Best Micro Four-Thirds Camera For The Filmmaker

The Best Micro Four-Thirds Camera For The Filmmaker world might have become more focussed on full-outline cameras since Panasonic’s GH Lumix series arose, yet the GH6 shows that there’s still life in the Miniature Four Thirds sensor design. Little and lightweight yet loaded with a surprising cluster of video choices and great picture quality, the GH6 likewise flaunts brilliant taking care of and picture adjustment and maybe the best difference put together self-adjust yet seen concerning a Panasonic camera. It’s a reliable stills camera, as well.

Panasonic Lumix GH6 review

With full-outline cameras demonstrating well-known with movie producers at present, some could address whether a Miniature Four Thirds camera like the GH6 stays an appealing recommendation. As far as we might be concerned, its allure is clear: while full-outline sensors could perform better in low light, make it simpler to accomplish a shallow profundity of the field in shots, and convey a more extensive powerful reach, Miniature Four Thirds cameras are for the most part more modest, lighter, and more reasonable. Furthermore, because the sensor is more modest, it’s simpler to settle all the more actually. All of the above applies to the GH6, and its insightful plan, great taking care of, and sheer abundance of video choices on offer make it a device that will suit everything except the most requested of mirrorless film creators. It’s an expert with regards to in any case photography either – its differentiation-based self-adjust execution (while still not so great as a few half-and-half frameworks from Panasonic’s opponents) appears to be extraordinarily worked on over the GH5 Ii’s, and little contacts like the double count lights and record buttons have an effect as well.

  • Magnesium build with dust and splash protection
  • Subject recognition for people and animals
  • Smartly designed articulating display
  • Active cooling for long-form recording
  • Records at 5.7K60 and 4K120
  • Internal ProRes 422 HQ support
  • 25MP stills with 100MP multi-shot option
  • DFD Contrast autofocus not ideal for action photography
  • Excessive noise if you lift shadow details for Raw stills
  • Requires pricey CFexpress cards for highest-quality video

Cost and release date

The Panasonic Lumix GH6 is accessible from Walk 2022 in certain business sectors evaluated at $2,199/£1,999, while it’s deferred by a month in some Oceania markets and will cost AU$3,699 body as it were. You can likewise get a unit for $2,799/£2,199/AU$4,799 including a 12-60mm long-range focal point.

That makes it somewhat more costly than the Panasonic Lumix GH5 II, another video-focussed cross-breed mirrorless Miniature Four Thirds model (which costs £1,499/AU$2,499 body just or £1,699/AU$2,699 with a similar 12-60mm focal point). The GH6 is additionally pricier than the Panasonic Lumix S5, an L-mount mirrorless model (which costs $1,999/£1,799/AU$3,199). However, it isn’t Panasonic’s most costly video-driven mirrorless camera: the Netflix-supported Panasonic Lumix S1H L-mount camera sent off for $3,999/£3,599/AU$5,999 (body as it were).

Controls and Handling

The GH6 body is overflowing with buttons and dials, which supplement a touch screen. Beginning with the front plate, the body presses two capability buttons in the space between the focal point mount and hold. A Record button sits at the base left corner so vloggers and other people who present to the camera can all the more effectively start and stop cuts.

The top plate houses a couple of dials, one to trade the openness mode and one more to trade between single, nonstop, multi-shot, and self-clock imaging. The screen discharge is right at the front of the handgrip and a subsequent Record button for video lives somewhat further behind. Buttons to set sound levels, EV, ISO, and White Equilibrium are likewise on top, alongside control dials to set the gap and screen speed. Panasonic skirts a data show on the top; it’s anything but an element we see on each mirrorless camera.

Features and autofocus

Being a video-first half-breed, the network of the GH6 seems to have been given loads of thought.

There’s a regular HDMI Type A that can yield video up to C4K 4:2:2 10-bit at 60fps, earphone and receiver ports, and XLR mouthpiece similarity (through the discretionary DMW-XLR1 extra), while the USB-C port with 10Gbps move speed that can likewise be utilized as a steady power supply, a battery charger and (following an impending free firmware update) for direct recording to an outside SSD.

There are two card openings, one for standard SD and the other for CFexpress Type B cards (a first on a Lumix G camera, and fundamental for keeping video in a portion of the additional requesting designs like ProRes). CFexpress cards are costly, so figure that out while planning.

Video and image quality

There’s a genuinely incredible degree of adaptability to the video here. We were dazzled by the GH5 II’s abundance of organizations, goals, and casing rates, however, the GH6 takes things to considerably more prominent levels.

The extended rundown of video choices could seem like needless excess to the easygoing client, yet producers will rub their hands together at the innovative conceivable outcomes presented by any semblance of Apple ProRes, 5.8K anamorphic, 5.7K goals and variable casing rate recording, as well as the way that practically all the recording modes are 10-digit instead of 8-bit.

At the send-off, ProRes 422 and 422 HQ are accessible just for 5.7K recordings (at 60/50/24fps), yet an impending firmware update ought to add choices for utilizing it at lower goals including Full HD and Film 4K ProRes. Presently, you can likewise shoot 4K at up to 120fps and Full HD at up to 240fps (ideal for slow motion playback and speed inclining) and 10-bit Film 4K 4:2:2 at up to 60fps.


The Panasonic Lumix DC-GH6 isn’t a class chief regarding imaging ability, however, the camera ought to exceptionally engage video-first makers because of its help for 5.7K ProRes catch.

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