Does the Panasonic GH7 Dominate for Video Production? 

They are the best. I’m getting a gh7 for sure and a shii whenever that comes out.

I would love to know too

That's user error in most cases. If the scene brightness range is 13.4 stops or less, you can capture it with the G9 II or GH7. It does require V-Log or a raw video format.

Battery is the same, Panasonic BLK22. As for the audio adapter the marketing material says it's only for the GH7.

@@GrenlandUnderVann In that case, does the older one work on the GH7? It is not logical to have XLR units that is limited to just one of the cameras. I wonder though, does the new unit get listed as GH7 only because it is only on the GH7 that it gives the full 32 bit, but might function in a more limited 24 bit on a different camera, or does it simply not pass any audio through at all? I suspect this might need some on-the-ground testing. Maybe the physical connection to the camera is incompatible. Maybe there is a software incompatibility. I would love to try it out, because I don't trust corporate information. Sometimes they say things just to increase sales.

Yes. The entire episode was filmed on GH7

Yup. Whole episode was shot on Gh7

300 fps, nope.

Yes! And it would probably replace it for stills as well. There may be reasons to keep your K1 for stills, but for most still photos, the GH7 could suffice. For video, there is no comparison. The GH7 is light years ahead of that 8-year-old Pentax. It is a professional tool that will find a home on many TV and movie sets as a 'B' camera, especially in high risk situations where high quality in a compact camera is required, but the loss of a $2200 USD body would seem insignificant in comparison to losing a Red or Arri.

@@williamburkholder769 I was being sarcastic.

@@bobk4438 Well, I hoped so, but there are some folks with K1s in a forum I am on who would have been serious! Without facial expressions, vocal inflections, and body language, prose is sometimes hard to decipher other than literally.

Both. Its gonna come down to budget and what color space/codec your shooting in more than anything. You can get almost 2 GH7's for 1 FX3, so from a budget stand point alone its very competitive.

Why do you think you can't use GH6? I have a GH6 - you can record on both cards at the same time, but only if the Mbit speed is acceptable for the slower card. I record everything up to 400Mbit (v60 card) on two slots at the same time on GH6. In GH5, the maximum bitrate is 400Mbit, so two SD cards worked fine. This cannot be done here because there is only one CFexpress and it allows you to record at the camera's maximum speed (1.9Gbit), which no SD card can achieve - hence it is not possible to record on both cards at the same time, from a speed of 800Mbit. But as long as I don't exceed 400Mbit, I record everything simultaneously on both cards (CFexpress + V60). It is also possible to record simultaneously on both cards using the v90 card (up to 600Mbit).

@@mirogor5333 Thanks for the info. It made sense to me that higher Mbit speed could not be handled by the SD card due to its limit. I was thinking that anything else in the Mbit speed range of the SD card could be recorded on both cards (CF EX & SD) at the same time, but someone else on YT said that it was not possible, hence my question here. I always record everything on both SD cards on my GH5, and would like to continue doing so on any future camera. Thanks again for sharing.

Agreed

It can record BRAW to an external recorder, same as the GH6.

@@williamburkholder769 More bulk, another battery. another cable to worry about, no thanks. But hey, I'm nitpicking for what is already a great camera.

I would argue the 32bit float for scratch audio and guerilla shoots or BTS since you don't need to worry about peaking in any situation. Otherwise your more or less right. Useable autofocus is handy for some situations, but proxy recording are the big ones for me. Proxy editing for high bit rate files is SO handy for anyone who can't build out a 2-3k editing rig and need to deliver 4k files.

@@drewcrawford7812 Hmm. 24 Bit has enough headroom so you can set the gain level low and safe and simply adjust (or boost) it in post. In other words: is there really an epidemic of filmmakers out there that had problems with setting audio gain? Also, the whole 32 Bit thing, that's not a camera feature but an additional (way too expensive) device that you have to buy. And I bet they could make 32 Bit float possible on the GH6 as well via a firmware update. But they choose not to because they want to sell more units of the GH7. The Proxy thing sounds pretty interesting, but only if my editing software could actually work with that. How is the worklflow, you import the proxies, color grade, edit with proxies, and then simply replace the proxy files for the "real" ones?

@@michaelkupfer3723 pretty much yah. I recommend grading with the full res files for accuracy, but it's easy enough to drop them in and batch edit or just grade individual clips. I typically use proxies files for prores or raw but few mates use them with h.265 4k files as well. Longer work flow and ingest but worth it if your comp can't handle native 4k files.

@@drewcrawford7812 My comp can do (1080p) proxies for 4K or bigger files, but yeah, that would definitely be a time-saver. Thing is I just bought the GH6 like a year ago (already own a GH5s as well), don't know if it's worth it really to upgrade :-(

What makes you think that? MFT is very popular for video

The Panasonic S5 II and S5 IIX cover many of the same features if you need a full frame sensor. But, this has some video advantages that the full-frame cameras don't offer.

​@@TheCameraStoreTV might end up in a possible S1H successor. Still, m43 has advantages.

It depends on what features you need for video work. Sony absolutely has some great video options. We love using the FX3 for our 4K 60p work. But, the GH7 can record Apple Pro Res Raw internally, it can also capture oversampled 4K/120P, and has the 32-bit float audio option. It's pretty stacked with video features! It can't take Sony G Master lenses. But there are some sweet Leica-designed G-series lenses available for this mount.

The flange distance is slightly longer for E-mount, so in theory it should be possible for someone to make a Sony to MFT adapter, but it is almost certainly not a realistic option since you would lose all electronic functions that Sony lenses rely on to work. So while possible in theory, barely, in the real world it would be nearly useless to do, so ultimately, it is a no on that one. However, why use big and heavy Sony lenses, when MFT lenses are smaller and lighter, and have all the features you need?