Panasonic GH4 正式發表：支援 4K 錄影、無損 HDMI 輸出並可擴充 SDI 與 XLR

daren

Panasonic 所推出的無反相機一直以來都在錄影畫質上有很突出的規格與畫質表現，所以在今年 CES 上我們會看到，他們支援 4K 錄影的無反原型機倒也不太令人意外。而今天，Panasonic 也總算將最新一代具備 Cinema 4K 3,840 x 2,160 與 4,096 x 2,160 解析度，如此高畫質錄影規格的 Micro 4/3 旗艦新機「Panasonic Lumix GH4」給推上了舞台。

這次，除了具備 4K 30fps 的記錄規格外，Panasonic 還提供了高達 200 Mbps 的流量選項（其次為 100 Mbps 與 50 Mbps）；1080p 的錄製規格也還保有，並且提供 60 / 30 / 24fps 的格數選擇。而身為 MFT 系統最高階錄影機皇的 GH4，還提供了 4:2:2 8/10-bit 規格的 HDMI 無損輸出，讓專業人士可以將純淨的影像記錄在外接錄影設備之中，並且透過安裝於底部有點像是垂直把手的裝置，將可擴充提供 4 個支援 4K（4:2:2/10-bit）的 SDI 輸出，以及兩組 XLR 麥克風輸入規格，並可提供 13.8v 的外接電源、支援專業所需的仿真電源（Phantom Power）與顯示收音等級的 LED 顯示功能，從這些目不暇給的規格我們完全可以看出，Panasonic 對於進軍 4K 專業電影市場的野心之強烈！

跳轉以後讓我們看看更多關於 GH4 的介紹 -- 聽說 GH3 將依然保持在產品線上呢！

看完了令專業人士眼睛大亮的錄影規格，其實 GH4 的靜態拍攝解析度依然維持在 16MP，感度範圍也依然保持在 ISO 200 - 25,600 間，但據說是全新打造的 CMOS 感光元件，所以畫質上的提升還是值得大家期待的才是。此外，GH4 很可惜沒獲得在 GX7 上超高畫質的電子觀景窗，但還是從以前的 174 萬點進步到了 236 萬點 OLED；依然支援翻轉與電容觸控的 3 吋螢幕，也提升到了 104 萬點的 OLED 規格。為了對應超高流量的錄影規格，GH4 亦支援了 SDXC UHS Class 3 高速記憶卡。

雖然前段看來 GH4 並沒有太多的提升，但 Panasonic 表示這次的 4K 旗艦亦提升帶來了更強的 0.07 sec 自動對焦反應速度，與最高 12 fps / 7fps 追焦的連拍速度。GH4 一次充電可拍攝 500 張照片的高續航力，快門壽命更是高達 20 萬次，加上搭配 GH4 依然保持的鎂合金機身材質與防滴防塵耐候性，相信無論在錄影或靜態拍攝的專業領域中都能滿足攝影師的需求。

可惜的是，在下個月的更進一步消息公佈之前，主站編輯除了上述的規格外，依然沒有打聽到關於 GH4 的具體販售資訊 -- 但依據之前在 CES 所獲得的消息，這部旗艦新機的建議售價將很可能落在 US$2,000（約 NT$60,700 / HK$15,500）以下的價位區間，相信這對於想要進入 4K 領域的攝影團隊而言，應該有非常非常大的吸引力 -- 更別說還支援了一堆一般消費者根本見都沒見過的專業規格了。

最後，我們也確認 GH3 將繼續穩坐 1080p 錄影旗艦機的寶座，仍在 Panasonic Lumix 產品線上佔有一席之地。至於更進一步的消息，包括台港中的販售資訊與動手玩等報導，我們也將會為各位盡快奉上的（期待）。

引用來源：Engadget

daren

Based on a pre-production model

Since the GH1 I have been shooting with Panasonic’s mirrorless system for video. Without this series of affordable cameras my early work as a cinematographer and filmmaker simply wouldn’t be the same. The GH4 marks a much needed major leap for the line, the first to shoot 4K to an efficient internal codec AND output 10bit 4:2:2 1080p over HDMI to an affordable external recorder like the Atomos Ninja!

On a visit to Panasonic I got to see the camera, see 4K sample footage and give my feedback. Here’s an account of what I saw…

I have had in my hands the new GH4, the camera I’m most likely to be shooting most of my filmmaking work with in 4K this year. The pre-production model wasn’t yet final, but when the day comes I have some big things planned for it. I am going embrace 4K this year and I suggest you do to.

I think it’s a possible game-changer for stills as well as video, because it effectively gives you a continuous shooting rate of up to 30fps at 4096 x 2160. All photographers know how important the decisive moment is, needless to say at 30fps you’re not going to miss it. This resolution is more than enough for large prints and books. The need for this myself didn’t arise until relatively recently when I started planning a gallery event in Berlin of 1080p stills from my film work. I am moving to 4K as soon as possible because a large print at 1920 x 1080 just doesn’t have the same impact. With 4K whether it’s hung on your wall in canvas or TV form, small details leap off the wall. The GH4 also allows the storage of individual 8.8MP photos which can be triggered whilst recording 4K video.

Above: Mr Uematsu-san presents the GH4

Let’s start with 1080p though and what monstrous 1080p it is on the GH4. Regardless of whether you think you need it or not, 4K video is as much about great 2K and 1080p as it is about even higher resolutions. A lot of people, as we see from the success of the Canon C300, just want the ‘perfect’ 1080p camera for now. With the GH4 they may well have it, but without the nuts price tag.

Much more powerful hardware centred around a new CMOS sensor and quad-core CPU has allowed Panasonic to bump up the spec of video across the board on the GH4. The readout speed of the new Panasonic sensor is now 50% faster than the GH3. This reduces rolling shutter skew.

But the big surprise is that uncompressed HDMI is 10bit / 8bit switchable.

Yes finally 10bit 4:2:2 on a consumer camera not called ‘Blackmagic’!

When 10bit is selected the encoder is bypassed altogether and you can record extremely nice 1080p in ProRes 10bit 4:2:2 on your external recorder from an actual 10bit 4:2:2 source signal. The camera cannot record to the SD card whilst set to 10bit over HDMI. The HDMI output is also 4K capable, though I’m not clear yet on whether this is in playback mode only, or whether it does a live / clean 4K output as well.

The internal codec for 1080p now goes to a huge 200Mbit ALL-I and Panasonic have introduced new SD cards which can sustain up to 30Mb/s as a bare minimum. These cards are good enough actually for 240Mbit/s 1080p.

This bitrate rivals ProRes and surpasses all the AVCHD pro cameras stuck at just 24Mbit like the Sony FS700 ($8000) and Canon C100 ($5000).

With the 4K mode you can of course oversample to produce extremely crisp 1080p masters in post, with the option to crop and re-frame as well.

4K on the GH4

Needless to say the whole filmmaking industry is moving in the direction of 4K and here Panasonic have come up with the goods at an alarmingly low price relative to the Canon 1D C.

The 4K internal recording is H.264 at 100Mbit/s (megabits per second). The H.264 codec is much more efficient than MJPEG on the Canon 1D C and to save Canon’s blushes we won’t mention the price! The 1D C uses a bitrate of 500Mbit/s just to keep the image quality up. The end result is that you can store just 20 minutes of 4K video per 64GB compact flash card on the 1D C but a much more practical 90 minutes of 4K on one 64GB SD card with the GH4.

Although all the GH4 internal codecs are 8bit 4:2:0, according to Mr Uematsu-san the internal signal processing is all 4:2:2 (the same as for JPEG stills). As we have seen with the hacked GH2 and Canon 1D C, beautiful image quality can be maintained in 8bit if you don’t excessively grade the image and for those who do want to heavily colour correct, there’s the 10bit 4:2:2 1080p HDMI output. Until now DSLRs have only done 8bit over HDMI (and in my mind doubtful whether this was true 4:2:2).

The external XLR / HD-SDI add-on for this camera allows for uncompressed 10bit 4K output over 3G HD-SDI – the kind of spec Canon currently charges $25,000 for.

The powerful add-on has no less than 4 HD-SDI ports (two of them 3G-HD-SDI), two XLR inputs with manual gain control dials and phantom power, a full sized HDMI port and a 12v power input. It is exactly what myself, Rudi and Rob (of Slashcam.de) suggested Panasonic make when we met a year ago.

Looking at some comments on the heavily leaked GH4 info out there, there seems to be some confusion about how this external box should be used. The form factor is not designed for handheld shooting or consumers. It isn’t an external recorder. It isn’t designed to be a battery grip. It isn’t “a vertical grip” as some even reported! It requires external power via a 12v tap, which should give you an idea of the kind of processing power it contains within.

Think about what would connect to this unit… A very high spec 4K recorder / monitor like the Odyssey 7Q, a V-lock battery and some chunky pro audio equipment via XLR. Is there any point shrinking this add-on down to the size of a consumer DSLR battery grip when you have all this hanging off it?

I appreciate it won’t be for everyone but the basic GH4 spec of 4K 8bit 4:2:0 at 100Mbit and 1080p in 10bit 4:2:2 via HDMI is to me very impressive and negates the need for most consumers to get the HD-SDI hardware.

I do think the ergonomics of ‘the brick’ could be, ahem – more refined! But it adds robustness and a leap in image quality that puts the GH4 firmly in professional territory – exactly what Panasonic needs. The box will also be indispensable for pros who find wobbly HDMI and single 3.5″ mic jack connections a major reliability worry.

It’s just a shame that the unit is designed only to fit directly under the camera. It should have been designed to fit pretty much anywhere, either under the camera or further back on your shoulder, indeed anywhere on the rig deemed convenient by the operator. It would have been great too for the unit to double as a recorder, reducing the extra hardware required to get that lovely uncompressed 10bit 4K. As of now, external 4K recorders are few and far between not to mention extremely expensive.

4K image quality (first look)

At the Panasonic presentation a prototype GH4 was hooked up to a large Panasonic 4K TV. Indeed the amount of detail this camera delivers with the internal 4K codec looks great with small details leaping off the screen. This TV was side by side with a 1080p display of approximately the same size and I could certainly tell the difference, although the gap does reduce as you step back further and further from the screen.

Dynamic range was also very impressive, not just on the video side. The new sensor has improved. We were showed a selection of stills that demonstrated much better highlight retention and roll off than the other cameras on display including the full frame Canon 6D and Nikon D610.

The 100Mbit IPB internal codec seems to hold up extremely well with 4K material, with no macro-blocking or mud visible. I couldn’t see any moire either but final judgement will be reserved until I’ve shot with it extensively.

4K internally is 24p in the academy aspect ratio of 1.85:1 – 4096 x 2160.

A full range of frame rates – 30p,25p and 24p are available in the 16:9 4K variety of 3840 x 2160.

It’s great that Panasonic have included both 4K standards in the camera. The slightly wider 1.85:1 aspect ratio 24p mode is clearly aimed at filmmakers, 16:9 at the broader video production industry.

There’s also a very useful new feature which allows you toggle which broadcast safe RGB luma range to use. Available options are 0-255 for the full range, 16-235 for the safe range and even 16-255 which is the range used by many Sony cameras like the FS700. This is fantastic as it solves the issue with gamma shifts and clipping of shadows / highlights when editing and displaying footage. It’s the first time I’ve seen this option to toggle luma range on a consumer camera!

daren

Here’s a slide showing the full array of recording options and codecs on the GH4 (click to enlarge) -

96fps slow-mo

The GH4 has a new undercrank and overcrank mode with slow-mo frame rate of 96fps, when is conformed to a frame rate of choice in-camera. Conformed to 24p and you get a lovely 25% reduction in speed which is much more dramatic than the more common 50% reduction from 60p to 30p.

These slow-mo options are available in full 1080p resolution, no need to drop to 720p.

Although 96fps isn’t going to look like the FS700 at 200fps, 96fps with a little Twixtor and post-production magic on top will!

The slow-mo option is not available in 4K mode, understandable given the enormous processing requirements this would require.

More new features

• SMPTE / EBU / ARIB Color bars & 1KHz Test Tone
• Center Marker
• Synchro scan
• Cinelike Gamma
• Master Pedestal
• Zebra pattern
• Focus peaking
  

Panasonic have addressed one of the most common complaints about the GH3, the lack of focus peaking. The GH4 has it, along with a raft of other features (finally a proper zebra pattern!) and it’s PAL / NTSC switchable.

The file format for video is again Quicktime MOV (hurray!), MP4 or AVCHD (boo) for smaller file sizes, just like on the GH3.

A cinema gamma picture profile is back for this camera having disappeared somewhere between the GH2 and GH3. I’m told it isn’t a LOG profile, but designed to improve roll off to the highlights. Personally I’d rather see LOG or Technicolor CineStyle. How flat is it? The jury is out. I haven’t seen it in action yet but perhaps a clue is in the name. Much like CineStyle, Panasonic has branded it “CineLike”! It comes in two flavours – CineLike D and V. It remains to be seen whether iLike it.

Synchro Scan can be used to suppress flicker when shooting TV and PC screens or under certain lighting conditions. The feature has trickled down from professional Panasonic cameras and it works by fine tuning the shutter to precisely match the frequency or refresh rate of what you’re filming. I believe this would make shutter speeds like 1/24 and 1/48 possible but yet to confirm this.

Master Pedestal is used to lighten or darken shadow areas of the image based on black levels. It’s a feature I last saw in professional Canon video cameras like the XL2 and XH A1. None of the DSLRs to date have had this.

Both the main LCD and internal EVF displays have been bumped up to the state of the art. Not only are they extremely high resolution but the panels are OLED as well, so – best of both worlds.

The GH4 has a new mechanical shutter which has an expanded life cycle rated for 200,000 actuations. The burst rate for stills is now 40fps in raw + JPEG at full resolution (compared to 20fps on the GH3 at a reduced resolution, JPEG only). The GH4 has a silent electronic shutter mode like the GX7 and GM1 – great for time-lapse or stop motion animation (for both of which there are dedicated modes), where you don’t want to wear out the mechanical shutter. The maximum recording length is 29 minutes 59 seconds on the European GH4 due to tax reasons but I believe the US model has no such limit and is PAL / NTSC switchable.

Above: a re-sculptured flash top plate and locking button the mode-dial distinguishes the otherwise similar body of the GH4 to the GH3

Editorial / market comments

This camera undoubtably smashes a price barrier for the specs on offer, whether we’re taking 4K or 1080p.

For me the GH4 has only one shortcoming and it’s something that raises a broader question about the compromises necessary to make a hybrid stills / video camera.

In order to get down to the 8.847MP of cinema 4K from the 4.6K full sensor (12MP in 16:9, 16MP in 4:3) the camera has to crop.

Cinema 4K mode video at 4096 x 2160 (1.85:1) is cut out of a 4680 x 2592 16:9 recording area (the full width of the sensor).

The crop factor in 4K mode therefore is not 2x as is standard for Micro Four Thirds but approximately 2.3x (similar to the Blackmagic Cinema Camera).

My feedback to Panasonic was to give us the full sensor 4.6K readout and let us scale it to 4K in post as the reduced sensor size is perhaps a little disappointing. I’m told Panasonic had much internal discussion over whether to take a 1:1 pixel readout of the sensor for 4K video, or to take the full sensor and scale (zoom) it down. The latter technique entails a drop of image quality because we’re back to pixel binning again. In the end they used the same technique as Canon on the 1D C – optimal image quality, reduced recording area – and it seems to pay off looking at the output.

With the current Metabones Speed Booster adapter you should get a Super-35-style 1.7x crop in 4K mode – close to the Canon APS-C 1.6x crop and only a 1.2x crop in cinematography terms. That for me is problem solved, but it’s a shame some of the wider native Micro Four Thirds lenses (at say 12mm) lose some of their appeal in 4K mode.

In terms of silicon for the money, the GH4 doesn’t disappoint. Outwardly it may look similar to the GH3, inwardly it’s completely new. The new Panasonic CMOS is perhaps the fastest running on any consumer camera and the new quad-core image processor also a cut above. It’s a miracle of modern engineering the GH4 doesn’t have a fan or huge battery.

Almost all the exciting leaps forward with the GH4 are on the video side rather than the stills side. Wow – this makes for a refreshing change!

But the issue of that slight sensor-crop in 4K mode does raise questions about the need to compromise stills and video for them to coexist.

For me the ideal stills camera would be full frame and 24MP+ and the ideal video camera would have a 16:9 Super 35mm sized sensor at a resolution of 8MP.

Panasonic’s compromise solution is elegant but the fact remains it’s a 16MP 2x crop sensor that needs to be cropped further in 4K mode. That’s not ideal for cinema when the standard is Super 35mm and in terms of stills, it isn’t full frame or 36MP like the current benchmark, the Sony A7R.

The whole ethos of the GH is “Hybrid” and I am behind that concept fully. However I think Panasonic should consider having two hybrid cameras, one with the emphasis on video and one with the emphasis on stills.

You could say Panasonic DO have a stills-orientated flagship model in the GX7 but I think they need to go even higher end than this to capture more market share. A GH4 is difficult to market to photographers when half the spec sheet is video. A GX7 is difficult when it lacks the 5 axis stabilisation of the Olympus E-M1 or a full frame sensor.

Some cameras, like the Fuji X100 are easier to market to photographers because the video mode is minimal enough to completely forget about if you’re so-minded to. Some photographers think the emphasis on video with the GH4 is at the expense of the stills (really nothing could be further from the truth) – in a market where not all customers are 100% knowledgable, perceptions (and marketing) count for a lot.

Design and handling

In my opinion Panasonic could have done more to differentiate the new body relative to the GH3 and not just in superficial ways. Like the GH3 small but significant design issues remain, for example a rear grip which doesn’t drop down near the rear-command wheel making it more awkward to turn than it should be. In general I’d have liked to have seen a few more changes here than just the re-sculptured flash and locking mode dial, welcome though these are.

I say lose the flash altogether and give us an extremely robust 5D Mark III style body and hot-shoe that can withstand anything. Let’s have a large HDMI port on the camera itself instead of the mini-one.

The GH4 is not a direct replacement for the GH3, instead that camera will now take a price drop and stay in the line-up.

Above: a transparent mock-up showing the internal structure of the GH4

Overall, the GH4 is still miles ahead of the average DSLR when it comes to ergonomics for video purposes. EVF, articulated screen, mirrorless mount, peaking, zebra, etc. and it has a much larger feature-set than the Blackmagic cameras.

And one final thing…

In future I’d love to see a tie-up with Arri in a similar way Panasonic have linked with Leica for stills. Arri could offer use of their brand in return for a licensing fee. A Panasonic-Arri GH4 would complete Arri’s non-existent lower-end!! Such a camera would gain far more ground in the film industry vs Cinema EOS and Sony. It would have an identity as strong as the technology underlying it. “Lumix-GH4″ does not have the same brand recognition with filmmakers (yet). Would never happen? Well if it works for Leica…

Arri accessories such as cages, grips and a follow focus could go a long way into integrating the very capable technology in the GH4 with the rest of the filmmaking establishment.

The price of the GH4 hasn’t yet been firmly set nor has the release date, but I’m told it will be circa 1999 euros for the body and perhaps the same again for the XLR / HD-SDI box. That’s a very appealing price for an interchangeable lens 4K cinema camera in 2014, especially one as well featured as this and with such great 2K as well.

As a stills camera, if you want good video as well, look no further.

Pros and cons are provisional.

Pros

• 4K from a nearly full pixel readout of the sensor, internal recording
• Uncompressed 10bit 4:2:2 1080p via HDMI
• 96fps slow-motion
• More than double the bitrate of the GH3 in 1080p with 200Mbit ALL-I and 100Mbit IPB
• 1036k pixel OLED screen and 2360k dot EVF
• Small form factor, lightweight
• Small price for the spec and accessible to broad range of artists and filmmakers, from consumers up to pros
• Choice of broadcast safe luma ranges or full range (0-255)
• XLR and HD-SDI (via external add-on)
• PL mount lens compatible (i.e. with Hot Rod Cameras adapter)
• Uncompressed 10bit 4K and 2K via external add-on
• Efficient H.264 compression of 4K compared to Canon 1D C MJPEG
• Reduced rolling shutter (50ms sensor readout compared to 100ms on GH3)
• Improved dynamic range
• Improved low light performance
• PAL / NTSC switchable (“world cam”)
• Zebras and focus peaking
• Time Code
• Synchro Scan
• Cinema-gamma mode
• Articulated screen
• Full manual audio control
• Convenient Quicktime MOV file format
• 1080/60p
• Very fast AF for stills (0.07 sec)
• Improved AF in low light
• New mechanical shutter with longer lifespan and 1/8000
• Very fast 40fps burst mode
• Silent electronic shutter at full resolution and in raw
• Timelapse and stop-motion animation modes
• Gradation curve (for in-camera adjustment of shadow and highlights)
• Responsive (quad core CPU based)
• Very good quality stills for a cinema camera (HAHA)
• Wireless control over WiFI
• Near Field Comms
• Weather sealed, even splash proof
• Extensive lens range
• Metabones Speed Booster compatible
  

Cons

• 4K video mode crops field of view compared to full sensor and 1080p mode
• Internal codec 8bit 4:2:0 from 4:2:2 source (why not 4:2:2 all the way?)
• Ergonomic design of external add-on “DMW-YAGHE” could be better
• External DMW-YAGHE has to attach to base of camera, cannot be more conveniently placed on your rig
• External DMW-YAGHE has a silly name
• No full sized HDMI connector on the camera itself
• No 4:3 mode for anamorphic lenses (BOOOO!)
• No internal ND filter solution (yet)
• Pre-production model does not have LOG picture profile
• Body design too similar to GH3 with existing ergonomic issues not addressed
  

Please note the pros and cons are based on my experience with the pre-production model and not on any extended shoot with the final camera – the proper review (and footage) is still to come.

asa00322

下面我們為各位帶來的是 Panasonic 原廠為 GH4 所推出的線上藝廊所提供的 4K 畫質影片示範，引用來源中也可以觀看官方的實拍照片。

daren

GH4 官網，目前完整正式規格及價格部分還沒公佈
請來4位攝影師代言示範，僅1位動態攝影師，其餘3位為不同性質平面攝影師。
看來Panasonic並未將GH4設定為專攻4K錄影的特定機種，平面部分也仍然強調（但與GH3差異不大）。
http://panasonic.net/avc/lumix/dslm/gh4_special/

daren

▲ 拍照與錄影畫質同步進化、對焦與規格全面提昇的 Panasonic LUMIX GH4 正式登場！

Panasonic 今天在日本正式發表旗下 Micro 4/3 無反光鏡系列旗艦機種 LUMIX GH4，以取代在 2012 年九月登場的 GH3。這款新機以 GH3 的防滴防塵金屬機身為基礎，但有相當多層面的提升，無論對靜態拍照玩家或多媒體錄影使用者而言都充滿吸引力。GH4 主打超高效能的感光元件與四核心處理器，可帶來更好的色彩詮釋、動態範圍與雜訊抑制，支援 B 快門 60 分鐘長曝，並達成 4K 超高解析度錄影，此外它的自動對焦速度更快、更精準，還支援眼部優先自動對焦。

在官方網頁 Panasonic 已經釋出許多專業攝影師所拍攝的 GH4 照片與影片，雖然暫時沒有完整解析度，但從色彩詮釋來看，似乎是 LUMIX 機種當中的最高水準。而在上市資訊方面，Panasonic 尚未透露 GH4 的發售時間與建議售價，普遍預期機身售價在 2,000 美元左右，發售時間可能是今年三月到五月之間。

▲ Panasonic LUMIX GH4 官方宣傳影片。

全新感光元件 + 超高速四核心處理器GH4 採用新型 1605 萬畫素數位 Live MOS 感光元件，並藉由大幅更新的超高速四核心 Venus 處理器，可達到比以往快 50% 的影像訊號讀出，不僅達成 30fps 的 4K 超高解析度錄影，在靜態連拍方面更可達到完整解析度 12fps 效率，連拍 100 張 JPEG 或 40 張 RAW 格式影像，持續自動對焦狀況仍可維持在每秒 7.7 張的良好效率。同時藉由更好的雜訊抑制，ISO 25600 正式被列為標準感光度選項之一（非原本的延伸設定），而能夠支援 B 快門模式曝光達 60 分鐘。根據 Panasonic 宣稱，GH4 在色彩詮釋、明暗層次方面也因此獲得提昇。除此之外，由於高速化的感光元件，GH4 無論在動態錄影，或是透過電子快門拍照時，原本可能導致移動物體呈現歪斜的果凍現象，都可以獲得明顯改善。

但需要注意的是，Panasonic 官方高層透露，由於 GH4 在設計時非常注重機身內部散熱，而沒搭載類似 GX7 那樣的機身防手震，但新機更好的雜訊抑制能力或許多少彌補了這項遺憾。

世界第一款 4K 無反光鏡可換鏡數位相機GH4 是第一台可支援 4K 錄影的無反光鏡機種，但它的 4K 錄影可不只是實驗性質、或展示性質的紙上談兵，而是一出場就有極為完備的示範級規格。它提供 Cinema 4K（1:85:1，4096×2160）和 QFHD（16:9，3840×2160）兩種 4K 解析度可選擇，最高分別可選擇 24FPS 與 30FPS 更新率，並具備 MOV（支援 LPCM 無壓縮收音）與 MP4（支援  AAC 收音）兩種影片格式，100Mbps 流量以 IPB 編碼。

而較基本的 1080p 錄影解析度，也有 200Mbps 的 ALL-Intra 編碼超高流量模式能帶來極為清晰的畫質。此外還支援 2fps、96fps、4X 等模式來達成慢動作與快動作影片，還可在機身內製作縮時攝影與定格動畫。

▲ 透過 4:2:2 採樣，GH4 的色彩與滑順度都比前代機種更好。

▲ 透過 GH4 錄製的 4K 影片（拍攝：Bryan Harvey）

更快更多的自動對焦點、支援眼部對焦根據 Panasonic 表示，GH4 的自動對焦能力，又比其它自家機種更加精進，透過新導入的 DFD（Depth from Defocus） 技術，將每一顆 Panasonic 原廠鏡頭在各種光圈焦段之下的景深資訊做為演算參考，進一步縮短對焦時猶豫的時間，而達到 0.07 秒超高速 AF。另外，GH4 的對焦分割區域，也從 GH3 的 23 點提升為 49 點，並將臉部對焦強化為更精細的臉部對焦，可在找到畫面中人臉之後，對準眼睛的部位為最清晰範圍。而手動對焦時所需要的峰值對焦，這次 GH4 當然也如願以償追加了進來。

▲ 偵測到臉部時，會優先以眼睛部位為對焦優先。


▲ 自動對焦區域從原本 23 點進化為 49 點。

▲ 區域選擇模式也從 9 種大幅增加為 49 種。

236 萬畫素 EVF、104 萬畫素 LCD、機械快門壽命保證 20 萬次、NFC在其它規格方面，GH4 也比前代更加精進，包括與 GX7 相同的 236 萬畫素 16:9 比例 OLED 電子觀景窗，解析度 104 萬畫素的 3:2 比例電容觸控螢幕。同時 Panasonic 宣稱 GH4 在機械快門模式之下，擁有超過 20 萬張的快門壽命，當然如果使用者偏好電子快門的話，更是不會造成耐用度的消耗。而在原本就有的 WiFi 功能，這次 GH4 也追加了 NFC 近場通訊，能夠更簡單的和行動裝置配對。
機內 RAW 檔編修GH4 在拍攝 RAW 檔案格式的照片之後，可在機身選單內進行基礎編修，包括白平衡、曝光、色域、明暗曲線、飽和度、對比度、雜訊抑制和銳利度等，並維持 LUMIX 原廠風格的色彩詮釋與影像特質。

▲ Panasonic LUMIX GH4 機身背面與前代類似，但螢幕提升為 104 萬畫素，
以及 236 萬畫素 OLED 電子觀景窗。


▲ Panasonic LUMIX GH4 機身頂端，模式轉盤多了防止誤轉的按鈕。

Panasonic LUMIX DMC-GH4 重點特色
● 鎂鋁合金機身
● 支援防滴防塵，可在溫度 0 至 40 度 C、濕度 10% 至 80% 環境正常使用
● M4/3 尺寸 Live Mos 感光元件，1605 萬有效畫素
● 最佳化的低通濾鏡，能保留最高解像力、並減少摩爾紋
● 超音波除塵
● 全新超高速化 Venus Engine IX（4 CPU）影像處理引擎
● 感光度範圍：ISO 200 - 25600
● 快門範圍：靜態 60 至 1/8000 秒，支援 B 快門可達 60 分鐘曝光
● 閃燈同步可達 1 / 250 秒
● 內建閃光燈（GN12）
● 機身前端具備閃燈同步端子插槽
● 可翻轉 3 吋 104 萬畫素電容觸控式螢幕
● 具備 236 萬畫素 OLED 電子觀景窗，視野率 100%，放大率 134%（等效 67%）
● 獨立的白平衡、感光度、曝光補償快捷鍵
● 對比檢測式 49 個自動對焦點
● 0.07 秒超高速對焦
● DFD 對焦技術，機身內建全部 LUMIX 鏡頭的景深資訊，強化對焦演算效率
● 支援峰值對焦、眼部優先精細自動對焦
● 內建對焦輔助燈
● 完整解析度模式連拍可達每秒 12 張（儲存 100 張 JPEG 或 40 張 RAW）
● 持續自動對焦時可維持每秒 7.7 張連拍
● 144 區測光
● 內建 WiFi（IEEE 802.11b/g/n）可透過手機、平板操控，支援 NFC
● 電子水平儀
● 電子靜音快門
● 可彈性調整的錄影頻率，59.94Hz (23.98Hz) / 50.00Hz / 24.00Hz，micro HDMI 輸出 4:2:2，8bit / 10bit
● 可錄製 MOV 格式 Cinema 4K  4096 x 2160 @ 24p（高流量 100Mbps，IPB）影片，LPCM 音軌
● 可錄製 MOV / MP4 格式 QFHD 3840 x 2160 @ 30p（高流量 100Mbps，IPB）影片，LPCM 音軌
● 可錄製 MP4 格式 QFHD 3840 x 2160 @ 30p（高流量 100Mbps，IPB）影片，AAC 音軌
● 可錄製 MOV / MP4 格式 FHD 1920 x 1080 @ 60p（高流量 200Mbps，ALL-Intra）影片，LPCM 音軌
● 可錄製 AVCHD  格式 1080 @ 60p（高流量 28Mbps）影片
● 影片支援 Time Code
● 錄影支援慢動作模式
● 錄影支援快動作模式
● 快動作與慢動作錄影皆支援 1080p
● 具備 3.5mm 麥克風插孔、耳機插孔
● 具備 2.5mm 線控插孔
● 儲存媒介採用 SD / SDHC / SDXC 記憶卡（支援 USH-I C3 高速傳輸）
● 支援 DMW-YAGHE 外接式底座
● 採用型號 DMW-BLF19 的 1860mAh 充電式鋰電池，每次充電可拍攝 500 張
● 體積 133 x 93 x 84.0 mm，重量約 480 公克（單機身）/ 560 公克（含電池、記憶卡）

▲ LUMIX GH4 可支援全新開發的 DMW-YAGHE 外接式專業級錄影底座。

▲ DMW-YAGHE 底座背面。

▲ DMW-YAGHE 底座側面。

官方實拍範例以下擷取幾張 Panasonic 所釋出的 LUMIX GH4 實拍範例，但僅有縮圖，更多照片請參考官方網站。

findingnemo

本文章最後由 findingnemo 於 2014-2-19 16:53 編輯

請問樓主
Although all the GH4 internal codecs are 8bit 4:2:0, according to Mr Uematsu-san the internal signal processing is all 4:2:2......
假如我只有用sd 卡來錄影. 不想買底座
那麼  錄影格式只有8bit 4:2:0嗎?
或者換成這樣子請問gh4  得透過底座
輸出的格式才有4:2:2 的8/10 bit  嗎???

2301

Panasonic 原廠為 GH4 所推出的線上藝廊所提供的 4K 畫質影片真得很細

daren

findingnemo 發表於 2014-2-19 10:33
請問樓主
Although all the GH4 internal codecs are 8bit 4:2:0, according to Mr Uematsu-san the intern ...

GH4 機身錄製SD速度是 8bit 4:2:0 200Mbit ALL-I and 100Mbit IPB
要更高流量必須外接記錄器 ，機身HDMI 是 1080P 4:2:2，8bit / 10bit
要4K高流量必須用底座的 3G SDI 接記錄器

● 可錄製 MOV 格式 Cinema 4K  4096 x 2160 @ 24p（高流量 100Mbps，IPB）影片，LPCM 音軌
● 可錄製 MOV / MP4 格式 QFHD 3840 x 2160 @ 30p（高流量 100Mbps，IPB）影片，LPCM 音軌
● 可錄製 MP4 格式 QFHD 3840 x 2160 @ 30p（高流量 100Mbps，IPB）影片，AAC 音軌
● 可錄製 MOV / MP4 格式 FHD 1920 x 1080 @ 60p（高流量 200Mbps，ALL-Intra）影片，LPCM 音軌

findingnemo

感謝回應

2301

準備好要購買，DEMO的畫質令人心動，等待中

嚷嚷

这个简直酷毙了，很高科技的说，又长见识了，嘻嘻

west

パナソニック、4K動画対応ミラーレス一眼「DMC-GH4」を4月24日発売。実売17万円
http://av.watch.impress.co.jp/docs/news/20140325_641028.html

t78902124

心動！但是先按兵不動！