Panasonic g9 video
Panasonic Lumix G9 Review (The Best Mirrorless Camera?)
Some people think that the Panasonic LUMIX G9 is one of the great unsung cameras of the age. It has great in-body stabilization, quick autofocus, an ergonomic build, a flip-out touchscreen, 4K/60p video, a burst rate of around 10 fps, and double card slots.
And yet, it only has an “enthusiast” price tag. So, maybe it’s time to have a look at this review and see if the Pansonic LUMIX G9 should be on your list of cameras to consider.
Panasonic Lumix DC-G9
A powerful Micro Four Thirds camera that’s bursting with hybrid technology. You get quality still photos, vibrant video with fps options, and advanced multimedia features.
Price from $997.99
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Panasonic Lumix DC-G9 Overview and Specifications
Released 2017
Sensor Format Micro Four Thirds
Lens Mount Micro 4/3
Megapixels 20 MP
Autofocus Points 225
Maximum ISO 25,600
Frame Rate 20 fps
In-body Stabilization
Video
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Panasonic Lumix DC-G9
Amazon
$997.99 $1,299.99
Buy Now!
Adorama
$1,097.99
Buy Now!
KEH
(second hand)
$772.
85
Buy Now!
The Panasonic G9 is a mirrorless interchangeable-lens camera. It was introduced in early 2018. It’s based on the Micro Four Thirds system.
At the time, it was the flagship of the stills-oriented part of Panasonic’s lineup. Two full-frame models have been added since (S1 and S1R), at more than double the price.
But the G9 remains a highly capable camera for almost all applications. Except for great low-light performance, it gives you many of your dream features in an ergonomic, well-thought-out package.
It’s among the most compelling Micro Four Thirds cameras, and certainly represents huge value for the money in 2020.
Who Is the Panasonic G9 For?
There are several types of creators whom the G9 can benefit. I’m writing creators, not only photographers, because it’s an impressive camera for video as well.
So, definitely, the first target demographic is hybrid shooters. For those, who simultaneously shoot video and stills, but are on a capped budget, the G9 gives many possibilities no other comparable camera offers.
It offers extremely high-quality video files, at 4k/60p, or 4k/30p in 10 bit.
Then, there are action, sports, and wildlife photographers. This is a more populated field, and the G9 competes with some excellent cameras, such as the recently reviewed Sony A6400. The Sony doubtlessly has the edge in autofocus and ISO performance. But the G9 has great advantages as well, such as burst rates or ergonomics, still resolution, or the aforementioned video features.
And there are those who want a great, economical camera for casual use. Travel, documentary, street, and family photography are areas where the G9 offers a real alternative to larger-sensor APS-C cameras.
Key Features
So, let’s see the Panasonic G9‘s features in more detail and how they help real-life usability.
Mount and Compatibility
The Panasonic G9 is built around the Micro Four Thirds (MFT) mount and system. Sensors in this system are smaller than APS-C sensors.
Now, usually, MFT camera bodies are small, and this is one of their great features.
Not so much with the G9: this a DSLR-sized device, but an extremely ergonomic one at least.
However, the other strengths of the MFT system are still true. Lenses can be scaled down, and smaller sensors are more effectively stabilised. In the age where noise levels are hardly a concern at most ISO levels, many photographers prefer these.
Besides Panasonic, several camera makers share the MFT mount, such as Olympus or Blackmagic. Even more lens manufacturers build lenses for it, which is a significant thing to consider when investing in a system. Third-party companies, most notably Sigma, offer fantastic and low-cost lens options.
Native lens options by Panasonic include some excellent lenses as well. In the telephoto range, there are 100-300mm f/4 (200-600mm eq.) and 200mm f/2.8 (400mm eq.) lenses, both hand-holdable and stabilised. There are also great standard zooms, such as the 12-35mm f/2.8, or the 12-60mm kit lens. One of the best primes for MFT is the 42.5mm f/1.
2 lens.
You can also adapt larger lenses designed for larger sensors thanks to the short flange distance. There are also speed booster adaptors available for Canon EF and Nikon F mounts. These concentrate the image circle of the full-frame lenses onto the smaller sensor and shorten their focal lengths. This largely gives back their full-frame behaviour and light gathering capability.
Sensor and Image Quality
The Panasonic G9 has a Four Thirds-sized sensor, which measures 13mm x 17mm. This gives it a crop factor of 2.0x, although it can’t be directly compared to full-frame due to their different aspect ratios. It has a resolution of 20 megapixels, which is the standard for MFT.
In terms of dynamic range, this sensor is excellent. It doesn’t lag too much behind larger options. In my non-scientific measurement, it seemed to give me around 12 stops of dynamic range. This sensor, however, is not ISO invariant, so you need to nail your exposure perfectly for the best results, just like on Canon cameras.
High ISO performance, as you’d expect from a sensor this size, is not great. Up to ISO 3200, images are fairly clean, and they’re still quite usable at 6400. However, that’s what I’d consider the upper limit of the G9.
Note that the default noise reduction setting applies some reduction even to raw files – I recommend turning this off. You’re better off cleaning up your images yourself during editing, instead of letting a generalised algorithm do the job.
The sensor is stabilised on 5 axes. On its own, it gives about 5 stops of correction. Pair the camera with a lens that also has optical stabilisation (most of them have), you get 6.5 stops! And this stabiliser is one of the smoothest I’ve seen in video mode, too.
If you’re not shooting moving subjects (or deliberately go for longer speeds), this actually makes up for the size difference against full-frame cameras. In such situations, the G9 will perform better than cameras with unstabilised full-frame sensors.
In the image below, I was able to perfectly hand-hold 1/3s at 60mm (120mm eq.
). And this is not a one-time success: my keeper rate at this speed was around 80%. At 1 second, it dropped to around 25%.
Another great feature made possible by the sensor stabilisation is the high-resolution mode. This mode takes 4 or 8 shots while moving the sensor incrementally at sub-pixel precision. The resulting, stitched images measure 40 or 80 megapixels. This option is available in raw and jpg, but you need to keep the camera steady on a tripod.
In terms of colours, Panasonic’s picture profiles are fairly neutral, as are the raw colours of the G9. Whether you’re shooting raw or jpg, you can expect to get easy-to-work-with files.
Autofocus and Burst
Autofocus is one of the most ambivalent features of the G9.
Most of the time photographers (including myself) prefer phase-detection-based autofocusing systems. Phase detection technology relies on the phase differences of light rays coming through different paths in the lens.
This makes it possible to calculate precise focus without actually moving anything in the lens. Once it’s calculated, the lens can move the focusing element(s) exactly where they should be.
However, the G9 doesn’t have phase detection. It relies solely on contrast detection. This technology is generally considered subpar to PD, because, in order to achieve sharp focus, the lens needs to go beyond the point of sharpest focus and come back. This generates comparatively more lens movement, and results in slower acquisition of focus. Usually.
In the G9, you’ll find a new type of contrast detection autofocus, called the Depth from Defocus technology. This works by continuously wobbling the focusing elements in the lens back and forth very quickly, and analysing the live preview. This looks really confusing and weird the first time you see it in the viewfinder. You need to learn to trust the camera that it will take a sharp shot. In my experience, it does, nearly every time.
The technology is only fully compatible with Panasonic’s native lenses.
Other Micro Four Thirds lenses can be used with the normal contrast-detection system.
Face and eye detection work well, although not as effectively than Sony’s system. Focus peaking is available.
The Panasonic G9 offers many different continuous shooting (burst) modes. These make it a highly capable action camera.
With continuous autofocus tracking and mechanical shutter, it can deliver 9 frames per second, for around 50 raw files. With tracking and electronic shutter, this number increases to 12 fps.
There are also shorter, super-high-speed options. With these, you don’t always get continuous autofocus, and there’s also no live view. But you can record 50 raw images in a row at either 20 fps (tracking) or 60 fps (no tracking). These can be fantastic for documenting things like water drops or shooting photo-finishes, especially the 60fps option.
Video Features
The G9 has the potential to be a fantastic video camera in experienced hands. It inherits much of the feature set of the GH5, Panasonic’s video-centric MFT workhorse.
First, it gives you 4k footage at 30fps in 10 bit, or at 60fps in 8 bit. Both options come with high bitrates and record internally to the memory cards. The 10-bit 4k footage responds to grading beautifully, especially with the Log profiles. 4k at 60fps in 10 bit is also possible, but only with an external recorder through the HDMI port.
Second, the built-in stabiliser enables you to shoot hand-held in many situations. It’s just as smooth as the stabiliser in the GH5 but slightly even stronger.
Continuous autofocus also works well, better than in the GH5, actually. It tracks subjects seamlessly and pulls focus smoothly.
The G9 is well supplied with ports for video. It has a microphone input jack (3.5mm) and a headphone output jack (3.5mm) for monitoring your audio. It also has a full-sized HDMI port for outputting clean video feed. With these, you can turn the G9 into a mobile, but versatile and high-quality video camera.
Body and Handling
There are two ways to look at the G9‘s body design.
One is that it goes against everything Micro Four Thirds cameras are known for. It’s not compact, and it’s not light at 137mm x 97mm x 92mm and with a weight of 658 grams.
The other is that this has never been the point. The features the G9 offers need a larger body, and so does its primary audience.
It’s built like a tank. I don’t know of a single seemingly more durable mirrorless camera in its price range, or even slightly above. The grip is large and very comfortable. The feeling of holding and using the camera is very similar to large crop-sensor DSLRs, such as the Canon 7D MkII.
The body is fully weather-sealed, resistant to rain and dust. Many MFT lenses are weather-sealed as well.
A 3″ fully articulating touchscreen is located on the back. The camera is fully optimised to work with the touchscreen interface. However, there are many customisable function buttons, and all the base function buttons you’d find on a full-sized DSLR. It also has a focusing joystick.
You’ll find a small, DSLR-style secondary LCD on the top, which always shows your exposure parameters and other key settings. This is a great, professional touch.
I loved that there are three control dials. They offer quick manual controls, making shooting in manual mode an extra bit easier compared to cameras with two dials only. Most cameras, even professional models, only have two dials actually.
I also really liked the OLED electronic viewfinder, it’s one of the best on the market. It’s bright, responsive, and huge. At 0.83 equivalent magnification, it’s much larger than my Canon 5D MkIII‘s optical viewfinder. The G9’s EVF also offers two viewing modes, one optimised for photographers with glasses.
Battery life has never been a strong point of mirrorless cameras, and it’s no different with the G9 either. However, it offers a slightly larger reserve than its direct rivals, at above 400 shots per battery charge. Thanks to the large design of the camera, tripod plates don’t obstruct the opening of the battery compartment.
A key professional feature that separates the G9 from much of its competition is the dual card slots. Both are compatible with UHS-II SD memory cards. The card door is located on the side of the camera. You can swap one of the cards while the other one is recording.
Alternatives
Given the hybrid nature of the Panasonic G9, it has many alternatives that can compete with some of its features. However, there are not many cameras that outperform it in all fields. Those that do cost a lot more.
Perhaps the most direct rival is the Olympus OM-D E-M1 MkII. The second generation of Olympus’ prosumer line, this camera offers similar or better stills features (including phase detection) but lags behind in video. Image quality is basically identical between the two.
The recently reviewed Sony A6400 has awesome autofocus and a modern APS-C sensor. It’s much better suited for low-light use. However, it’s also subpar in most video features, except that it’s not limited at 30 minutes of recording.
Check out my review here.
The Canon EOS M6 II is Canon’s recent flagship APS-C mirrorless. It matches up to the G9 in most of its stills features and autofocus, but its image quality is not quite up to the Sony. It’s also very small, unergonomic, and doesn’t have great battery life.
The Canon EOS 7D MkII is Canon’s flagship APS-C DSLR. Introduced in 2014, it shows its age today, but I’ve felt it’s quite comparable to the G9 in some aspect. One is its toughness, build quality, and ergonomics – both are fantastic. They’re also similar in image quality, autofocus, and burst rates (though the 7D can’t do the super-high rates with electronic shutter). In terms of video, the 7D MkII is way behind.
For video production, you might consider Panasonic’s GH5. It has all the video features of the G9 but gives more precise exposure control and monitoring options. We actually shoot all our videos and courses with a couple of GH5 cameras at Expert Photography.
And finally, if budget is not a limitation to you, there’s one more.
The recently announced Canon EOS R6 is a full-frame mirrorless camera that ticks all the boxes the G9 does, in both stills and video areas. Add to that its great autofocus and its low-light performance. However, it costs more than twice as much.
Our Verdict
The Panasonic G9 is an excellent hybrid camera for a bunch of applications. It excels in action and casual photography, and video recording in good light.
It’s one of the most comfortable and ergonomic mirrorless cameras I’ve ever tested.
Check it out here on Amazon.
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Panasonic Lumix DC-G9
A powerful Micro Four Thirds camera that’s bursting with hybrid technology. You get quality still photos, vibrant video with fps options, and advanced multimedia features.
Price from $997.99
Shop 3 Offers
×
Panasonic Lumix DC-G9
Amazon
$997.
99 $1,299.99
Buy Now!
Adorama
$1,097.99
Buy Now!
KEH
(second hand)
$772.85
Buy Now!
DC-G9 Firmware Update - Panasonic
1.Expanded compatibility with Profoto wireless transmitters
• Profoto wireless transmitters "Air Remote TTL-O/P" and "Profoto Connect-O/P“ can be used.
* All functions may not be available depending on the situation.
First impression using Profoto wireless transmitters "Air Remote TTL-O/P" and "Profoto Connect-O/P“ with a LUMIX camera from LUMIX US Ambassadors
2.Improved AF performance
• [Animal Detect.] has been added to AF mode. Utilizing Advanced AI Technology, animals, including canidae, felidae and birds, can be detected in addition to humans. The focus frame is automatically set on the target subject by analyzing the size and position of the target subject in the viewing image. The camera keeps tracking these subjects even when they turn their back to the camera.
• It is possible to switch the subject to focus on by pressing the joystick in [Face/Eye/Body/Animal Detect.
] mode.
• [AF-ON: Near Shift] and [AF-ON: Far Shift] functions have been added. [AF-ON: Near Shift] preferably focuses on a subject nearby while [AF-ON: Far Shift] preferably focuses on a subject far away.
• Focus Peaking function is available in any AF mode.
• It is possible to set continuous AF on the live view screen in Creative Video mode or in other video recording mode when the video recording area is displayed.
3.Enhanced video functions
• 4K 30p/25p 4:2:2 10-bit internal recording is supported.
• 4K 60p/50p 4:2:2 10-bit HDMI output is supported.
• Luminance level for 10-bit video is supported.
• VFR (Variable Frame Rate) shooting is supported.
• HDR video recording is supported.
• V-Log L recording and Waveform Monitor (WFM) are available with the Upgrade Software Key DMW-SFU1(sold separately).
4.Other added functions
• [MODE2] has been added to High Resolution mode, which reduced subject’s motion blur.
• [AWBw] has been added to WB mode.
• [Highlight Weighted] has been added to metering mode.
• [Exposure Offset Adjust.] has been added to Custom menu, which enables adjustment of the standard exposure value for all metering modes.
• [0.5SEC] has been added for an option of [Duration Time (photo)] in [Auto Review].
5.Other improvements
• AE can be locked with the [AF/AE LOCK] button when ISO Auto is set in M mode.
• [MODE1] has been added to the Live View Boost function, which increases the frame rate for smooth image display to enable easier manual focusing.
6.Improved operational stability
• There were cases where Backup Recording using the Double Card Slot Function stopped during writing. This bug has been fixed.
• AF operation following the pressing of [AF-ON] in MF mode was unstable when the LVF Frame Rate was at 120 fps and the camera was under dim lighting. This bug has been fixed.
• There were cases where the images shot vertically did not rotate on playback. This bug has been fixed.
• Operational stability of image stabilizer has been improved. (When [Image Stabilizer]>[E-Stabilization(Video)] and [Boost I.S.(Video)] is ON. )
Specifications - DC-G9EE LUMIX G (MFT)
| TYPE | Type | Digital mirrorless camera | |
|---|---|---|---|
| Recorder | SD, SDHC, SDXC memory cards | ||
| Recorder | (SDHC/SDXC memory cards compliant with UHS-I / UHS-II UHS Speed Class 3) | ||
| Image sensor size | 17.3 x 13.0 mm (at 4:3 aspect ratio) | ||
| lens mount | Micro 4/3 standard | ||
| IMAGE SENSOR | Type | Live MOS sensor | |
| Total pixels | 21. 77 megapixels | ||
| Effective pixels | 20.33 megapixels | ||
| Color filter | Main color filter | ||
| Dust reduction system | Supersonic filter | ||
| IMAGE STABILIZER | Sensor Offset Method (5-axis / 6.5 stops*), Dual I.S. (compatible with Dual I.S. 2) | ||
| IMAGE STABILIZER | * Based on the CIPA standard [Horizontal/Vertical camera tilt direction: Focusing distance f=60mm (35mm camera equivalent f=120mm) when using the H-ES12060 lens. | ||
| RECORDING SYSTEM | Recording file formats | Photo | JPEG (DCF, Exif 2.31), RAW |
| 6K PHOTO** / 4K PHOTO** | 6K PHOTO: MP4 (H. 265/HEVC, Audio format: AAC (2ch)) | ||
| 6K PHOTO** / 4K PHOTO** | 4K PHOTO: MP4 (H.264/MPEG-4 AVC, Audio format: AAC (2ch)) | ||
| Video recording | MP4: H.264/MPEG-4 AVC (Audio format: LPCM (2ch 48kHz / 16bit), AAC (2ch) | ||
| Video recording | AVCHD progressive, AVCHD (audio format: Dolby Audio 2ch) | ||
| format | 4:3, 3:2, 16:9, 1:1 | ||
| Image quality | RAW, RAW+Fine, RAW+Standard, Fine, Standard | ||
| Color Space | sRGB, AdobeRGB | ||
| File size (pixels) - still image | 4:3 | 5184x3888(L) / 3712x2784(M) / 2624x1968(S) / 10368x7776(XL)* / 7296x5472(LL)* / 4992x3744(6K PHOTO) / 3328x2496(4K PHOTO) *High definition mode. | |
| 3:2 | 5184x3456(L) / 3712x2480(M) / 2624x1752(S) / 10368x6912(XL)* / 7296x4864(LL)* / 5184x3456(6K PHOTO) / 3504x2336(4K PHOTO) *High definition mode. | ||
| 16:9 | 5184x2920(L) / 3840x2160(M) / 1920x1080(S) / 10368x5832(XL)* / 7296x4104(LL)* / 3840x2160(4K PHOTO) *High definition mode. | ||
| 1:1 | 3888x3888(L) / 2784x2784(M) / 1968x1968(S) / 7776x7776(XL)* / 5472x5472(LL)* / 2880x2880(4K PHOTO) *High definition mode. | ||
| File size (pixels) - footage** | MP4** [4K] 3840x2160: | 59.94p, 150Mbps (4:2:0 8bit LongGOP) (LPCM) | |
| MP4** [4K] 3840x2160: | 50.00p, 150Mbps (4:2:0 8bit LongGOP) (LPCM) | ||
| MP4** [4K] 3840x2160: | 29. 97p, 100Mbps (4:2:0 8bit LongGOP) (LPCM) | ||
| MP4** [4K] 3840x2160: | 25.00p, 100Mbps (4:2:0 8bit LongGOP) (LPCM) | ||
| MP4** [4K] 3840x2160: | 23.98p, 100Mbps (4:2:0 8bit LongGOP) (LPCM) | ||
| MP4**[Full HD] 1920x1080 | 59.94p, 28Mbps (4:2:0 8bit LongGOP) (AAC) | ||
| MP4**[Full HD] 1920x1080 | 50.00p, 28Mbps (4:2:0 8bit LongGOP) (AAC) | ||
| MP4**[Full HD] 1920x1080 | 29.97p, 20Mbps (4:2:0 8bit LongGOP) (AAC) | ||
| MP4**[Full HD] 1920x1080 | 25.00p, 20Mbps (4:2:0 8bit LongGOP) (AAC) | ||
| AVCHD** [Full HD] 1920x1080 | 50.00p, 28Mbps (LongGOP) (Dolby) | ||
| AVCHD** [Full HD] 1920x1080 | 50. 00i, 24 Mbps (LongGOP) (Dolby) (Sensor output: 25.00 fps) | ||
| AVCHD** [Full HD] 1920x1080 | 50.00i, 17 Mbps (LongGOP) (Dolby) (Sensor output 50.00 fps) | ||
| High-speed video * When Creative Video mode is selected. | MP4** [4K] 3840x2160: | 30p, 100Mbps (sensor output: 60fps / 50fps / 48fps) | |
| MP4**[Full HD] 1920x1080 | 30p, 20Mbps (Sensor output: 180fps / 150fps) | ||
| Continuous recording time (movie) | AVCHD [FHD/50p]: Approx. 120 min. (back screen), 110 min. (LVF) with H-ES12060 lens | ||
| Continuous recording time (movies) | AVCHD [FHD/50i]: Approx. 120 min. (back screen), 120 min. (LVF) with H-ES12060 lens | ||
| Continuous recording time (movies) | MP4 [4K/60p, 4K/50p]: Approx. 110 min. (back screen), 110 min. (LVF) with H-ES12060 lens | ||
| Continuous recording time (movies) | MP4 [4K/30p, 4K/25p]: Approx. 130 min. (back screen), 120 min. (LVF) with lens H-ES12060 | ||
| Actual recording time (movies) | AVCHD [FHD/50p]: Approx. 60 min. (back screen), 55 min. (LVF) with H-ES12060 lens | ||
| Actual recording time (movies) | AVCHD [FHD/50i]: Approx. 60 min. (back screen), 60 min. (LVF) with H-ES12060 lens | ||
| Actual recording time (movies) | MP4 [4K/60p, 4K/50p]: Approx. 55 min. (back screen), 55 min. (LVF) with H-ES12060 lens | ||
| Actual recording time (movies) | MP4 [4K/30p, 4K/25p]: Approx. 65 min. (back screen), 60 min. (LVF) with H-ES12060 lens | ||
| WIRELESS MODE | WiFi | Wi-Fi 2. 4GHz (STA/AP) (IEEE802.11b/g/n) | |
| Wi-Fi | 5GHz Wi-Fi (STA) (IEEE 802.11a/n/ac) *5GHz Wi-Fi mode is not available in some countries. | ||
| WiFi | 1-13, 36, 40, 44, 48, 52, 56, 60, 64ch. | ||
| Bluetooth | Bluetooth® version 4.2 (Bluetooth Low Energy (BLE)) | ||
| QR code connection/ Passwordless connection | Yes / Yes (selectable ON / OFF) | ||
| VIEWFINDER | Type | OLED Live Viewfinder (3680k dots) | |
| Field of view | Approx. 100% | ||
| Increase | Approx. 1.66x / 0.83x (35mm camera equivalent) with 50mm lens at infinity; -1. 0 m-1 | ||
| Eye distance | Approx. 21 mm from eyepiece lens | ||
| Power adjustment | -4.0 - +3.0 (diopt.) | ||
| Eye sensor | Yes | ||
| Screen display speed | 120 fps / 60 fps | ||
| FOCUS | Type | AF Contrast System | |
| DFD Technology | Yes | ||
| Post focus | Yes | ||
| Focus stacking (Focus stacking) | Yes | ||
| Focus mode | AFS (single)/AFF (flexible)/AFC (continuous)/MF | ||
| AF mode | Face/Eye detection / Tracking / 225 points / 1 point (Flexible/Scalable) / Pinpoint | ||
| AF mode | (Full area coverage available) (Scalable AF frame size and flexible AF point positioning) | ||
| AF detection range | EV -4 - 18 (ISO100 equivalent) | ||
| AF-assist beam | Yes | ||
| AF lock | Yes (AF/AE LOCK button) | ||
| Custom AF | AF sensitivity, AF area switching sensitivity, moving object detection | ||
| Other | Single AF, Shutter AF, Shutter half-press, Quick AF, Continuous AF (during movie recording), Eye sensor AF, AF point zoom adjustment, AF+MF, Illuminated MF, Illuminated touch MF, Focus assist, touch function AF/AE, touch AF, touch shutter | ||
| SHUTTER CONTROL | Light measurement system | Multi-function sensor system with 1,728 zones | |
| Light measurement mode | Multi-point/center-weighted/spot | ||
| Measuring range | EV 0 - 18 (F2. 0 lens, ISO100 equivalent) | ||
| Shutter mode | Program AE, Aperture Priority, Shutter Priority AE, Manual | ||
| ISO speed (standard output) | Photo: Auto / Intelligent ISO / 100 (Extended) / 200 / 400 / 800 / 1600 / 3200 / 6400 / 12800 / 25600 (1/3-stop adjustable) | ||
| ISO sensitivity (standard output) ) | Creative Video Mode: Auto / 100 (Extended) / 200 / 400 / 800 / 1600 / 3200 / 6400 / 12800 (1/3-stop adjustable) | ||
| Exposure compensation | 1/3 EV step, +/-5 EV (+/-3 EV for movies) | ||
| AE lock | Yes (AF/AE LOCK button) | ||
| WHITE BALANCE | White balance | AWB / AWBc / daylight / cloudy / shade / incandescent / flash / white setting 1, 2, 3, 4 / preset color temperature 1, 2, 3, 4 | |
| White balance adjustment | Cyan/Amber Offset, Magenta/Green Offset | ||
| Color Temperature Adjustment | 2500-10000K in 100K increments | ||
| SHUTTER | Type | Focal planar shutter | |
| Shutter speed | Photo: Bulb mode (max. 30 minutes), 1/8000 – 60 | ||
| Shutter speed | Electronic first curtain shutter: Bulb mode (max. 30 minutes), 1/2000 - 60 | ||
| Shutter speed | Electronic shutter: 1/32,000 - 1 | ||
| Shutter speed | Video recording: 1/16,000 - 1/25 | ||
| Number of shutter releases | Approx. 200,000 images | ||
| Self-timer | 10 sec., 3 frames / 2 sec. / 10 sec. | ||
| Remote control | Remote control with ulb function using DMW-RSL1 (sold separately) | ||
| BRACKET | AE bracket | 3, 5, 7 frames at 1/3, 2/3 or 1 EV steps, max. ±/3 EV single/serial | |
| Aperture bracketing | 3, 5 or all positions in steps of 1 EV | ||
| Sharpness bracketing | 1 to 999 shots, focus step can be set to 10 different levels | ||
| White balance range | 3-axis blue/amber or magenta/green color temperature adjustment | ||
| HIGH-SPEED CONTINUOUS | Burst speed | [Mechanical shutter / Electronic first curtain shutter]AFS/MF: H: 12 fps, M: 7 fps (Live View), L: 2 fps (Live View) *When using a lens H-ES12060. | |
| Burst speed | [Mechanical shutter / Electronic first curtain shutter]AFF/AFC: H: 9 fps (Live View), M: 7 fps (Live View), L: 2 fps (Live View) View) *When using the H-ES12060 lens. | ||
| Burst speed | [Electronic Shutter] AFS/MF: SH: 60fps, H: 12fps, M: 7fps (Live View), L: 2fps (Live View) | ||
| Burst speed | [Electronic Shutter] AFF/AFC: SH: 20 fps, H: 9 fps (Live View), M: 7 fps (Live View), L: 2 fps (Live View), Live View mode) | ||
| Number of pictures to record | [H/M/L] More than 60 images (when there are RAW files at a certain speed) | ||
| Number of pictures to be recorded | [H/M/L] Over 600 images (when there are no RAW files and an SD memory card "UHS-II UHS Speed Class 3 (U3)" is used. ) | ||
| Number of shots to record | (depending on memory card size, battery capacity, image size and compression) | ||
| Number of pictures to record | [SH] Over approx. 50 pictures | ||
| Number of pictures to record | (depending on memory card capacity, battery capacity, image size and compression) | ||
| 6K PHOTO** / 4K PHOTO** | Burst speed | [6K PHOTO] 30 fps | |
| Burst speed | [4K PHOTO] 60 fps, 30 fps | ||
| Exif data | Yes (Each JPEG image is cut from a 4K/6K burst file and has its own EXIF file.) | ||
| Marking function | Yes (in 6K/4K (S/S) burst mode) | ||
| Slow motion | Slow Motion | Yes | |
| Stop motion animation | Yes | ||
| FLASH | Flash type | External TTL flash (sold separately) | |
| Flash mode | Auto*, Auto/Red-eye Reduction*, Forced On, Forced On/Red-Eye Reduction, Slow Sync, Slow Sync/Red-Eye Reduction, Forced Off *Only for iA, iA+ mode. | ||
| Synchronization speed | Less than 1/250 sec. | ||
| Flash output setting | 1/3 EV step ±3 EV | ||
| Flash sync | Sync. 1st curtain, sync. 2nd curtain | ||
| Synchronization for flash dimming and exposure compensation | Yes | ||
| Wireless remote control | Yes (when using DMW-FL200L / FL360L / FL580L (sold separately)), Wireless channel: 1ch / 2ch / 3ch / 4ch | ||
| Flash sync socket | Yes | ||
| Silent mode | Yes | ||
| SHIELD | Type | TFT LCD with touchscreen | |
| Screen size | 3. 0" (7.5 cm) swivel screen / 3:2 aspect ratio | ||
| Pixels | 1,040,000 points | ||
| Field of view | Approx. 100% | ||
| Screen adjustment | Brightness, Contrast, Saturation, Red-Green, Blue-Yellow | ||
| LCD INFORMATION DISPLAY | Yes | ||
| LIVE VIEW | Digital zoom | 2x, 4x | |
| Additional teleconversion | Photo: max. 2x | ||
| Additional teleconversion | 4K PHOTO: 1.6x (4:3), 1.5x (3:2), 1.4x (16:9, 1:1) | ||
| Extra tele conversion | Video recording: 2. 7x (FHD), 1.4x (4K) | ||
| Other functions | Level Meter, Live Histogram, Guide Lines (3 options), Center Marker, Display Illumination (Photo/Video), Zebra Pattern (Photo/Video) | ||
| DIRECTION FUNCTION | Yes | ||
| FUNCTION BUTTON | RECORD | Wi-Fi/OSD Q.MENU / Video Recording / LVF/Screen Switching / LVF/Pic. Style / AF Point Zoom / AF/AE LOCK / AF-ON / Preview / One Push AE / Touch AE / Level Meter / Focus Area Setting / Zoom Control / RAW+JPG Single Shooting / Single Shot Distance Metering / Single shooting mode 6K/4K PHOTO / Control lock / Control wheel mode switching / Target memory card slot / Photo Style / Filter selection / Aspect ratio / Image size / Quality / AFS/AFF / Metering mode / Burst speed / 6K/4K PHOTO / Self-timer / High definition mode / Bracketing / Shadow enhancement / i. Dynamic / i. Resolution / Min. Shutter Speed / Post Focus / HDR (High Dynamic Range) / Shutter Type / Flash Mode / Flash Setting. / Wireless flash setting / Ext. Teleconv. / Digital zoom / Stabilizer / I.S. (Movie shooting) / 4K Live Crop / Movie Rec. Select / Picture mode during recording. / Settings microphone sensitivity. / Microphone. Directionality Adjustment / Silent Mode / Contour / Histogram / Line Grid / Zebra Pattern / Viewfinder Monochrome Live View / Continuous Preview / Recording Area / Step Zoom / Zoom Speed / Night Mode / Turn On/Off Each Item in the White Balance Adjustment Menu / Turn on/off each item in the Photo Style menu / AF/MF mode / Record/Playback switch / Disable / Restore default settings | |
| PLAYBACK | Wi-Fi / Switch LVF/Screen / Switch Record/Playback / Change recording target slot / Playback 6K/4K Photo / Delete Single / Protect / Rating 1, 2, 3, 4, 5 / RAW Processing / Save Burst at Resolution 6K/4K PHOTO / Copy / Night Mode / Off / Restore Default | ||
| Fn LEVER | AF Mode / Quality / Photo Style / Long exposure noise reduction / Stabilizer / 6K/4K Photo (Advance Burst) / Self-timer / Silent Mode / Shutter Type / Bracketing / Touch AF / Auto Review (Photo) / Contour / Night Mode / Front/Rear/Steering Wheel Lock / Off / Restore Default Settings | ||
| PHOTO STYLE | Standard / Vivid / Natural / Monochrome / L. Monochrome / Landscape / Portrait / User 1, 2, 3, 4 / Cinematic D / Cinematic V | ||
| CREATIVE CONTROL | Expressive / Retro / Old Days / High Key / Low Key / Sepia / Monochrome / Dynamic Monochrome / Rough Monochrome / Silky Monochrome / Impressive Art / High Dynamic / Cross Process / Toy Effect / Toy Camera / Bleached / Miniature Effect / Soft Focus* / Fantasy / Star Filter* / Single Shade / Sunshine* | ||
| CREATIVE CONTROL | * For photographs only. | ||
| PLAYBACK | Playback mode | 30 Thumbnail Display, 12 Thumbnail Display, Calendar Display, Zoom Playback (Max. 16x), Slideshow (All / Photo Only / Video Only, Selectable by Duration and Effect), Playback Mode (Normal / Photo Only / Video Only), Protect, Rating, Title Change, Face Detection Change, RAW Processing, 6K/4K PHOTO Burst Save, 6K/4K PHOTO Noise Reduction, Light Composition, Easy Retouch, Add Text, Copy, Edit resize, crop, rotate, split video, slow motion video, stop motion animation, rotate screen, sort images, delete confirmation, extract images from video | |
| PROTECT / DELETE IMAGES | Protection | Single/multiple or cancel | |
| Delete | Single / multiple / all / except selected | ||
| SEAL | Direct Print | PictBridge supported | |
| INTERFACE | USB | USB 3. 0 Micro-B, SuperSpeed USB 3.0 Gen 1 | |
| HDMI*** | HDMI TypeA / VIERA Link | ||
| HDMI*** | Video: Auto / 4K/50p / 4K/25p / 1080p / 1080i / 720p / 576p | ||
| HDMI*** | Audio: stereo | ||
| HDMI*** | Screen usage: 4:2:2 8bit (Except [4K/60p]/[4K/50p]) / 4:2:0 8bit | ||
| AV output | No | ||
| Input for remote control | φ 2.5 mm for remote devices | ||
| External microphone input | φ 3.5 mm for external microphone | ||
| External microphone input | Stereo / Auto Lens / Directional / Super Directional / Manual modes are selectable when a DMW-MS2 microphone (sold separately) is connected. | ||
| Headphone output | φ3.5mm headphone | ||
| Microphone | Stereo, Wind Noise Reduction: OFF / Low* / Standard / High *When a DMW-MS2 microphone (sold separately) is connected. | ||
| Column | Mono | ||
| SD card slot | Slot 1, Slot 2 | ||
| LANGUAGE | Screen languages | Russian, English, Spanish, Italian, Chinese (Traditional), German, French. | |
| GENERAL | POWER | Accumulator | Li-ion battery (7.2V, 1860mAh, 14Wh) (included) |
| Battery | USB power supply, USB charging | ||
| Battery life (CIPA standard) | Approx. 380 images (screen), 360 images (LVF viewfinder), 890 images (LVF power saving mode*) with H-ES12060 lens | ||
| Battery life (CIPA standard) | * Under Panasonic's specified test conditions based on the CIPA standard. When the sleep time is set to 1 second. | ||
| Battery grip | DMW-BGG9 (sold separately) | ||
| DIMENSIONS / WEIGHT | Dimensions (W x H x D) | 136.9 x 97.3 x 91.6 mm (excluding protrusions) | |
| Weight | Approx. 658 g (including SD card x 1, battery, case) | ||
| Weight | Approx. 579 g (body only) | ||
| Weight | Approx. 978 g (including SD card, battery, lens H-ES12060) | ||
| WORKING CONDITIONS | Operating temperature**** | -10 to 40 degrees Celsius (14 to 104 degrees Fahrenheit) | |
| Humidity | Rel. humidity 10-80% | ||
| STANDARD ACCESSORIES | Software | ・ Software for editing and playing back images on a computer is not supplied with this camera. To do this, you can download PHOTOfunSTUDIO 10.0PE from the Panasonic website using a computer with an Internet connection. | |
| Software | http://panasonic.jp/support/global/cs/soft/download/d_pfs99pe.html (for Windows) | ||
| Software | ・ The software for processing RAW files on a computer is not supplied with this camera. To do this, you can download SILKYPIX Developer Studio from the Ichikawa Soft Laboratory website using a computer with an Internet connection. | ||
| Software | http://www.isl.co.jp/SILKYPIX/english/p/ (for Windows/Mac) | ||
| Standard accessories | DC-G9 kit: | ||
| Standard accessories | Battery charger (including AC cable and USB cable), battery, body cover, hot shoe cover, eyecup cover, flash synchro socket cover, battery grip connector cover, USB cable, shoulder strap | ||
| Standard accessories | tame | ||
| ** This refers to 6K PHOTO/4K PHOTO shooting | |||
6K-PHOTO is a high-speed burst function that cuts frames from 4:3 or 3:2 video at a resolution of approx. 18 megapixels (number of effective pixels approx. 6000 x 3000) that a 6K image is capable of. | |||
| - To record motion pictures in [AVCHD] or [MP4 (up to 28 Mbps)], you must use an SD memory card with "Speed Class 4" or higher. | |||
| - To record [MP4] motion pictures in [4K] or [6K PHOTO/4K PHOTO] mode, use an SD card with Speed Class "UHS-I / UHS-II UHS 3 (U3)". | |||
| (SD card speed class is the speed standard for continuous recording.) | |||
| - Motion picture recording stops when the continuous recording time exceeds 10 minutes when using [MP4] as [4K/60p] [4K/50p] [4K/High Speed Video]. | |||
- Motion picture recording stops when the continuous recording time exceeds 29 minutes and 59 seconds when using [AVCHD] as [FHD] and [MP4] as [4K/30p] [4K/25p] [4K/24p] [ FHD]. | |||
| - MP4 movie recording in [MP4] at [4K] resolution: | |||
| - When using an SDHC memory card: You can record video without interruption even if the file size exceeds 4 GB, but the video file in this case will be divided into two different files that need to be played separately. | |||
| - When using an SDXC memory card: You can record video as a single file. | |||
| - MP4 movie recording in [MP4] at [FHD] resolution: | |||
| You can record video without interruption even if the file size exceeds 4 GB, but the video file in this case will be divided into two different files, which can be played separately. | |||
- When the ambient temperature is high or the camera records continuously for a long time, the camera may turn off to protect itself. Wait for the chamber to cool down. | |||
| *** For [4K/60p] [4K/50p] video output, use an HDMI2.0 cable that has the HDMI logo stating "4K compatible" on it. | |||
| **** The camera may stop recording when used outside the recommended operating temperature range of -10 to 40 degrees. | |||
Panasonic Lumix GH5 vs Lumix G9, test comparison by Alexander Gritsenko
Panasonic Lumix GH5 went on sale in March 2017. This camera, without exaggeration, was a breakthrough for that time, and even now, at the beginning of 2021, it is still very relevant for shooting video. Moreover, it still surpasses most of the cameras in its class, introduced much later, in many ways. But in November 2017, Panasonic released a very similar camera Lumix G9 , however, with a completely different positioning.
If GH5 , no doubt, had a bias in video shooting, then G9 was intended for photography, so I personally was not particularly interested in it.
However, as I have said more than once, the camera that we buy at the start of sales, after a few years, after updates, can change a lot. And now, after 3 years, there is a strong opinion (in any case, I have already heard this from several knowledgeable people) that G9 has become almost better than the most legendary "fifth GaSha" (GH5) for shooting video. This is the statement I want to check with this comparison.
Both cameras have matrices 20 MP
... and rotary screen
Both of these cameras are very similar: matrix 20 MP, image processing processor, 5- 5-
Updated Lumix G9 firmware
Well, after updating the firmware on Lumix G9 to version 2.
0 in November 2019, which added the ability to record 10-bit video to an internal memory card, they generally became the same in terms of video recording. If you remember that G9 originally had a slightly wider photography capabilities and costs a little less than GH5 , then you can conclude that Lumix G9 is now a much better purchase than hash. But in fact, everything is not so simple.
Panasonic Lumix GH5 and Lumix G9
In FHD up to 60 fps and 4K up to 30 fps it is 30 minutes, in 4K 50-60 fps it is 10 minutes.
Panasonic G9 has a video recording time limit: FullHD up to 60 fps and 4K up to 30 fps it is 30 minutes
I do not know if this is due to technical reasons; after all, the case of G9 is slightly smaller than that of GH5 , and was not intended for long-term continuous video shooting, and, therefore, may not have time to dissipate the heat that inevitably arises, or the limitation is purely software and appeared only because of the desire to somehow then divide the products on the market, but the ability to shoot video for a long time without stopping was one of the main criteria for buying Panasonic Lumix GH5 .
Personally, I adapted to work on my camera with 30-minute segments, but, objectively, it would be much more convenient to live without restrictions. Also on GH5 is a much wider selection of codecs and containers for recording high-quality video.
1191 G9 maximum h364 150 Mbps IPB. This is also an important difference, because for the amount of information that needs to be stored when encoding a 10-bit 4K video, 150 Mbps in the H264 codec may not be enough, and then very well-distinguished compression artifacts will appear. Well, everyone knows that intraframe codecs are much easier to process on a not very powerful editing computer, perhaps a laptop.
GH5 supports anamorphic mode, G9- not yet
G9 does not have, and yet there is no way to add it, an anamorphic mode. In connection with the recent emergence of very affordable and very good quality anamorphic optics, for some this can become a very important criterion for choosing a camera.
But, in Lumix G9 , as well as in GH5 , you can additionally set the V-Log L logarithmic profile in order to receive a source image with a maximum dynamic range from the camera matrix. At the same time, on-screen display will become available when shooting with a vectorscope or waveform.
Both cameras were tested with the same Lumix G 35-100 f/2.8 lens
I used the same settings as possible, the same Lumix G 35-100 f/2.8 lens, and the lighting didn't change either.
ISO and detailing
Let's start with different ISOs. At low values, the picture is very similar, which is to be expected. Up to ISO 800, the difference is very difficult to find, and only in direct comparison can you see the differences. But on ISO 1600 and higher at G9 , it seems that some kind of in-camera noise reduction is turned on, which smooths out the noise, but also gives a loss in detail.
If at 1600 and 3200 ISO all this looks more or less acceptable, then at 6400 ISO the losses become too great. However, I would avoid using ISO values above 3200 on GH5 , well, in any case, I would do it with great care.
I don't know if this noise reduction can be turned off in G9 - I did not find such a button. In good lighting conditions, as I said, both cameras shoot identically, the problem of rolling shutter will hardly bother you, and the detail is high in both 4K and FHD at all possible frame rates. But, since there is no low-pass filter either there or there, moiré on small repeating details may well appear when using any resolution and frame rate.
Detailing is good for both cameras in both 4K and FHD
or another camera impulsively, based on subjective preferences. And for some reason I liked Lumix G9 more in terms of ergonomics and in general work on a real shooting.
It is slightly thinner than the GH5 , so it has a slightly deeper grip and the camera fits better in the hand. 9The 1191 G9 also has a larger viewfinder magnification, 0.83 vs. 0.76 on the GH5 – not much, but I love working with the viewfinder and it's always nice to see a bigger picture. Although the resolution of the viewfinders for these cameras is the same - about 3.68 million dots.
The GH5 screen is higher in resolution
But the swivel screen is better on GH5 : it is higher in resolution and, it seemed to me, a little brighter. Additional monochrome screen for G9 is practically useless for video shooting (maybe not useless, but unusual - that's for sure), but otherwise the top panel with controls is more convenient on G9 .
The top display of the G9 is practically useless for video shooting
which button (ISO, WB or exposure compensation) you are currently pressing.
9
cameras - shooting handheld is a pleasure, especially if the lens also has optical stabilization. Then the Dual IS2 system turns on and the stabilization efficiency can reach an impressive 6.5 stops. But even with ordinary, non-stabilized lenses, everything works fine. But you should not delude yourself - in-camera stabilization is not yet able to replace an external stabilizer.
LUMIX Webcam Software
As I said, I started this comparison because I heard that the G9 now shoots better video than the GH5 . As we have determined up to this point, this is far from being the case, although it is very close to the truth. But I want to know one more thing: I was also told that Panasonic has one of the best applications for connecting a camera to a computer as a webcam. I have some live broadcast experience and generally have an idea of how it should work ideally.
On the Panasonic.
com website, where you can download LUMIX Webcam Software , there is a plate that presents a fairly wide list of programs for web conferencing and online streaming with which this utility can work . I checked in the two most popular ones, Zoom and Open Broadcast Software (OBS). In general, without any dancing with a tambourine in both cases, the camera (I took GH5 , although G9 is just the same) connected and worked without failures.
With FHD resolution. All camera settings remained active. It is important to remember that only video is transmitted with this connection, the sound will have to be captured separately.
In short, I'm not ready to say yet that this application from Panasonic is the best of all, but it allows you to transfer video to a computer without separate and rather expensive capture cards and works with the applications that I need. And, in any case, it is definitely better than the Fujifilm one, which does not work in OBS.
The first information about Lumix GH5 appeared at the end of 2016. Then she struck me first of all with the ability to record 4K in 10-bit representation and 4K up to 60 fps directly to the memory card in the camera. Yes, after a while someone measured something there and it turned out that not 10 bits, but 9 something, and 4K 60 fps 8 bits to the camera, and 10 bits only to an external recorder, but - it was a unique offering for its time. Today, Panasonic has another camera with very similar specifications.
And if, as we found out, the Panasonic Lumix GH5 offers more narrowly focused, professional features, then the Lumix G9 camera is more versatile and will become a good assistant, both in photography, for which it was originally intended, and in video shooting . And will allow you to get a very high quality result. Often better than with much more modern cameras.
Set discount
Installment plan
139990 Y
Digital camera Panasonic Lumix DC-G9 body In stock 139990 Y
TRADE-IN
Discount on set
Installment plan
149990 Y
Panonic Luxonic DC bodycam
in stock 149990 Y
159990 Y
Digital camera Panasonic Lumix DC-G9 kit 14-140mm f/3.
5-5.6 Aspherical Power O.I.S. (H-FS14140) out of stock 159990 Y
179990 Y
Digital camera Panasonic Lumix DC-G9 kit Vario-Elmarit 12-60mm f/2.8-4.0 ASPH. O.I.S. not available 179990 Y
143990 Y
Digital camera Panasonic Lumix DC-G9 kit 12-60mm f/3.5-5.6 Lumix G Vario O.I.S. ASPH Micro 4/3 out of stock 143990 Y
143990 Y
Digital camera Panasonic Lumix DC-G9 kit 12-60mm f/3.5-5.6 Lumix G Vario O.I.S. ASPH Micro 4/3 out of stock 143990 Y
184990 Y
Digital camera Panasonic Lumix DC-G9 kit 12-35mm f/2.8 II ASPH. O.I.S. Lumix G X Vario (H-HSA12035E) out of stock 184990 Y
Kit Discount
194990 Y
Digital Camera Panasonic Lumix DC-GH5 Kit 12-60mm f/2.
