Відео

Yes, it does work on the GH7. No 32-bit float audio, though.

@@HaveCameraNowWhat Thank you! Yeah I wanted to make sure I can use it. I had for 20 years different panasonic cameras for film production mainly and now look to get a new gh7. It looks the right pick. ;)

Good choice! I've been using the GH7 for a few months now and am very happy with it 😄

Hey thanks for stopping by and taking the time to comment. That's a great point. I was already happy with the visual quality of the GH5, and presumed that the GH7 would exceed it. So this was more of a features comparison on why I felt it was time to upgrade... and I had literally just got back from the store with the new camera on the day it was released to the general public. But I agree that an actual test of the image quality would be very useful.

@@HaveCameraNowWhat I appreciate your reply! May I ask for your current impression regarding the differences in dynamic range and noise between the two cameras? Do you see an improvement and how would you describe it? Thanks!

To be completely honest, I'm not a pixel peeper or very technical reviewer. Most of my work ends up playing on smartphones at 1080p so even the GH5 was quite adequate as far as image quality goes. But subjectively, my impressions are: - Dynamic range has improved. I can't quantify by how much, but dark areas do appear cleaner and I can boost the shadows without them getting too muddy. Still, the studio I shoot in is very brightly lit, so there aren't too many shadows. If you're shooting dark scenes and trying to get very smooth shadows, I'm totally the wrong person to give advice on that! 😅 - I can also bring back the highlights better than I could with the GH5. I shoot cooking videos and sometimes there's a lot of detail in very white things like flour and sugar. The GH7 handles this better for sure. - Color is much better IMO. I usually shoot in V-log and I think a big part of the difference comes down to the GH7 having full V-log rather than the V-log Lite of the GH5 (with paid upgrade). I do encourage you to look around and check out videos from more technical reviewers though. That's not really my strong point and I don't want to throw out bad information, so my impressions are very subjective.

@@HaveCameraNowWhat Thank you very much for your feedback and time! It's valuable to me. I wish you all the best :)

Thanks for stopping by and taking the time to comment! Good choice to go with the PD. It's on the expensive side, but the design is beautiful and I think it's well made. It should last you for years! About the MT-33, I did a follow up because I found that it had a serious flaw if you want to shoot video: ua-cam.com/video/EfY2QX_5zdc/v-deo.html

Great tip! I just walked it, but sometimes riding the bus would have been nice

Yes, it can. Panasonic released a firmware update for the S5ii and S5iiX that allows this now. But you don't get 32-bit float on those cameras.

Hehe.

Actually, that's a great question. I hadn't even bothered testing sound transmission since my use cases are purely for visual monitoring. I'll have to test it out and get back to you.

Thank you ill soon

Thank you for stopping by and watching! I hope you have a great visit to Morioka

Thanks for watching! You will always get 4-channel recording with the GH7's files, even if you don't connect an XLR adapter. In your case, I would: - Plug the two XLR microphones into the XLR2's XLR jacks - Plug the Rode Wireless Pro into the XLR2's 3.5mm jack This way you can record everything in 32-bit float. I'm not sure that the Rode Wireless Pro will give you true 32-bit float in the GH7 video file because the digital wireless transmission between the transmitter and receiver may be compressed already before it gets to the XLR2, but at least you will get real 32-bit float from the XLR mics. I would also record a backup on the transmitter in 32-bit float and sync in post if necessary. Don't plug the Rode Wireless Pro into the camera body 3.5mm jack. If you do that, you will need to turn everything down to 24-bit audio, thus defeating the benefits of the XLR2.

Yay! Someone else who feels like I do about #8! I'm not the only one 😂 Sorry for the late reply. I was in Kyoto shooting lots of videos with my GH7 for the past few days. Autofocus was absolutely wonderful. One setting I notice I need to change every once in a while is the face detect feature. For example, I was shooting lots of scenes of temples with zillions of tourists around. If I had face detect turned -on- it would often lock onto strangers' faces walking around down at the bottom of the frame, when instead I really wanted to focus on the temple buildings. It's fairly simple to switch on and off, but I found I should just leave it -off- most of the time (personal preference). But overall, no worries on focus accuracy, and NO wobbly focus during videos. Sorry to hear about your GH5 problem. But at leas it happened -before- your trip, not -during- your trip! If you like the GH5 (like I did) then the GH7 is a massive improvement.

​@@HaveCameraNowWhat No problem, I wasn't expecting a reply so soon! (thus apologies for my similarly late reply lol) Good to know about that with the face detect, usually when I shoot faces and shoot objects/places it's at separate times so probably won't be too bad for me to switch on and off. No wobbly focus also sounds attractive, that's something that sometimes bothers me with my GH5 clips. You are right, at least it happened before, but man did I wish it happened sooner so I had more time to plan! I'm definitely on the hunt for a new camera now after discovering there's no way I can get my GH5 repaired in time, so I'm definitely now considering the GH7 but I'm also considering the G9ii, trying to decide if the additional features of the GH7 are worth the additional money and weight. Maybe a silly question but are the cooling fans loud at all? I know they'd only have to be on when I am shooting intensively in the heat, but still would like to be aware.

@aninternetuser7548 I haven't heard the fans at all, but I haven't had to shoot at high bitrates for extended periods in intense heat, so I presume the fan was only spinning slowly if at all. My use has included some shooting in Japan's summer, which gets fairly hot (32°C or 90°F) and humid. I also seriously considered the G9II since it shares the same form factor as my S5IIX cameras, which I like... and honestly, the GH7 is pretty chunky. But my use is primarily video, and in the end I figured I should spend a little more and get the extra features of the GH7. Maybe I don't need them right now, but I plan to use the camera for at least a few years and decided that having extra options was a good thing 😉

​@@HaveCameraNowWhat I decided the same thing, the extra features offer some future-proofing, and actually despite the chunkiness of the GH7 I was able to hold a G9ii yesterday and despite it being smaller, the slightly boxier shape made it slightly more uncomfortable in my hand! Bought the GH7 and it arrived today! Speaking of though... I do have another question: I mentioned the push for me to upgrade came a lot from my GH5 suddenly rattling like crazy on the inside, ruining a lot of my audio. Now, I ordered the GH7 on amazon, and by the look of the retail box it was clearly a return from someone else (red flag). And, lo and behold, that rattling I was trying to get away from is present! Not quite as loud, but still audible and though I haven't been able to test in the field yet, it definitely seems loud enough to make its way into shot's audio. Obviously I considered this was why someone else returned this very unit, but also suspicious that maybe this is a GH line problem? If you shake your GH7 while it's on, even when shooting, do you get some internal rattling there?

Uh oh. An open box doesn't sound good. Was it a marketplace seller, or directly from Amazon? I just checked my GH7. Both powered off and powered on, if I shake it there is a slight rattle. I presume it's the IBIS mechanism making that noise, and probably normal. My GH5 also makes that kind of noise when I shake it. Interestingly, my S5IIXs don't make noise when I shake them. I wouldn't say the noise is especially loud, but it would likely get into the recording if you're shaking the camera enough. How much do you think you'll be shaking the camera in use?

Thanks for watching. =) I hoped that Panasonic might be able to enable 32-bit recording via a firmware update, but with the latest S5II firmware they simply added compatibility to use the XLR2 -- but without 32-bit float. So perhaps there is some hardware related capability specific to the GH7 that the S5II lacks? Unfortunate. I presume a future S5III or S1HII etc will have 32-bit float, though.

Unfortunately, no. Maybe someday we'll get an S5 III or S1H m2 with 32-bit float, but right now 32-bit float is only available on the GH7.

@ Thank you for the reply. Do you think the zoom F3 would be a better option in general for audio?

I came really close to buying an F3, and probably would have one now if Zoom wasn't backordered on the F3 for almost a year. It seems like a nice product and would probably give good results. My thoughts are: 1) If you regularly work with a sound operator, the F3 is a good way to go. You just need to sync the video and audio in post. If you don't run timecode on your devices, you may need to be careful on really long recordings because you can get a bit of audio drift over time. 2) If you're a solo operator, maybe get the XLR1 or just get the XLR2 for future proofing your purchase. Because I usually work solo, I don't like having more devices to worry about on a shoot. More batteries to charge, one more thing to set up, or even forgetting to turn it on at the start of the recording. But either should work. It really depends on your workflow. 😉

@ Really great insight. I’d be solo operator. Still learning all of these technical terms on the audio side. I’m guessing the tascam dr av2 might be the best option along with having timecode paired with multiple different options vs the zoom f3

The Tascam seems popular. I haven't tried that unit, though, so can't comment. Although, I used a Tascam DR 60 on shoots before and it was a solid performer. Good luck with your purchase decision!

What's the hack?

Hm. I sold my GH6 so can't do a color comparison. But you think the GH6 has better color than the GH7? Cost-wise, the GH6 is a bargain if you don't need the specific things the GH7 offers.

Yes there is! On cameras like the GH7, GH6, S5II, and perhaps others, you actually get 4 audio tracks in the recording -- whether or not you are using the XLR adapter. What this means is that, when you use the XLR adapter, two of the audio tracks come from the XLR inputs and the other two audio inputs come from a 3.5mm jack -- this 3.5mm jack could be either the microphone jack built into the camera, or in the case of the XLR2 you could use the 3.5mm jack on the XLR2. Note: if you use the 3.5mm jack on the XLR2 together with a GH7, you can get 32-bit float recording on all 4 of the tracks. But if you use the 3.5mm jack on the camera, then it drops down to regular 24-bit.

@ Fantastic, thanks!

Thank you for watching and taking the time to comment! I appreciate it 😄

Great question! If you want to use 32-bit float, then the XLR2 is the only game in town. It also means there isn't really anything to on-the-fly manage with those 3 inputs since the levels dials don't do anything when you're recording in 32-bit float. What I might do in that scenario is plug a dynamic mic into XLR input 1; use a short 3.5mm to XLR cable and plug the DJI mic into XLR input 2; and then plug a stereo condenser mic into the 3.5mm jack for stereo ambient sounds. A) If you need to keep two DJI mics separate, then you could record internally on their transmitters and end up with 3 mono tracks (dynamic + 2 DJI tracks) and 1 stereo ambient track (5 channels in all). B) Or if you don't need a stereo ambient mic, you could simplify a bit and plug a mono mic into XLR input 2 for ambient, and plug the DJI into the 3.5mm jack. (4 channels) One note on the XLR2 when using the 3.5mm jack input: If the source you plug into the 3.5mm jack has any sort of internal signal limitation then you might not get the benefits of 32-bit float recorded to the camera. What I mean is, I know the DJI Mic 2 transmitters can record 32-bit float internally, but not sure about the signal going between the transmitters and the receiver. If that is limited to 24-bit wireless transmission, then there might be some compression or other signal fidelity loss going to the receiver, so then feeding that output into the XLR2 may not give true 32-bit benefits. I don't have the DJI Mic 2 (I only have the old Mic 1 and a single Mic 2 that came with my Osmo Pocket 3) so can't test that set up. Long and winding answer, but I hope the helps!

@ Great answers, thanks! I have the DJI Mic v1 too and liked your answer B) so I’ll give that a try. Is it the XLR2 that is doing the 32 bit float recording, or is the particular Lumix camera important; is 32 bit available on my S5ii if I use the CLR2, or only with the GH7?

Right now it's only the GH7 with the XLR2 that can do 32-bit float internal recording to your video files. With the latest firmware updates, they added XLR2 'compatibility' to the S5II and S5IIX, but you don't get 32-bit... only 24-bit.

Haha! Thanks! These days those are more for show. I'm terrible at them because I don't practice enough 😅

@@HaveCameraNowWhat This is a solid and useful review and I guess my point was that and you clearly do have an interest in listening to things. And don't worry about lack of practice: that's surely normal for anyone who isn't at least a semi-pro musician, right? 🙂

Thank you for stopping by and taking the time to comment!

Thanks for watching! Is there anything in particular you're curious to see?

@@HaveCameraNowWhat The specifics on different settings, I am sure I can figure it out but you seem much more knowledgeable on this than I. Especially on multiple microphones on this device. Have G9ii but Gh7 is on order. Love my Nikon Z8...amazing Video but magic with the IBIS of Panasonic!

Thank you for watching and taking the time to comment! Lighting is quite challenging, especially if you have a kitchen full of shiny objects. lol It can be hard to position lights so the set looks natural and avoid unwanted reflections. My wife wanted something very bright and open feeling despite being in a small space, so this is what I was able to put together on a budget. In case you want to see how it looks in one of her videos, I'll put a link below. It's all in Japanese, but you can at least get a feel for how the kitchen looks in a finished video: ua-cam.com/video/G3G-KYEtfI8/v-deo.html

Thanks for the comment. I have no idea about the technical aspect of implementing Realtime vs Recorded audio monitoring. Being stuck with Recorded while using 32-bit float is just something I'm getting used to as I've been using the GH7 for a few months now. Thanks also for the suggestion to use just one ear cup. I'll try that.

Hi. Thanks for stopping by and checking my video. 32-bit float is only available on the GH7. Panasonic added basic compatibility to some other cameras via firmware updates (including the S5IIX) so you can at least use the XLR2... but only in 24-bit mode, so it is essentially the same as the XLR1 on those cameras, but with very slightly better preamps.

@@HaveCameraNowWhatOk thanks a lot for the reply. I’ll go with the XLR1 in this case.

Thanks for stopping by and posting this question! If you are mainly using it for a boom mic, I presume you're using a condenser mic that is either a shotgun mic or a small diaphragm condenser mic? If so, I don't think the XLR2 will provide any benefit for your use with the GH6 or G9m2. To get any benefit from the XLR2 and those mics, I think you would need to use a GH7 and record in 32-bit float which would give you a safety margin for adjusting the audio later during editing. But from my testing, I don't think it would necessarily give you *cleaner* audio due to the newer preamps. I hope this helps!

@@HaveCameraNowWhat thanks for taking the time to respond - I will go for a refurbished XLR1 which is also cheaper than the XLR2 - I am also using the Hollyland Lark 150 which needs to be connected in the jack of the camera - it is great that the XLR1 is directly connected via the shoe mount. By interest, is there any other worthy similar XLR option compatible with the Lumix? ...Can the Tascam FR-AV2 work as well ? can it connect to Lumix camera via shoe mount Thx!

If you don't plan to buy a GH7, then I think the XLR1 is perfectly fine right now. The XLR2 would be future proofing your purchase, since future Lumix cameras will probably be designed to take advantage of its 32-bit float feature. For other options, I don't think there is anything that directly work with Lumix cameras. You would end up with an external recorder and a separate audio file that you need to synchronize in your editing software. Professional productions usually do it this way, but as a solo shooter/editor I like the convenience of having a decent quality audio signal recorded into the video file directly. By the way, how do you like the Hollyland Lark 150? I have a pair of Rode lavalier mics that I like the sound of, but I can't use them with my first gen DJI wireless mics because it gets terrible interference. I've been thinking about getting a different wireless system and hoping I can use the Rode lavaliers, but I'm still looking at options.

@@HaveCameraNowWhat thanks a lot...I get your point since I already owe a zoomh5 (to bulky to fit on rig) it makes more sense to get the XLR1...but with future camera upgrade the 32bit will certainly become the norm. I am getting fairly good audio with the HollyLand L150..yet to see if there are interferences with shotgun mic ...I am planning on getting a Sennheiser MKE 600 unless I find something with quality cost effective....thx!

Hi. Thanks for the comment. I haven't come across anything regarding this since posting my video. I've been using 32-bit float while being stuck on "recorded audio" and find it a bit annoying, but I guess it's one of the trade offs we need to make right now. If Panasonic could enable realtime audio via a firmware update, I'd be very happy!

Thank you for stopping by and taking the time to comment. I appreciate it!

Thank you for the comment! I'm glad if this can help anyone 🙂

Thanks for posting that. Yes, if you use 96kHz then there are some caveats that you pointed out.

Hallo. Danke für die Frage. Diese Antwort wurde mit einem Online-Übersetzer übersetzt. Auf der S5IIX, ist der einzige Vorteil, wenn Sie dynamische Mikrofone verwenden und wollen etwas leiser Vorverstärker.

That could be an interesting comparison.

I have the XLR1 and the Tascam FR-AV2. I'm putting my XLR1 up for sale at some point. I did see a comparison of the Zoom F3 and the Tascam FR-AV2, the Tascam had much better noise floor compared to the F3 with a resistor connected to the inputs. Plus the time code features are significant bonus.

If you're an audio pro and need the quietest recordings you can get, then the XLR1 or XLR2 probably don't quite cut it. Good luck with whatever you end up choosing!

@@WilliamTurnerViolins I am about to get a XLR1.. is the Tascam FR-AV2 better ? thx

@@VeroLaos_lahausse Depending on your use case. In my situation, it's much better as it's 32-bit float audio with Pre-amps much better than the Zoom F3 and provides timecode. To get the 32-bit float audio, you will download a separate audio file you then sync in post based on the timecode (easy in modern editors).

I hope they will do that too... but somewhat uncertain at this point. For the S5, they released a new firmware this month, but it didn't get support for the XLR2 adapter and the S5 is newer than the S1 series. Hopefully new S1 series cameras are just around the corner, and will definitely have support for the XLR2... hopefully with 32-bit float.

@@HaveCameraNowWhat Based on a livesteam from Lumix I saw the other day, Sean from Lumix mention the S5iix didn't have the hardware necessary for 32bit float. I'd imagine they would be able to add support for S1 and S5 for 24bit but not 32.

Thanks for that info. Yes, that's what I figured: If they could have added 32-bit float, they probably would have (and many users would have been rejoicing!)... so there must be a hardware reason it can't be done with older cameras. Compatibility, yes, but without 32-bit float. Anyway, I'm pretty sure newer high end cameras, including upcoming S series full frame cameras, will have 32-bit float.

Thanks for your previous question, and I'm glad that I was able to provide an answer here. Thanks also for subscribing. I appreciate it! 😄 Sounds like you already have some good audio equipment. I'm sure the Mixpre will be better than anything Panasonic puts out. If anything, it's the little bit of convenience of having 32-bit float baked into the video file rather than having to sync it in post.

Hi. Thanks for stopping by. And great question! To be honest, I haven't done a direct comparison between the XLR1 and XLR2, but that could be a great comparison to do. I only have one dynamic mic. It's an old Heil Sound mic that I originally bought to use with an old Zoom H4n, but that was just too noisy to be usable. I should try it with the XLR1 and XLR2 adapters to see if there are any improvements with the new one.

@@HaveCameraNowWhat definitely would be interested in your testing. I think for most users (unless you have a GH7) there probably isn’t much of an upgrade between the XLR1 and the XLR2 adapter except for the 3.5mm jack. Unless of course the preamps are much cleaner than the original and can supply enough gain for dynamic mics with very little noise. I would say then it’s probably worth it even without 32 bit float.

Hi Daniel. Thanks again for the great question. I wanted to give you an answer, so I did some tests and you can find the results in this new video: ua-cam.com/video/RC6qtl_sqQY/v-deo.html I hope this helps!

Thanks for stopping by and taking the time to comment! After using the GH7 for a couple months now, I'm glad I upgraded. Not having to worry about AF means I can leave the camera alone to let it do its thing. And 32-bit float audio has saved me on a few occasions. Glad I upgraded and hope you like it too 😄

Hi, thanks for stopping by and taking the time to comment. We have a similar path with the GH cameras (except that I don't shoot cars on race tracks!). I bought the GH5 at release and still have it. It's a great camera that has served me well, but it is getting old. I bought the GH6 at release and used it for a while. My biggest disappointment was that they stayed with the old contrast detect autofocus system... and then they released the G9II with phase detect shortly after the GH6. I was, honestly, quite upset about that. I held onto the GH6 for about a year and a half before selling it and buying another S5IIX. I kept the GH5 because it was still a capable camera... which ultimately led to this comparison video about upgrading from the GH5 to GH7. I doubt they will add 32-bit float to the GH6. They already released a GH6 firmware update that at least allows it to use the new XLR2 adapter, but without 32-bit float. I guess the camera itself just isn't capable of recording that audio format. I bought the S5 when it was released, thinking I would slowly move away from the GH series. Each system has its strengths and weaknesses, and I don't have any pressure to sell off my m43 system, so I think I will keep both. Honestly, I use the S5IIX with the 24-105mm lens as my main everyday camera now. The GH7 stays mounted on a tripod in my studio most of the time, but I do prefer it as my travel camera because its lenses are much more compact. I find that the GH7 leans quite magenta compared to the S5IIX, even with manually setting the white balance on both. I could adjust the tint in camera, I suppose... but usually I adjust it in post production for now. Aside from that, I think the GH7 and S5IIX go quite well together. Sorry for the overly long answer! 😅

@@HaveCameraNowWhat Thanks for the comprehensive answer! OK, so I'll get the GH7 & the XLR2 module for sure and I may get a S5IIx with the 24-105mm later this year. Maybe like you, I have an expensive set of M43 Lenses (Fujinon MKs, 10-25mm & 25-50 f1.7, 50-200mm f2.8-4, the 100-400mm, the 12-35mm & 35-100mm...and some primes) so I won't give up the Panasonic M43 system anytime soon, and franckly the images out of the GH6 are fantastic. In an other hand, In 2016 I use to have the Sony FS5 for a year, I can say the ergonomy of this camera is great, much better than the mirrorless cameras. I have hesitated to buy an FX6 but the innability to have 4k resolution in S35 mode make hold the purchase (as I could not enjoy the Funion MKs with it). And the downside of this camera is that it-s not compact at all, not good for travelling.

Thank you for stopping by and taking the time to comment. I appreciate it!

As of now, no it is not. If you put it on another camera, the camera does not recognize that an XLR adapter is connected. Maybe Panasonic will at least add compatibility through firmware updates later, but doubtful if it will bring 32-bit float capability to the other cameras.

@@HaveCameraNowWhat thanks for the information! Yes they should just add support for the other Lumix cameras. (without 32-bit float)

Might it be naming differences? The GH5 offering open gate mode was pretty new for the day when 4K was kind of the only game in town and people weren't familiar with anything higher than that. My GH5 in the Anamorphic(4:3) settings it is called 4K anamorphic that records at 3328x2496 pixels which is the 4:3 aspect ratio (I only seem to have 23.98fps... nothing higher on my GH5). The GH7 has everything "4K" limited to a vertical size of 2160 pixels. Anything higher than 2160 pixels is called things like 5.7K or 5.8K. If you need something in the 4:3 aspect ratio at 50p then it will do 4.4K at 4352x3264 pixels which is more resolution than the GH5 can deliver.

Hi. Thanks for stopping by and taking time to comment. I realized after posting the video that this topic could be more important for video where things could be changing in front of the camera throughout a clip.

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I really need to try Resolve and start on that learning curve.

@@HaveCameraNowWhat As a video novice, i found it not too difficult. There are tons of UA-cam videos for "how-to do ... " in Davinci Resolve. You can seamlessly jump back and forth between the various functions (Cut, Edit, Farilight-audio, Color, Fusion, Deliver) 95 percent or more of the features are included in the free version. The paid Studio version costs a one time $295! Both the free and Studio versions keep getting updates (at no further cost!). For only $395 you can get the Speed Editor keyboard PLUS the Studio version.

Just checked mine on the S5IIX. You can control aperture, shutter speed, and iso. It doesn't seem to control focus because touching the screen on the phone tries to activate active track on the gimbal. I don't see any setting for white balance either.

You can. However, I've found the range of the LUMIX app to be fairly limited when using the camera's WiFi function... Perhaps it's because the antenna hidden inside the camera body doesn't have as strong a signal. I've had the app drop out after about 10m. The Raveneye on the other hand says that its range goes up to 200m. While that's probably in best case situations, I've seen other people use it from distances that would likely completely drop on the LUMIX app.

Thanks for stopping by. Love the videos on your channel!

Good luck! I've noticed a difference. The tint setting is consistent now :)

Hi, and thanks for the comment. Actually, someone else mentioned it too. Pretty embarrassing for a video talking about "correct color". Since posting this, I've found 2 problems with my set up (not related to white balancing, though): 1) the overhead lights behind me have a green cast, so I'm looking at replacing those lights; 2) my monitor color management settings were off! I'm working on a P3 monitor, but the timeline is rec.709 and color management was turned off, so what I was seeing was different from the final output. Man, I wish I could go back and correct the video, but UA-cam doesn't allow it.

Thanks for watching and taking the time to comment! Sounds like you have a manageable workflow there. For photography, I usually shoot in AWB myself and find that my camera does a pretty decent job. The technology is pretty good today :)

Thank you for watching and taking the time to comment. I'm really happy if this can help some people get better color in their videos :)

Thank you for watching and taking the time to comment! I'm glad if this can help someone ☺️

Thank you for commenting. I appreciate it! ☺️