We are a bit saddened to see that there is less dynamic range in full-frame mode as compared to the ASP-C crop mode.
The Panasonic G7 was a steal at recent Black Friday prices for what it offers. If you need a cheap but decent 4K camera to hold you over until the Panasonic GH5 the G7 certainly fits the bill. It’s no raw camera or dynamic range monster, but exposed properly and in the hands of a competent videographer it can produce impressive results.
This nice short video shows some of the visuals you can obtain with cheap, old lenses.
Shooting such a wide lens at F1.4 creates a kind of look that has a unique signature. Add that to the A7s II’s low light ability and you truly have a unique combination. This entire video was shot on the Sigma 20mm at F1.4.
We would also like to see the Sigma shot on a Blackmagic Ursa Mini where it’s field of view would be more normal.
We expect to see noise in LOG footage that has been zoomed in, so take that aspect of the footage with a grain of salt.
Everyone is waiting to see if the 4.6K model is worth saving up for over the 4K model. You can’t go wrong with the 4K model however some buyers are in a difficult situation of choosing between the two. We will be getting the 4.6K if the dynamic range is truly as advertised. If it’s only marginally better than the 2.5K camera then we will be fine with the 4K model.
While the footage looks good on our monitor we need a proper A/B comparison with the 4K sensor version before making any firm conclusions.
Hopefully this is a sign that the 4.6K version will be shipping soon. These shots come from pre-production models. Testers are reporting what seems to be like 2 stops of improvement over the 2.5K model which is significant and more than we were expecting. The feedback has been positive so far.