Firstly, it’s a modular system – users can choose the 35mm sensor for 4K images and a cinematic look (uo-to 120fps) or attach the high speed (240fps) 2K front with its wide depth of field. With both, the front and back can be split for jib mounting or use in tight shooting angles. We can see shoots taking both fronts to get so much creative freedom, but having only one system to learn, one codec, one workflow and less kit to carry.
Panasonic’s decision to add ProRes is sensible for obvious reasons but again what stands out is in-camera file handling. Users can record a flat ungraded file, a file with the LUT baked in and a proxy all at the same time. This has enormous advantages for creating daillies so much faster and helping the colouring process in post production. As far as we know, this is a unique feature that will really appeal to high end production.
Finally, the build.
As you’d expect from Panasonic, it’s very robust with buttons and switches that are well placed and positive. DOPs will have no issue taking this out for an extended multi-location, all-weather shoot.
The more interesting aspect is that the camera handles really well – more like an ENG system than a film camera.
It’s easy to accessorize and personalize so we think photographers will really feel at home with the camera very quickly.