Thanks to the TTL system flash shoe, the Panasonic Lumix DMC-G7/G70 doesn’t depend on the slightly weak-chested integrated flash, but can connect external flashes. [Photo: Panasonic]

In June 2015, the Panasonic Lumix DMC-G7/G70 will be available in black and silver-black. [Photo: Panasonic]

One of the four selector wheels of the Panasonic Lumix DMC-G7/G70 allows the quick adjustment of image series. [Photo: Panasonic]

The image processor “Venus Engine” of the Panasonic Lumix DMC-G7/G70 has four calculation cores (quad code) and can even compensate diffraction blur. [Photo: Panasonic]

The G7/G70 records 4K videos with “only” 24 or 25 full frames per second. This is done by cutting 4K photos and videos as with the GH4, since the sensor pixels are used 1:1. After all, in 4K photo mode, around 8.2 megapixels are captured in every aspect ratio (4:3, 3:2, 16:9, and 1:1), with slightly more vertical or horizontal resolution depending on the aspect ratio. In Full HD resolution, fluid 50 full frames per second are achieved. In addition to the integrated stereo microphone, the G7/G70 also offers a stereo microphone connection (3.5 mm jack). The Lumix G7/G70 is now the third camera to support the SDXC UHS II standard (after the Fujifilm X-T1 and Samsung NX1) in order to store the high data rates quickly. The memory card has additional contacts for even higher data rates (see photo tip in the links below).

Panasonic has also revised the design without losing sight of the handling. The G7/G70 has a significantly more angular viewfinder hump that includes a pop-up flash (guide number only 6.2), TTL system flash shoe, stereo microphone and OLED viewfinder. The handle with rubber coating still offers good grip, while the operation has been improved with four rotary controls (program selection wheel, release mode wheel and two control wheels for aperture/exposure time, etc.). The focus selector switch now also has a focus button, and numerous operating elements or buttons can also be assigned individually. The OLED viewfinder resolves fine 2.36 million pixels and magnifies 0.7 times the 35mm equivalent or 1.4 times the Four-Thirds sensor format. The main advantage of OLEDs is their high contrast ratio of 10,000:1 (equivalent to about 13 f-stops). The rear screen is a rotating and swivelling touch screen with a resolution of around one million pixels.

The Panasonic Lumix DMC-G7/G70 offers not only a manual and semi-automatic control, but also an intelligent fully automatic, which can even set the motif program independently. In addition, the G7/G70 offers numerous filter effects and a panorama mode with 120 degrees at high resolution or 360 degrees at half vertical resolution. Thanks to the integrated WLAN module, images can be easily shared with smartphones and tablets, and a corresponding app also allows remote control of the camera. From the end of June 2015, the Panasonic Lumix DMC-G7/G70 will be available in black and silver-black for just under 700 euros. The attentive reader will have noticed that the Panasonic camera presented here has two type designations. In Germany, Austria and Switzerland (DACH) the camera is marketed under the type designation DMC-G70 and in the rest of the world the type designation is DMC-G7.

The Panasonic Lumix DMC-G7 is the long-awaited successor of the over two year old G6. While the Lumix is sold in Germany as well as in Austria and Switzerland as the G70, which can only be read on the type plate under the camera, it runs internationally under the name G7. The G70 is the first Panasonic 4K video function to enter the hobby class. However, the Japanese manufacturer does not leave it at a pure video function, but also offers a fast 4K continuous-advance function. The test reveals what the G7 does overall.

Four rotating wheels and five function keys allow the Panasonic Lumix DMC-G7 to be operated directly and individually.

Ergonomics and workmanship

It has become more angular, the new G7. Nevertheless, thanks to the necessary rounding at the decisive points, it lies well in the hand. The pronounced and generously rubberised handle provides a secure grip. The two swivel wheels and the shutter release are perfectly positioned for ergonomic operation. The case is made of plastic, which does not exactly convey a high quality, but there is nothing wrong with the workmanship. The large 8.7 Wh battery is inserted like the memory card at the bottom of the camera. 360 pictures can be taken with one battery charge according to the CIPA standard measurement procedure. That’s not a record, but it’s a good one. The SD memory card slot now also accepts SDXC-UHS-II cards, quickly eliminating the large amounts of data required for continuous shooting, 4K video, and 4K continuous shooting. Although the metal tripod thread lies in the optical axis, the compact camera doesn’t allow much distance to the battery and memory card compartment, so that it can sometimes be blocked on the tripod.

In addition to the rotating wheels, there are many buttons distributed over the camera housing, especially on the back but also on the top, some of which are quite small and just barely operable. After all, five of the keys can be programmed, which provides quick access to preferred functions in addition to the quick menu. The menus, on the other hand, contain scroll lists up to nine pages long, which does not make searching for rarely used functions and settings any easier.

The rear touch screen offers fine resolution and can be read from virtually any direction thanks to the pan and tilt mechanism – ideal for shooting from all possible and impossible perspectives. The viewfinder, on the other hand, is permanently installed. The view inside is surprising: The EVF is large, bright, rich in contrast and offers a brilliant image. At 0.7x magnification, it’s almost full-frame, with most APS-C DSLRs offering small peepholes by comparison. Thanks to the proximity sensor, the viewfinder activates automatically and, like the monitor, offers a wealth of recording information from the live histogram and recording settings to a spirit level and various guide line patterns. However, eyeglass wearers will be disturbed by the rather small exit pupil of less than 18 millimetres, because the corners are shaded. After all, there is a generous dioptric correction.

Equipment

The large program selector wheel leaves nothing to be desired by beginners or ambitious amateur photographers. In iAuto mode, for example, Panasonic sets all functions itself and even selects the appropriate motif programme. However, exposure correction is still possible. If you like, you can choose the shooting program that suits your subject, digital filter effects and a panorama function are also offered. Photographers who are more eager to experiment can let off steam in the creative programs P, A, S and M, where all photo parameters can be adjusted. Panasonic has even thought about an ISO automatic with manual setting of aperture and exposure time, but has forgotten the exposure correction. In addition, the Lumix allows the storage of three recording presets, which can be recalled via the program selector wheel.

While the video recording button on the top of the G7 starts recording a movie at any time, the manual video mode allows more extensive video recording settings, including manual exposure, after being set on the program selector. Unlike the GH4, which first had to switch to video mode to record 4K video, the G7 records 4K video in any mode using the video capture button when this resolution is set. However, the maximum frame rate of the European model is limited to 25 fps. More is only available in Full-HD, where particularly liquid 50 fps are possible. Furthermore, in 4K video mode, the sensor pixels are read out 1:1, which means a more powerful image trimming compared to Full HD video recording, where the pixels are added together. 4K videos are stored in MP4 format, with Full-HD AVCHD is also available. VGA and HD resolution are also only available as MP4.

The 4K video quality is stunning, especially when using a 4K flat screen TV of the appropriate size for playback. Every single hair is clearly visible. Even when viewed on Full HD screens, 4K videos offer higher sharpness. However, focus errors also become more visible than with Full HD, especially as slight focus errors are only discovered later on the large 4K TV, but not on the small camera display. The AF-C actually does a good job and focuses quickly, but in a static shot with little movement in the foreground it tends to focus on treetops in the background, for example. For such subjects, it is better to use the AF-S in video mode. If in doubt, the focus can also be placed on a motif detail via touchscreen.

 

Behind the small flap of the Panasonic Lumix DMC-G70 there are three ports: Cable remote control, USB/AV combination socket and a micro HDMI interface.

The metal tripod thread of the Panasonic Lumix DMC-G7 sits properly in the optical axis. In view of the narrow camera, however, the battery and memory card compartment is slightly blocked when using a tripod.

Speaking of autofocus, it’s really fast. In 0.15 seconds or less, the Lumix G7 focuses and triggers, and there’s no DSLR left. Considering that the pure shutter release delay has a share of 0.06 seconds in this, so that the autofocus focuses in less than 0.1 seconds, this is all the more impressive.

Photographers also benefit from the 4K function. In full resolution of 16 megapixels, the G7 already achieves an impressive eight continuous shots per second, but in 4K it’s even 30 fps – and that until the memory card is full! Biggest drawback: Here, too, there is an image trimming because, as with the 4K video function, the sensor pixels are used 1:1. But it doesn’t matter whether you choose 1:1, 4:3, 3:2 or 16:9 as the recording format: Always around 8.3 megapixels are read and stored, at 1:1 slightly higher and narrower, at 16:9 slightly lower and wider. However, the 4K photo function still has a small catch: On the memory card, each sequence is summarized as an MP4 file. However, individual images can be stored in the camera as JPG. The same is also no problem with appropriate PC software.

There are also two special modes for using the 4K Continuous Shooting function in a useful way: When the camera is started-stop, the shutter-release button must be pressed once to start and a second time to stop, so it is not necessary to keep it pressed all the time. In pre-burst mode, pressing the shutter button once takes 60 pictures, the first 30 of which are taken before the shutter is released. So you only have to press the trigger briefly at the right moment and catch the right moment, even if you have triggered a few milliseconds too late. By the way, the picture is taken with the silent electronic shutter, which allows up to 1/16,000 short exposure times. This can also be activated for normal photos instead of the audible 1/4,000 second fast mechanical focal-plane shutter.

The small on-board flash only opens when the corresponding, purely mechanical switch is actuated and only offers an automatic function when it is opened. There is not even an indication from the automatic exposure control that it would be useful to flip the flash open. With the possibility to flash at the beginning or end of the exposure, flash exposure correction, a pre-flash to reduce red-eye and manual flash power selection, there is nothing left to be desired. The Panasonic even offers a wireless flash control with the on-board flash as control unit. The wireless flash is even, like the lenses, compatible with Olympus. Only the flash sync time of 1/160 second is somewhat long. Unfortunately, the flash cannot be combined with the electronic shutter.

Furthermore, the G7 offers numerous useful and partly special functions. In addition to the obligatory exposure series, this includes an HDR function, as well as time-lapse or interval shots and multiple exposures, which the small system camera masters. In playback mode, for example, raw images can be developed into JPEG images at a later time, and numerous parameters such as white balance, exposure or noise reduction can be adjusted. The Lumix is also capable of WLAN, but without NFC. The right app is available for iOS and Android. Thanks to the QR code on the camera display, the connection can also be made easily without NFC. In addition to transmitting images to the mobile device, the G7 can also be remotely triggered via the app, including live image transmission and numerous control functions. In addition, the GPS of the smartphone can be used, the location data is transferred to the photos in the camera.

Picture quality

The Panasonic Lumix DMC-G7 had to prove its image quality in the test laboratory as well as in practice. The laboratory measurement was done in JPEG with the Lumix G Vario 14-42 mm 3.5-5.6 II Asph O.I.S., which is sold as a set lens with the G7 (together approx. 800 Euro). With the 14-42 II, the G70 achieves a maximum resolution of 44 line pairs per millimeter (lp/mm), which is a good resolution, but at 16 megapixels there is still room for improvement, as Olympus shows with the 16 megapixel Micro Four Thirds sensor. However, Panasonic is more reluctant to coordinate its image processing than Olympus. So the G7 shows altogether only quite low sharpness artifacts. Even in JPEG there is still good potential for sharpening. Compared to its predecessor, the Lumix DMC-G6, the G7 shows a slightly higher resolution with significantly lower sharpness artifacts. You can see that in the pictures too, they seem more natural and yet sharp.

The metal bayonet of the Panasonic Lumix DMC-G7 is surrounded by a black plastic ring, which makes it look oversized, especially with a small diameter lens.

Thanks to the microphone connection, an external stereo microphone can be connected to the Panasonic Lumix DMC-G7 and used instead of the integrated one.

Lithium-ion battery and SDXC UHS II memory card share one compartment on the Panasonic Lumix DMC-G7. 360 shots are possible with one battery charge.

The highest resolution is achieved by the 14-42 II at the wide-angle center of the image. At the edge of the picture, however, the resolution is a good third lower. While one doesn’t see this drop in resolution on 20 x 30 centimeter images, it does appear in larger output formats. The further you zoom, the more even the resolution becomes from the center of the image to the edge of the image. The main reason for this, however, is not a higher resolution at the edge of the image, but rather a lower resolution in the center of the image. With a long focal length, the 14-42 II reaches a maximum of only 33 lp/mm and must be dimmed by two steps to F11. A diffraction-induced reduction in resolution is noticeable in wide angle from f-stops above F11, at medium and long focal lengths only above F16. Otherwise, the lens makes a good impression, also thanks to digital correction by the camera including diffraction reduction. Edge darkening, chromatic aberrations (color fringes) and distortion are measurable, but remain small and hardly visible.

The signal-to-noise ratio is only in the good range of more than 40 dB at ISO 100 and 200, but remains in the acceptable range of more than 35 dB up to ISO 1,600 and only falls below this critical value at higher sensitivities. Color noise does not become visible, brightness noise, on the other hand, appears quite slightly from ISO 3,200, but more visibly from ISO 6,400. The fine-grained character, however, provides a pleasant natural impression, as long as one can speak of natural noise. Panasonic thus allows a certain amount of noise, which speaks for a not too exaggerated noise reduction, as a too strong noise reduction also suppresses image details that should be preserved. The measurement of the fine textures shows that up to ISO 1,600 practically no fine details fall victim to noise reduction. Even at ISO 6.400, noise suppression does not affect fine details too much, only at even higher sensitivities do the images become measurably and visibly softer. In this respect, the G7 shows significant progress in the range from ISO 800 to 6,400 compared to its predecessor, the G6.

The G7 has also made significant gains in dynamic measurement: It now has a dynamic range of almost eleven f-stops in the ISO 200 to 1,600 range, making it a narrow f-stop better than its predecessor. Even at even higher sensitivities, the dynamic range is at an amazingly high level with about 10.5 f-stops. Only at ISO 100 the dynamic range is less than ten f-stops, a result of the signal attenuation at the lowest sensitivity, because the image sensor has a basic sensitivity of ISO 200. With the exception of the attenuated tonal curve at ISO 100, the image processing takes place with divided, but not exaggerated contrasts. Above all up to ISO 400, the images have over 196 (of a maximum of 256 possible) finely graded brightness levels, above ISO 1.600 the value gets worse with less than 160 levels, but remains up to ISO 6.400 with still acceptable over 128 levels.

With the exception of cyan, which is somewhat bluish, the G7 shows the original colours very well. In the area of violet and red, a somewhat stronger saturation can be observed, but this is not dramatic. The G7 therefore has a quite natural colour reproduction, and the manual white balance is also extremely accurate. With artificial light, however, the automatic white balance tends towards a slightly warmer colour rendering, which usually captures the mood well. At ISO 100, the G7 achieves a good half of the maximum possible 16.7 million colour gradations, up to ISO 1,600 it is still over four million. But even two million colors are still good enough for the human eye to perceive, and these are also achieved up to ISO 6,400.

Bottom line

With the Lumix DMC-G7, Panasonic has undoubtedly succeeded in creating a technically outstanding mirrorless system camera, which is a hobby camera and which is subject to the corresponding price pressure, however, due to the somewhat cheap-looking, but by no means poorly crafted housing. The many turning wheels and programmable function keys allow an individually configurable operation, but the menus are sometimes a bit confusing due to the long scroll lists and difficult for certain functions. Nonetheless, the digital camera feels good in the hand in everyday life and can be operated quickly for the programmed and standard functions. Above all, the viewfinder is a force for this class, even the rotating and swivelling touch screen leaves nothing to be desired. The 4K video function offers outstanding quality not only on 4K screens, but also on Full HD. However, the AF-C doesn’t always convince in the video with its occasional tendency to focus on the background. The image quality is good, with some minor imperfections. Panasonic does not manage to exhaust 16 megapixels of the sensor at resolution. Compared to the G6, however, the dynamic range has improved by one f-stop. The somewhat reduced noise reduction at ISO 1.600 and 3.200 now ensures a good picture quality with reasonable detail preservation at these sensitivities, even at ISO 6.400 not too many details are lost, even though the limits of the Micro Four Thirds sensor are shown here.

Firmware Updates 2.0 for Panasonic Lumix DMC-FZ300, GX8 and G7: Subsequent Focusing

Panasonic has released a new firmware update version 2.0 for the compact superzoom camera Lumix DMC-FZ300 as well as for the two mirrorless system cameras Lumix DMC-GX8 and Lumix DMC-G7. Common to the updates is the integration of the new post-focus function, which Panasonic had already presented at the presentation of the GX8 and FZ300. This function allows the focus plane to be traversed during 4K continuous shooting and the sharp image to be selected later.