Panasonic GH5S Overview. I have never been a massive user of the stills facilities on either the GH4 or GH5 as I tend to use full frame DSLR's for that. I think I'm not alone and Panasonic have listened to the majority of users and created something special. The new GH5S is most definitely geared towards video people and more away from stills shooters. For one, the pixel count has halved from 20mp to 10mp but the pixel size has almost halved. This is to allow the sensor to gather more light thereby making it a true low light video shooter. Check out this short sample video for qualit .
Following the GH5 (the hybrid still/video solution) and the G9 (the sports and wildlife model), Panasonic has now come out with the GH5s and as you might expect, this third flagship focuses entirely on video.
Not even a year ago, praise was being showered on the advanced video capabilities of the Lumix GH5, so it is natural to wonder: just how does this even more video-oriented camera compare? Well, on the outside, very little has changed. The two cameras have the same design and dimensions which means that many accessories will work seamlessly on both. The only visual differences are the red video recording button, red ring around the drive dial and red S on the name. The button layout is also the same, including the rear AF Joystick.
With the exception of the refresh rate that reaches 120fps on the GH5s rather than 60fps, the EVF specifications don’t differ either (3,860k dots and 0.76x magnification). And the 3.2″ multi angle LCD screen is exactly the same with 1620k dots. It is only once we look under the hood that we can find some relevant differences worth talking about. Here are the ten most important! Ethics statement: The information supplied in this article is based upon our personal experience with the GH5 and a quick hands-on with a pre-production GH5S at the UK press event.
If we have the chance to use them side by side in the future, we will publish a full comparison. We were not asked to write anything about these cameras, nor were we provided with any sort of compensation. Within the article, there are affiliate links. If you decided to buy something after clicking the link, we will receive a small commission. To know more about our ethics, you can visit our .
Thank you! 1. Sensor The GH5 features a 20MP Live Mos sensor which is currently the highest resolution you can find on a Micro Four Thirds camera. There is no low pass filter to maximise sharpness. The GH5S has newly designed chip with half the megapixel count (10.2MP). The larger the pixel, the more light it can gather, which helps to reduce noise at high sensitivities just like Sony’s A7s series.
Following in the footsteps of previous Lumix cameras like the GH2 and LX100, the GH5S uses the multi aspect ratio format. Because the sensor is slightly bigger than the area covered by the lens, it is possible to change the aspect ratio (4:3, 16:9 etc.) while maintaining the same diagonal angle of view. 2. ISO sensitivity The GH5 has a range of 200 to 25600 ISO and extended “pull” values down to 100.
For video the range only goes from 200 to 12800. In our experience, we’ve found that the camera performs quite well up to 6400 ISO for stills and 3200 ISO for video. You can push it to 6400 for movies too if you play with the noise reduction setting a little. The GH5S takes the low light performance to a new level for Micro Four Thirds. It offers a range of 160 to 51200 ISO with extended values down to 80 and up to 204800 ISO. The entire range, including the extended settings, is available for stills and video.
These values are possible thanks to the larger pixels on the sensor and the Dual Native ISO of the camera.
Unlike the GH5 that has one native ISO of 400, the GH5S has two native values of ISO 400 and ISO 2500. So if for example you want to shoot at 6400 ISO, the GH5S amplifies the gain (higher voltage to the sensor) from the 2500 native value rather than the 400 ISO value.
This means it doesn’t need to amplify the gain as much as the GH5 would. Judging from the official side by side comparison images recorded at ISO 6400 and ISO 12800, the GH5S produces more contrast and less noise in the shadows. We also had the chance to briefly record an ISO test with the new camera at a press event and the results at high ISOs were indeed very good, with usable footage up to 12800 ISO.
3. 4K and 6K capabilities Both cameras can record in 4K Ultra HD (3840×2160) or Cinema 4K (4096×2160) formats. With regular 4K the two cameras can go as fast as 50/60p but in Cinema 4K the GH5 is limited to 24p.
The GH5S on the other hand can record both 4K and C4K at 50/60p. The two products can record internally at 4:2:2 10-bit and 400mpbs in 4K (200mbps in 1080p) up to 30p. The high resolution sensor also gives the GH5 an advantage concerning the maximum video resolution. It can record 6K in anamorphic mode up to 30p and has a 6K Photo mode that allows you to record at 30p and save any of the video frames into an 18MP JPG.
GH5, 1/4000, f/5.1, ISO 1000 – 6K Photo The two cameras can record anamorphic footage in 4K up to 60p and have the 4K Photo features up to 60p as well. 4. Slow motion video The GH5 has an excellent VFR mode with a maximum of 180fps which gives you a slow motion footage up to approximately 6x. The GH5S goes one step further with a maximum of 240fps. 5. V-Log L gamma curve V-Log L is Panasonic’s Log gamma curve. It allows you to record the widest dynamic range possible in video mode by using the native sensitivity range of the camera (ISO 400).
However it isn’t included by default on the GH5 and costs around $100 to download. The GH5S comes with V-Log L already installed. 6. Image stabilisation The GH5s has its fair share of new technology in comparison to the GH5 but there is one important feature it is missing: 5-axis stabilisation. The GH5 can use its in-body stabilisation system in combination with the optical stabilisation of Lumix lenses for superior performance up to 5Ev of compensation (CIPA standards).
This system is called Dual IS2. The GH5S on the other hand can only rely on the optical stabilisation of Panasonic lenses or third party stabiliser hardware. 7. 14-bit RAW We know of the many improvements made to the video specifications of the GH5S but what about still photographers – is there anything at all that could interest them?
Well, while the resolution of the sensor isn’t anything to write home about, the inclusion of 14-bit RAW is a very nice surprise. If my memory serves me well, it is the first Micro Four Thirds camera to exceed 12-bit. 14-bit gives you more colour information which is nice but would be more welcome on the GH5 since it is more stills-oriented than the GH5S. 8.
Autofocus speed and sensitivity Both cameras use Panasonic’s Depth from Defocus AF system which works with contrast detection but offers a faster speed that traditional contrast based systems. The GH5 uses a faster version with a locking speed of 0.05s. The GH5S is slightly slower with a locking speed of 0.07s but it has better sensitivity in low light (-5Ev vs -4Ev on the GH5). Also included are the AF-C Custom Settings that allow you to fine-tune the AF behaviour on both products.
9. Additional connections The two cameras feature a full-sized HDMI port, USB Type C, mic in, headphone out, remote input, flash sync and two SD card slots with UHS-II compatibility. The GH5s has timecode in and out that works via the flash sync port (a cable is provided) which means you can genlock it with broadcast cameras.
The Mic in port can also be used as a Line In for other audio sources. 10. Price The GH5 can be found for around $2000 / £1600 / €1800 body only or in a kit with either the 12-35mm f/2.8 or the 12-60mm f/2.8-4.
The GH5s is more expensive starting at $2500 / £2200 / €2550 for the body alone. There are no kit lens bundles. Conclusion The GH5S is the logical choice for video shooters since the camera has been designed for that purpose more than any Lumix model to date.
But truth is that the GH5, despite being labelled a hybrid model, is just as capable for video as the GH5s in many ways, and is far more capable than many of its competitors on the mirrorless market. For this reason, it also remains a valid choice for professional video work. Perhaps the most important aspect to consider is the GH5s’ improved ISO sensitivity range, as it solves – or at least minimises – a problem that Micro Four Thirds has always faced, which is low light performance.
If you often work in poor light conditions, you’ll certainly find the GH5s a more flexible tool to work with. Check price of the Lumix GH5s on Check price of the Panasonic Lumix GH5 on | | | Used Panasonic cameras on | Filed Under: DISCLAIMER & COPYRIGHT NOTICE Heather Broster is participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites.
Heather Broster is a participant in the Amazon EU Associates Programme, an affiliate advertising programme designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.co.uk. Heather Broster and Mathieu Gasquet are also participants in the following affiliate programs: B&H Photo Affiliate Program, Ebay Partner Network, Skylum (Impact Radius), Mediterranean Photo Tours, The Inspired Eye, MPB (Awin) and MPB US (Awin).
To read more information, please visit our . Thank you! © HEATHER BROSTER/MATHIEU GASQUET AND MIRRORLESSONS, 2016-2018 Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited.
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best settings for panasonic gh5s - Panasonic LUMIX GH5S Review: A Great Camera for Low
A video walk-through of the Panasonic GH5. This gives you tips and tricks on getting the best video quality when using 4K on the GH5. This is mostly a video review of the new Panasonic 4K camera but he gives quite a bit of incite on how to use the camera.
He also compares the GH5 to cameras like the Sony 6300, 6500, Sony A7s, Canon models. Almost Unlimited 4K video recording, 10-bit color and a wide range of variable frame rates are among the key specifications, as well as Panasonic’s 6K Photo mode. 6K Photo is a high speed burst shooting function that allows users to extract a still image out of a 4:3 or 3:2 video footage. The stills offer approximately 18-megapixel (6000 x 3000 effective pixel count) resolution.
The new improvements to the ISO performance are outstanding. Panasonic has listened to the critiques, as well as giving us a few extras. One of those which we really like is the new joystick. By pushing the joystick in it will select the center focus point straight away, which is very useful if you need to adjust your focus point very quickly. Basic specs of the GH5: Professional photo and 4K video performance in a durable magnesium alloy body.
20.3MP Four Thirds sensor with no low pass filter. 4K video: internal recording at 4k60/50P (4:2:0 8bit) & 4k30/25P/24P (4:2:2 10bit). Variable video frame rates 4K: max. 60Fps & FHD: max. 180Fps. 5-Axis photo/video Dual I.S. 2.0 up to 5 Stops with compatible LUMIX MFT lenses, plus In-body stabilization Support for classic non-o.I.S lenses.
You can find the Panasonic GH5 here with . .
The has started to ship and one of the most frequent questions we are being asked is: how good is the autofocus ? In order to find out, I’ve composed this simple video sample for you guys to judge it for yourself.
Of course, it would have been easy to place my “good face for radio” in front of the camera and jump in and out of the frame to determine the functionality of the autofocus, but why make life easy when if I can complicate things? Why use autofocus?
In case you are asking yourself why would one choose to shoot in autofocus mode, then the answer is clear. This is a real word shooting scenario, meaning, a low-budget production handled by a single operator using a modestly-priced camera mounted on an affordable handheld gimbal.
In such a case, a follow focus puller and his rig are not an option. The storyline: In order to execute this autofocus test I’ve teamed up with the dear people at , a world leading class Austrian piano manufacturer and who is an extremely busy talented leading pianist and a piano professor.
We gathered at the showroom in order to film a short introduction to their selection of pianos. Setting up the : While exploring the camera, I was not so happy with its autofocus performance, but in order to be double cautious, I decided to look online and choose 2 popular videos which successfully demonstrate how to set up the original for better autofocus performance.
The videos I looked at were from and While Scott and Nick showed completely different methods on how to set up the camera for better autofocus performance, their results were the same: success! It is also worth mentioning that I chose the settings in their videos because I was looking for a way to nail accurate focus at the center of my frame (my protagonist’s face), and those two methods dealt with it in a successful way.
Here are Scott’s and Nick’s settings: Nick’s setting Nick’s autofocus settings: AF mode: Custom Multi, AF Custom Settings: OFF, My results with the : Thinking those settings would work well on the , I experimented and decided to shoot the video above multiple times in both settings. Unlike them, however, my final result was less satisfying. At times, the camera changed its autofocus point with no real evident reason UNLESS some contrasty images in my frame really distracted it from nailing it 100%.
Most disturbing is the scene where Jan’s face was fully on-camera, yet the still chose to focus elsewhere. Can it be that the green emergency sign on the left side of Jan’s face confused the AF system? Jan’s face out of focus Conclusion: This is by no means meant to be a scientific experiment. It is a simple “true to working life” field test that was executed with camera settings which I hoped would give me good results. While it is fine about 90% of the time, there is absolutely room for improvement. Hopefully it can be done via a firmware update.
About the above video: Shot with . Lens: Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4. Edited on Adobe Premiere CC latest edition. Color corrected with FilmConvert. Sound recorded on a Tascam DR60d. Microphones used: and . Light: . Gimbal: . Music: by Special thanks to and Sabine Grubmueller from .
If you have been using the in autofocus mode and found useful settings for it, please share it with us in the comment section below. Why would you choose “those guy’s settings”, first off they were the same bad setting everyone else were trying and 2nd those are old videos that obviously didn’t make a difference. YodaYeo made a great video earlier this month explaining why a 179° shutter at 30fps works best for GH5’s video AFC and Gerald undone did another afterwards fleshing out the custom settings.
I did the same tests and got OK results, still not great but at least works like I’d expect contrast detect AF to work now. Good video though, just outdated settings. Hi Peter. I’ve explained in the article why I chose those guys settings. There are millions of videos out there with different setting ideas so for the sake of testing I took 2 popular once which are demonstrating SUCCESSFUL results (For the guys who tried it).
When I conducted my test the video you are referring too was NOT online (It is dated Feb 15th). I will gladly try the settings in the video you’ve sent me when I’m back from Japan around the middle of the month and see if it working its magic on the GH5S. If it … Read more »
Panasonic Lumix GH5S - What does the Dual Native ISO setting do ?