The Panasonic GH6 is probably one of the most hyped-up camera releases in recent memory.

Positioned as a tier above the GH5 series, which by the way already achieved legendary status among filmmakers and content creators, it’s easy to see why a lot of creatives are waiting for the GH6 to hit the shelves.

And now that the latest m43 flagship is out, how does it live up to the expectations?

It may be packing a lot of punch on paper, but how does it perform out in the real world? Let’s see what the pros are saying.

But before we dive in, here are a few related posts you might be interested in:

• Review roundups of the Panasonic-Leica 10-25mm f1.7 and 25-50mm f1.7, the latest from Panasonic, the do-it-all type of lens geared towards videographers and filmmakers.
• Micro Four Thirds Lens Guides – My favorite video lenses for Panasonic, and some of my best overall lenses for MFT cameras.
• Micro Four Thirds Lens Roadmap – See what’s coming soon.

Panasonic GH6 Body and Design

Let’s start with the build and design on the GH6. They made a lot of changes over what we had on the previous M43 flagships because right off the bat, the GH6 is noticeably thicker than the GH5. This is for a very good reason.

One of the headline features of the GH6 was that it’ll do 4:2:2 10-bit 4K/60p with unlimited recording. Panasonic accomplished this by putting an active cooling system in the body, or in other words, a dedicated cooling fan, much like what the S1H and the EOS R5-C have.

Out of necessity, vents can now be found on the GH6’s body because all that heat must go somewhere. However, Panasonic claims that the magnesium-alloy body of the newest flagship is weather-sealed and freeze resistant.

Johnnie Beheri of CineD thinks that the all-new cooling system on the GH6 is performing spectacularly:

“I used ProRes 5.7K/25p and be it a long interview indoors or outdoors, I did not have any issues. In general, CFexpress cards, the camera processor, and the sensor are the ones that create the internal heat so it seems as if the cooling system is working nicely.”

You’ll also find a newly designed articulating screen that can now also tilt to a point, reminiscent of what’s on the Nikon D500, strangely. This cleverly solves the cables-getting-caught-on-camera-screen issue that most articulating screens pose.

Speaking of new ports, the GH6 can now be powered via USB-C. In a future update, we should be able to directly record to an SSD via USB-C, which is a big quality of life feature for sure.

The GH6 has two card slots: one for CFexpress cards and one for standard UHS-II sd cards. Keep in mind that you’ll be locked out of some recording modes if you don’t have CFexpress cards slotted in so definitely put some gear budget aside for new cards.

Panasonic also added a second record button on the front of the body’s bottom left-hand side, giving you easy access to such an important button if you’re working with shoulder rigs or camera cages. The big red record buttons and the few added millimeters in the chassis almost make you think you have a “mini-S1H” in your hands, says filmmaker Simon Wyndham.

The available card type on the camera will dictate which recording modes you have access to so make sure to keep this in mind.

“Overall the build quality of the GH6 is excellent and robust seeming. If you’ve used other LUMIX cameras, notably the S series, you’ll be right at home here.”

Panasonic GH6 Image Quality

When we first talked about the GH6, we thought it’ll likely have a new 24-megapixel sensor based on the information we had at the time. Well, we’re a megapixel short and it actually got a new 25MP chip — the largest yet for any micro four thirds camera.

This new sensor seems to be doing a ton of wonders, delivering both on an insane catalogue of recording modes and improvements in image quality that even beats the full frame S1H in some areas, at least in terms of video.

First off, the GH6 is packed to the brim with most of the resolution/framerate/chroma sampling combination you could ever want. We don’t have the real estate to list all of that here, so check this B&H feature for the full spec sheet.

But here are some of the most useful recording modes you’ll most likely use in your day-to-day.

• 5.8K up to 30p (4:3 open gate anamorphic)
• 5.7K up to 60p
• 4.4K up to 60p (4:3 anamorphic)
• 4K up to 120p
• High framerate recording at 1080p at up to 240p or 300p with Variable Frame Rate (VFR) enabled

There’s no cinema camera at the $2,000 range that can come close to what the GH6 offers in recording modes. Best part is, most of these recording modes can be done in 10-bit with unlimited recording, and with no overheating issues, at least according to Caleb Pike of DSLR Video Shooter.

What’s even more impressive is that Richard Butler, DPReview’s technical editor, found that there’s really no difference in image quality when switching from standard frame rates (24, 30, 60p) versus high frame rate recordings, so you can intercut both types of footage without issues.

In terms of just raw sharpness, the new GH6 squeezes out more fine details than the S1H at the same recording modes. See the 100% crop comparisons between the two flagship video cameras from Panasonic for yourself and see the difference at 4K/60p on both cameras.

Another area where the new 25MP sensor trumps the full frame S1H is in the rolling shutter test. The GH6 has a much faster sensor readout than the S1H, resulting in straighter lines and a significantly muted jello and effect on your footage. See DPReview’s rolling shutter test below for reference:

Unfortunately, the S1H’s physically bigger chip is still the superior low-light shooter. But that’s a given. What the new GH6 does to compensate is the introduction of the all-new Dynamic Range Boost feature, which does exactly that. Caleb explains it best:

“In short, this feature is similar to Canon’s dual gain output on the c70 and the c300 MK III. When you turn this setting on, the camera will use two analog circuits to take two different exposures, and output a higher dynamic range image.”

Panasonic claims this gives your footage 13+ stops of dynamic range when activated versus the standard 12 stops. You can pour over charts and graphs over at CineD for a more technical analysis. But what Armando Ferreira found is that the DRB feature gave the footage a lot more “pop,” more information in the shadows, and a smoother highlight roll-off that you could only see in high-end dedicated cinema cameras from Arri or RED.

“There’s definitely some magic happening when you enable dynamic range boost. There’s just something filmic about the look. Like I said before, it has this depth that you typically only get on higher end cinema cameras.”

Did Panasonic GH6 Autofocus Imrpove?

Manual focus is amazing on the GH6. While it may not have the S1H’s viewfinder size, it more than makes up for it by giving you punch-in magnification while you’re rolling. This makes focus racking a breeze. Something you’d have to do when you’re working with dedicated cinema glass or legacy optics.

Panasonic is still betting on their DFD tech and isn’t moving on to PDAF any time soon. But you’ll be happy to know that on the autofocus side of things, you’ll see a significant boost in tracking with the GH6. On a side by side test versus the S1H, the GH6 latches on to the moving subject just that bit more quickly and with a little more confidence, when the S1H may take a little more time to grab focus.

Bump the frame rates though and you’ll be getting a better AF performance on both cameras. This is because the AI-reliant AF system will have more data to work with as it refreshes more often, making AF performance even better on stills.

Jordan of DPReview says he still wouldn’t trust the GH6 for fast-action environments like sports or wildlife, but it’s something he can fall back on once in a while, especially with casual shooting:

“Regardless, whether you’re manually focusing or using the autofocus system, the performance is just better on the gh6 — you’re gonna have more footage in focus (than the S1H).”

To get a better idea of how the AF system on the GH6 performs, have a look at Richard Wong’s AF side by side comparison of the GH6, Sony A1, GH5II, and G85.

Is the In Body Image Stabilization (IBIS) in the GH6 good?

Stabilization is another strong point on the GH6. Panasonic says its 5-axis in-body stabilization, after a firmware upgrade, can now offer 7.5 stops of image stabilization. DPReview found the IBIS on the GH6 to also be superior to the now 3-year-old S1H, with the GH6 eliminating the jitteriness of the S1H. You’ll just get less bouncy, more stable, and very consistent-looking handheld footage on the GH6 than the full frame S1H.

The IBIS on this thing is so good that you can now use high resolution mode to stack multiple images and create 48-megapixel images without a tripod (note that the standard high-res mode shoots 100MP images when shot with a tripod).

With stabilization like this, I can see the GH6 being a very compelling option for vlogging as well. You can see more stabilized handheld shots on Kai’s review here if you’re planning on doing more than just filmmaking with the GH6.

Wrapping Up

Sitting at the $2,200 price point, I can’t think of any “hybrid” camera that can go toe to toe with the GH6 without stepping into “dedicated” cinema camera territory, especially with the Blackmagic Pocket Cinema camera within arm’s reach at $2,500.

For this much, the latest micro four thirds flagship blows the competition out of the water with its incredible image quality and more video recording modes than I can count.

Update from “Everything We Know About the GH6”

The GH6 is quickly shaping up to be a go-to filmmaker’s camera without taking away the accessibility and all the things we’ve come to love (like the often discounted stills capabilities) in a compact micro four thirds camera.

Now I’m not Panasonic’s product manager, but it’s not hard to imagine how tough it may have been running two different video-centric camera lines in the S and GH series. So well done, Panasonic, for once again making a great case for the micro four thirds place in the camera industry.

The micro four thirds community is on a bit of a high lately, especially with Panasonic announcing the GH5 II and teasing the GH6 a few months ago. The GH5 II has now hit the shelves and it’s clear Panasonic made good with their promise: the Mark II is a welcome refresh of a landmark filmmaker’s camera that is the original GH5.

However, there’s still very little information on what the GH6 may offer five months after word got out about Panasonic’s upcoming flagship micro four thirds camera. Let’s take a look at what we know about the Panasonic GH6 so far.

The Panasonic GH6 will be Equipped with a New Sensor and Engine

While Panasonic has let on that the GH6 will have a new sensor, we don’t really know any specifics about a likely change in resolution.

We could however make some fairly educated guesses about how much of a megapixel bump we’ll see on the GH6. One of the headline features Panasonic gave away is that the GH6 records up to 10-bit 5.7K at 60 frames a second. That puts a 24-megapixel micro four thirds sensor as the ideal sensor for the job, which is still four megapixels more than what we’ve had inside Panasonic bodies for the last five years.

Panasonic GH6 Video Specs & Features

Pairing the newly designed sensor and a new Venus engine that’s supposedly never before seen in a micro four thirds body and we’re looking at a filmmaking/content creation-focused powerhouse that can shoot:

• 4:2:2 10-bit DCI 4K/60p – with unlimited video recording
• 10-bit 4K/120p HFR/VFR
• 10-bit 5.7k/60p

The GH6 has “True Unlimited Recording Time”

Now 4:2:2 10-bit DCI 4K/60p recording, needless to say, is a very demanding process. Panasonic’s claim that the GH6 will have “true unlimited recording” hints at a complete overhaul of the past micro four thirds bodies and may introduce something that’s more like what the full frame S-series have. This could mean a slightly bigger chassis, beefier cooling pins, and perhaps a dedicated fan seen on the S1H to keep this beast nice and cool as it fills up your media.

It is still not clear whether we’ll see this “true” unlimited recording in other recording modes, but again, 4K/60p at 10-bit 4:2:2 without time restrictions is still mighty impressive and will definitely make a lot of filmmakers who’d rather have the reliable recording time over 8K very happy.

When will the GH6 Launch?

Now, this is all speculation, because Panasonic’s official statement on the release date is that the GH6 will hit the shelves “later this year.” However, rumors floating around the internet suggest that the GH6 may coincide with Panasonic’s 20^th anniversary event. Thus, our best guess is that the Panasonic GH6 may come out on October 27th, 2021.

Will We Get Phase Detection Autofocus (PDAF) on the GH6?

Again, just speculation. But from what we’re seeing, the GH6 is unlikely to have PDAF. A recent interview with Panasonic’s Director of Imaging Division, Yosuke Yamane, revealed that Panasonic won’t be moving from contrast-detection AF with DFD to phase-detection AF any time soon.

While Panasonic does acknowledge the PDAF’s tracking system to be superior, they’re still sticking to their guns and further developing contrast-detect AF with DFD to bring it up to a comparable level without the potential drawback of added noise as is the case with PDAF systems.

How Much Will the New GH6 Retail For?

Panasonic says the GH6 can be had for “approximately $2,500.” For context, the S1H had a $3,999 MSRP at launch. Canon’s EOS R5 sells for $3,899 body only while Sony’s a7sIII retails for $3,498.

The Panasonic GH5, GH5 II, and GH6 Compared

The original GH5 still remains as one of the best filmmaking cameras you can get today. It still shoots class-leading 4K footage and still has all the bells and whistles you’d want for YouTube and serious filmmaking.

It’s so good, it makes a prospect buyer wonder: is it worth getting the GH5 II, or even the GH6 when the original GH5 is largely available for purchase either brand new or in the used market? Let’s look at the spec sheets.

Video Modes

Perhaps this is one of the biggest features that’ll push buyers into the GH5 II, that is if they’re not shooting with the original GH5 already. The GH5 Mark II records 4:2:0 10-bit 4K/60p internally, whereas the original GH5 will stop at 8-bit. That might sound marginal, but the 10-bit footage will always hold better in grading than the 8-bit footage.

Of course, the GH6 will have them both beat with its 4:2:2 10-bit DCI 4K/60p with unlimited recording, 10-bit 4K/120p HFR/VFR, 10-bit 5.7k/60p and possibly more video recording modes Panasonic is keeping under wraps.

Streaming Features

The GH5 II refresh brought on a lot of streaming capabilities into the GH-series. With the GH5 II, you can now stream wirelessly to YouTube, Facebook and potentially more platforms directly via the Lumix Sync app for both iOS and Android. The GH5 can only stream via tethering.

According to No Film School, the GH6 will support 9:16 vertical shooting which almost confirms we’ll also see the same streaming features on Panasonic’s upcoming video flagship. However, note that there’s no official word regarding the GH6’s streaming capabilities.

Autofocus

The new processor on the GH5 II now allows for better, and faster autofocus modes that weren’t possible with the older internals on the GH5 cameras. Panasonic claims a 2x faster recognition speed than the original GH5 as well as improvements on subject tracking when set on continuous AF.

I’m not sure we can validate the 2x improvement in AF that Panasonic promises, but we do see a very significant upgrade over the previous generation. As Jordan Drake of DPReview demonstrates below, both the GH5 and the GH5 II performs better when you’re shooting a higher frame rate, though the GH5 II is indeed better overall.

Stabilization

We’ll be getting 6.5 stops of stabilization from the GH5 II, an extra stop and a half over the GH5. Panasonic also gave the GH5 II the IBIS movement algorithm from the S1H which should make the GH5 II the better camera for handheld camera work.

There’s no word on how the GH6 will compare in terms of IBIS, but being Panasonic’s newest flagship, it’s not difficult imagining the GH6 to have the same, if not superior IBIS to the GH5 II.

The Little Things

The GH5 II will thankfully come with V-Log L pre-installed, which was a $100 optional upgrade with the GH5. Panasonic also says that the 3” screen on the GH5 II is brighter and sharper than the original, albeit .2 inches smaller.

Another huge quality-of-life update on the GH5 II is that it now supports USB-C power delivery, allowing you to charge or power the GH5 II via the USB 3.1 Type C port. You’ll be getting a new battery that holds more juice, but fortunately, has the same form factor as the old one so you can still use older GH5 batteries on the GH5 II.

CVPTV has an in-depth comparison between the GH5 and the GH5 II if you’re on the fence about the two cameras:

Wrapping Up

It’s really nice to see Panasonic’s continued commitment to furthering what micro four thirds can offer. From what we’re seeing, the GH6 is looking like a worthy replacement to the community-favorite GH5.

The GH5 II on the other hand offers a compelling solution for folks that have streaming as a huge part of the workload, incidentally, it’s also one of the best video cameras you can buy right now if you can’t afford to wait for the GH6.

Checkout Panasonic’s announcement video for the GH5 II and the GH6 if you haven’t already:

Do you think the GH5 II is a worthy upgrade to what you have right now, or will you be hunting for a nice deal on the original GH5? Would you rather save your pennies and wait for the GH6 instead? Let me know in the comments below!