The Iconic Pro Camera, with Up-to-the-Minute Improvements Experience dramatic enhancements in the speed and quality of video production, and more - High Depiction Performance and Fast Response 25.2M BSI CMOS sensor, with 13+ stop dynamic range boost with rich gradation, for incredibly vibrant, detailed photos and videos - From Shooting to Post-Production, Seamlessly No need to adjust audio recording levels during shooting, with 32-bit float recording using a DMW-XLR2 adaptor and internal recording of 5.7K 30p Apple ProRes 422 HQ and Apple ProRes RAW HQ - Adobe Cloud Compatible Upload still images and proxy videos directly to the Frame.io platform - One Shot for All Social Media Platforms Shoot in all aspect ratios via Open Gate, for superior resolution and heightened detail - Connectivity Wi-Fi, Bluetooth, USB-SSD for easy photo sharing and transfer - Free-angle touch-control monitor for use at any angle, even in bright sunlight 3.0-inch LCD free-angle touch-control monitor with 1,840K-dot high resolution - 3,680K-dot OLED Live View Finder for easy image preview 3,680K-dot OLED LVF features a high magnification ratio of approx. 1.52x / 0.76x (35mm camera equivalent) - 779 AF Points for super-sharp images PDAF (Phase Detection Auto-Focus) 779 AF Points - Livestreaming and more 5.8K Pro-Res, Pro-Res internal, RAW over HDMI, Wireless/Wired IP streaming - 96MP High Resolution, Real Time LUT An industry first--Photo LUT application and recording on the camera itself) - External Flash is Available - DMW-FL580L/FL360L/FL200L Features Auto* / Auto/Red-eye Reduction* / Forced On / Forced On/Red-eye Reduction / Slow Sync. / Slow Sync. / Red-eye Reduction / Forced Off. *For iA only - Interface HDMI Type A, USB 3.2 Gen2 Type-C - Double SD card slots Accepts SD Memory Card, SDHC Memory Card* and SDXC Memory Card*. *Compatible with UHS-I/UHS-II UHS Speed Class 3 standard SDHC/SDXC Memory Cards and UHS-II Video Speed Class 90 standard SDXC Memory Cards - Compatibility with Adobe Camera to Cloud Adobe Camera to Cloud enables recorded content to be directly uploaded to the Frame.io platform from the camera through Wi-Fi or USB tethering, for seamless sharing of captured photos (JPEG/RAW) and Proxy videos, enabling remote checking and joint editing using non-linear editing software. *Please update the firmware to version 3.0. - E.I.S. Performance The E-Stabilization (Video) function has HIGH mode which corrects large shakes when shooting on the move. A perspective distortion correction is available to correct distortion that occurs during video recording with a wide-angle lens. *Please update the firmware to version 2.0.
The Iconic Pro Camera, with Up-to-the-Minute Improvements Experience dramatic enhancements in the speed and quality of video production, and more - High Depiction Performance and Fast Response 25.2M BSI CMOS sensor, with 13+ stop dynamic range boost with rich gradation, for incredibly vibrant, detailed photos and videos - From Shooting to Post-Production, Seamlessly No need to adjust audio recording levels during shooting, with 32-bit float recording using a DMW-XLR2 adaptor and internal recording of 5.7K 30p Apple ProRes 422 HQ and Apple ProRes RAW HQ - Adobe Cloud Compatible Upload still images and proxy videos directly to the Frame.io platform - One Shot for All Social Media Platforms Shoot in all aspect ratios via Open Gate, for superior resolution and heightened detail - Connectivity Wi-Fi, Bluetooth, USB-SSD for easy photo sharing and transfer - Free-angle touch-control monitor for use at any angle, even in bright sunlight 3.0-inch LCD free-angle touch-control monitor with 1,840K-dot high resolution - 3,680K-dot OLED Live View Finder for easy image preview 3,680K-dot OLED LVF features a high magnification ratio of approx. 1.52x / 0.76x (35mm camera equivalent) - 779 AF Points for super-sharp images PDAF (Phase Detection Auto-Focus) 779 AF Points - Livestreaming and more 5.8K Pro-Res, Pro-Res internal, RAW over HDMI, Wireless/Wired IP streaming - 96MP High Resolution, Real Time LUT An industry first--Photo LUT application and recording on the camera itself) - External Flash is Available - DMW-FL580L/FL360L/FL200L Features Auto* / Auto/Red-eye Reduction* / Forced On / Forced On/Red-eye Reduction / Slow Sync. / Slow Sync. / Red-eye Reduction / Forced Off. *For iA only - Interface HDMI Type A, USB 3.2 Gen2 Type-C - Double SD card slots Accepts SD Memory Card, SDHC Memory Card* and SDXC Memory Card*. *Compatible with UHS-I/UHS-II UHS Speed Class 3 standard SDHC/SDXC Memory Cards and UHS-II Video Speed Class 90 standard SDXC Memory Cards - Compatibility with Adobe Camera to Cloud Adobe Camera to Cloud enables recorded content to be directly uploaded to the Frame.io platform from the camera through Wi-Fi or USB tethering, for seamless sharing of captured photos (JPEG/RAW) and Proxy videos, enabling remote checking and joint editing using non-linear editing software. *Please update the firmware to version 3.0. - E.I.S. Performance The E-Stabilization (Video) function has HIGH mode which corrects large shakes when shooting on the move. A perspective distortion correction is available to correct distortion that occurs during video recording with a wide-angle lens. *Please update the firmware to version 2.0.
The Iconic Pro Camera, with Up-to-the-Minute Improvements Experience dramatic enhancements in the speed and quality of video production, and more - High Depiction Performance and Fast Response 25.2M BSI CMOS sensor, with 13+ stop dynamic range boost with rich gradation, for incredibly vibrant, detailed photos and videos - From Shooting to Post-Production, Seamlessly No need to adjust audio recording levels during shooting, with 32-bit float recording using a DMW-XLR2 adaptor and internal recording of 5.7K 30p Apple ProRes 422 HQ and Apple ProRes RAW HQ - Adobe Cloud Compatible Upload still images and proxy videos directly to the Frame.io platform - One Shot for All Social Media Platforms Shoot in all aspect ratios via Open Gate, for superior resolution and heightened detail - Connectivity Wi-Fi, Bluetooth, USB-SSD for easy photo sharing and transfer - Free-angle touch-control monitor for use at any angle, even in bright sunlight 3.0-inch LCD free-angle touch-control monitor with 1,840K-dot high resolution - 3,680K-dot OLED Live View Finder for easy image preview 3,680K-dot OLED LVF features a high magnification ratio of approx. 1.52x / 0.76x (35mm camera equivalent) - 779 AF Points for super-sharp images PDAF (Phase Detection Auto-Focus) 779 AF Points - Livestreaming and more 5.8K Pro-Res, Pro-Res internal, RAW over HDMI, Wireless/Wired IP streaming - 96MP High Resolution, Real Time LUT An industry first--Photo LUT application and recording on the camera itself) - External Flash is Available - DMW-FL580L/FL360L/FL200L Features Auto* / Auto/Red-eye Reduction* / Forced On / Forced On/Red-eye Reduction / Slow Sync. / Slow Sync. / Red-eye Reduction / Forced Off. *For iA only - Interface HDMI Type A, USB 3.2 Gen2 Type-C - Double SD card slots Accepts SD Memory Card, SDHC Memory Card* and SDXC Memory Card*. *Compatible with UHS-I/UHS-II UHS Speed Class 3 standard SDHC/SDXC Memory Cards and UHS-II Video Speed Class 90 standard SDXC Memory Cards - Compatibility with Adobe Camera to Cloud Adobe Camera to Cloud enables recorded content to be directly uploaded to the Frame.io platform from the camera through Wi-Fi or USB tethering, for seamless sharing of captured photos (JPEG/RAW) and Proxy videos, enabling remote checking and joint editing using non-linear editing software. *Please update the firmware to version 3.0. - E.I.S. Performance The E-Stabilization (Video) function has HIGH mode which corrects large shakes when shooting on the move. A perspective distortion correction is available to correct distortion that occurs during video recording with a wide-angle lens. *Please update the firmware to version 2.0.
The Iconic Pro Camera, with Up-to-the-Minute Improvements Experience dramatic enhancements in the speed and quality of video production, and more - High Depiction Performance and Fast Response 25.2M BSI CMOS sensor, with 13+ stop dynamic range boost with rich gradation, for incredibly vibrant, detailed photos and videos - From Shooting to Post-Production, Seamlessly No need to adjust audio recording levels during shooting, with 32-bit float recording using a DMW-XLR2 adaptor and internal recording of 5.7K 30p Apple ProRes 422 HQ and Apple ProRes RAW HQ - Adobe Cloud Compatible Upload still images and proxy videos directly to the Frame.io platform - One Shot for All Social Media Platforms Shoot in all aspect ratios via Open Gate, for superior resolution and heightened detail - Connectivity Wi-Fi, Bluetooth, USB-SSD for easy photo sharing and transfer - Free-angle touch-control monitor for use at any angle, even in bright sunlight 3.0-inch LCD free-angle touch-control monitor with 1,840K-dot high resolution - 3,680K-dot OLED Live View Finder for easy image preview 3,680K-dot OLED LVF features a high magnification ratio of approx. 1.52x / 0.76x (35mm camera equivalent) - 779 AF Points for super-sharp images PDAF (Phase Detection Auto-Focus) 779 AF Points - Livestreaming and more 5.8K Pro-Res, Pro-Res internal, RAW over HDMI, Wireless/Wired IP streaming - 96MP High Resolution, Real Time LUT An industry first--Photo LUT application and recording on the camera itself) - External Flash is Available - DMW-FL580L/FL360L/FL200L Features Auto* / Auto/Red-eye Reduction* / Forced On / Forced On/Red-eye Reduction / Slow Sync. / Slow Sync. / Red-eye Reduction / Forced Off. *For iA only - Interface HDMI Type A, USB 3.2 Gen2 Type-C - Double SD card slots Accepts SD Memory Card, SDHC Memory Card* and SDXC Memory Card*. *Compatible with UHS-I/UHS-II UHS Speed Class 3 standard SDHC/SDXC Memory Cards and UHS-II Video Speed Class 90 standard SDXC Memory Cards - Compatibility with Adobe Camera to Cloud Adobe Camera to Cloud enables recorded content to be directly uploaded to the Frame.io platform from the camera through Wi-Fi or USB tethering, for seamless sharing of captured photos (JPEG/RAW) and Proxy videos, enabling remote checking and joint editing using non-linear editing software. *Please update the firmware to version 3.0. - E.I.S. Performance The E-Stabilization (Video) function has HIGH mode which corrects large shakes when shooting on the move. A perspective distortion correction is available to correct distortion that occurs during video recording with a wide-angle lens. *Please update the firmware to version 2.0.
Last updated at 06/24/2026 07:48:58
Panasonic LUMIX GH7 Mirrorless Micro Four Thirds Camera, 12-60mm F2.8-4.0 Lens, Enhanced Video Speed, Optimized Workflow from Shooting to
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ănearmintăpanasonic Lumix Gh7 Digital Camera Body From Japan B12372
Delivery $53.82
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Near Mint Panasonic Lumix Dc-gh7 25.2mp Digital Camera Body C299
Delivery $52.08
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Panasonic Lumix Dc-gh7 Main Body Micro Four Thirds Mirrorless Camera
Free delivery
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Panasonic Lumix Dc-gh7 Main Body Micro Four Thirds Mirrorless Camera
Free delivery
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Panasonic Lumix Gh7 Dc-gh7 Body Four Thirds Sensor Mirrorless Japan
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Panasonic LUMIX GH7 Mirrorless Camera (Body Only)
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Panasonic LUMIX GH7 Mirrorless Came with 12-60mm Lens
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Panasonic Lumix GH7 with 12-60mm Lens Kit Mirrorless Camera DC-GH7 M4/
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Panasonic Mirrorless Single-lens Camera LUMIX DC-GH7 Body Panasonic DC-GH7
Delivery between 28 Juneâââ5 July $210.32
originally posted on bhphotovideo.com
Note: I am 100% video. I have been resisting moving into a DSLR/Mirrorless workflow for YEARS. I finally broke down, took the plunge, and bought the GH7. In the first ten minutes of playing with it, I shot a dummy interview in ProRes 422, with 32bit floating audio, with available light - that looked and sounded as good as anything I ever shot with my old 1/3 sensor video camera... but with a nice dof falloff, and extra latitude in post on both audio and video to make it suitable for use in a project without even really trying. In further test shooting, the excellent auto focus, the image stabilization capabilities, the dynamic range - and the portability are very close to my dream coming true. Nothing is perfect, and I'm sure over time I'll find things I'd like to ... MoreNote: I am 100% video. I have been resisting moving into a DSLR/Mirrorless workflow for YEARS. I finally broke down, took the plunge, and bought the GH7. In the first ten minutes of playing with it, I shot a dummy interview in ProRes 422, with 32bit floating audio, with available light - that looked and sounded as good as anything I ever shot with my old 1/3 sensor video camera... but with a nice dof falloff, and extra latitude in post on both audio and video to make it suitable for use in a project without even really trying. In further test shooting, the excellent auto focus, the image stabilization capabilities, the dynamic range - and the portability are very close to my dream coming true. Nothing is perfect, and I'm sure over time I'll find things I'd like to see done differently, but I can already tell that shooting in 4k to output into my 1920x1080 world with all the control and one-man-band assistance this offers is going to be a game changer for me. Going MFT wasn't where I was heading, but when viewed holistically, this camera was a great choice for my intended use. My gear load has been cut by 70% and the technical quality of my output may very well increase by 70%. I am, and always will be an, It's not the wand, it's the witch guy - but I think my effort will be rewarded a little more with this camera.
originally posted on bhphotovideo.com
Put on a tiny lens and off to work with a powerhouse of professional capability. I have canon and Nikon systems. You know, the big bodies and big heavy lenses that impress everyone but the one that has to carry them. .Taking off all that weight just makes me feel more flexible and creative. This changes everything. Big chip small chip. Does it really matter with the modern cameras? I'm not shooting for billboards.
originally posted on bhphotovideo.com
The camera arrived on time and has fine out of the box. GH Photo did good and when it was back ordered, the next day one went out and arrived asap. Thanks BH Phot. Real pros in the photography world.
Panasonic LUMIX GH7 Mirrorless Micro Four Thirds Camera, 12-60mm F2.8-4.0 Lens, Enhanced Video Speed, Optimized Workflow from Shooting to
Free delivery
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
ănearmintăpanasonic Lumix Gh7 Digital Camera Body From Japan B12372
Delivery $53.82
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
Near Mint Panasonic Lumix Dc-gh7 25.2mp Digital Camera Body C299
Delivery $52.08
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
Panasonic Lumix Dc-gh7 Main Body Micro Four Thirds Mirrorless Camera
Free delivery
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
Panasonic Lumix Dc-gh7 Main Body Micro Four Thirds Mirrorless Camera
Free delivery
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
Note: I am 100% video. I have been resisting moving into a DSLR/Mirrorless workflow for YEARS. I finally broke down, took the plunge, and bought the GH7. In the first ten minutes of playing with it, I shot a dummy interview in ProRes 422, with 32bit floating audio, with available light - that looked and sounded as good as anything I ever shot with my old 1/3 sensor video camera... but with a nice dof falloff, and extra latitude in post on both audio and video to make it suitable for use in a project without even really trying. In further test shooting, the excellent auto focus, the image stabilization capabilities, the dynamic range - and the portability are very close to my dream coming true. Nothing is perfect, and I'm sure over time I'll find things I'd like to ... MoreNote: I am 100% video. I have been resisting moving into a DSLR/Mirrorless workflow for YEARS. I finally broke down, took the plunge, and bought the GH7. In the first ten minutes of playing with it, I shot a dummy interview in ProRes 422, with 32bit floating audio, with available light - that looked and sounded as good as anything I ever shot with my old 1/3 sensor video camera... but with a nice dof falloff, and extra latitude in post on both audio and video to make it suitable for use in a project without even really trying. In further test shooting, the excellent auto focus, the image stabilization capabilities, the dynamic range - and the portability are very close to my dream coming true. Nothing is perfect, and I'm sure over time I'll find things I'd like to see done differently, but I can already tell that shooting in 4k to output into my 1920x1080 world with all the control and one-man-band assistance this offers is going to be a game changer for me. Going MFT wasn't where I was heading, but when viewed holistically, this camera was a great choice for my intended use. My gear load has been cut by 70% and the technical quality of my output may very well increase by 70%. I am, and always will be an, It's not the wand, it's the witch guy - but I think my effort will be rewarded a little more with this camera.
Put on a tiny lens and off to work with a powerhouse of professional capability. I have canon and Nikon systems. You know, the big bodies and big heavy lenses that impress everyone but the one that has to carry them. .Taking off all that weight just makes me feel more flexible and creative. This changes everything. Big chip small chip. Does it really matter with the modern cameras? I'm not shooting for billboards.
The camera arrived on time and has fine out of the box. GH Photo did good and when it was back ordered, the next day one went out and arrived asap. Thanks BH Phot. Real pros in the photography world.
I love the features on this camera and definitely is an upgrade from the GH5. The GH6 should have had the PDAF which Iâm disappointed about because I had to sell my GH6 just to get PDAF which still need some improvements hopefully a firmware update.
As an ex GH6 user, which I loved, this camera added a much needed feature (PDAF) and some incredible pro features, (Proxy uploads, RAW internal recording) And some fun features from the G9II (Realtime LUT) and the GH5 II (wireless live streaming) This little power house has everything without the cropped video, presented in the current S5II line. You will not be disappointed! This camera accommodates almost every need a modern shooter has. Bravo Lumix. đĽ
I have always used panasonic video cameras. my previous GH6 was untill now my best camera but i now have the GH7 and in my opinion now takes the the top position
Content creators on social media, specifically YouTube, have created a cardinal rule, that Full Frame is the ONLY way to go, especially when Gareth Edwardâs movie âThe Creatorâ was used with a FX3. I was thinking the same way for a long while. Trading in almost every equipment I have for an FX3, cause âI gotta have that light!!!â But the truth is, for any filmmaker, lightning is an essential process, and simply having a Full Frame camera wonât solve all your worries about lighting. And from using the GH7 for about two weeks, in low light situations in the Salsa Dancing Scenes for my docu series âKenny Salsaâ, I can say that the low light footage looks freakin good. At 6400 ISO itâs usable, and thereâs noise, but it doesnât look bad, itâs usable; and this is with no ... MoreContent creators on social media, specifically YouTube, have created a cardinal rule, that Full Frame is the ONLY way to go, especially when Gareth Edwardâs movie âThe Creatorâ was used with a FX3. I was thinking the same way for a long while. Trading in almost every equipment I have for an FX3, cause âI gotta have that light!!!â But the truth is, for any filmmaker, lightning is an essential process, and simply having a Full Frame camera wonât solve all your worries about lighting. And from using the GH7 for about two weeks, in low light situations in the Salsa Dancing Scenes for my docu series âKenny Salsaâ, I can say that the low light footage looks freakin good. At 6400 ISO itâs usable, and thereâs noise, but it doesnât look bad, itâs usable; and this is with no additional lighting, just ambient lighting from the environment. Just use a lens with an f-stop of 1.4 - 1.7 and youâre golden!Iâve used the GH5 for years, and me being a gorilla style independent filmmaker, the GH5 is always ready to go. But while using it, there were a few things I wish it had. The main one being Auto Focus. Another issue was that stabilization, even though it was great, from time to time to corners would do this wobble thing which made the clips look like a 2d image floating in 3d space. The last issue I had with it was the low lighting capabilities, it was just awful. The GH5s solved that issue I believed, but I never owned one.Even though the GH5 is a great camera, those top 3 things made me want to Upgrade from an MFT. And I was going to. The FX3 was in my cart, I was going to trade thousands of dollars worth of gear in and still pay $2500!!! But then the GH7 came out, and when I saw what it could do, well, that changed everything.The GH7 solves all of the issues I had with the GH5 and more. This camera is like a Swiss Army knife for filmmakers. Ask yourself this, if the only reason youâre thinking about not getting this camera is because itâs a MFT, well, learn to love it.
Just when I thought I would abandon all those Micro Four Thirds lenses I accumulated, along comes the most gorgeous and complete MFT camera you could imagine. I am totally in love with this thing (don't tell my ex)! The quality of the footage (especially VLOG) is breathtaking and the autofocus is divine, enabling it to double as a run-and-gun camera. I also love the many resolutions, codecs and bitrates available - especially handy for those occasions when you need decent quality but small file sizes. And 5.8K (open gate) is perfect for single camera shoots. I started this journey with the AF100 back in 2011 and am so glad I didn't abandon the Panasonic MFT platform. I am SMITTEN!
I've been a long time Lumix user and have tried other brands but was always frustrated by the (often deliberate) feature limitations. I always keep coming back to Lumix. The GH7 is the culmination of all the previous GH series with so many advanced video features such as ProRes, SSD Recording, and now internal ProRes RAW! It is a powerhouse at an affordable price and now also supports ARRI Log C3 as well as 32-bit float audio. Panasonic listens to the customers and also makes frequent firmware updates and feature enhancements well into the life of the product!
