After a lengthy wait, the Panasonic GH6 is finally here. It’s a bit later than expected (supply chain issues affect everything these days), but it looks quite good on paper. A lot of improvements were expected, such as a new sensor, higher resolutions and even more recording options.
Some were not, like internal ProRes. There’s a lot going on in this little camera, so should you get it even in a world where cameras like the Sony a7S III and Canon R5 are available? If you want to see how the GH6 compares to some other camera then this video by filmmaker Hugo Will is for you.
Hugo has only had the camera for a few days so this is closer to a first impressions than a full review, but there are some valuable comparisons and tidbits in the video. Starting off with build quality you have a solid construction.
Panasonic has made some good feeling cameras that feel like that will hold up under serious use. They also tuned it even more for video shooting, including adding a record button to the front of the camera.
Active cooling via a fan also helps boost performance and solve the overheating issues that have plagued many mirrorless cameras. This means no recording limits, for real. Plus, the addition of a CFexpress Type B card slot alongside SD allows for fast recording and new internal recording options, like ProRes HQ.
This is huge for professional production. Especially since the GH6 can record up to 5.7K in ProRes for extremely high-quality recording.
Another nice tweak is that the GH6 has the option of using shutter angle instead of just shutter speed. You can treat this camera like a video or digital cinema camera. You also don’t have to think so much if you change frame rates. Shutter angle keeps everything looking consistent.
Returning from the GH5 is true timecode support. It has an in and out so you can make sure you have perfect sync across your devices. The out is huge as it lets you jam sync various other devices.
Another usability upgrade is the ability to load in custom LUTs. Now you can properly preview your footage without getting extra devices on your rig.
In comparing the GH6 to the R5, Hugo didn’t see a huge difference. Not that you can’t tell, but both are so good that you can’t go wrong with either one. Color science is standard for Panasonic, though it is full V-Log in the GH6 and not the light V-Log L variant. Panasonic aims for accuracy.
There are anamorphic modes for those that need it. The a7S III and R5 don’t offer this at all so you’ll need an external monitor. Also, the Micro Four Thirds system is a better aspect ratio for anamorphic so you’ll make better use of the lens and sensor since it’ll make full use of them both.
Comparing the R5, a7S, and GH6 with some real-world footage it is surprisingly hard to tell the difference. Of course, if you know about the cameras you can pick out which is which, but the quality and things like sharpness and color it is impressively difficult to tell between them.
If you used all these cameras on the same shoot you could absolutely pull of a cut between different models and not be able to tell.
The final note is the price. The GH6 comes in at $2,200, which is so much cheaper than the a7S III at $3,500 and the R5 at $3,900. For the money the GH6 offers so many features and options. It has things like timecode and internal ProRes than those other two cameras don’t do.
What do you think? Can you tell the difference between these cameras? Think the GH6 is a good new option for Micro Four Thirds in a world with full-frame is becoming very accessible.?
[source: Hugo Will]