March 16th, 2016

Here’s How Panasonic Will Improve the GH4


Panasonic is rolling out some new firmware for its flagship mirrorless camera, the GH4.

Version 2.5 of the camera’s firmware will be free of charge and available at the end of March at this link.

Among the new features it will unlock is Post Focus, which lets users select a focus point on images after shooting on the camera’s display.

The GH4 will also gain access to Panasonic’s 4K Photo Modes. A staple on recent Panasonic cameras, 4K Photo lets users isolate 8-megapixel still images from 4K video. It’s available in three modes include a pre-burst, which snaps 30 frames before and 30 frames after the shutter is pressed, a 4K burst mode, which records indefinitely until you take your finger off the shutter, and finally a 4K burst start/stop mode which starts recording at the press of the shutter and stops recording with a second press of the shutter.

Finally, the camera will now support consecutive shooting with flash burst, provided the flash supports continuous emission. Supported Panasonic flashes include the DMW-FL580L, DMW-FL360L, DMW-FL500, DMW-FL360 and DMW-FL220.

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February 1st, 2016

Canon’s EOS 1D X Mark II Records 4K, Shoots 14 FPS


Canon pulled back the curtain on its newest high-end DSLR, the 1D X Mark II, and while we’ll resist invoking Top Gun, speed is unquestionably the hallmark of the new full frame flagship.

The 1D X Mark II will deliver several major upgrades from the older model, including internal 4K video recording at up to 60p, a burst mode of up to 14 fps with AF engaged and a higher resolution image sensor.

Canon’s new flagship will boasts a new 20.2 megapixel full frame CMOS sensor with a native ISO range of 100 – 51,200 with expansion options for 50 and 409,600 available. A pair of DIGIC 6+ image processors give the camera some serious speed–the 1D X Mark II clocks in at up to 14 fps with AF engaged and up to 16fps in live view mode when shooting to the camera’s CFast memory card (there’s also a card slot for CompactFlash cards). When shooting in JPEG, the camera will keep bursting until you run out of memory space on your card. Switch to RAW, and you’ll be able to save up to 170 frames using CFast memory cards or 73 using a UDMA 7 class CF card.

As for video, Canon will deliver in-camera 4K recording (496 x 2160) at 60 fps in camera when recording to CFast. Full HD frame rates will top off at a motion-slowing 120 fps. There’s a built-in headphone jack for audio monitoring and a new 4K frame grab feature that lets you isolate 8.8-megapixel still images from your 4K video in the camera.

You’ll also find the company’s Dual Pixel CMOS AF system for continuous autofocusing during video recording. The 1D X Mark II will have a 3.2-inch touch screen display with touch-focusing capability, too, so you can touch a portion of the display during video recording to quickly change the focus point.

Speaking of autofocus, the 1D X Mark II has a new 61-point AF system with 41 cross-type points. All the AF points are selectable and supported to f/8. Canon said its tweaked its algorithms to deliver better accuracy in Servo (or continuous) mode and the AF points will now stay red in the camera’s viewfinder to better assist in composition.

The 1D X Mark II will have an internal digital lens optimizer feature that lets you fix optical aberrations in camera, rather than in software.



Additional features include:

  • weather-resistant build
  • built-in GPS
  • AF sensitivity in low light is now available down to EV -3 at the center AF point when the camera is set to One-Shot AF
  • 360,000-pixel RGB+IR metering sensor

There’s no built-in Wi-Fi, but the camera will work with the optional Wireless File Transmitter (WFT-E8) to enjoy 802.11ac speeds when sending images and videos to connected devices.

The 1D X Mark II body will sell for $5,999 and be available in April. It is available for pre-order now. Canon will also bundle a CFast card and card reader in a Premium Kit for $6,299.

Read More:

See how the 1D X Mark II compares to Nikon’s D5


January 6th, 2016

CES 2016: Panasonic Intros Longest Zoom for Micro Four Thirds Yet


Panasonic aims to bring cinema-style video techniques into the hands of more users with a new high-end camcorder introduced at CES. The company also introduced a pair of advanced compact cameras and a new 100-400mm f/4-6.3 telephoto lens–the longest focal length available for the Micro Four Thirds system.

Let’s take the lens first. The LEICA DG VARIO-ELMAR 100-400mm F4.0-6.3 ASPH offers a 200-800mm 35mm equivalent focal length and power optical image stabilization. It features nine aperture blades and a gapless construction to keep moisture and dust from penetrating the lens body.

It boasts a new, two-part tripod mount to quickly switch from landscape to portrait framing without moving key controls like focus limiting, power OIS and manual focus. It also features an integrated, hideaway lens hood. It ships in April for $1,800.



The ZS100 boasts a 20-megapixel, 1-inch image sensor and an f/2.8 Vario Elmarit Leica zoom lens with a 35mm equivalent focal length of 25-250mm (the aperture is variable and stops down to f/5.9 at the end of the focal length).

It uses Panasonic’s Venus engine processor with the same noise reduction processing that’s found in more advanced models such as the GH4. The native ISO range is 100-12,800.

You can record 4K video (3840×2160) at either 24 or 30fps and take advantage of Panasonic’s 4K photo modes to isolate 8-megapixel still images from 4K video clips. It can also record a rapid sequence of 4K clips at varying focus points to create an image file that can be refocused, in camera, after it’s been captured.

Two new 4K features have also been introduced on this camera that take advantage of the abundant pixels. The first is Light Composition mode, which compiles multiple 4K stills to properly balance exposure. The second is 4K Live Cropping, which allows you to crop a 4K video down to an HD file in-camera. The cropping function allows users to pan within a video (Ken Burns-style) or zoom in on a subject without having to manually adjust the focal length during filming.

Additional features include:

  • high-speed AF with depth-to-defocus technology
  • high-resolution live viewfinder with adjustable saturation, brightness and contrast
  • 3-inch touch LCD display
  • control ring and two customizable dials
  • in-camera RAW processing
  • Wi-Fi
  • 10 fps burst shooting, 5fps with AF engaged
  • 1/16,000 sec. electronic shutter
  • 5-axis hybrid optical image stabilization

The ZS100 ships in March for $700 and is available for pre-order now.


Also due in March is the ZS60. It packs an 18-megapixel image sensor that’s smaller, at 1/2.3-inches than the ZS100 to accommodate a longer 24-720mm equivalent zoom lens.

The ZS60 records 4K video with the aforementioned 4K photo modes, 4K live cropping and post focusing capability.

Additional specs include:

  • 10fps burst mode or 5fps with AF tracking engaged
  • Wi-Fi
  • 5 axis hybrid image stabilization system
  • 3-inch touch screen display with touch focusing
  • control ring

The ZS60 ships in March for $450 and is available for pre-order now.


Finally, Panasonic launched a high-end video camera that aims to bring some of its 4K cropping features into the hands of student filmmakers, videographers and the ambitious soccer mom/dad.

The WXF991 records 4K video at 24 or 30 fps via an 8-megapixel backside-illuminated image sensor. It has a 20x optical zoom lens with 5-axis image stabilization.

In addition to 4K photo mode, Panasonic incorporate several scene modes that use the extra pixels in the 4K video to create cinematic camera movements without the user having to physically move the camera (the resulting video will be delivered in HD). The camera can stabilize a 4K video by cropping out the edges to deliver smooth video that resembles a shot taken with a Steadicam. It can create a dolly zoom effect, pan across a scene, or speed up/slow down footage–all in camera, after the video has been recorded.


An HDR movie feature captures 30 frames of over exposed video, 30 frames of under exposed video in succession then combines the resulting frames into a single, properly exposed HD video.

The camera also incorporates a high-resolution, tilting EVF and Wi-Fi.

The WXF 991 ships in march for $1,000 and is available for pre-order now.

Follow PDN’s CES 2016 coverage here.

December 14th, 2015

Vimeo Launches Wider 4K Streaming


The online video service Vimeo will broaden access to 4K videos hosted on its site. Vimeo originally launched 4K streaming and downloading for select users earlier this year, but according to Variety, the service will make 4K videos available to all its users by the first quarter of 2016.

Central to Vimeo’s 4K efforts is the use of a technology called adaptive bit rate streaming, which measures a user’s available bandwidth on a continuous basis and adjusts streaming video quality accordingly. If a user’s bandwidth is limited, Vimeo will automatically adjust and send a lower-quality stream (rather than buffer the video) and will dynamically increase the quality of the stream when bandwidth conditions improve.

Adaptive streaming is used by YouTube, Netflix and other streaming video services but Vimeo is a late adopter.

Vimeo is also evaluating whether to automatically send a viewer the highest quality video based on their bandwidth, whether or not they manually select that option.

Read More:

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October 22nd, 2015

Three Cool Photo Products We Spotted at PhotoPlus Expo Launchpad


Memento’s 4K Frames

Born on Kickstarter, Memento’s 4K frames will be shipping to consumers and retailers towards the end of the year and into 2016. These Wi-Fi connected frames are available in 25- and 35-inch sizes and can be controlled through a smartphone app (iOS, Android) or through a PC and Mac. They feature a built-in light sensor that adjusts the display’s brightness based on ambient lighting so that an image takes on the look of a printed image, not a harshly backlit screen. The light sensor also shuts down the frame at night, so there’s no need for an on/off switch.

The real innovation of the Memento frame is its aesthetically pleasing approach to the power cord. It’s a flat cable that adheres to the wall and is paintable so it can be quickly concealed. It can also fold, so you can angle it around tight corners.



Triad Orbit

The Triad Orbit wasn’t built to be a light stand, at least, not originally. As product developer Ryan Kallas told us, it was (and still is) a mic stand, but enough photographers asked them to adapt the product for lighting that the company evolved the line to accommodate them.

Unlike traditional light stands, the Orbit uses a series of interchangeable screw mounts for tripods and lights that simply pop into and out of the stand through a release lever. There are a variety of accessories, including cheese plates, clamps, boom arms and more, so you can customize your kit.



Another successful Kickstarter, the PakPod will be shipping to early backers in December and to the masses in 2016. It’s a tripod for smartphones, action cams and even DSLRs  with stakes for feet and legs that can be locked in asymmetric positions. The stakes can be dug into the ground, hung on walls and, in some configurations, even mount additional accessories. There are three stake choices on offer, a “safe stake” with a rounded end, a standard stake without 1/4-20 threads and a quarter twenty stake that has two tripod-friendly threads.

The PakPod is waterproof, freeze proof and durable thanks to its ABS and steel construction. It can hold up to 11 pounds when the legs are retracted or 5.5 pounds with the legs extended. The tripod will retail for $99

July 16th, 2015

Panasonic GX8, FZ300 Deliver 4K Recording, Faster Processing While Company Eyes Focus-Free Future


Panasonic continues to expand the number of 4K cameras in its arsenal with the introduction of the new GX8 and FZ300. Beyond the new models, Panasonic said it was prepping a Lytro-like “post focus” capability for its new cameras that would leverage 4K recording and touch screens to allow users to adjust the focus point after capture. New lenses, too, are also in the works.

Let’s start with the cameras.


In addition to 4K video, the Micro Four Thirds-based GX8 is the first in Panasonic’s lineup to offer a dual image stabilizer–one for the camera body, the other for the lens–that work in tandem to combat camera shake at all focal lengths. According to Panasonic, most of its image-stabilized lenses will be able to work with the new dual stabilizer system in the GX8. When filming videos, the GX8 will employ a 5-axis hybrid stabilization that combines sensor shifting and digital corrections and is similar to the system used in the company’s video cameras.

The GX8 features a new 20.3-megapixel image sensor and quad-core Venus Engine CPU to drive continuous shooting at 8 frames per second in AFS mode and 6 fps in AFC mode. Dynamic range has been improved by a 1/3 stop over its predecessor, the GX7.

Like most recent Panasonic cameras, the GX8 will record 4K video (3840x2160p30) as well as 1920x1080p60 video in either AVCHD Progressive or MP4. Similar to the G7, the GX8 features a 4K Photo Mode that lets users shoot 4K video in any aspect ratio and isolate an 8-megapixel clip from a 4K video file during playback. According to Panasonic, the virtue of using 4K Photo Mode versus simply grabbing stills from 4K video is the ability to change aspect ratios and the faster shutter speed of 1/500 sec. that keeps 4K Photo Mode stills in sharper focus than 4K video frame grabs. The color range is also wider in 4K Photo Mode than it is during 4K video capture.


There will be three new 4K photo modes in the GX8.

A 4K Burst Shooting mode captures frames at 30fps for the duration of your shutter press (up to 4GB worth of data). A 4K Burst S/S (Start/Stop) mode starts consecutive shooting with a single press of a shutter button and stops it with the second press. Finally, a 4K Pre-burst mode automatically records 30 frames before and 30 frames after your shutter press for a total of 60 4K video frames to choose from.

Other features of the GX8 include:

* a tilting OLED Live Viewfinder with a magnification ratio of 1.54X and a 100 percent field of view

* a free-angle 3-inch OLED touch screen display

* 240 fps Contrast AF system with DFD (depth from defocus) technology that calculates the distance to the subject by evaluating 2 images with different sharpness level while consulting the data of optical characteristics of the current lens to deliver a .07 sec. AF speed

* 49 AF points

* 1/8000 mechanical shutter speed and a 1/16,000 sec. electronic shutter

* improved low-light focusing down to -4EV with a Starlight AF mode to help users shoot stars in the night sky using autofocus by narrowing the AF zone

* Wi-Fi and NFC

* weather proof magnesium alloy die cast frame

* in-camera RAW processing

* focus peaking

The GX8 is due to ship in mid-August in two versions: all black and a model with a silver top with a black bottom for $1,200 (body only).

The FZ300


Panasonic also rolled out the successor to the FZ200. The new FZ300 delivers a similar optical package with a 25-600mm f/2.8 built-in lens with optical image stabilization and adds 4K recording and a new Venus Engine image processor to improve ISO sensitivity to a max of ISO 6400.

The FZ300 features a 12-megapixel image sensor, 4K video recording and the same 4K Photo modes as the GX8 above.

You can frame your compositions through a 1,440K-dot OLED LVF with a 100 percent field of view when shooting in 4:3.

Additional features of the FZ300 include:

* 3-inch, free angle LCD

* 12 fps continuous shooting in AFS mode or 6 fps in AFC

* .09 sec. AF speed with DFD technology

* low light focusing down to -3EV

* Wi-Fi

* 5-axis hybrid stabilizer for HD video recording

* focus peaking

* in-camera RAW processing

The FZ300 will ship in mid-October for $600.

Coming Soon: Post Focus Mode

According to Panasonic, a new Post Focus mode will leverage a 4K burst mode to compile multiple exposures which a user would then use to freely determine a focus point in the frame using a touch screen. Post Focus mode will come to both the GX8 and FZ300 later this year via a firmware update as well as future models not yet announced by the company.


Beyond the focusing capabilities, Panasonic also said it was working with Leica to develop a Leica DG 100-400mm f/4-6.3 telephoto lens for its Micro Four Thirds lineup. The lens would offer a 35mm equivalent focal length of 200-800mm and a dust and splash-proof build. Panasonic said its light weight and image stabilization would allow for handheld shooting out to the very end of the focal length.

The company is also prepping a Lumix G 25mm f/1.7 prime lens. Release date and additional specs for both lenses are not yet available. Product photography is preliminary.


April 14th, 2015

Panasonic Will Give GH4 New Tricks, Adds 4K Video Camera, New Action Cam at NAB


AG-DVX200Panasonic hit NAB with an update to its GH4 mirrorless camera plus a new point-of-view camera and preview of a new video camera we can expect to see in the fall.

With a Version 2.2 firmware update at the end of this month, the GH4 will be able to record anamorphic video content to mimic the widescreen, cinemascope aspect ratios used by cinematographers. With the new firmware, GH4 owners will have be able to shoot in 4:3 Anamorphic Mode to capture video at  3328×2496 at a frame rate of either 23.98, 24, 25 or 29.97 fps.

The GH4 will also get a faster electronic shutter speed with the new firmware, maxing out at 1/16,000 sec. after it’s installed.

Panasonic will also launch a new 4K camera in the fall. The AG-DVX200 (pictured above) is a fixed lens camcorder with a new Four Thirds CMOS image sensor capable of 12 stops of dynamic range.

The DV200 will record 4K (4096×2160) at 24 fps as well as UHD (3840×2160) at up to 60 fps and HD up to 120 fps in either MP4 / MOV file formats to a pair of SD cards.

According to Panasonic, the DVX200 will feature the same tonality and colorimetry as the company’s VariCam lineup.

On the optics front, you’ll find a 13X Leica Dicomar f/2.8-4.5 zoom lens with three manual rings for focus, iris and zoom. The lens uses a five-axis hybrid image stabilizer to keep footage blur-free. Additional features include time-code in/out, 3G HD-SDI and HDMI 2.0 (4K) video outputs.

Panasonic plans to ship the DVX200 in the fall for under $5,000.

A1_Slant1_DPanasonic also launched a new point-of-view action camera. The New HX-A1 is an HD camera weighing in at a svelte 1.6 ounces. It’s waterproof to a depth of 5 feet without a housing, shockproof up to 5 feet and freezeproof.

It features built-in Wi-Fi for remote control and image sharing via a mobile device. It can also send a video stream to Panasonic’s W970 and W870 camcorders to merge its video in a sub-window with footage captured by either of the two conventional camcorders.

A loop recording function enables continuous recording by erasing earlier clips after you’ve recorded for more than an hour. You can shoot up to 120 fps at 848×480 or up to 60 fps at 1280×720. Full HD is captured at 30 fps.

When connected to a computer via USB, the A1 can double as a webcam. Pricing and availability were not announced.


October 30th, 2014

PhotoPlus Expo 2014: LG Intros 4K Monitor, Super-Wide Screen Models


Looking to jump on the growing number of 4K capture devices entering the market, LG has announced a new 4K-capable monitor tipped at video editors and others needing a large, high-resolution and color-accurate workspace.

The 31-inch IPS monitor (model 31MU97) will have a resolution of 4096 x 2160 with support for Maxx Audio and the Adobe RGB color space. The display has an aspect ratio of 16:9 with a color depth of 10-bit. It offers two HDMI ports, DisplayPort, MiniDP and three USB 3.0 jacks.

It’s shipping now for $1,399.

The company also showed off a new pair of “ultra-wide” monitors with an aspect ratio of 21:9.

The 39UC97 is a curved monitor that measures in at 34-inches diagonally. It features an IPS panel with a resolution of 3440 x 1440. It features a Thunderbolt 2 port and supports Maxx Audio with a 7 Watt speaker system built in. It’s available now for $1,299.

Finally the 34UM95 will share some of the features of its curved sibling but will be slighly smaller at 33.7-inches diagonal. It ships with True Color Finder calibration software and features LG’s 4-Screen Split feature that divides the screen into four sections with a choice of eight screen ratios. It also supports Dual-Link Up which lets you connect two sources to the display and display both on the screen simultaneously. As far as connectivity goes, this monitor has two HDMI ports, DisplayPort and two ThunderBolt 2 connections.

It’s available now for $999.

September 15th, 2014

Photokina 2014: Samsung Reveals 4K-Recording NX1 (Hands-on Preview)


Samsung is making a concerted push at hybrid still and video shooters with its new flagship, the NX1, introduced at Photokina 2014. It’s one of the first cameras capable of recording 4K in the new HEVC codec, which promises more efficient compression than its H.264 predecessor.

We had a little hands-on time with the unit ahead of its Photokina debut and we think it will definitely pique the interest of video and still photographers alike.

New Sensor

The NX1 is built around a 28-megapixel backside illuminated, APS-C-sized CMOS image sensor (23.5 x 15.7mm). It’s a sensor of Samsung’s own design and is the first of its size to feature backside illumination. While it offers roughly 8 million more pixels than the NX30, the photo diodes are the same size (a space-saving consequence of the BSI sensor). This endows the NX1 with better low light performance, up to ISO 51200 (from a native 100). The sensor construction was also changed from polysilicate to copper, which Samsung says makes it faster and more energy efficient.

One of the highlights of the NX1 is its 4K and Ultra HD video capture. The NX1 will record compressed 4K (4096 x 2160) direct to an SD memory card at 24 frames per second (fps) and compressed Ultra HD (3840 x 2160) footage at 24 or 30fps. It employs the new, more efficient H.265 or HEVC codec, which is what enables the NX1 to store 4K video to a Class 10 SD card rather than rely on an external recorder. The HEVC codec is used on many new 2014 4K televisions as well, so the NX1’s video can be played directly from a memory card on a compatible TV without prior transcoding.

You can also record uncompressed footage to an external recorder via the NX1’s HDMI 1.4 output. The NX1 can also record 4K to a memory card and output 1080p footage to an external recorder. What it can’t do is simultaneously record 4K to a memory card and an external recorder. There are mic and headphone jacks as well for audio recording and monitoring.

If 4K isn’t your thing, the NX1 also supports 1920 x 1080 HD recording at 60, 50, 30, 25 and 24fps.

Autofocus IMGP3443
Another highlight of the NX1 is its new autofocus system. It employs 205 phase detection points, of which 153 are cross type sensors, for 90 percent frame coverage. This phase system is combined with 209 contrast AF sensors enabling the NX1 to track focus on moving objects even while bursting at the NX1’s rapid 15fps.

The phase detection AF will also come as a boon to videographers since the NX1 will be able to lock focus faster and smoother than a purely contrast AF system could.

From our brief dalliance with the NX1, it was immediately obvious that the camera is fast. We aimed it outdoors at cars streaming down a busy New York Street and it locked focus quickly and burst rapidly. Reviewing the results in camera and we were impressed with how crisp (and reckless) the cabs appeared.

Rounding out the new AF features is its patterned AF assist beam which stretches out up to an 15m to help establish focus in very low light.

The DRiM processor has also been supped up from the NX30’s 64-bit chip to the NX1’s 128-bit engine. In terms of performance, the processing power delivers in-camera RAW image processing that’s three times faster than the NX30, in addition to a host of ultra-specific new scene modes such as Auto Shot. In this mode, designed for shooting baseball games, you highlight the batter and the path you suspect the pitcher’s ball will travel. The camera scans the scene at 240fps for the ball and Samsung promises the NXi will be able to reliably capture the moment the bat makes contact with the ball and snap a photo.

The new processor also powers a new multi-shot HDR mode that snaps two images in rapid succession so that even if objects are in motion in the frame, it wouldn’t scuttle your HDR composition. There’s a standard three image HDR mode in the camera too.

The NX1 offers a new, dust and weather-resistant magnesium alloy build. It feels sturdy in the hand, something professional shooters will feel right at home with. Samsung added a top LCD display for camera settings, another feature pros should appreciate. The pronounced hand grip gives you a firm hold on the NX1’s body. There will also be a battery grip for the NX1 that provides an extra 500 shots worth of life.

The NX1 is outfitted with a new electronic viewfinder that Samsung says has a 5-10ms recycle time that is “imperceptible” to the human eye. In our time with the camera, the scene flashing by on the viewfinder’s OLED panel appeared extremely crisp. The main LCD display on the camera flips out between 45 and 90 degrees and has a resolution of 1,036k dots.

For connectivity with mobile devices, or for wireless 4K streaming, the NX1 uses the fastest possible Wi-Fi (802.11ac). It also uses Bluetooth for Wi-Fi authentication with a mobile device and for pulling metadata, like GPS coordinates, into image files.

The NX1 will ship in the middle of October for $1,499 (body only). There will also be a “pro kit” bundle that includes a 16-50mm S lens, the battery grip and an extra battery and charger for $2,799.

New Lens

Joining the new camera is another S series lens: the 50-150mm f.2.8 lens (77-231mm equivalent). It will offer four axis image stabilization good for four stops of correction and a nine bladed circular diaphragm. New for the S series is a custom focusing range button that, once pressed, will let you set focusing parameters on the NX1. According to Samsung, the custom focus button will only work on other NX series cameras with a firmware update and no upgrade is scheduled as of this writing.

The lens will be dust and splash resistant and will set you back $1,599. Availability hasn’t been finalized.



February 6th, 2014

Panasonic Unveils 4K-Shooting Lumix GH4 Mirrorless, Interchangeable Lens Camera

Panasonic-GH4_H_HS12035_slant_LED1_BGGH3Photographers who also aspire to be cutting edge cinematographers can get the best of both worlds with the new Panasonic Lumix DMC-GH4, which is the world’s first mirrorless, interchangeable lens camera with 4K video capture.

Panasonic just introduced the Lumix GH4 ahead of the big CP+ Camera & Photo Imaging Show 2014 in Japan next week, where it will join several intriguing new cameras. (Yesterday, Pentax announced that its newest 645D medium format camera with a CMOS sensor will also be on display at CP+)

Panasonic first teased the 16-megapixel GH4 at the CES show in Las Vegas last month, showing off a prototype of the 4K-shooting camera under glass. We were able to snap a stealthy photo of the camera during the show.

The new Panasonic Lumix GH4 looks similar to its predecessor, the GH3, which was introduced at photokina 2014 and also used a 16MP sensor.

Under the hood though, the GH4 is a whole new animal, with a newly developed 16.05MP “Digital Live MOS sensor” designed to not only capture 4K video, but reduce the wobbly “rolling shutter” effect you can get when you pan too aggressively with a CMOS-based camera. This is key because rolling shutter can be even more pronounced in ultra-crisp 4K video, which features 4,000 pixels of horizontal resolution, making it approximately four times the resolution of HD video.

We actually predicted this trend of 4K video shooting coming to more digital cameras in our piece “5 Tech Trends That Are Changing the Photo Industry Today” from last year.

Read more of this story about the new Panasonic Lumix GH4 here.