Now, in 2022 though, many (admittedly expensive) full-frame cameras are beginning to offer this capability, and even 4K/120p. The GH5’s ability to record 4K/60p using the full width of the sensor was a rare capability, and many videographers accepted the limitations of Micro Four Thirds to have access to it. Now that the camera is in my hands, am I giddy with delight, ambivalent or enraged? Was my list of GH6 expectations unreasonable? What I wanted: A faster scanning sensor
I knew a GH6 was coming and I knew what I wanted from it.Ī camera so intuitive even your host can use it! However, technology marches on and I was starting to miss the higher resolution recording, high speed 4K and dynamic range offered by many recent cameras. It was dependable, and I knew that it could handle most situations. But I’d always find myself going back to the Panasonic GH5. Everything from APS-C to full frame, and even medium format. I’ve had the opportunity to work with many cameras since then. I ditched the cinema cameras I was using and haven’t looked back. Now, suddenly, they were available in a relatively affordable, comparatively compact body. Unlimited recording in most modes, waveforms, vector scopes, shutter angles… These were the conveniences many professional videographers and cinematographers would pay a huge premium to have access to. It brought 10-bit video recording to the masses and, for me, it was the first mirrorless camera that truly felt like a replacement for a professional cinema camera. That’s how long it’s been since Panasonic released the GH5, which I would argue is one of the most important digital cameras ever released.
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