable feature when shooting video.

      We found the camera was good at picking up subjects as they entered the frame but, not surprisingly, it tended to concentrate upon subjects in the centre of the frame when shooting video. This meant it would occasionally slip in and out of focus as subjects moved across the frame, particularly when lower frame-rate settings were used.

      The GH6 is unashamedly video focused and includes all the features and functions a contemporary vlogger is likely to require.  Being designed as a video camera that can shoot stills rather than a still camera that can shoot video it’s a big improvement on its predecessors. However, you need to use a CFexpress Type B to take full advantage of the video recording modes.

      The list of the GH6’s video capabilities is impressive and includes the ability to record at 5.7K resolution with a top frame rate of 50 fps (PAL system) as well as DCI 4K up to 100 fps and 1080p at 200 fps for slow-motion recordings. It can also support anamorphic shooting at up to 5.7K.

      Most recording formats support 10-bit video with a choice between with H.264 and H.265 codecs as well as an Intraframe I mode for more efficient editing or LongGop L mode to conserve recording space. In addition, Panasonic has provided a histogram display for video mode, a particularly useful feature for Log recordings. The display can be resized and positioned anywhere in the frame.

      Professional users can take advantage of support for the 12-bit ProRes and ProRes HQ, both of which are data-heavy but better for editing. The camera can only record 5.7K 25p ProRes video at present but Panasonic has promised ProRes DCI 4K and full HD via a firmware update at a future date. Also promised for the future is RAW output at up to C4K 100p to an external recording device plus direct record to SSD capability via the USB-C 3.2 Gen 2 port.

      The 5.7K ProRes footage can be downsampled in the camera, to produce high-quality 4K footage with minimal compression and 12-bit colour, which can be played back on a high-specced computer. Note that these files are very large so you’ll need plenty of storage space.

      The GH6 is also Panasonic’s first non-professional camera with full V-Log support, along with a Dynamic Range Boost function that combines high and low-gain readouts to expand the recordable brightness range with ISO settings of 800 or higher. This gives editors more scope in post-production for producing footage with details in highlights and shadows

      Panasonic’s new 3D Noise Reduction function will engage at higher ISO settings to suppress grain, which results in visible (although slight) softening. But because Dynamic Range Boost can’t be used for lower ISO settings, added shadow noise is virtually inevitable.

      Improved in-body stabilisation claims 7.5 stops of shake correction with supported lenses, which is great for handheld video. Digital IS is also available when shooting movies, which reduces jerkiness when the user records while walking. Rolling shutter effects are also well-controlled.

      In line with its competitors, the GH6 sports both USB-C and full-sized HDMI ports as well as headphone and microphone jacks. On the front of the camera, a flash synchro socket doubles as a time-code in/out connector when using the included BNC converter cable.

      The USB 3.2 Gen2 Type-C enables data transfers at 10Gb/second and can also power the camera in tethered mode or recharge the battery. The HDMI Type-A port can feed the footage to an external recorder, while the hot-shoe accepts flashguns or the optional DMW-XLR1 hot-shoe adapter, which provides four-channel XLR audio inputs.

      Wi-Fi 5GHz and Bluetooth v5.0 enable the transfer of still images and video footage to a smartphone, from which they can be sent to other devices. You can also update the camera’s firmware wirelessly via a smartphone.

      Interestingly, Panasonic has dispensed with the 6K/4K Photo Modes, Focus Stacking and Post Focus and Live Streaming functions provided on previous cameras launched over the past few years. No explanations have been presented for this decision.

      Subjective assessments of test shots showed them to have reasonably good dynamic ranges and subdued colour rendition. We noticed a very slight red/magenta cast in many JPEGs we recorded, which was confirmed by our Imatest testing.

      Imatest showed the review camera to be capable of meeting expectations with JPEG files across a surprisingly wide range of ISO settings (up to ISO 800) before declining slowly but steadily as sensitivity was increased. Against expectations the results we obtained for RW2.RAW files from the review camera, which were converted into 16-bit TIFF format with Adobe Camera Raw, were only slightly better than the JPEG results. The graph below shows the results of our tests across the available ISO settings.

      In practice, we weren’t particularly impressed with the relatively high noise levels in shots above ISO 3200, which could be attributed to the small photosites in the sensor. We found noise reduction processing could be quite aggressive at higher ISO levels, leading to softening and loss of contrast in both JPEG and raw files. Fortunately, long exposures at night were effectively noise-free up to ISO 3200.

      The auto white balance setting produced close-to-neutral colours with fluorescent lighting but, as expected, failed to eliminate the orange casts from incandescent and warm-toned LED lighting. Like most current cameras, the GH6 provides three auto white balance settings, one of them designed to suppress reddish casts (AWBc), another that keeps warm tones (AWBw) and a general-purpose setting (the default). These ‘corrections’ were only marginally successful in our tests but worked quite well in ‘real world’ situations.

      No pre-sets are provided for either LED or fluorescent lighting and the tungsten pre-set didn’t quite correct the warm colour casts of incandescent and LED lighting.  Manual measurement generally produced neutral colours and the camera provides plenty of adjustments for fine-tuning colours as well as white balance bracketing.

      We didn’t test all of the video settings, largely because of a lack of time and editing resources. However, those settings we did test delivered impressive results. As expected, the video stabilisation cropped the frame a little – but somewhat less than we’d anticipated (probably due to the higher sensor resolution).

      Audio quality from the built-in microphones was generally adequate, although not spectacular. Use of accessory mics is advisable for any recordings that will be used commercially. On the whole, the GH6 is a stand-out for video among cropped-sensor cameras.

      Our timing tests were carried out with a Panasonic 128GB CFexpress card with a read speed of 1700MB/sec. and write speed of 1000 MB/sec. it being the fastest card available to us. Interestingly, the review camera took two seconds on average to power-up. which is relatively slow, although it shut down instantaneously. Capture lag times ranged from a couple of seconds when the camera had to go from seriously out-of-focus to in-focus to an average of 0.15 seconds without pre-focusing. They were mostly eliminated when shots were pre-focused.

      Processing of single shots averaged roughly half a second, regardless of whether it was a JPEG or a RW2.RAW file. Shot-to-shot times in the single-shot mode averaged 0.45 seconds.

      We measured continuous shooting times with both the mechanical and electronic shutters and used the Super-high speed mode as well as the normal high-speed mode with the latter. With the mechanical shutter, the regular Continuous High Speed mode recorded 84 frames in 5.15 seconds with the mechanical shutter and 94 frames in 5.03 seconds with the electronic shutter, in each case before a brief hesitation.

      With the Super-high speed mode, the camera paused after recording 200 frames in 2.6 seconds, which is higher than the specified 40 fps rate. However, processing this burst took just under one minute. We didn’t run timing tests in the low-speed continuous modes.


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      Image sensor: 17.3 x 13.0  mm Live MOS sensor with 26.52  million photosites (25.21 megapixels effective); primary colour filter, no low-pass filter
      Image processor:  Venus Engine
      Lens mount: Micro Four Thirds
      Focal length crop factor:  2x
      Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.31), RW2.RAW (14-bit), RAW+JPEG; Movies: MOV: H.264/MPEG-4 AVC, H.265/HEVC, ProRes; MP4: H.264/MPEG-4 AVC, H.265/HEVC
      Audio: MOV: LPCM (2ch 48kHz/24-bit, 96kHz/24-bit, 4ch 48kHz/24-bit and 96kHz/24-bit possible with optional DMW-XLR1 microphone adapter and accessory microphones), MP4: AAC (2ch 48kHz/16-bit)
      Image Sizes: Stills in 4:3 aspect ratio: 5776×4336(L) / 4096×3072(M) / 2944×2208(S) / 11552×8672(XL)* / 8192×6144(LL)* [*High Resolution Mode]; Movies:  [5.8K] 5760×4320 (4:3) at 25p 200Mbps; [5.7K] 5728×3024 (17:9) at 50p 300 Mbps or 25p 200Mbps; [4.4K] 4352×3264 (4:3) at 50p 300Mbps; [C4K] 4096×2160 at 100p 300Mbps, 50p 800 Mbps/200Mbps or 25p 400 Mbps/150Mbps; [4K] 3840×2160 at 100p 300Mbps, 50p 800 Mbps/200Mbps or 25p 400 Mbps/150Mbps; [FHD] 1920×1080 at 200p 800 Mbps/200Mbps or100p 400 Mbps/150Mbps or 50p 200 Mbps/100Mbps or 50i 100Mbps, 25p 200 Mbps/100Mbps; Variable frame rate recording also available
      Aspect ratios: 4:3, 3:2, 16:9, 1:1
      Image Stabilisation: IBIS – 5-axis / 7.5-stops; Dual I.S. 2 supported
      Shutter (speed range): Focal-plane shutter (Mechanical shutter (60-1/8000 seconds plus Bulb; Electronic shutter: 6 to 1/32,000 second; Movies: 1/25 to 1/25,000 second)
      Exposure Compensation: +/-5EV in 1/3EV steps (+/3-EV for movies)
      Exposure bracketing: 3, 5, 7 images in 1/3, 2/3 or 1 EV steps, max. ±3 EV, single/burst
      Other bracketing options: Aperture, focus, white balance
      Self-timer: 2 or 10 seconds delay plus 10 sec. delay/3 frames or Custom Time
      Interval recording: Yes, for time-lapse; Stop Motion Animation
      Focus system: Contrast AF system with DFD technology, range EV -4 to 18
      AF  selection: Tracking / Full Area AF / Zone (Horizontal/Vertical) / Zone / 1-Area+ / 1-Area / Pinpoint; Automatic Detection can be turned ON to switch between Human/ Face/Eye/ Animal+Human. Except when Pinpoint is set.
      Focus modes: AFS (Single) / AFC (Continuous) / MF
      Exposure metering:  1,728-zone multi-pattern sensing system with Multiple, Centre-weighted average, spot and  highlight-weighted metering patterns
      Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure, Creative Video (P/A/S/M), Custom 1, 2, 3, 4, Intelligent Auto
      Photo Style modes: Standard, Vivid, Natural, L. Classic Neo, Flat, Landscape, Portrait, Monochrome, L. Monochrome, L. Monochrome D, L. Monochrome S, Cinelike D2, Cinelike V2, Like709, V-Log,, Hybrid Log Gamma, My Photo Style 1-10
      Filter modes: Expressive, Retro, Old Days, High Key, Low Key, Sepia, Cross Process, Bleach Bypass
      Motion Picture Functions: Master pedestal level (31 steps), Luminance level (8-bit: 0-255, 16-235, 16-255, 10-bit: 0-1023. 64‒940, 64‒1023), Wave form monitor / Vectorscope, LUT and HLG view assist, Anamorphic desqueeze display (2.0x / 1.8x / 1.5x / 1.33x / 1.30x / OFF), Synchro scan, SS/Gain operation, Colour bars SMPTE / EBU / ARIB), 1kHz test tone,  Knee control, Red REC frame indicator, Vertical position information. Level gauge
      Colour space options: sRGB and Adobe RGB
      ISO range: Auto, ISO 100-25600  with extension to ISO 50;  V-Log range – Auto 250-12800 plus ISO 125 (extended)
      White balance: AWB, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x 4), Colour temperature setting (x 4)
      Flash: External flashguns only
      Flash modes: Auto / Auto/Red-eye Reduction (iA only), Forced On, Forced On/Red-eye Reduction, Slow Sync. / Slow Sync./Red-eye Reduction, Forced Off
      Flash exposure adjustment: +/- 3EV in 1/3EV steps
      Sequence shooting: Max.75 frames/sec. with electronic shutter; 14 fps with mechanical shutter  (AFS/MF)
      Buffer capacity: Max.>95 Large/Fine JPEGs,  >65 RAW files
      Storage Media: Dual slots for CFexpress (Type B)  and SD  (UHS-II / V90 compatible)
      Viewfinder: OLED Live View Finder with approx. 3.68 million dots, 0.76x magnification (35mm camera equivalent), 21 mm eyepoint, -4.0 to +3.0 dpt adjustment
      LCD monitor: Tilting free-angle, 3.0-inch 3:2 aspect TFT LCD monitor with static touch control, approx. 1.84 million dots
      Interface terminals: USB Type-C (USB 3.2 Gen2), HDMI Type A, 2.5mm remote control socket, 3.5mm jacks for external microphone/audio device and headphones, TC IN/OUT port
      Wi-Fi function: Built-in Wi-Fi; Bluetooth v5.0 (Bluetooth Low Energy)
      Power supply: 7.2V, 2200mAh, 16Wh rechargeable Li-ion battery; CIPA rated for approx. 330-900 shots/charge depending on card & power save mode,  40-90 minutes of video recording time
      Dimensions (wxhxd): Approx. 138.4 x 100.3 x 99.6 mm
      Weight: Approx. 739 grams body only; 823 grams with battery and SD card

      Distributor: Panasonic Australia, Ph. 132 600



      Based on JPEG images taken with the H-FS12060E 12-60mm f/3.5-5.6 ASPH. kit lens.

      Based on RW2.RAW files recorded simultaneously and converted into 16-bit TIFF  format with Adobe Camera Raw.



      Auto white balance with incandescent lighting, no corrections.

      Auto white balance with incandescent lighting, AWBw mode.

      Auto white balance with incandescent lighting, AWBc mode.

      Auto white balance with fluorescent lighting.

      Auto white balance with warm-toned LED lighting, no corrections.

      Auto white balance with warm-toned LED lighting, AWBw mode.

      Auto white balance with warm-toned LED lighting, AWBc mode.

      ISO 50, 60-second exposure at f/5; 27mm focal length.

      ISO 100, 30-second exposure at f/5; 27mm focal length.

      ISO 1600, 2.5-second exposure at f/6.3; 27mm focal length.

      ISO 3200, 2-second exposure at f/8; 27mm focal length.

      ISO 6400, 2-second exposure at f/11; 27mm focal length.

      ISO 12800, 1-second exposure at f/11; 27mm focal length

      ISO 25600, 1-second exposure at f/16; 27mm focal length.

      60mm focal length, ISO 100, 1/640 second at f/7.1.

      60mm focal length, ISO 250, 1/125 second at f/8.

      20mm focal length, ISO 100, 1/200 second at f/8.

      60mm focal length, ISO 100, 1/400 second at f/8.

      22mm focal length, ISO 100, 1/400 second at f/9.

      34mm focal length, ISO 100, 1/640 second at f/7.1.

      38mm focal length, ISO 100, 1/320 second at f/9.

      60mm focal length, ISO 100, 1/80 second at f/4.

      24mm focal length, ISO 1250, 1/60 second at f/8.

      14mm focal length, ISO 250, 1/60 second at f/7.1.

      60mm focal length, ISO 4000, 1/125 second at f/4.

      16mm focal length, ISO 3200, 1/40 second at f/3.1.

      12mm focal length, ISO 8000, 1/40 second at f/3.2.

      12mm focal length, ISO 25600, 1/15 second at f/8.

      36mm focal length, ISO 3200, 1/80 second at f/6.3.

      46mm focal length, ISO 25600, 1/25 second at f/7.1.

      16mm focal length, ISO 25600, 1/20 second at f/8.

      34mm focal length, ISO 25600, 1/30 second at f/7.1.

      19mm focal length, ISO 5000, 1/40 second at f/3.2.

      12mm focal length, ISO 6400, 1/20 second at f/4.

      Still frame from
      MP4 4K 50p video clip; 100M 4:2:0 10bit. Long GOP compression.

      Still frame from MP4 4K 25p video clip; 72M 4:2:0 10-bit. Long GOP compression.

      Still frame from MP4 4K 50p video clip; 200M 4:2:2 10-bit. Long GOP compression.

      Still frame from
      MOV 4K 25p video clip; 100M 4:2:0 8-bit. Long GOP compression.

      Still frame from MOV FHD 50p video clip; 28M 4:2:0 8-bit. Long GOP compression.

      Still frame from MOV FHD 50p video clip; 50M 4:2:2 10-bit. Long GOP compression.

      Still frame from MOV FHD 50p video clip; 50M 4:2:0 8-bit. Long GOP compression.

      Still frame from MOV FHD 25p video clip; 50M 4:2:0 8-bit. Long GOP compression.

      Still frame from MOV C4K 50p video clip; 200M 4:2:2 10-bit. ALL-Intra compression..

      Still frame from MOV 5.7K 25p video clip; 200M 4:2:0 10bit. Long GOP & HEVC compression.

      Still frame from MOV 4.4K 50p video clip; 300M 4:2:0 10bit. Long GOP & HEVC compression.

      Still frame from MOV C-FHD 100p video clip; 400M 4:2:2 10bit. ALL-Intra compression

      Still frame from MOV C-FHD 50i video clip; 100M 4:2:2 10bit. ALL-Intra compression



      RRP: AU$3699 (body only); $3999 (with H-FS12060E kit lens)

      • Build: 9.0
      • Features: 8.8
      • Ease of use: 8.9
      • Autofocusing: 8.5
      • Still image quality JPEG: 8.9
      • Still image quality RAW: 8.7
      • Video quality: 9.0