Ten Reasons I’m passing on the Panasonic GH4

by fletch murray41 Comments

I REALLY wanted to love the Panasonic GH4. I REALLY wanted to play with the latest.

In fact, I was at EVS in Burbank, credit card out, 40 seconds away from throwing down and I remembered what I tell my filmmakers, “Rent before you buy.”

So, I rented the GH4 for a week. Learned the menus. ran tests in studio and on location.

I decided to pass for now.

I don't REALLY have to have 4K this instant, so I just wanted to see if the Panasonic GH4 might possibly replace my 2K cameras – the Canon EOS 5D Mark III and the Canon EOS 70D. Or maybe just the 70D.  Here's how it went.

DISCLAIMER: I have filmed a lot of documentaries and won two Emmy's but I don't know everything.  I just know what I need to gear up for filming what I love the cinema verite /documentary style.  That's where this review is coming from.

Every filmmaker has their priorities. I have filmed commercials in studios with a dolly grip and the luxury of a focus puller, but my first love is the cinema verite/documentary genre.

How Does Panasonic GH4 Fit into My Style of Filmmaking?

Here are my top ten priorities and comments about how well the GH4 fit into my style of filmmaking, I'm pulling focus and no rehearsals.

1) Focus is the most important thing.  Quick focus…catch it as it happens. Change angles quickly. Find focus while rolling….etc.  

When Canon rolled out the dual sensor focusing technology on the Canon EOS 70D that can grab focus while rolling without brightening the shot, it was a foundational, game changer for my kind of filmmaker. 

The GH4 would have to match or beat the 70D or I'm not interested in being out of focus in 4K.

2) I'm not worried about not having 4K right now because I can shoot Magic Lantern with my 5DM3 which equals or surpasses the RED One MX in the 2k world.

5D RAW versus RED One MX

[tentblogger-vimeo 77719173]Link vimeo.com/77719173

3) 4K isn't here yet. By the time it is HERE, there'll be updated and improvements on the workflow.

4) If my clients do demand 4K right now, I can rent the GH4 from LensRentals with two lens for under $200. for four days.

5) The GH4 was agonizing slow focusing while filming….about three times slower than the 70D and it misses and searches.  Bummer.

Focus Tests GH4 vs 70D v2

[tentblogger-vimeo 102385347] Link vimeo.com/102385347

6) The Panasonic GH4's low light (high ISO) performance was disappointing. The dark greys blocking up to black way too soon.

High ISO tests – GH4 vs 5Dm3 vs 70D

[tentblogger-vimeo 101177346] Link  vimeo.com/101177346

7) Canon could easily set up three of their DSLRs to output 4k…and will…soon. I'll save my money for the 5D Mark IV or the 7D Mark II or the ?????.

8) I can keep all my full-frame Canon glass and not have to buy adapters and “dumb” (non EF)  lenses that can't be controlled by the GH4's computer, thus making it a dumb camera just a sensor.

9) I always remember what my senior class teacher said, “Be not the first on whom the new is tried, nor the last to lay the old aside.” This advice has never been wrong.

10) By the end of the week I was convinced that as good as it is, the GH4 doesn't perform what I need – fast focus while rolling and ability to “see” in dark scenarios on the street at night. Both are the key in cinema verite/documentary style of filming.  Here's a link to the fast focusing capabilities in handheld situations of the 70D. That's why I'm sitting tight with Canon, waiting for their next announcement and passing on the Panasonic GH4.

70D AutoFocus – Handheld Test 70-200mm

[tentblogger-vimeo 102350772] Link vimeo.com/102350772


(cover photo credit: snap from the video)


  1. For low light, you’re probably better off with the Sony A7s IMHO.
    With the gh4,you’d have to shoot 4k down to 1080 in post to get decent low light performance. That and cropping is what gh4 users are using 4k for….. Not actual 4k output most of the time….
    In low light, most systems will hunt a bit… Use focus peaking and manual focus….

  2. In a way I agree with you. You can always have half of dozen cameras and by picking the raisins from the cake you can put them all together and have a similar or better camera. For me personally the fixed display and RAW are deal-breaker. The downscaled UHD in the GH4 is stunning as well as the post possibilities regarding stabilizing and cropping. Focus assist on the GH4 is so good that even I can get decent manual results.
    I suppose everything is what kind of final product we are expecting to get and at which costs. I will stay with the GH4


  3. Well, at least is a refreshment having someone who doesn’t like the GH4. 

    I’m more of a BM Pocket man, or even BMCC, 2.5 or 4K, for low budget cameras. Not particularly interested in Canon 5D either. But I got a little suspicious on how many people rejoiced on the GH4, when the images shown weren’t even better than the Pocket, which it should better, costing what it costs. 

    From what I read, even if I am not particulalry interested either, the Sony A7s looks more promising.

      1. In my opinion, way easier. I had the BMPCC and changed it for a GH4. When it comes to ergonomics (the swivel display), sound and (more importantly) battery life GH4 is really good. From a picture quality point of view, well, the BMPCC was providing amazing images without too much hassle.

  4. Thanks for your comments, Fletch. As a documentary filmmaker I would be interested in hearing what is your experience with the work flow, amount of data that you have to manage with Magic Lantern, and your experience with long interviews. I usually work with documentary series, in the next six months will be outputting 13 documentaries. Use to shoot them on a Sony EX1, but would like to up the quality and esthetics.

  5. still…. being half the price of a Canon 5DmkIII, and 1000 bucks cheaper then a A7S (which has it’s own issues)….  🙂

    Btw, the RAW on the 5D mkIII is far from ‘practical’. I used it, and ended up with a uge amount of data, Not ideal for documentary or such where you need lot’s of shots… 
    Besides, you cannot use any video add tools then, since the 5D needs every possible processing power to keep up, so.. no focuspeaking, no histogram, no nothing.. And… you need the most expensive cards on the market… and… it’s still not fail proof. 
    So… the GH4 beats every camera out there in terms of costs of a 4K camera. Not forgetting the 100/200Mbps, and 96fps on 1080p, which almost no other camera has… I doubt even the newer 5D will have that next year… I doubt even that the 5D will have 4K, and if it has, it will be probably be crippled anyway, for a even higher price. And.. .knowing the 5DmkIV will probably go to 3500 euro,…. I doubt it will be interesting, since you can buy a GH4 AND a A7S for that, best of two worlds… 🙂 
    Canon must deliver something spectacular next year, otherwise nobody will buy the newer camera’s (why would you? since the current 5D is already pretty damn good for photography).

  6. The key phrase here is “your Kind of film making” . Very few people coming from the DSLR world expect full on auto focusing while shooting. That’s camcorder territory. Manual focus is one of the trade offs we’ve all bought into to get hi-quality film-like images cheaply. If auto focus is your priority, you’re looking in the wrong category of camera.

  7. What lens were you using for the GH4 focus test? Specifically, is it a Panasonic lens so the camera can employ its depth-from-defocus feature to focus more quickly, in which case this is a bit disappointing?

  8. Three reasons why I DID chose the Pansonic GH4
    1) it’s a technological break through in DSLR video acqusition. It is far from perfect, but what is perfect? Answer, nothing. It’s a given, smaller sensored cameras will have more noise at higher ISO…..think Geico….Yeah, everyone knows that.
    2) It records 4k internally to a SD card. The compressed 4k image that this camera records, is both easy to work with and delivers outstanding picture quality. Again, it’s far from perfect, and I will also add, this is the type of camera that will take lots of experimenting with to dial in a superb image. In other words, you’ll need to have some cinematography skills. I certainly would never depend upon my camera to set any type of auto focus. The dual pixel CMOS is pretty darn good, but it’s not without it’s flaws, and I definitley would never base my buying decisions upon it.
    3) 4k is the future of video. I’m not about to see around and pixel peep to death, every single camera that comes to market, because in the end, no single camera is perfect for every job. In a perfect world, you’ll need to own several! There is so much hidden underneath the hood of this camera, that it’s half the fun of owning it. I’m embracing the future now, because there may not be a tomorrow.

  9. eclux I was using Panasonic’s 14-140mm f/3.5-5.6 OIS.  It focused like lightning while shooting stills, but in video it was the old drive past, come back, miss it, come back etc.etc.  Too slow for fast-moving documentary work.

  10. EduardoAguiar
    I think I met you at EVS one day.  

    Anyway, to answer your questions here is my workflow utilizing Magic Lantern.  I avoid the “talking head” interview as much as possible.  Sometimes I just put a mic on them and don’t set up a camera because showing what they’re talking about is more visually interesting than seeing the face.  

    But if they’ve got a face like Bogart (or Bacall) I’ll shoot the interviews with Canon’s 70D and 5D M3 filming in h.264.  (I use the Magic Lantern RAW capability to shoot the gorgeous B-roll that goes over the interview.)  

    I may shoot the beginning of the interview (which is hardly ever covered with B-roll) using Magic Lanternized 5D M3 and then when it’s time to change cards I’ll switch over to 5D doing h.264 on the ECU and a 70D shooting a medium shot, tracking auto focus on its own.  

    It all depends how verbose the person is.  

    It’s true there’s a lot of material to manage, which is why I treat RAW video like shooting IMAX film. Video’s made cinematographers sloppy and they’ll roll six time to get a good shot rather than rehearse their move before rolling.

    I shoot the pretty stuff with ML and very economically so I don’t have to wade through a lot of footage.  BTW, I’ll tell you ML has never failed me in the year I’ve been using it. Never.

  11. kenyee don’t forget the 100/200Mbps and the 96fps on 1080p…. 🙂 
    For shooting sports, that crop, and even that teleEX something, is absolutely awesome!! I shoot windsurfing, and… the ‘tele’ you get is awesome…. To bad only that I can’t use Canon glass.. would love to use my 300/F2.8 on it  🙂 

    ps that teleEX or what is called sucks in my opinion… I see reviews where they claim there is no quality loss, but…. there is,… uge even IMO! …  Besides, with a 100-300, you get ridiculouse magnifications…. the 2+ crop makes it already a 200-600, and with that EX stuff, you get a 1200mm lens, which is ridiculouse!! (and… the lens isn’t good enough to deliver that much detail).

    I find it weird that the GH4 now has such a low ‘low light’ score, since… with my GH2, i was really impressed with the low light ability…

  12. so far I’ve always manually focuses because AF as just never been fast enough for me. if I can manually focus faster and more reliably whats the point of AF ? Ok I do like focus confirm indicators, but after that…. AF isn’t there yet. haven’t tried the C100/300 update which might finally get close. however since 90% of my glass is manual focus, it doesn’t matter much either.

  13. kenyee
    Thanks for your viewpoint. For lowlight right now it’s the c300. When I saw the lowlight performance of the c300 when they rolled it out (we filmed Sunset Boulevard with NO additional lighting) and Dana Christiaansen, the D.P. on “XXIT”, tell us that it was hard filming with the c300 in San Francisco at night because it picked up the lit buildings so easily that the main problem became lighting the foreground for a good balance, I realized Canon had leaped low light filmmaking far ahead of anyone else.  I expect Canon’s next release will also leave the competitors in the dust.

  14. MacMarkIIHD
    I agree with many of your points…strong breakthroughs for sure, but how good is 4K when it’s out of focus? To me being in focus trumps having 4K. 

    BTW, to clarify the 70D has three types of sensor-assisted focusing.  The one I employed/demonstrated in the test was the “tap focus”.  That one’s my favorite. Until you’ve tried it you won’t realize what I’m talking about, i.e. to nail focus in less than a second is awesome.  So, I’m not referring to the other method of focusing which most would call AutoFocus where the camera sort of calculates what’s best.  Like AutoExposure it might not be the greatest choice.

  15. JePe
    Thanks for your comments.  Like I said at the beginning of the blog, I really wanted to like the GH4.  I really did.  I even shot side by side comparisons with the 5DM3 shooting Magic Lantern RAW (soon to be posted) and I found the GH4 no better than the 70D in resolution.  

    Nevertheless, I’ve always thought the Panasonic/Leica partnership was brilliant.  I’ve used Panasonic cameras. I own three Lumix cameras in the pocket digital variety.  I really wanted the GH4 to hit a home run.  If it had snapped focus as fast as it does when you’re shooting stills I would have bought it.  But when I was shooting the night vendors in the test and I kept losing the shot because the camera was driving back and forth trying to find focus, the fire went out.  

    Of course, if I hadn’t shot effortlessly and successfully four mini-docs with the 70D’s touch focus, I probably would have lived with the GH4’s slowness.  But once you get a solution to an old problem it’s hard to go back.

  16. carlmart
    I agree.  I keep waiting for Sony to get to the top of the mountain. Hope the A7s gets them closer.  Sony is a worthy adversary to Canon, but all the Sony Betacams I worked with didn’t have a Sony lens. Something to keep in mind.  Canon’s glass may be it’s trump card.  It’s ability to take light hits with minimal flaring is impressive as Gale Tattersall pointed out in his seminar, leading Gale to prefer it to other more expensive cinema lenses.

  17. Ron Soderlund
    You make good points.  Like you, I found myself really cheering for the GH4 but then finding shortcomings which dampened my fire.  I’m sure Panasonic will update things and that’s the version I look forward to again in the future.  ‘Til then I’m not ready to jump off the Canon warwagon until we’ve seen the newest Canon releases soon to come.  Let’s face it, Canon leads the way in digital cinema innovations.  Gale Tattersall in his workshop said he loved Canon glass because the lenses tolerate light hits to the glass better than much more expensive lenses. Keep in mind no one else had introduced a line of Cine lenses in the mainstream Super 35 size. No one else has rolled out three Cinema cameras. I don’t think Nikon or Panasonic come anywhere near to the commitment of Canon to professional digital filmmakers.  Canon’s very pragmatic and very mainstream with the fewest compromises, workarounds, odd crop factors and sensor performance.  If you lower the bar to the semi-pro level, then other cameras come on stage, but for my money, Canon remains committed to the professional end of the digital filmmaking spectrum of products. They even have a tech center on Sunset Blvd. in Hollywood.  Canon’s in the game to win.

  18. I’ve recently purchased the GH4 and I can’t see myself using my 5D Mark III as anything other than what it was designed for. A stills camera. 

    The image issues I’ve worked with for the last few years are all resolved by the beautiful codec in the GH4. 4K to 1080 makes absolute sense, it’s incredibly detailed and allows you to crop in should you want to add movement in post or just to reframe. Wonderful if you’re a one-man-band who’d like to actually look at the person you are interviewing. 

    Gone are my days of rigging an external monitor to check focus, the wonderful EVF is absolutely beautiful, and allows me to nail critical focus every time. 

    Sure the AF may not be as good as the 70D but then as a manual shooter this is something that has never phased me. 

    I’ve shot a lot of 5D Raw and the file sizes are ridiculous. The images out of the GH4 are as detailed and grade really well, sure not as well as the Raw would but then I’m getting over an hour of 4K for 64gb instead of 12/13 minutes. Reliability is still an issue, lost a 4 minute take because my machine could not unpack the .raw files. First time it’s happened in a year of using it but that was the final straw for me. 

    Also you have to take into account media costs as well, I’m using Komputerbay 64gb cards which were almost a quarter of the price of the cards I’d use for raw. 

    For lowlight I’d stick on a Voightlander F0.95 and use the superb MFT lenses with silent IS. 

    Weight is a big factor as well, suddenly I’ve got a kit that will weigh a third of my Canon kit. What a difference that will make to my back! 

    In terms of flexibility, with the slow motion (a massive bonus) the superior internal mics meaning you can actually record to the camera and get really nice sound (unlike the Mk3). It’s a winner all ways up for me. 

    By all means rent and give it a go. But the images I’m getting out of this have absolutely convinced me that this is the way forward. 

    Canon won’t bring out a rival, mark my words, they and Nikon are dead in this market. They can’t match the EVF technology as they still use mirrored cameras, and they haven’t developed new codecs unlike Sony and Panasonic. Plus Canon are protecting their cinema line. Would not be surprised if we see little to no evolution in Canon cameras now.

  19. cinebootcampfletch Ron Soderlund Thanks your reply. I have the greatest respect for the Canon series and the pro-range in particular. My preferences are to show people yachts and boats and building processes. In other words I want the video to look as close to real world as possible. Grading and DOF is not really important. Sometimes I have to crawl under engine installations, chain boxes, etc. I wouldn’t be able to do this without a very flexible screen. I am also traveling a lot so a small
    Sure, this is my hobby as well and a full size sensor is extremely nice to work with but I cannot afford to have both systems..
    Have you ever thought of the Sony A7S? I had the A7 for a while. The video was crap but stills fantastic. I guess the A7S will be a true contender to the Panasonic. 

    Sunset Boulevard – Sounds nice, sitting locked up in Stockholm office  in a 90 degrees heatwave 

    Cheers and regards


  20. Doesn’t matter if it’s 4k or otherwise out of focus is out of focus and useless. Unless of course it’s for effect.
    I know what you’re referring to with the tap-focus, and it really doesn’t matter if it’s a tap, a bump, or you’re throwing the camera against the wall, if the camera is setting a focus without you physically turning the barrel, that’s an auto-focus.
    With the GH4’s LCD screen or the EVF, the focus peaking feature, if you can’t achieve a sharp focus with those tools, well then I guess auto-focus is your option. It’s all good, if that works for you great! But for the rest of us that aren’t having focusing challenges, the Panasonic GH4 -4k is awesome!

  21. I shoot loads of doc and narrative work. While many here sing the praises of the GH4, I passed on it primarily because, I don’t like the image that comes from it. I find it too contrasty and the color / flesh tones lacking. I’d rather go the Alexa philosophy which is we care more about DR and color than resolution. I recently did an extensive test btw Alexa, Dragon and F55 to help decide which camera to shoot a feature. The producers and directors who watched the tests were floored by the Alexa despite being only 2k. It won. 

    I’d rather have a GH4 2k with better color and DR than 4k without. While 4k is great for repo, I just think at its current bit rate it’s spread a little thin, hence the less than color gamut. 

    While I think the 5d Mk3 blows it away in terms of image quality, it’s just not practical in RAW and I’d never risk using it on a client job.

  22. Am I reading your post correctly? Are you seriously comparing an $80,000 dollar camera to a $1,700 dollar camera? It isn’t that Panasonic doesn’t care about DR and color, the GH4 is designed for the masses at an afforadable price point. And, I don’t care what 4k camera your using 4k IS, for the most part, all about resolution. Of course an Alexa 2k image is going to have a better image quality over the GH4 -4k, tell us something we don’t know.
    My opinion, the 5dm3 doesn’t blow it away, they both have their strengths and weaknesses.
    Any way you look at it the GH4 is a break through in the dslr arena, with the right glass in front of it, it’s capable of some pretty impressive imagery.

  23. For me, GH4 covers all the bases EXCEPT MF.
    I spent years manually focusing with Canon lenses and fly by wire just does not do it for me. GH4 AF is good, it’s fast but I know the way I like to work, it’s not as speedy.

    that’s it for me. A7s is great but rolling shutter a fan I’m not

  24. I never use auto focus ever. I love the look of manualy “searching for focus”. If I decide to nail focus I will use my hands and eyes not autofocus. About the 4k, start using it and you´ll see why we use it. A GH4 costs $1500 and you would pay $200 for four days? The first job I used the GH4 on paid for it easily. I can´t see how “NOT” to buy a GH4. I can understand why not a 1DC or a C300 but a camera like the Panasonic? I never won an Emmy award but believe me I make a very impressive amount of money with those GH´s and not only. That is why I have 18+ cameras from a T2i to C300 A7s 1DC  to RED epic and use them all. So you tell me you want to save some change to skip a revolutionary camera like this?
    It is your money but the 10 reasons for skipping it are more like the ten reasons to getting it. 😉

    Have a nice day

  25. I was considering to buy a GH4 and leave Canon. After reading this I will wait for a while…
    I do a lot of car test video’s in a typical high pressure run and gun style for publishing on the web and 4K is not really needed.
    What I need is a flip screen, headphone output/mic input and good autofocus possibilities in case I hang out of a car on high speed filming the other car…
    Now I work with several camera’s but like most mijn Canon 60d with Magic Lantern en Technicolor profile.
    I hoped the GH4 would jump in the missing features like headphone output and autofocus but now it is just a matter of time the ther will be a Magic lLantern version for the 70D I am in doubt still going to continue with the 70D and replace the 60d instead of moving over to the GH4.
    i will rent both camera’s to see wat fits best in mij situation.

  26. cinebootcampfletch MacMarkIIHD 
    That’s fine and dandy but why would you want your focus changes to look sudden and robotic. If you learn how to nail MF (Which is really easy with the GH4’s focus assisting features) You will achieve a much more humanly effect.

  27. cinebootcampfletch JePe 
    Looks like Panasonic have released a firmware a couple months ago which has vastly improved Auto-Focus in video.
    From the 5dm3/70d/GH3 noise comparison video I saw on your Vimeo page, it seems like the 70d performs the worst at 6400 ISO. Lot’s of Chroma Noise.  Regarding resolution, I haven’t done any tests with the 70D so I can’t comment but when I capture 4K, bring it into my Adobe 1080p timeline, the resolution is PERFECT at 100% crop of the rendered file
    Just wanted to share my experiences.
    Congrats on the awards btw.

  28. cinebootcampfletch kenyee 
    I think the Sony FS7 is better at low-light than the C300 (similar noise levels but less chroma noise on the Sony)
    However, both C300 and FS7 are much more expensive than the 5Dm3 and A7S.
    A7S still has better high ISO performance than both the C300 and FS7.

  29. I sold 2 of my Canon 5D Mark III and a Canon 6D to purchase four Canon 70D for my production use and fell in love with the dual pixel autofocus tracking they have for my on-the-go projects. Here is one of sample of the 70D autofocus I just shot: https://www.youtube.com/watch?v=RalJIJKW8nE.

    I’ve been searching for reviews and video tests of GH4 and never got satisfied about how the camera does autofocus tracking comparing to the Canon 70D. 

    The thing is I need to upgrade to 4k for my next indie film. 

    Just before I read this post and comments, I had purchased the GH4 and a Panasonic 12-35mm lens for a little over $2k. It’s a good try without breaking the bank. If it turns out good, all of my 70D will be on eBay 🙂

  30. KenDinh Cool video. I don’t think you’ll be disappointed with the GH4. It really is a well thought out camera. The focus peaking actually made me better at manual focusing. Gives focus fades a much more human touch.

  31. DamienLobb KenDinh Thank you Damien. I returned the GH4 after a few days playing with it. I use my flycam most of the time and this GH4 is just hunting for focus, since it uses contrast focus. In low light, it’s just ok. 

    I wish someday there’s one camera with hybrid phase autofocus touch sceen  like Canon 70D, internal 4k as Panasonic GH4 and great in low light as Sony a7s with an affordable price, lol, that’s a dream come true for me. 🙂

  32. So far the GH4 as been great for me.  Id rather have stayed with Canon, but they effectively bailed on DSLR Video at this point.  The next GH4 update is a V-log update thats adding 2 more stops of DR.  Ive seen an official Panasonic slide on that, and the gamma curve on the GH4 after that update is “identical” to that of their Vericam 35.  So expect the same tonality and highlight handling as their high end vericam after that update. The Dynamic range will be less then the high end camera of course.  

    Canon would NEVER be that aggressive because they are only committed to their high end “C Line” customers where video is concerned and are simply not interested any longer in their moderately priced video enthusiast market.  On that reason alone, I can no longer support Canon.   

    Luckily I don’t have to 😉

  33. ClaytonMoore1
    You can get adapters to use Canon glass on the GH4 anyway 🙂

  34. DamienLobb ClaytonMoore1 yeah, metabones… buy the speedbooster… expensive, but man… makes it a whole lot interesting (shot stuff with my 300mm/F2.8, awesome. Still having crop factor, but getting F2.8’ish DoF again…. )…  For video, I’m not using my 5D again I’m afraid. I was blown away with the ML RAW coming out of the 5D, but post prod is a hassle, not to mention massive files… the 4K out of GH4 blows that away, easy… and… gives the possibility to crop to 1080p, making ‘digital zooming’ a treat.  I’m very happy to have bought the GH4 (with speedbooster)… I can use all my Canon glass, but also (if I need AF) native glass…. 
    The ‘new, if ever arriving’ 5DmkIV must be pretty damn spectacular, if I will ever buy my ‘fourth’ 5D!! (I rather buy a replacement for my 1DmkIV, since … either Sony, nor Panasonic have a good sportscam)

  35. DamienLobb cinebootcampfletch MacMarkIIHD In professional video production MF is always used. I do get the appeal of AF for some people who aren’t so serious about their videos, it kind of lets you skip one of the elements you have to learn to be a pro.

  36. How do you know the varicam would like the gh4 once the v log has been implemented? Are you aware that (1) the sensors are different. Plus the v logs are different. The v log in the varicam is not the same as the gh4 v log coming out. That’s (2). The DVX200 that’s coming out will have the same tonality and gama curve as the varicam because the DVX200 will have the same v log as the varicam. So THAT camera will look closer to the varicam. Understand, the DVX200 is even a different sensor than gh4. A sensor is what makes up an image. How it responds to colors… Light..etc. So, to say the gh4 will look like the varicam when the gh4 releases its v log is INCORRECT!!! Two different sensors and two different V LOG!! I’m a big fan of Panasonic. Always have been. I just wished Japan released the AF200 with 4k. That sucker looked filmic from the box. It was just lacking in resolution and dynamic range. Gh4 looks videoish. I don’t think when its v log comes out..its gonna fix that digital look!

  37. Also, don’t forget the poor dynamic range of 70D in bright daylight scenes, GH4 is all around better option.

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