Panasonic GH5 Firmware 2.0: 6K 4:3 Anamorphic and HLG

August 31st, 2017
Panasonic GH5 Firmware 2.0: 6K 4:3 Anamorphic and HLG

Panasonic GH5 Firmware 2.0 brings a host of new photo and video capabilities, including 6K true anamorphic (4:3) video and HLG support.GH5 Firmware 2.0

 

As if Panasonic hadn’t rocked the boat hard enough, the powerful GH5 has a few more tricks up its sleeve. GH5 Firmware update 2.0 is a major update that includes some expected and unexpected new features. It’s due for release at the end of September 2017.

Panasonic GH5 Firmware 2.0

  1. Compatibility with “LUMIX Tether” PC software
  2. Improved auto focus performance
  3. Improved performance in 6K PHOTO and 4K PHOTO
  4. An additional ALL-Intra Video Recording mode
  5. 4K HDR video recording
  6. New High-Resolution Anamorphic Mode
  7. Enhancement of Body I.S. (Image Stabilizer)
  8. Correction of white balance setting
  9. Improved usability of Time Lapse Shot
  10. Improved usability of Power Save LVF
  11. Wireless functions
  12. Other improvements

Video Highlights

ALL-Intra Video Recording

4:2:2, 10-bit ALL-Intra has been added to the 4K/FHD video recording mode. Available in 4K and C4K 24p/25p at a healthy 400Mbps, this should satisfy the needs of most color and post work. An ALL-Intra bit rate of 200Mbps is available in FHD.

HDR

The GH5 records video with a designated gamma curve compatible with ITU-R BT.2100, and you can now choose Hybrid Log Gamma (HLG).

6K Anamorphic Mode

“High Resolution Anamorphic Mode” records video with a 4:3 aspect ratio suitable for 1.33x and 2x anamorphic lenses. The “6K” pixel size for this mode is 4992×3744. Before you get too excited, this mode records Long GOP HEVC at 200Mbps only. However, ALL-Intra at 400Mbps is available in 4K Anamorphic (3328×2496).

Anamorphic Desqueeze lets you view a corrected image in Cinescope size while recording with 2.0x and 1.33x Anamorphic lenses.

Video guide lines offer a variety of aspects, such as 2.39:1, 2.35:1, 16:9, and 1:1 while recording video. These can be used in all video recording modes.

I.S. Lock

I.S. Lock (video) compensates for handshake when the viewing angle is fixed. A new handshake correction mode provides optimum correction when using 2.0x and 1.33x Anamorphic lenses.

Auto Focus

Tracking auto focus performance while recording video has been improved.

Panasonic Taking The Lead

It really feels like Panasonic is taking professional video very seriously and I hope Sony feels some pressure to up its game in the video department of its mirrorless range. The hard fact is that 8-bit long-GOP doesn’t cut it. As I’ve written before in What’s the Deal With 10-bit Color? Wide Gamuts, HDR and The Future, 10-bit color with ALL-Intra options at significantly higher bit rate needs to become the new minimum, and so far Panasonic are the only player in the game making this a reality in the mirrorless world.

To find out more, click here for the full press release on the GH5 Firmware 2.0.

So what do you think? Let us know what you are looking forward to most in the new update.

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 Andreas Paleologos
Andreas Paleologos
Member
September 5th, 2017

Cool update. Excited to try all this out when it drops.
What codec is the All-Intra using? Still h.264 in MOV? Is everything transitioning to HEVC now?

Lucas Hope
Guest
September 2nd, 2017

Daniel

Daniel Andrés Ospina López
Guest
September 3rd, 2017
Reply to  Lucas Hope

Wonderful!

 James Davis
James Davis
Member
September 1st, 2017

They just unfortunately screwed Atmos royally. But I’m glad Panasonic got off their rear ends and did what they needed to do. As a GH5 owner, I long awaited the day when the aspect ratio guidelines would come…even more so than 400mbs. Most people don’t even need that, unless you’re studio level. The anamorphic de squeeze is also the next rewarding thing on the list.

Atmos GH5 owner’s stock will decrease substantially because what Panasonic added is pretty much WHY they brought their monitors.

 Guy McLoughlin
Guy McLoughlin
Member
September 3rd, 2017
Reply to  James Davis

You still need an Atomos external recorder to shoot 4K 60p 10-bit 4:2:2, you still need it to properly preview HDR footage while shooting, and it’s also a fantastic monitor, so I don’t see them having too many problems from this GH5 upgrade.

Mase Daniel
Guest
September 1st, 2017

Just look at this sensor ?

James Tucker
Guest
September 1st, 2017

Arrgg. Just when i was thinking of moving from my gh4 to a Sony fs5. Whatever to do!!

Zenith Schmitz
Guest
September 1st, 2017

Tomas Overtoom ANAMORPHIC

Tomas Overtoom
Guest
September 1st, 2017
Reply to  Zenith Schmitz

Jaaaaaaaa, te sick deze update. H265 ook! En die tethering software is ook awesome! Ook voor video te gebruiken

Gene Nemetz
Guest
September 1st, 2017

Does Canon know what 6K is yet?

Reg Taylor
Guest
September 1st, 2017

I hope it’s all they say it is. Gonna need a faster card!

Michael Lozano
Guest
September 1st, 2017

Jimmy Zhang

Jimmy Zhang
Guest
September 1st, 2017
Reply to  Michael Lozano

God bless Panasonic

Michael Lozano
Guest
September 1st, 2017
Reply to  Michael Lozano

Jimmy Zhang they’re picking up all the slack that Canon is leaving around lol

 Derek Doublin
Derek Doublin
Member
August 31st, 2017

Manufacturers always jump back and forth holding the prosumer video crown. It changes almost every year. Mostly it’s been Panasonic and Sony since digital video began, but Canon speaks up every now and then. Just for fun, let’s look at a condensed timeline:

– Sony starts it all with the DCR-VX1000, first mini-DV camera with Firewire.

– Canon chimes in with the Canon XL1, the first interchangeable lens DV camera.

– Panasonic starts the cinematic video revolution by adding 24p to the DVX100 and 720p DVCPRO Varicam.

– Panasonic ditches tape with the HVX200 and creates a 720p HD, tapeless, digital camera with 60p slow motion capabilities.

– Sony also moves to tapeless recording with the 35mbps, full 1080p HD PMW-EX1.

– Canon accidentally starts a video revolution by putting 1080p HD video capabilities into the 5D MK II DSLR.

– Canon shows dedication to interchangeable lenses, s35 sensors, and the professional video market with the release of the new lowlight king, Canon C300 MK I. The C300 becomes the industry standard.

– Sony goes on a rampage, releasing an endless onslaught of cinema cameras, from the FS700, F5, F55.

– Blackmagic steps into the mix and disrupts the entire industry with the Blackmagic Cinema Camera, pushing manufacturers to focus on cinematic color science and expanded dynamic range.

– After remaining quiet for years (aside from the luke warm AF100) Panasonic releases the GH4 and begins to gain ground with filmmakers thanks to recording options and features.

– Sony revolutionizes lowlight cinematography with the a7s II and creates the most lowlight sensitive video camera in cinema history.

– Sony achieves complete market domination releasing the industry leading Sony FS7 with 14 stops of dynamic range, a robust codec, and multiple over cranking options. The FS7 takes the crown from the aging C300 MK I and Sony becomes the industry standard.

– Canon attempts to respond to Sony with the C300 MK II but fails to excite buyers due to lack of frame rates and cropped slow motion compared to Sony’s FS7.

– Panasonic wakes up and announces the GH5 with specs that practically match or beat almost every prosumer camera in the field, all in a DSLR camera body.

– Canon announces the C200 with built-in Raw recording in an attempt to gain ground with independent filmmakers. They also introduce Dual Pixel, touch screen autofocus for the first time on a professional cinema camera and begin to push it as a legitimate tool for professionals.

– Panasonic announces the EVA1 and makes their first hard push into the middle ground market with a small form factor, dual native ISO, and robust codecs.

– Sony…

Bernard Bertrand
Guest
August 31st, 2017

Hi guys, here is another bit about that 2.0 GH5 firmware. It should be for sure not far from our upcoming bigger brother that we have here :)
https://www.youtube.com/watch?v=g3moUzJ0b9w&feature=youtu.be

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