In June, Panasonic announced the Lumix GH7, the brand’s latest Micro Four Thirds Lumix G flagship camera and successor to the Lumix GH6.
Here’s how the hybrid GH7 compares to Panasonic’s top stills camera, the Lumix G9 II.
The Panasonic Lumix G9 II is more lightweight
When it comes to design, the Panasonic Lumix GH7 and the Lumix GH9 II share similar builds.
The GH7 has a sloped top and a deeper grip and the physical controls and dials are slightly different on the two cameras. However, the dimensions are very close and you’d be able to tell that both cameras are in the same family a mile away.
The biggest physical difference between the two cameras is their weight. The 658g G9 II weighs almost 150 grams less than the 805g GH7, making it a slightly more convenient option for carrying out and about.
The Panasonic Lumix GH7 supports ProRes RAW HQ
Unlike the Panasonic Lumix G9 II which focuses primarily on stills, the Lumix GH7 places its own emphasis on video.
One of the GH7’s standout features is the ability to record ProRes 422 HQ video in 5.7K at up to 30p, as well as ProRes RAW HQ video, internally. This does require a CFexpress Type B card instead of the standard SD format, but gives the GH7 the potential to be used to shoot everything from family videos to professional-level films.
The G9 II is also capable of recording 5.7K 30p ProRes 422 HQ video, but recording and playback are only supported via an external SSD.
The Panasonic Lumix G9 II features better image stabilisation
The Panasonic Lumix G9 II offers slightly higher image stabilisation compared to the pricier Lumix GH7.
The G9 II includes up to 8.0 stops of 5-axis image stabilisation, whereas the GH7 is equipped with 7.5 stops of 5-axis image stabilisation, giving the older G9 II a slight edge in this area.
The Panasonic Lumix GH7 offers 32-bit float recording
Finally, Panasonic claims that the Lumix GH7 is the world’s first mirrorless camera to support 32-bit float audio recording.
This feature does require you to pick up the £499 XLR2 adapter, but once you have the adapter you can connect two XLR mics at one time and forget the need to adjust audio recording levels whilst shooting. With 32-bit float recording, you’ll no longer need to worry about setting the gain in more difficult conditions, as you can simply adjust them in post-production later down the line.
