A filmmaker, videographer or content creator starting out today will not only have a tricky time picking what to call themselves, but will be faced with a daunting choice: what camera system to attach themselves to. Experienced filmmakers don’t have the same problem; once you’ve invested in a collection of lenses, that investment means you’re unlikely to jump ship, or at least, not too often.

In this sprawling, non-standard review of not just the GH7, but the whole ecosystem in which it lives, I’ll give you a few reasons why I continue to use Lumix cameras for most of my work. No camera is perfect for everyone, but the GH7 is a versatile beast with wide appeal. You can use it handheld as a solo operator, or rig it up for use on a set — and in some ways, it outperforms cameras twice its price.

ProRes RAW built in? Sure. How about 32-bit onboard audio? No problem, buy the XLR accessory. Open gate? Yes, with 5760×4320 pixels at 30fps. High frame rates? Yes, 4K @ 120fps or HD at 300fps. ARRI Log? Yes, but it’s an optional extra. There’s a lot built in, and more available if you need it.

In five words, it’s easy, small, fast, huge, and automatic. But all those words have qualifiers. Let’s dig deeper.

Easy… to use

The usability of the GH7 starts at the capable, predictable buttons, extends through the excellent customizability, and continues through the files it makes, which have been consistently easy to work with. Looking from the outside, the GH7 has a nearly identical body to the GH6, and though there are some minor differences in the menu systems, if you have one, you’ll have a very easy time adjusting to the other. Though I’ve used cameras from Canon, Blackmagic and Sony, the Lumix’s predictable multi-level menus are my favorite.

As on the GH6, buttons are offset in unique ways, to help you build muscle memory, and where multiple buttons are near one another, some buttons have extra tactile marks so your fingers know what they’re about to press. Two little bumps? That’s ISO. The little button just beyond the red record button? Audio. To start recording, I’ve got at least three different buttons I could push, plus multiple tally lights and a red frame around the tilting-and-flipping screen to remind me that it is, indeed, recording.

Customization is easy to access. Hold down one of the custom buttons on the front of the camera, or hold one of the directions on the wheel at the back (it’s a wheel and a d-pad) and you can immediately assign almost any feature to that button. My GH7, like my GH6 and the GH5 before it, have consistent, immediate access to focus peaking, a waveform, overlays, framing guidelines, stabilization, and silent mode — but you can choose whatever you need. Five more optional touch-only buttons can be set on the side of the screen if you need them.

Importantly, the mode switch at the top can change every setting at once. I’ve set C3 to change the camera for my 3D lens — deactivating image stabilization, choosing the highest resolution, everything — and I use the other modes for dedicated high-speed operations. The dial has C1, C2, C3, and ten more options on C4-1 through C4-10, and if you find yourself using the same settings for repeated shoots in particular environments, it’s a fantastic way to lock in not just white balance, but frame rates, codecs, shutter speeds… everything you want to be certain of.

Small… lenses

While the camera itself could be described as “chunky”, and the GH7 has certainly grown in heft since the GH5, it feels great in the hand. No, the size advantage here is that many Micro-Four-Thirds lenses are very small and relatively affordable. In the space of one full-frame zoom, I can fit an MFT zoom and three primes. I can take ten lenses comfortably in a single piece of carry-on luggage, and there’s a wide range of lenses available from many manufacturers.

The excellent Olympus 14-40 f/2.8 lives on my camera most of the time and (as a 28-70 full-frame equivalent) it punches well above its weight. If I need faster and lighter, I’ll reach for one of several excellent f/1.7 primes, like the Leica 15mm DG Summilux which weighs just 119g. Going the other way, if you need the fastest lens but don’t care about autofocus or weight, mount the Sigma 18-35mm f/1.8 on a Viltrox 0.71x focal reducer (i.e. speed booster), turning it into a stunning 12-24 f/1.2. With this lens, I’ve shot wide open outside at night, with great results.

As a way to continue to use lenses from an older system (like Nikon or Canon EF) during a transition to MFT, a speed booster is a great bridge. While an f/1.8 on MFT doesn’t give quite as much background blur an f/1.8 on 35mm full frame, camera position and maintaining separation between subject and their background are variables you can tweak on any system. You can get lovely bokeh on the GH7, you just might wish to set up your shots a little differently.

For more distant subjects, the extra reach of MFT lenses makes it easier and cheaper to achieve longer focal lengths, and at the wider end, it’s not hard to find lenses as wide as 7 or 8mm. Sure, the bokeh isn’t quite as deep as the same numbers on a full-frame camera, but as it turns out, smaller sensors also bring advantages of their own.

Fast… sensors

Partly due to the small sensor size, the GH7 continues the excellent In-Body Image Stabilization (IBIS) enjoyed on the GH6 and GH5. It’s possible to hand-hold shots at most focal ranges, something l’ve grown to take for granted. Though some other cameras have improved on this front, Lumix still takes the crown. Dynamic range of about 13 stops is also competitive with many more expensive cameras, including V-Log for free and ARRI Log as an optional purchase.

Many cameras today can capture a great image, and this is one; image quality is very good, not just very good for a small sensor. We’re well past the era in which the size of a sensor defines image quality; after all, many cinema cameras use a sensor that’s smaller than traditional “full frame”.

Another important benefit of the smaller sensor is that it can be read out faster. Not only is rolling shutter relatively well controlled, but higher frame rates are possible without a crop, and without pixel binning. The GH7 allows for 1080p at 300fps, 4K at 120fps, or for 5.7K across at 50 or 60fps — all without the unwanted zoom of a crop. Variable Frame Rate (VFR) mode is available in many (but not all) modes, so it’s a good idea to find a combination you’re happy with, then set up your VFR frame rate of choice in one of the custom C1-C4 modes.

The quick sensor readout doesn’t just mean high speed, though. It also means massive video resolutions compared to almost any other camera this size.

Huge… resolutions

Both the GH6 and GH7 can record an absurdly large (for most purposes) resolution of 5760×4320 in open gate HEVC, at up to 30fps. When you record almost the entire sensor at 1:1 rather than downscaling to UHD, you’re free to crop as you wish, without compromising resolution, and you gain a huge amount of extra vertical space for reframing. If you shoot on a GH7, you can probably shoot once for all aspect ratios.

These high resolutions don’t bring any compromises in terms of file sizes, because there are many, many options for codecs and frame rates to keep everyone happy. The top-end full-sensor resolution can be captured in 4:2:0 at just 200Mbps in HEVC, and I shoot most jobs this way. It looks great, and the added height gives me extra reframing flexibility when delivering to widescreen or portrait. It’s also a great choice for shooting with the Lumix 3D lens, because per-eye resolution is halved when working in 3D with a single sensor.

At the high end of production, if you’d prefer to maximize quality and don’t mind larger files, record 5728×3024 in ProRes RAW at 2.3Gbps or RAW HQ at up to 3.5Gbps. Many, many other options sit between, and the best way to manage this potentially overwhelming complexity is to tag your favorite settings with My List. Even though the different top-level container format options here (MOV, MP4, Apple ProRes) each have different codec combinations available, My List sidesteps this limitation and changes both options together.

Even the highest-end options are reliable, with no artificial or thermal recording limits. There’s an onboard, nearly silent fan, and none of my GH cameras have ever overheated, despite often recording all day. The dual slots mean I can record as long as I need to, and because USB-C power is supported, I’ll never need another battery. USB-C can also be used for direct recording, though you can’t also use the USB-C port for power if you do.

Automatic… focus — finally

Long the thorn in the side of GH-series cameras, autofocus finally works well on the GH7. Instead of the contrast-based DFD system that never quite worked on the GH6 and earlier, we have phase-detect autofocus, as used on competing systems and phones. It works really well, and with almost all the lenses I’ve tried.

One exception: the glorious Sigma 18-35 f/1.8, on the Viltrox adapter at least, doesn’t autofocus well at all. It’ll get there, but it’s not meant to be used this way. You may wonder why the lack of good AF hasn’t bothered me more over the years I’ve been using this family of cameras, but the simple truth is that I’m usually behind the camera, with a static subject in front. It’s always been easy to focus between shots and use fixed manual focus while recording, and I’ll probably continue to do that most of the time.

Good autofocus is one massive reason why many popular YouTubers use Sony cameras. Sony has had AF nailed for many years, and if you’re shooting yourself without help, or making heavy use of gimbals at events, it’s important. There’s a reason I’ve been a fan of the manual clutch focus on the Olympus 12-40mm f/2.8, but on the GH7, I’ll be needing it a lot less. 

Conclusion

Every camera system has its quirks. Once you get used to them, you can ignore them, and may even defend them. I never defended the lack of autofocus on the GH6, but I don’t think I have to make any excuses for the GH7. It’s a terrific overall package, and when I look at competing systems, I think I’ve been spoiled.

Now that I’m used to recording 5.7K, I couldn’t go back to a camera where UHD is the top spec — and this really hurt the EOS R7 when used with its 3D spatial lens. I also wouldn’t want to work without good stabilisation, because sometimes you just need to go handheld to get that unexpected shot.

Lastly, value is important. Not only have the GH series of cameras have gone on sale regularly, the ecosystem is wide and deep enough that you don’t always have to buy new. While it’s not often considered, before Micro Four Thirds there was simply Four Thirds — and those lenses still work today, with a fully active electronic connection. You’re not limited to just one lens manufacturer, and Micro Four Thirds is far from abandoned.

Many cameras can produce a great image, but the GH7 offers a lot with very few compromises, and is definitely worth considering for many solo and small-team shooters. Recommended.

Panasonic Lumix GH7: US$2000 (currently)

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Note: None of my Panasonic cameras or any lenses have been provided for review; I bought them with my own money and I use them professionally.