Video
ProRes
Apple's professional intra-frame video codec, widely used in broadcast and film post-production. Each frame is stored independently, making it fast to edit and colour grade. The Panasonic GH7 is the first M43 camera to record ProRes internally.
ProRes is a family of video codecs developed by Apple for professional post-production workflows. Unlike delivery codecs like H.264 and H.265 that compress video using inter-frame prediction, ProRes is an intra-frame codec that compresses each frame independently. This means every frame in a ProRes file can be decoded without reference to any surrounding frame, making scrubbing, editing, and colour grading significantly faster and smoother than with inter-frame codecs, particularly on longer timelines.
ProRes comes in several variants with different compression levels. ProRes 422 is the standard production variant; ProRes 422 HQ offers higher bitrate and lower compression for more demanding work; ProRes 4444 preserves the alpha channel and is used in compositing workflows; ProRes RAW and ProRes RAW HQ are partially debayered formats that retain sensor-level data for maximum grading latitude. The Panasonic GH7 records ProRes 422 HQ and ProRes 422 internally to CFexpress Type B cards, making it one of the most capable M43 bodies for professional video production.
ProRes files are large relative to H.264 and H.265 at equivalent quality. A ProRes 422 HQ 4K 60fps recording can exceed 1GB per minute, requiring fast and high-capacity storage both in the camera and in the editing system. This is the primary trade-off versus compressed codecs: ProRes is easier to work with in post but demands more from the entire production pipeline. For shooters delivering direct to client without grading, H.265 at high bitrate is more practical. For productions requiring colour grading, compositing, or multi-generation quality, ProRes is significantly more suitable.