When most camera launch projects follow a tightly controlled, brand-scripted formula, Pushing the GH7 to Its Limits turned that approach inside out. Led by filmmaker Jon Simo, this creator-conceived production took the LUMIX GH7 into the unforgiving terrain of Caineville, Utah—where the team had just seven days to push the camera, and themselves, to the edge.
The idea first took shape after Simo began using the GH7 in summer 2024. "I thought it was the best micro four-thirds camera that had ever come out,” explained Simo. “The more I used it, the more I realized just how capable it was as a proper cinema camera for filmmakers."
Filmmaker Jon Simo shooting a sunset with a pair of GH7s.
Simo spent a couple of months investigating concepts, scouting locations, and assembling a crew. "I had met two very talented creators, Joshua Walker and Dustin Armstrong, and had always been a little envious that the stunning landscapes of Utah were their very own backyard," explained Simo. He also invited Dylan Kato, a filmmaker he connected with during the LUMIX Shutter Showdown, to document the behind-the-scenes story.
From Concept to Canyon: The Utah Shoot
Shot over four days (November 10–13, 2024), in Caineville, Utah, the production was built on speed, flexibility, and trust. With five GH7 cameras—three for primary shooting, one for BTS, and one backup—the crew captured cinematic footage, time-lapses, and stills in extreme desert conditions.
Built on speed, flexibility, and trust, the production used five GH7s to capture cinematic footage, time-lapses, and stills in harsh desert conditions. (Photo by Dustin Armstrong)
Joshua Walker reflected on working with such a diverse team: "Everybody shoots such different things than what I shoot," he explained. "Typically, what I shoot is I get one chance. It’s run and gun, and I’m constantly moving at all times. I was excited to see how everybody else worked."
The physical and environmental challenges were relentless. "We dealt with powerful winds with blistering amounts of sand being thrown at us, deep freeze temperatures, loud vehicles and bikes, varying weather conditions, intense physical exertion and nonstop capturing," recalled Simo. "But this herculean effort led to some of the best visuals ever shot on the GH7."
Dialing it in—Creators Joshua Walker and Dustin Armstrong make final tweaks on the GH7. (Photo by Jon Simo)
The Gear: Nimble Yet Powerful
Each GH7 was preloaded with custom C1, C2, and C3 modes, allowing the shooters to instantly switch between 5.7K ProRes, 4K 120fps, and stills or time-lapse modes. The LUMIX G-series lens kit included: 10–25mm f/1.7; 25–50mm f/1.7; 12–35mm f/2.8; 35–100mm f/2.8; 100–400mm f/4–6.3; and 1.4x and 2x teleconverters.
The GH7 is the reason why this project was even possible in the first place. The highly ambitious concept meant that we had to be as nimble as possible, be able to react and pivot on the fly and ensure that our gear wouldn’t slow us down.
Filmmaker Jon Simo
"The most used lenses by far were the 10-25mm, 25-50mm and the 100-400mm," said Simo. "The compact telephoto helped us capture amazing visuals of our motorcycle rider from afar."
To keep things cinematic, the team used diffusion and variable ND filters throughout. They also employed gimbals, drones, car-rigging, suction mounts, camera sliders, tripods, action cameras and even iPhones for some of the BTS capture.
Golden hour behind the lens—Dylan Kato films BTS at sunset. (Photo by Jon Simo)
But a major logistical setback hit on day one. "The first big issue to overcome was my luggage being lost during my flight from Toronto to our shooting location," Simo explained. "We had to figure out a game plan to fill the missing void of our gear package. Thankfully, we were able to make do by visiting a local hardware store to pick up some make-shift rigging equipment. This forced us to be extra creative with how we mounted cameras to vehicles and motorcycles."
With the GH7 rigged to the car hood, Joshua Walker lines up the next shot. [Photo by Dustin Armstrong]
Trusting the Gear (and Each Other)
Simo emphasized how the GH7’s small form factor enabled their nimble, DIY-style workflow. "The GH7 is the reason why this project was even possible in the first place,” he explained. “The highly ambitious concept meant that we had to be as nimble as possible, be able to react and pivot on the fly and ensure that our gear wouldn’t slow us down. We didn’t have massive pelican hard cases in sight on this project—everything was contained to our backpacks and camera bags, which empowered us to be able to move locations quickly, hike in to remote areas easily and not need additional support crew."
Dustin Armstrong admitted that he was initially skeptical. "I can’t lie... when Jon brought me in and said it was the GH7, I was a little like, ‘Alright, let’s do this.’ But walking away from it—it completely shifted my opinion of Micro Four Thirds versus full frame."
Armstrong confidently captured both video and stills, thanks to the GH7’s versatile hybrid capabilities. (Photo by Jon Simo)
The GH7’s hybrid capabilities allowed Armstrong to shoot both video and stills with confidence. He was so impressed that he decided to keep shooting with the format. "To show you how on board I am now... I actually bought into some Micro Four Thirds lenses for the GH7, because I didn’t want this camera just sitting here not being used,” revealed Armstrong.
A Sunset Sprint, a 600mm Shot, and a Touch of Dust
One of the most iconic moments of the shoot came at sunset, when Dylan Kato and Armstrong sprinted to capture a silhouette of rider Seth Beasley against the setting sun. "We used the 100–400mm with the 2x extender, which made it a 600mm lens," said Kato. "And this was my favorite shot from the project, hands down. The whole time I was just like, ‘Okay, there’s a shot here… we gotta do this now.’ Once you get in the situation, you just can’t stop."
Frame grab of rider Seth Beasley at sunset.
Joshua Walker, unaware of the moment unfolding, added a cinematic layer by kicking up dust behind Beasley. "I went up there and put it on the brake and was giving it some [gas] to add more [dust], because I was like, ‘Oh the dust—it looks amazing.’ Just seeing that photo alone, I’m like, ‘Check. Great work, guys.’”
What’s Next for the Project?
"With the project complete, and the release of the final content on the horizon, my goal is to share it with as many people as possible, engage with the LUMIX community, help to foster more collaborative projects within LUMIX users and ultimately dream up the next highly ambitious project to showcase whatever exciting releases LUMIX has planned for the future," said Simo.
Simo, setting up his GH7 for an epic shot. (Photo by Joshua Walker)
He encourages creators to join the LUMIX Discord Community, where he’s been engaging in deeper technical discussions and inspiring others to push their own creative limits. "The camera performed heroically throughout every aspect of the shoot and it’s become my mainstay capture device for high-end cinematic visuals."
Watch Dustin Armstrong’s GH7 Breakdown on YouTube
Watch Dylan Kato’s Documentary on Rider Seth Beasley
