Verdict

The Lumix GH7 builds upon a strong series to become one of the most powerful and compelling cameras for videographers and hybrid shooters at this price point. 

At first glance it appears to resolve pretty much the only complaint of the GH6 by equipping this otherwise excellent body with the G9 II sensor, in turn finally bringing confident phase-detect autofocus to the GH series. This alone will be all many need to hear, but the GH7 also brings more to the table.

It’s one of the few cameras around that can record ProRes RAW internally, up to 5.7k without the need for an external HDMI recorder. The optional XLR microphone interface now supports 32-bit float audio which is recorded into your files without syncing later. The AF subject recognition can also now drill down to target parts like the drivers of cars, and an optional paid firmware can upgrade it with ARRI LogC3 for easier matching with cinema cameras.

The GH7 also inherits Frame IO, proxy recording and enhanced video stabilisation from the latest S5 II updates, along with real-time LUTs and compatibility with the Lumix Lab app from the S9.

These all join a core feature set from the GH6 which includes 4k 120 with no loss of coverage or quality, the flexibility of 4:3-shaped open gate in 5.7k, a cunning screen tilting mechanism, external SSD support, and unlimited recording thanks to the built-in cooling fan. It seems churlish to complain you still can’t use it as a standard USB webcam, but that’s about the only obvious feature missing, and in some compensation you can live-stream direct from the camera without a computer inbetween.

If you’re into video and understand the pros and cons of Micro Four Thirds, you’ll love the GH7, but also don’t rule-out the G9 II, available a little cheaper and sporting many of the same core features.

If full-frame’s your thing, then the S5 IIx actually comes in a tad less than the GH7, and the standard S5 II even cheaper still. Neither sports the sheer wealth of GH7 features like internal ProRes RAW, but they may already be good enough for your needs. Certainly I’ve been very happy filming most of my A and B-roll for the past year with the S5 II, including this entire review.

Bottom line? With the S5 II, G9 II and GH7, Panasonic has a trio of highly compelling cameras for hybrid shooters. Of course the missing link now is a high-end full-framer, and it’ll be interesting to see if the GH7 body or feature-set gives away any clues.

But in the meantime the GH7 is a tremendous camera and once again proves Micro Four Thirds remains both relevant and desirable.