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Hands On: Panasonic Targets Video Professionals with Lumix GH3 Camera

 & Jim Fisher Principal Writer, Cameras

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COLOGNE—Here at Photokina, Panasonic unleashed its Lumix DMC-GH3, which supplants the aging GH2 as the company's top-end Micro Four Thirds camera. The GH2 became a favorite among independent filmmakers and documentarians thanks to a robust video capture capability, one that was often aided by third-party hacked firmware that improved recording quality.

The GH3 should do away with the need to hack the camera, as it can natively capture 1080p60 QuickTime H.264 footage at an 80Mbps bit rate—complete with embedded Time Code. It's also capable of 1080p30, 1080p24, and 720p60 acquisition. The camera also supports MP4 and AVCHD capture at lesser bit rates and frame rates—MP4 tops out at 1080p30 at 20Mbps, while AVCHD support 1080p60 at 28Mbps.

There's a standard HDMI output port which video pros can use to view a realtime feed on a field monitor, or to record footage from the camera to a field recorder that supports the codec of their choice. Standard 3.5mm microphone and headphone jacks are there for audio input and monitoring.

This camera is no slouch when it comes to still capture. Its 16-megapixel image sensor supports a maximum ISO setting of 25600 in extended mode, and can go as low as 125. Its autofocus system is rated at 0.07 second, which is only about two hundredths of a second slower than that of the Canon EOS 7D £484 at Amazon UK and Sony Alpha 77 See it at Amazon UK. It can shoot at 6 frames per second, keeping up that pace for 29 shots in Raw+JPG mode. And its built-in flash has been improved to effectively cover the field of view of a 12mm Micro Four Thirds lens.

Both the rear display and EVF use OLED technology. The display has a 610k-dot resolution and swings out from the back of the camera, tilting so it can be viewed from many different angles. The EVF has a 1,700k-dot resolution, less than that of the EVF found in the Sony Alpha NEX-7 See it at Amazon UK. It is sharp and contrasty, and appears a bit bigger to my eye than the Sony EVF thanks to its higher magnification factor.

The camera body is fabricated from magnesium, and it's sealed against dust and water splashes. Despite its video features, the control layout and body design scream miniature SLR rather than video camera. There's the standard Mode Dial on top, a dial to adjust the Drive Mode, as well as physical buttons to control White Balance, ISO, Exposure Compensation, and a Function button. The rear features more Function buttons, two control dials, an AF control switch, and a Record button.

The camera has Wi-Fi, so you can control it via your smartphone. It is also compatible with Panasonic's wireless flash system, and there's a standard PC Sync socket to connect to a wired strobe or studio lights at up to a 1/160 sync speed.

Panasonic also announced a new zoom lens. The Lumix G X 35-100mm f/2.8 is a power zoom lens that covers a 70-200mm field of view in terms of traditional 35mm photography. It should pair well with previously announced Lumix G X 12-45mm f/2.8 lens, as the combination will give GH3 owners a kit that covers a 24-200mm zoom range. Both lenses are splash and dust proof, making them well suited for use with the GH3.

The 35-100mm lens will ship in November, with the GH3 shipping in time for last-minute holiday shoppers. Pricing has yet to be set, but Panasonic expects the GH3 body to sell for less than $2,000.

About Our Expert

Jim Fisher

Jim Fisher

Principal Writer, Cameras

My Experience

Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 14 years, which has given me a front row seat for the changeover from DSLRs to mirrorless cameras, the smartphone camera revolution, and the emergence of drones for aerial imaging. I have extensive experience with every major mirrorless and SLR system, and am also comfortable using point-and-shoot and action cameras. As a Part 107 Certified drone pilot, I’m licensed to fly unmanned aircraft systems (UAS) for commercial and editorial purposes, and am knowledgeable about federal rules and regulations regarding drones.

The Technology I Use

I use all of the major camera systems on a regular basis, swapping between Canon, Fujifilm, L-Mount, Micro Four Thirds, Nikon, and Sony systems. I still find time to use Leica M rangefinders and Pentax SLRs on occasion, too. I keep an iPhone 13 in my pocket for the rare occasions I'm not carrying a camera.

I'm not a brand-specific photographer. For product review photos, I swap between a Canon EOS R5 and a Sony a7R IV. I use Flashpoint and Godox TTL lights and Peak Design tripods, and I most often reach for a Think Tank or Peak Design backpack to carry equipment.

When it comes to computers, I'm an unapologetic Mac person and have been for the past 20 years. I write in Pages and use Numbers for spreadsheets. I currently swap between an Intel i9 MacBook Pro and an Apple Silicon Mac Studio for writing and use a calibrated BenQ 32.5-inch with the Studio for photo and video editing. I rely on a LaCie 6big RAID for media storage. I also keep a PC around for gaming, but please don't tell my Macs about it; they'll get jealous.

I split time between several different software apps depending on the type of editing I'm doing. For Raw image processing, Adobe Photoshop Lightroom Classic is my standard. I pair it with a LoupeDeck CT console to supplement my keyboard and trackpad, and I lean on RNI All Films 5 presets when I want to give an image a film look. I use Apple Final Cut Pro for video editing.

My first digital camera was the Canon PowerShot Elph S200, and my first DSLR was the Pentax *ist DL. I have a soft spot for antique film gear. I still use a 1950 vintage Rolleiflex Automat TLR and love trying mid-century Leica lenses on film and digital alike. I mainly use whatever's in front of me for review for digital snaps, but I pick up either my Leica M Typ 240 or Pentax K-3 III Monochrome when I want to step away from review work. In my downtime, I enjoy bird watching, reading, video games, and both good and bad movies, especially in the sci-fi and horror genres.

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