Panasonic LUMIX GH7 Review – A Closer Look at One of Our Cameras of the Year

by Johnnie BehiriDecember 19^th, 2024

We just awarded the Panasonic LUMIX GH7 as one of our Cameras of the Year 2024 and for a good reason. This advanced filming tool is a good example of how video-centric cameras should be constructed. We have had the camera at our office since it was released and have used it extensively on many occasions. As the camera is not new, I will hardly touch on the specifications but concentrate on usability and picture quality. So, let’s dive into exploring Panasonic’s most recent Micro Four Thirds mirrorless camera.

The heritage heart of the LUMIX GH line of cameras is catering to the filmmaking community. Back in 2009, as an early adopter of the GH1, I clearly remember how astonished I was to be able to (almost) fit such a powerful filming tool into my pocket. The specs and quality were remarkable for those early days of mirrorless cameras. Fast forward, and like me, who has aged and gained some weight, LUMIX’s latest camera model is also a bit bigger and bulkier. Many (myself included) feel it’s time for a major facelift to introduce the next generation of camera bodies in a more modern housing. However, looks aside, it’s proving extremely capable in terms of video specification and general usage.

Its predecessor, the GH6, was a fine camera that was let down by not being good enough when it came to autofocus performance (you can read the review here). If you’re a Panasonic user, you’re likely familiar with the frustration of seeing an AF “green square” indicating focus, only to find the camera’s focus is actually elsewhere. Well, those days are long gone. First, Panasonic’s full-frame cameras, the S5II and S5II X, showed that AF could be treated differently, and then came the LUMIX GH7. The “trick” was moving away from contrast-based AF and implementing PDAF (Phase Detect Auto Focus).

LUMIX GH7 strengths

Part of testing the usage of such a versatile camera was to put it through its paces and shoot a mini-documentary with it. To do so, I found myself in an amazingly small and quiet Japanese fishing resort. In all my visits to the country, I had never witnessed such a calm place. Maybe it was the season or just the karma of the sea. Whatever it was, if you are ever in Japan, I suggest you explore this area if you are into down-to-earth vacationing next to spending endless hours at the sea.

Takeno is the town, Hitotomaru is the refurbished guesthouse, and Keisuke-san and his lovely wife Nozomi-san were my hosts. The couple has been running this place for the last 8 years, ensuring all guests witness Japanese hospitality at its best.

This little town is very picturesque, and the light during the afternoon was a dream come true for anyone who is into photography and filmmaking. Like with many of my mini-documentaries, I was looking for a very simple and basic autofocus zoom lens to work with, one that many might carry with them anyway. After a short search, I opted for the Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4 MFT lens. This lens costs around $998 (now reduced to $798), but to enhance the overall picture aesthetic, I decided to use an anamorphic adapter on it – one that would still allow me to use the autofocus functionality of the camera. For that reason (and pure curiosity to see how it performs), I chose to work with BLAZAR’s NERO 1.5x anamorphic adapter.

LUMIX GH7 and lens setup in the field

LUMIX is great at giving us very capable filming tools. (Personally, I’m still wishing for a more simplified camera menu, one that is a bit more intuitive). When it comes to my lens choice for filming this mini-doc, the Panasonic Leica DG Vario-Elmarit 12-60mm was fine. On “normal days,” this focal length zoom range was great, but when attaching the NERO 1.5x anamorphic adapter to this lens, I could only use it from 25mm onward (otherwise, you would see the adapter image circle). Also, as this is not a constant aperture lens, when zooming in to around 25mm, the aperture closes to f/3.7, which, of course, makes it less ideal for indoor use under lower light conditions. I was aware of all of these obstacles before going out to film, but was willing to bear the consequences in favor of having a relatively small setup.

The NERO, a 1.5x anamorphic adapter, looks very stylish and is very lightweight (399g/0.87lbs only), but please take into consideration that it is not a “cheap” product. In fact, $999 (the cost of this adapter) can buy you an entry-level anamorphic lens…However, this product’s build quality and overall look, next to allowing a 1.5x squeeze ratio, ignited my imagination. In my mind, I was prepared to achieve a BLAZAR Remus-like aesthetic, highly regarded within its price range. Unfortunately, this did not happen. One should take into account that when using such a lens/adapter combination, the center of the image will be sharp, but the edges of the picture will suffer. I would recommend not using any black pro mist filter in front of this lens as it will make the picture even softer. In the above documentary, I cut around 16% of the image’s edges to make the softness less obvious.

Regardless of the lack of a strong “anamorphic caricaturist,” one of the advantages of working with such an adapter is getting nice widescreen footage without throwing out sensor information.

One can’t have it all

With Panasonic’s LUMIX cameras, one of the things that I never got along well with is their flat picture profile. I’m aware that many get great results when using V-Log, but for me, at times, things look too red(ish), especially when skin tones are involved. This is why I was extremely curious to see how the collaboration between Panasonic and ARRI can benefit users when using this camera. For those who are not aware of this cooperation, Panasonic licensed LogC3 (ARRI’s third Log generation) to be used with this camera (and LUMIX GH6, too). To activate LogC3 in your LUMIX camera, you must obtain the license key here. (Say goodbye to $199.95). After activating the ARRI software in the camera, you can use the LogC3 picture profile. Now, one of the ways to benefit from using that picture profile is by downloading and using ARRI’s library of LUTs. As of June 2024, there are 87 looks to choose from. For the above mini-documentary, I mostly worked with those LUTs, and to be honest, I was really satisfied!

Now, of course, I wanted to use ARRI’s picture profile at the best available resolution/codec/data rate, but when diving into the different camera recording modes, one thing became apparent. Think of the camera menu as a blanket – cover your head, and your feet get cold; pull it down, and your nose freezes. This is how I felt when trying to dial the best available settings in each parameter for internal recording. Below are a few examples: (External recording to Atomos or Blackmagic-supported devices might cover a greater “blanket range,” though).

• Want to record in ProRes RAW internally? The 4:3 open-gate mode is not available (from 17:9 only). The resolution will suffer a bit (5.7K instead of 5.8K), and the ARRI LogC3 picture profile can not be used (V-Log only).

• Want to use ARRI LogC3? The highest recording resolution is 5.7K, in ProRes 422HQ at 17:9 only. (No 4:3 open-gate)

• Changing to MOV? Now, one can shoot in 5.8K, but in 4:2:0 color space and Long GOP codec only. (All-I at C4K).

So, I’m sure you get where I’m heading with these samples. At the end of the day, on a paid gig, one must come prepared and know what you need to deliver. For example, if you are on set to film green screen, maybe using Long GOP 4:2:0 is not the best choice.

BUT, after ranting about some of the camera’s shortcomings, I want to look at the half of the full glass. If you have a bit of time, just head to our Camera Databases and check out what the GH7 can do in terms of dynamic range, rolling-shutter, and latitude. As my colleague Gunther, who is in charge of doing our lab test, describes it: “Panasonic did it again – the LUMIX GH7 is in a class of its own considering the Micro Four Thirds sensor size! Not only does it show good rolling shutter values, also the dynamic range results don’t disappoint. They are quite similar to the recently tested Sony A9 III or the Canon EOS R5 C, for example. As mentioned, it plays in the league of recent consumer full-frame cameras with those results (a bit on the lower end, though).

Done exploring our lab test? Check out the camera recording modes.

Let’s talk IBIS and autofocus

In a recent production for the Austrian national broadcaster, Nino, my colleague, was asked to DP and choose the filming equipment that made the most sense for such a gig. Filming took place in a condensed-spaced van, and it wasn’t possible to interfere during the recording. Nino and the production team needed a mirrorless camera that could reliably focus on the participants’ faces inside the van while also offering good stabilization performance to smooth out “light driving bumps.” After multiple tests, Nino decided to work with a blend of LUMIX cameras, all from their latest generation, as those proved to be head-and-shoulders above their predecessors regarding AF reliability.

Speaking of cameras with “In Body Image Stabilization” (IBIS), the smaller sensor allows Panasonic to exceed expectations here. In general, the performance is rock solid.

In conclusion

The Panasonic LUMIX GH7 camera is a great option for anyone who needs versatility. On top of that, if you are filming nature, take full advantage of the Micro Four Thirds sensor. Meaning that one can travel with smaller zoom lenses and achieve the same focal length on the tele side as going with larger sensors, cameras, and larger lenses. I only wish a special addition, LUMIX GH7, for nature lovers (bird watchers in particular), would someday find its way to the market. I’m seeing too many people schlepping around much heavier cameras and lenses from other brands, unaware of the advantages of working with a Micro Four Thirds sensor camera.

If you are a full-time news cameraman or a solo documentary filmmaker, you will also learn to appreciate the 32-bit float XLR DMW-XLR2 audio module. Running and gunning with a camera that allows you a safety net in audio recording is a welcome thing. Last but not least. I hope future versions of the GH family of cameras will look more modern and stylish. Yes, we don’t make our purchasing decisions based entirely on looks, yet a nice-looking camera might feel nicer in our hands.

Recording modes for the above video: ProRes HQ, 5.7K, 5728×3024, 24p

What do you think about the LUMIX GH7? Do you have any experience working with it? What is your favorite feature, and, on the other hand, what would you like to see changed? Please share your thoughts with us in the comment section below.