John Matthews

I had that camera for about 1 month and then sent it back to Amazon because the GX80 came out at the same time. Still, I recorded some great moments on it. One of the videos is so precious that I have it on my desktop at all times.

Just a note for @Andrew Reid: that's Richard Wong, not Robin Wong... I know, both review M43 cameras.

Good comparison.

"The Straight Story" was one of my favorite films. I'm sure there are people with very big money bidding on this stuff.

I'm seeing deals in Germany and France for a S5D + 28-200 for 1299 euros- that's a great deal!

Oh yes. That would be great to have a 60-180mm f/4.5-6.3 with a 62mm filter thread, under 250g. Let's add on that 28mm or 40mm f/2.8 pancake about the same size as the stupid 26mm MF one. The system would then be complete!

I know it's 2025, but does anyone still consider using Loupes on the back of the LCD? Don't these seem more elegant and lighter solutions like for the S9? Or even just one of these:

I already have a few of primes you mention. I have the 24 and 50mm, but I fear they might be only for a pinch. I'll probably use the 18-40 for the moment. I'm going to give it go with my Konica lenses too, especially my 40mm f/1.8 and the 50mm f/1.4. Also, I have the 21mm f/2.8 and the 100mm f/2.8; so, plenty of options there. It should arrive tomorrow.

The S9 is now getting interesting at recent prices I've seen it for in France- under 1000 euros. I'm contemplating now. I figure the launch price should have been this. All they had to do is not give out so many of them for free to influencers. It only really has 3 or 4 modern lens options and a slew of vintage options, but it might be enough.

Quick question: Is the G7's 4k line-skipped or pixel-binned? I cannot seem to find definitive information on this. I can easily get it to moiré but usually in the blue channel.

What about focus breathing compensation? I've heard only a few high-end new lenses do that. Is it not an issue for you?

I'll credit @Andrew Reid for the look with EOSHD Pro Color. I only tweaked it a little. From what I've understood about Panasonic in that era, even their pro video division was surprised by the hacked GH2. I remember many videographers were saying the 1080p out of the GH2 was WAY too sharp and digital. Some of the hacks even offered less sharp versions. After with 4k, it didn't seem we had to worry so much about detail anymore. IBIS meant we could now actually see the detail because with no IBIS, it turned to mush.

I think your DP friend gave you good advice. Nowadays, IBIS is way overused. Don't get me wrong, it still looks better than any shot with jitters. Recently, I've been looking for ways to simplify my workflow and shooting experience. Part of that is to use more tripod shots.

Very nice. Your video exemplifies something interesting about the G7. I especially take note that you locked down every shot. I'm fairly certain that someone doing this today would have left the tripod at home and everything would be with IBIS. It looks great the way you did it. As I demonstrated earlier, you can easily use stabilization in post on a wide lens and get decent results. However, the standard should be the locked-down shot.

Here's the original video. Of course, this is for testing purposes only as I don't usually shoot like this. I just wanted to see how stable I could make the G7 and see how fast it could reacquire focus once in a settled position. What I learned is the smaller you make the AF box, the faster continuous will reacquire focus. I just went from subject to subject, placing the framing where the focus point was. I doubt the footage of my Panasonic VX980 would have been better, just WAY noisier.

I never did try the G6, only the GH2 (a camera I still have and has served me very well with countless hours of live streaming). The G9 is a whole higher tier in Panasonic world. I never did have the GH5/s or the G9, but every time I see their output, I'm usually impressed if in the right hands. Unfortunately, the S9 is off my radar due to it being immediately dismissed for not having a viewfinder, hot shoe, and shutter... or proper pancakes. I'd rather have a G100, but like the S5ii, the S9's video is very nice. Concerning the moiré, I really thought my G7 would resist moiré more than my G100 or GX80 or even my S5, S5ii right now, but sadly, even with its OLPF, it doesn't- just blurrier moiré maybe. :-) I never saw moiré on the GH6 though. I'm sure it does, but I think the pixel density is such that it handles it very well, maybe out-resolving most lenses and therefore making the lens an OLPF. I constantly go back to older cameras. The OM-1 sounds great and I've found that even the e-m1 ii is good enough for my needs at 25fps. I can pick one up for roughly 450 euros right now- crazy. What I like about the G7 is the fact it has a chunky-ish grip. I don't think I've ever had a camera so easy to hold at only 410g. I've had smaller cameras like the GM1 and GX800, but the ergonomics are rather horrendous for everyday use. The G7 feels much better than the E-M5ii in the hand too, a camera I purchased twice for its 415g of travel friendliness.

Yeah, I understand. Also, you're a pro, not me. Yes, 8k for cropping for your locked-down shot makes a lot of sense. You can unlock all kinds of creative option like simulated panning, zooming, alternate shots. I shot a couple of weddings and used a lot of crops in 4k for a HD final video. This is the only application of 8k that I personally think is useful. Of course, you could do the same with 6k.

The limitations are definitely there. We've seen so many overhyped minor improvements—most of which can be overcome with solid technique. Take 10-bit vs. 8-bit, for example. I’ve seen endless comparisons on the topic, but none of them really sell me on the concept. Sure, I’ll shoot in 10-bit if it's available—why not—but do I actually need it? Did I really need to upgrade just for that? Then there’s 32-bit audio. Again, I might use it—but mostly out of laziness. It’s not something I need. IBIS is trickier. It seems practical, especially since most alternatives involve adding weight. But these days, nearly every YouTube video uses a camera with IBIS, and honestly, the look is getting stale. It still beats shaky footage, sure, but it’s become the norm when it should be more of a “just in case” feature. Continuous AF in video? Cameras now focus faster than I ever could at f/1.2—but then again, why are we even shooting video at f/1.2? With all the AI, it feels like cameras are making more and more decisions for us—too many, in my opinion. You look at the screen and it’s all over the place: body, face, eye, face again, back to body, airplane, cockpit, no—face again, someone else's body, then the eye. Is this really what we want? And what about viewing limitations? The human eye maxes out around 300 dpi—when you’re young. I still don’t see the point of 8K. Plus, where are we actually watching this content? I’d guess 90% of the time it’s on a screen smaller than 20 cm. Who’s noticing the detail on that? As for audio, there has been progress—people are using earbuds more, and they sound far better than the tiny speakers we used to rely on. Maybe when you put it all together, it is an improvement. But here we are in 2025—ten years after the G7 launched—and I’ve learned how to work around most of its limitations. Sometimes, knowing the basics still takes you further than all the latest tech. I guess I shouldn't spend so much on camera gear- let the noobs and pros do that.

Yes. Even in mixed lighting, it looks great. It was cloudy outside and I had 3000K lights going at the same time I filmed this today. The first time I did it, I left the G7 on sunny WB- it still looked great, but then it was too far of match with the S5II. I'll try to post the actual video tomorrow.

People might laugh at me, but I don't care. I've been doing some walk-around filming with my G7 and 9mm Leica versus my S5ii and the kit lens. I'm absolutely dumbfounded how little the differences are. Here are my settings: Panasonic Lumix G7 - 4k 25fps (EOSHD ProColor Settings, with minor tweaks), super-fast stabilization in Final Cut (InertiaCam- smoothing (.1), continuous video AF on with it's small box in the center (yes, that's right and it didn't really hunt), A Mode, Auto ISO, handheld only, AWB Panasonic Lumix S5II - 4k 25fps (Stadard profile), no stabilization in post (but had IBIS on), continuous AF (mode 2), small box in the center, A Mode, Auto ISO, handheld only, AWB I kid you not, the images were very similar, minus the color which seemed better on the G7 to my eye. After stabilization, there was little difference. Here are some stills: It would appear the 2015 G7 is still the little engine that could. It weighs a whopping 540g less than the S5II and kit lens. I could add the 14-140, the 25 f/1.4 and perhaps a recorder or mini tripod for that difference. This is where M43 needs to go in the future: small, excellent value, with great features like 4k, PDAF, IBIS, 10 bit h.265, with a proper shutter and hot shoe. Even the previous generation(s) from 2015-2018 have so much to offer.

Am I wrong in saying the S1ii the only hybrid camera in the industry with 60fps open gate?

I have a question about this. If you use it on a GH6 and later upgrade to a GH7, does it still work or do you have to purchase it again? I guess the value of the GH6 would be slightly more in this case, but it would be better to be able to uninstall and reinstall on a different body if you upgrade, rather than paying 200 euros every time you upgrade.

I also had the GH6 for about a year, but I'm really considering getting one again. I'll probably do like @kye and use that 14-140 most of the time. I'm still debating in my head though. The problem is simple- there are just so many old smaller "good enough" cameras, but nothing small and modern that can do 4k120 in the system. The G9ii is the smallest. On another note, I'm not exactly how MPB decides to offload cameras sometimes. One day, there're 20 GH6 bodies and the next day none.

I thought the GH6 colors looked so good and a big step up from the previous generation. I've been eye-balling one (965 euros, brand new with the 25mm f/1.7). That's a crazy deal.

Yeah, those aren't hybrid cameras and the intended user isn't here in this forum IMO (maybe the use ones). However, I would like to see a S1ii pitted against an Alexa shooting Arri Log. That would be interesting! The A9iii is roughly double the price of the S1ii. However, the R5C is not only less expensive than the S1ii, it seems to be more cinema oriented. I still be you'll have moiré with it though. Still, you're dealing with Canon, something I don't want to ever do personally. I think Panasonic, like what they did with their DFD shenanigans, are just hoping processing and software will "fix" moiré. Personally, I cannot believe, in 2025, we still don't really have AI options to fix it. We can basically make a whole film with only AI, but can't fix moiré in post simply and easily with the push of a button. Go figure.