Unveiled: Panasonic GH4 Mirrorless Digital Camera

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By Jurek Ugarow

Published: Thursday, February 6, 2014 - 11:00pm

Panasonic has announced a new addition to the company’s Lumix GH series, the Lumix DMC-GH4, a hybrid  DSLM camera that adds substantial features to an already competent platform. Although still photography has not taken a back seat to the video functionality, it is in the latter area that the majority of the advancements have been made, primarily in the ability to capture footage in 4K resolution. Available to anyone, but positioned for the advanced amateur, indie, and professional photographer and filmmaker, the camera’s 17.02 megapixel (16.05 effective) Live MOS Micro Four Thirds sensor is supported by the Venus Engine image processor running on a quad-core CPU. This combination delivers approximately 50% higher speed signal readout, which aids in suppressing rolling shutter artifacts when using the electronic shutter or recording video. And for professional photo performance, moiré suppression has been improved, along with superior noise reduction that allows for exposures of up to sixty minutes.

The camera features the same durable magnesium-alloy body used by its predecessor, and when combined with suitable lenses, delivers a splash- and dust-proof package. The high-performance shutter is rated for 200,000 release times with a maximum speed of 1/8000 of a second. A silent mode switches the shutter from mechanical to electronic operation, turns off any sounds, and suppresses the AF assist lamp and flash for situations where working in a discreet manner is required. Contrast Auto Focus with 49-area focusing enables the camera to lock on to a subject in approximately 0.07 seconds when paired with certain Panasonic lenses. Burst speeds in AFS mode have been boosted to 12 fps using the mechanical shutter, and up to 40 fps with the electronic shutter. Sensitivity has also been improved with a maximum ISO 25600, along with gradation performance, resolution, and color reproduction. Images can be captured in RAW or JPEG or a combination of both, and various photo styles can be added, with multiple parameters in each mode that can be adjusted or set into the camera’s memory.

Video recording is available in Cinema 4K (4096 x 2160, 24 fps) and QFHD 4K (3840 x 216, up to 30 fps) in MOV/MP4 formats. Full HD video can be captured with 200Mbps ALL-Intra or 100Mbps IPB, with no limit on recording time, and users can choose from MOV, MP4, AVCHD Progressive, and AVCHD formats at a variety of frame rates, according to their needs. In MP4/MOV, sound is recorded as LPCM (Linear Pulse Code Modulation) audio files. Real-time 4:2:2/8-bit output to an external monitor is available using an optional micro HDMI cable. In this instance, video is simultaneously recorded in 4:2:0/8-bit to the internal cards. 4:2:2/10-bit output is also available but simultaneous recording is not possible in this scenario. Users can choose to output only the recorded content or the content with the setting menus displayed. Variable Frame Rates (VFR) enable Full HD to be recorded with slow or fast motion (up to 96 fps) and time lapse/stop-motion animation can also be achieved without resorting to post production.
A slew of features for professional video production are available. SMPTE compliant Timecode in “Rec Run” or “Free Run” makes it easy to synchronize multiple videos or sound sources in post production. Color Bars (SMPTE/EBU/ARIB Standard) are used for fixing color or brightness to broadcast specifications and a 1kHz Test Tone can be used for setting appropriate audio levels. Synchro Scan helps suppress flicker over the TV or PC monitor, or when shooting under fluorescent lights, and a Center Marker works as a guide mark for image composition. “CINELIKE D” and “CINELIKE V” gamma settings create a cinema-like tone for expanded creativity, and use of the Master Pedestal allows for adjusting the brightness balance +/-15 steps based on the color black. A Zebra Pattern function displays overexposed areas before or during shooting with the pattern available for output to an external monitor. Focus Peaking displays accurate focus in MF and AF+MF modes. Users can monitor the focus peak in live view or via remote photo/ video shooting with a smartphone or a tablet using Wi-Fi.

And speaking of Wi-Fi, the GH4 integrates IEEE 802.11 b/g/n connectivity with Near Field Communication (NFC) technology to offer more operational options, as well as instant image sharing. With the company’s iOS and Android "Image App," remote shooting of both photo and video is possible using a smartphone or tablet as the remote shutter and monitor. In addition to releasing the shutter, control over zooming, focusing, and settings of shutter speed, aperture, and exposure compensation is available. It is also easy to embed geotags into the image after shooting. For the smartphone or tablet without NFC, the camera displays a dedicated QR code on its monitor for easy pairing.
In addition to the standard luminance level of 16-235 and 16-255, the camera offers the full luminance range of 0-255 for the photographer who is new to video. The Live View function is also advanced, making it possible to adjust highlight and shadow separately, using the front and rear dial. Three pattern settings can be customized in addition to the three preset patterns. Aside from the conventional Face Recognition Auto Focus (AF), newly incorporated Eye Detection AF automatically sets focus on the eye of a human face. Custom Multi AF mode allows users to freely select the blocks for focusing out of the total 49 points. 1-area AF area can be seamlessly magnified not only in manual but also in autofocus modes. Tracking AF has also been advanced in tracking accuracy by estimating the subject’s movement. The focus point can be set on any part of the 100% field of view and can be magnified either with a manual focus ring or with the cursor key in MF Assist mode. In the Touch Pad AF, the position can be set either on an absolute or relative coordinate.

The GH4 features newly developed high-precision, high-speed dual Organic Light-Emitting Diode (OLED) displays for the Live View Finder (LVF) and the rear monitor. Increasing the resolution of the display area to 2,359K dots, the 16:9 wide screen electronic viewfinder has approximately 1.34x/0.67x (35mm camera equivalent) magnification, 100% field of view, and an eye point of approximately 21mm. Notably, the OLED for the LVF boasts 10,000:1 high contrast for superior color reproduction. And with a newly designed large eyecup, the visibility of the LVF is dramatically improved. Image output is automatically switched between the LVF and the rear monitor with high, low, and off sensitivity options to reduce false switching. The 3.0-inch 1,036K-dot free-angle OLED rear monitor can be rotated 180° to the side and tilted 270° up and down and offers an approximately 100% field of view. It features static touch control for smooth operation, either while shooting or during playback. Both the LVF and rear monitor have a high-speed response with minimum time lag, while enhancing the resolution.
Three dials are available on the top and back of the camera and the main dial now comes with a lock. A dedicated button allows direct access to exposure compensation, white balance adjustment, or ISO setting, and a maximum of five settings can be assigned to the “Fn” button. All these external components are designed to be operated easily without taking one's eye away from the viewfinder. A variety of terminals provides flexible shooting options. A 3.5mm microphone jack is available for audio recording using an external microphone, and the 3.5mm headphone jack provides monitoring of the incoming audio while shooting video. In addition to these, the camera has AV outputs (two-channel audio, composite), a flash sync terminal, and 2.5mm jack for a remote controller. The built-in and an external flash can be synchronized with a maximum 1/250-second shutter speed.
While on the subject of connectivity, the company has developed the DMW-YAGH interface unit that places the camera squarely in a professional production environment. 3G-SDI video terminals that are compliant with full HD (4:2:2/10-bit) offer four parallel outputs that can also be used for 4K (4:2:2/10-bit) output, both with Timecode. Dual XLR input terminals can accept either line or microphone levels, with individually switchable 48V phantom power available for use with condenser microphones. Volume levels can be controlled separately for each channel, with the audio levels displayed via LED meters on the rear of the unit. The 12V DC input is compliant with large-capacity industrial batteries for continuously supplying the GH4 with power.
A total of twenty-two interchangeable LUMIX G digital lenses offers a multitude of creative options, including HD lenses that allow for silent, high performance AF control suitable for video recording. Various expansion options are available including an external flash, shotgun microphones, a battery grip, and more. Of course, as with all Micro Four Thirds cameras, almost the entire world of manual lenses is available for use on the GH4 with a suitable optional adapter. And last, but not least, for the global business of professional users, the system frequency can be selected between 59.94 (23.98), 50.00, or 24.00Hz.

The camera will be available as a GH4 body only, or as a kit with the DMW-YAGH unit, in addition to purchasing the DMW-YAGH expansion unit separately.

Imaging
Lens Mount	Micro Four Thirds
Camera Format	Micro Four Thirds (2x Crop Factor)
Pixels	Actual: 17.2 Megapixel Effective: 16.05 Megapixel
Max Resolution	4608 x 3456
Sensor Type / Size	MOS, 17.3 x 30.0mm
File Formats	Still Images: JPEG, MPO, RAW Movies: MOV, MP4, MPEG-4 AVCHD Audio: AAC, Dolby Digital 2ch, Linear PCM
Dust Reduction System	Yes
Memory Card Type	SD SDHC SDXC
AV Recording
Video Recording	Yes, NTSC/PAL
Video Format	High Definition MOV 4096 x 2160p / 24 fps (100Mbps) 3840 x 2160p / 23.98 fps (100Mbps) 3840 x 2160p / 24 fps (100Mbps) 3840 x 2160p / 25 fps (100Mbps) 3840 x 2160p / 29.97 fps (100Mbps) 1920 x 1080p / 23.98 fps (200Mbps) 1920 x 1080p / 24 fps (200Mbps) 1920 x 1080p / 25 fps (200Mbps) 1920 x 1080p / 29.97 fps (200Mbps) 1920 x 1080p / 50 fps (200Mbps) 1920 x 1080p / 59.94 fps (200Mbps)
	High Definition MP4 4096 x 2160p / 24 fps (100Mbps) 3840 x 2160p / 23.98 fps (100Mbps) 3840 x 2160p / 24 fps (100Mbps) 3840 x 2160p / 25 fps (100Mbps) 3840 x 2160p / 29.97 fps (100Mbps) 1920 x 1080p / 23.98 fps (200Mbps) 1920 x 1080p / 24 fps (200Mbps) 1920 x 1080p / 25 fps (200Mbps) 1920 x 1080p / 29.97 fps (200Mbps) 1920 x 1080p / 50 fps (200Mbps) 1920 x 1080p / 59.94 fps (200Mbps) 1920 x 1080p / 25 fps (20Mbps) 1920 x 1080p / 29.97 fps (20Mbps) 1920 x 1080p / 50 fps (28Mbps) 1920 x 1080p / 59.94 fps (28Mbps) 1280 x 720p / 25 fps (10Mbps) 1280 x 720p / 29.97 fps (10Mbps)
	Standard Definition MP4 640 x 480p / 25 fps (4Mbps) 640 x 480p / 29.97 fps (4Mbps) High Definition AVCHD 1920 x 1080p / 23.98 fps (24Mbps) 1920 x 1080p / 50 fps (28Mbps) 1920 x 1080p / 59.94 fps (28Mbps) 1920 x 1080i / 50 fps (24Mbps) 1920 x 1080i / 50 fps (17Mbps) 1920 x 1080i / 59.94 fps (24Mbps) 1920 x 1080i / 59.94 fps (17Mbps)
Aspect Ratio	4:3, 16:9
Video Clip Length	Up to 220 min.
Audio Recording	With Video, Stereo
Focus Control
Focus Type	Auto & Manual
Focus Mode	Single-servo AF (S), Continuous-servo AF (C), Manual Focus (M), Flexible (AFF)
Viewfinder/Display
Viewfinder Type	Electronic
Viewfinder Pixel Count	2,359,000
Viewfinder Eye Point	21.0mm
Viewfinder Coverage	100%
Viewfinder Magnification	Approx. 1.34x
Diopter Adjustment	- 4.0 to +4.0 m
Display Screen	3" Touchscreen Swivel  OLED (1,036,000)
Screen Coverage	100%
Exposure Control
ISO Sensitivity	160-25600 (Extended Mode: 100-25600)
Shutter	60 - 1/8000 sec. 60 minute in Bulb Mode 1/24 - 1/16000 sec in Movie Mode
Remote Control	DMW-RSL1 (Optional)
Metering Method	Center-weighted average metering, Multiple, Spot metering
Exposure Modes	Modes: Aperture Priority, Manual, Program, Shutter Priority Metering Range: EV 0.0 - EV 18.0
White Balance Modes	Auto, Cloudy, Color Temperature, Daylight, Flash, Incandescent, Shade, White Set
Burst Rate	Up to 40 fps
Flash
Flash Modes	Auto Auto/Red-eye Reduction Forced On Forced On/Red-eye Reduction Off Slow Sync Slow Sync/Red-eye Reduction
Built-in Flash	Yes
Max Sync Speed	1 / 250 sec.
Flash Compensation	-3 EV to +3 EV (in 1/3 EV steps)
Dedicated Flash System	TTL
External Flash Connection	Hot Shoe
Performance
Self Timer	10 sec., 2 sec. Number of Shots: 1-3
Interval Recording	Yes
Connectivity	1/8" Headphone, 1/8" Microphone, AV Output, HDMI D (Micro), USB 2.0, Wired Remote Port
Wi-Fi Capable	Yes
Included Software Requirements	Windows: XP, Vista, 7, 8 Mac: OS X 10.5 or later
Power
Battery	1x Rechargeable Lithium-Ion Battery Pack, 7.2VDC, 1860mAh
Operating/Storage Temperature	32 to 104°F (0 to 40°C) Humidity: 10 - 80%
Physical
Dimensions (WxHxD)	5.2 x 3.7 x 3.3" / 132.9 x 93.4 x 83.9mm
Weight	19.75 oz / 560 g with SD card and Battery

Cameras of the Year

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By Shawn C. Steiner

Published: Wednesday, November 20, 2013 - 6:28pm

Every year a series of "revolutionary" and "game-changing" cameras are released into the market. They included amazing high-resolution sensors, new professional-grade cameras, and slim new mirrorless designs in 2012. So what could possibly change in just one year?
A lot.

Hover over and click on the cameras below for more information:

To start, we saw a variety of new tech from Canon. They released the smallest DSLR to date with the SL1, which weighs only 13 ounces. It even has all the features you have come to expect from a Canon DSLR camera, including full HD video. It brings with it a Video Snapshot feature for automatically combining short clips into one longer video file.
But, the dual-pixel autofocus technology in their 70D was the biggest splash they made this year. The newly developed 20.2-megapixel sensor utilizes two photodiodes within each pixel for faster and more accurate contrast-detect focusing times. Or, for those not up to date on CMOS sensor terminology, it means faster and more accurate focusing in Live View and video modes.
Another more recent addition to Canon’s DSLRs can be seen in the 70D's Wi-Fi capabilities. This is showing up more and more on cameras as a built-in feature to allow for wireless control via smartphones and simple transmission of images across devices.
Other DSLR sensor development came with the Pentax K-3’s ability to turn on and off the anti-aliasing filter. They managed this by using micro vibrations of the sensor to blur the image just enough to create the effect of an actual anti-aliasing filter. But, when turned off, you can maximize the potential sharpness of your image.
Additional features of the K-3 include a revamped autofocus system with an impressive 25 cross-type sensors and durable body construction. Pentax makes their professional equipment with all-weather sealing, meaning that if you get caught out in the rain or snow you can be confident that your camera will work flawlessly.
Many would find it difficult to follow up a year with Nikon’s D4, D800, and D600 as well as Canon’s 1D C, 5D Mark III, and 6D. Manufacturers still tried to fill the appetites of camera enthusiasts with new cameras and tech. But, the real surprise came from Nikon’s announcement of a retro-styled camera.
They released the Nikon Df. With a body style evoking the spirit of the classic F-series and a full-frame CMOS sensor, Nikon is trying to appeal to those simply wanting “pure photography.” It features physical dials for settings like shutter speed and ISO and can use practically every Nikon F-mount lens, especially if you consider the metering coupling lever that allows you to use AI and non-AI lenses without any additional modification.
The Df is sure to attract those who shot with film cameras, or even those who still shoot film, to make the move to digital. And sure to please many enthusiasts, a screw-in port for using a manual release cable is available. This camera’s photography-only theme is stressed with the purposeful omission of video found on practically every digital camera today, even the common point-and-shoot.
On to point-and-shoots: they have been completely redesigned for the Instagram age. The square design of the Canon PowerShot N exemplifies this concept, along with featuring Wi-Fi connectivity for instantly syncing to our phones and posting pictures to our social media profiles. It can even send photos and video back to a computer at home or to an online photo album to share with friends and family at home.
But, speaking of camera designs, the QX-series camera modules from Sony take the cake. The QX10 and QX100 are powerful point-and-shoot cameras that clip onto your smartphone, using Wi-Fi or NFC connectivity to transform your phone into a full-featured digital camera.
Then, by connecting to your phone via a free Sony app, you can access live view and camera settings. However, you aren’t limited to simply attaching the camera to your phone; you can detach it and use it wirelessly to capture images above crowds or in tight spots in which you would never get the right perspective, normally.
Getting back to the standard form factor, Sony’s RX10 features the new BIONZ X image processor along with Wi-Fi and 1080p video at up to 60 frames per second—impressive specifications and video capabilities for a point-and-shoot. It wasn’t alone however; Sony released two other cameras using the BIONZ X image processor, the A7 and A7r.
These full-frame mirrorless interchangeable-lens cameras have 24- and 36-megapixel sensors, respectively. These maintain the image quality found in high-end DSLRs but with a compact form factor. Additionally, the A7r has a gapless on-chip lens design that better directs light across the entire sensor to each individual pixel and omits the low-pass filter for getting the maximum resolution possible out of the image.
On the other hand, the A7’s lower resolution sensor benefits from a “hybrid” contrast- and phase-detect focusing system. This means you will have faster, more reliable autofocusing. Regardless of which option you choose, these mirrorless cameras are perfect for constant travelers, or someone looking to carry a smaller gear bag for everyday use.
For adventurers who aren’t afraid to get a little dirty, the waterproof and shock-resistant Nikon 1 AW1 is perfect. It has superb weather-sealing and is waterproof up to 49.2’. The best part is that somehow, Nikon has endowed it with an interchangeable lens system, although I wouldn’t recommend swapping lenses while underwater.
Back on solid ground, the Galaxy NX from Samsung runs Android 4.2 Jelly Bean, meaning you can skip an entire step when dealing with your images. No more wireless transferring in order to work with your favorite photo-editing and sharing applications. The Galaxy NX even has Wi-Fi and 3G/4G LTE connectivity for uploading while on the go.
Don’t forget about the retro-styled bodies coming from Olympus. The new OM-D EM-1 addresses many of the gripes addressed to its predecessor. These have been resolved, with changes from simple generational updates in firmware and camera technology to the addition of a heftier grip for a solid handhold.
With the EM-1, Olympus is trying to reach out to the professional market. It’s designed with a durable build that is splash, dust, and cold proof. It also offers good image quality and a noticeable improvement in autofocus, a common issue on mirrorless cameras due to the lack of a dedicated autofocus sensor.
This year was filled with notable improvements across the board, and the cameras mentioned here were only a small fraction of those released. So, whether you need a tiny camera for quickly sending photos to your social media accounts, or the latest video technology in a DSLR, I'm sure there is something here for you.