Panasonic GH5 Hands-on – “6K” Anamorphic Video, 4K 60p, 180fps FHD

January 4th, 2017
Panasonic GH5 Hands-on - "6K" Anamorphic Video, 4K 60p, 180fps FHD

The GH5 was announced back in September last year, but Panasonic kept many features of the camera close to the chest. Today, at CES, Panasonic pulled back the curtain. We have the full feature list and were invited to an exclusive prior GH5 hands-on event in Los Angeles. Spoiler alert, the camera looks great and it’s a cinematographer’s dream. Features, pricing and availability below: 

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Watch our new interview about the GH5 with Panasonic advisor M. Uematsu in this new article by clicking here.

The built-in flash found in the old GH4 is gone and a whole new array of magical features aimed squarely at indie filmmakers have taken its place in the MFT Panasonic DMC-GH5, unveiled today at CES in Las Vegas. However, the Panasonic GH5, like a fine wine, will need to age gracefully into the summer to reach its full potential. More on that later.

Back in May of 2014, the Panasonic Lumix GH4 hit the market and became an instant favorite. Lauded for its internal 4K, variable frame rate option, XLR input module and professional video features such as peaking, zebras and cinema color profiles, it was clear that Panasonic built the camera with the cinematographer in mind. On paper, engineers have outdone themselves in every way with the new GH5.

Panasonic will be squishing features like 4:2:2 10bit 4K with a bitrate of 400Mbps and 180fps FHD variable frame rate recording into the tiny 2.0 pound body of the GH5. Over the years you get used to seeing specs like this from companies such as RED Cinema, but with the price point of a BMW 5-series. For the GH5, we are more in 1998 Honda Civic territory with a camera body price point of $2,000.

In short, the GH5 looks stylish, feels great to hold and shoots gorgeous video.

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The camera launches with a max resolution of 4096×2160 up to 60fps with a bitrate of 150Mbps. Notice the differences from the features in bold above? That’s because Panasonic is rolling out a free firmware plan upgrading the camera into the summer, and 4K (400Mbps) All-Intra recording will unlock by July.

Of course, it would be great to have all the banner features right as you open the box, but like many video games these days, you’ll need to wait for updates before the camera has its full feature list, but what a list of features it is.

Here is the full firmware breakdown:

GH5 Firmware Upgrade Path:

4:2:2 10bit – Available April, 2017
6K/24p Anamorphic Video Mode (4:3) – Available Summer, 2017
(200 Mbps) FHD 4:2:2 10bit ALL-Intra – Available Summer, 2017
(400Mbps) 4K 4:2:2 10bit ALL-Intra – Available, Summer 2017

V-Log Color Profile  – Available at launch, Cost: $100

6K/24p Anamorphic Video Mode will be available in a 4:3 aspect ratio in the Summer and the very fact we are talking about getting 6K, or close, Anamorphic out of a $2,000 MFT body is exciting. Panasonic is calling this upcoming mode: “High Resolution Anamorphic” as it is 6K resolution in terms of pixel density, but not 6000 pixels of horizontal resolution.

**Update: The camera ships with Anamorphic 4K (4:3) with H.264 compression enabled. Come Summer 2017, 6K (4:3) will be shootable in H.265 compression with free firmware update. Firmware schedule below.  

Unfortunately, if you previously purchased V-Log for your GH4 you will not be able to transfer that update over to the new GH5. A new purchase is required.

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While the GH5 has the same dynamic range as the Panasonic GH4, it has slightly improved lowlight performance, but I wouldn’t call this a lowlight camera by any means. We were presented with a ISO 6400 video sample and noise in the picture was very evident. On top of that, when shooting with high ISO settings, the camera will automatically reduce noise internally. This feature cannot currently be turned off and can only be controlled via the menu with high/mid/ and low settings. Panasonic is certainly willing to listen to feedback and might consider adding a complete “off position button” if there is a demand for it.

Color depth is improved and the GH5 will eventually shoot internal 4:2:2 10bit, compared to the 4:2:0 8bit of its predecessor, but launches with 4:2:0 8bit only in IPB compression. 4:2:2 10bit color is double the information of 4:2:0 and provides greater grading flexibility in the post process before the image falls apart.

Here is some gorgeous footage, shot on GH5, from the good folks over at Neumann Films:

Dual SD Recording in the GH5 is a new added feature and has three modes: continuous, backup and distribution copies. When “distribution copies” is selected the camera will save stills to one card and video to the other.

Thankfully, no cropping is required in 4K anymore with its 20.3 megapixel sensor. I’m not a fan of calculating the crop factor with my lens each time I switch my resolution settings in-camera and hopefully those days are soon behind us.

The body is about 10% larger than the GH4, so you may be able to fit the GH5 into your old cages, but the HDMI port will likely not line up correctly. Time to buy a new camera cage.

5-Axis Internal Stabilization: 

Not to be outdone by Olympus or Sony, the GH5 includes internal 5-axis stabilization that, when paired with a Lumix OIS-capable lens, will work together with the lens to further stabilize the shot, especially at longer focal lengths.

Slow Motion (Variable Frame Rate): 

Achieving those slow motion and quick motion shots is possible with a wide range of selectable frame rates available in the GH5. You can now shoot up to 60fps in 29.98 in full cinema 4K, up to 180fps in FHD, or you can under crank as far as 2fps in both 4K and FHD.

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Panasonic GH5 with optional XLR accessory.

DMW-XLR1 Microphone Adapter:

The blocky looking XLR module for the GH4 required a separate battery to power and wasn’t the greatest thing to look at in my opinion. This time around, Panasonic has created a microphone adapter that is powered from a hot shoe on top of the camera and will still feed phantom power. This is a much more elegant solution and a cold shoe (not visible above) on top of the adapter makes a great spot for a small external shotgun mic. Note that the microphone adapter supports a very welcome feature: high-resolution audio (96khz) mode.

Other accessories include an HDMI lock shipping with the camera (thank you, Panasonic) and an optional battery grip.

Technical Highlights of the Panasonic GH5: 

  • Max Resolution:  4K/60p (Output Only)
  • Internal 4:2:2 – 10bit – Available April, 2017
  • 6K Anamorphic Video Mode (4:3) – Available Summer, 2017
  • Slowmotion (Variable Frame Rate): Max of 180fps/23.98 in FHD
  • Improved Auto Focus (0.05 sec AF, 9 FPS AF Burst)
  • Large HDMI (Type A/USB 3.1)
  • 3.2″ 1,620-dot Free Angle Monitor
  • 4K Hybrid Log Gamma (4K HDR Video) – Available Summer, 2017
  • SD Card Slot x2: UHS-II U3 (Vide grade 60)
  • No Recording Time Limit
  • H265 for 4K 50/60p, Edit: Now confirmed that H264 will be used for all 4K formats while H265 will serve “6K photo mode”. H265 6K anamorphic mode is still being tested by Panasonic.
  • Waveform Monitor Display
  • Separate Video Menu Mode
  • .MOV, MP4 (AAC, LPCM) AVCHD Progressive
  • Selectable System Frequencies (59.94, 50.00, 24.00 Hz)
  • Splash, Dust, Freeze proof up to -10 Degrees Celsius
  • Bluetooth
  • Weight: 2.0 lbs
  • Power: Same batteries as GH4

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If the Olympus OM-D E-M1 Mark II is the perfect Micro Four-Thirds camera for photographers, then the Panasonic GH5 might just be the answer videographers have been looking for. However, with the planned firmware rollouts, the GH5 may be a purchase that requires a little bit of patience.

Cost: $2,000
Availability: Shipping March

Panasonic 12-60mm

LEICA DG VARIO-ELMARIT 12-60mm / F2.8-4.0 ASPH OIS

New Lens – LEICA DG VARIO-ELMARIT 12-60mm / F2.8-4.0 ASPH OIS

Alongside the GH5, Panasonic announced a new lens today: the LEICA DG VARIO-ELMARIT 12-60mm / F2.8-4.0 ASPH OIS. The lens focal range is equivalent to 24-120mm on a 35mm camera and is the first lens to be added to this new series, with planned additions of 8-18mm and 50-200mm to the LEICA DG VARIO-ELMARIT F2.8-4.0 series in the future. No pricing or availability information yet.

Panasonic is also renewing four lenses to improve weather proofing and compatibility:

LUMIX G X VARIO 12-35mm F2.8 II ASPH. OIS, Price: $999.99
LUMIX G X VARIO 35-100mm F2.8 II ASPH. OIS, Price: $1099.99
LUMIX G X VARIO 45-200mm F4.0-5.6 II ASPH. OIS, Price: $449.99
LUMIX G X VARIO 100-300mm F4.0-5.6 II ASPH. OIS, Price: $649.99

Panasonic GH5 Compatible LensesWhat do you think of the new Panasonic GH5? Will it find a place in your kit for shoots this year? Comment below!

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upatanu
upatanu
Guest
March 12th, 2020

Szukasz singla? przygody? Owo stanowi pole dla Ciebie sponsora szukam sponsora szukam. Prywatne ogłoszenia kobiet potrzebujących poczuć ważne chwile.

 Ville Pakarinen
Member
March 1st, 2017

Will the 6K anamorphic be 10-bit?

Member
January 24th, 2017

It’ll all be rather moot when Sny releases the A9 at NAB. 65mm sensor.
Game changer.

Micah Floyd
Guest
January 9th, 2017

I’m disappointed in the direction they took for the XLR device. While I love the idea of a Panasonic-made adapter specifically made for the GH camera, this seems to have some significant limitations. First, we won’t be able to use many cages with this device, since they usually cover the hotshoe. The current cage from Smallrig is an exception, and there may be others. It also gets in the way of using a top handle in any case, and it’s obviously limited to that one rigging point. I would have much rather had a “video battery grip” version. Yes, there were problems with the original one for the GH4. If Panasonic would have kept the XLR inputs and swapped the video outputs for a battery, it would be exactly the right device for most videographers.

Palmer Woodrow
Palmer Woodrow
Member
January 9th, 2017

I think I’ll take an 8K Red sensor, cut it vertically into 1-centimeter strips, and make cameras out of them sporting “8K pixel density.”

 Jeremiah Bostwick
Jeremiah Bostwick
Member
January 21st, 2017
Reply to  Palmer Woodrow

This is a comment made in ignorance.
The resolution of the camera will still be 6k in 6k mode. It just won’t have the standard horizontal resolution.
The GH5 will film at: 5184 x 3888 for its 6k anamorphic mode.
Whereas the standard 6k resolution would be: 5760 x 3240.
Meaning that the frame will be taller vertically but shorter horizontally. In this mode it will be 2:1 Anamorphic however, I don’t think most people will be complaining about width, as obviously it will be more than wide enough. Especially when considering it’s a $2k camera shooting Anamorphic “6k”.

So your facetious response of cutting an 8k sensor would be disingenuous in a way that Panasonic with the GH5 is clearly not.

Palmer Woodrow
Palmer Woodrow
Member
January 23rd, 2017

“The resolution of the camera will still be 6k in 6k mode. It just won’t have the standard horizontal resolution.”

That doesn’t even make sense.

“The GH5 will film at: 5184 x 3888 for its 6k anamorphic mode.”

Which is NOT 6K.

Speaking of ignorance:
“Whereas the standard 6k resolution would be: 5760 x 3240.”

No. It’s 6144 x 3160. So you’re missing almost a thousand pixels of horizontal resolution with this camera.

Palmer Woodrow
Palmer Woodrow
Member
January 23rd, 2017
Reply to  Palmer Woodrow

Correction: 6144 x 3160 is Red’s 6K; “standard” has a slightly different vertical resolution, of 3240.

 Jeremiah Bostwick
Jeremiah Bostwick
Member
January 23rd, 2017
Reply to  Palmer Woodrow

“The resolution of the camera will still be 6k in 6k mode. It just won’t have the standard horizontal resolution.”

*sigh* It makes perfects sense. It has less horizontal pixels and more vertical pixels.
The GH5 will have
20,155,392 total pixels.
versus the standard definition of 6k
18,662,400 total pixels.
versus Red’s definition of 6k
19,415,040 total pixels.

Meaning the GH5, in terms of resolution, has more pixels than the Red’s 6k. This is basic math. Something apparently you can’t be bothered to multiply out.

“No. It’s 6144 x 3160. So you’re missing almost a thousand pixels of horizontal resolution with this camera.”

1.) Resolution is more than just horizontal, obviously. But with your previous comment, maybe you don’t understand that? Because 6144 x 1 pixel is obviously not 6k resolution. But this is also coming from the person that stated:
“I think I’ll take an 8K Red sensor, cut it vertically into 1-centimeter strips, and make cameras out of them sporting “8K pixel density.””
Facetiously or not, perhaps this is something you’re actually confused about.

2.) The “lack” of horizontal resolution is more than made up for by the vertical resolution and this brilliant thing called anamorphic lenses. Which was my point to begin with. It won’t be 2:35:1, but who cares? There is plenty of space and pixels to cut how you want. Which isn’t even a thing that Red can do with it’s 1.33:1 anamorphic as opposed to the GH5’s 2:1 anamorphic.

You spend a lot of time policing these threads with your opinion, while grossly ignoring simple facts.

Palmer Woodrow
Palmer Woodrow
Member
January 24th, 2017

Apparently you’re not aware that “4K,” “6K” and so forth refer to HORIZONTAL resolution. Not the overall surface area of the chip. That’s why you’re trying to “prove” an irrelevant point. You read my sarcastic remark about slicing up a sensor; maybe you’re actually confused about its implications.

So what if you can blow sub-6K horizontal resolution up to 6K? Sony cameras fudged their way along for many years blowing 1440 up to 1920. Whoop dee doo.

And anamorphic lenses do not create resolution. You’re taking more visual information and cramming it into the same (sub-6K) number of pixels. Sure, you can smear it back out to correct dimensions, but you still didn’t record the horizontal detail.

 Jeremiah Bostwick
Jeremiah Bostwick
Member
January 24th, 2017
Reply to  Palmer Woodrow

1.) *Sigh*, wow just seriously. Resolution: “is the number of distinct pixels in each dimension that can be displayed.”
https://en.wikipedia.org/wiki/Display_resolution

All you’re arguing about is a SINGLE component of this entire discussion. When faced with the fact that the GH5 has MORE resolution than a Red at 6K the only possible discussion you can have is about ONLY the width of the resolution. Okay you “win”. Although a “technical” victory, in terms of usable resolution and what someone using this camera cares about, is still a loss. Because apparently you’re focused more on 16:9 ratio as being the most important factor rather than resolution.

2.) I guess there isn’t much point in arguing with an idiot. Because I also never said that anamorphic added resolution either. Merely that after conversion the 4:3 nature of the sensor being converted into 2:1 Anamorphic is more than wide enough for anything a cinematographer could want.

This is actually precisely what the Arri Alexa does (that is to say a 4:3 mode on a sensor “getting stretched” from 2:1 with anamorphic lenses… or actually indeed what Anamorphic is and does in general, the Arri Alexa just being an example)… or is that also not something you’re familiar with? Which again, in terms of resolution and usable image is greater than Red at 6k in a camera body that costs $2000.

 Markus Magnon
Markus Magnon
Member
January 24th, 2017

You are both idiots. Arguing if its real 6k or not. Is it really important. No. Adn waht about a RED. I mean… a RED has 15+ stop dynamic range, red raw codec. You cannot compare that to a camera that only records “flat picture style”. You both talks about resolution… its so stupid. Stop it. Please. Thanks.

 Jeremiah Bostwick
Jeremiah Bostwick
Member
January 24th, 2017
Reply to  Markus Magnon

It was important enough for you to come in and reply.

 Markus Magnon
Markus Magnon
Member
January 24th, 2017

Because i got 10 emails in the last hour… and someone have to tell you and the other guy that your arguments sound “technical”.. but you are both idiots. Good night.

 Jeremiah Bostwick
Jeremiah Bostwick
Member
January 24th, 2017
Reply to  Markus Magnon

Kay. Unsubscribe. Have a great day.

Palmer Woodrow
Palmer Woodrow
Member
January 24th, 2017

Cute how you regurgitate information I already provided and then snivel, “maybe you’re not familiar with it.”

“Which again, in terms of resolution and usable image is greater than Red at 6k”

Obviously wrong again, since you still have a finite number of pixels on the chip. You can put a 180-degree lens on the thing and smush the image onto the 4:3 chip… and you’re still not going to extract 6K’s worth of horizontal detail from it.

You should be coming here to take in information, not reject it with pompous and incorrect assertions that don’t even stand up to common sense. But hey… that IS the trend today, isn’t it?

 Jeremiah Bostwick
Jeremiah Bostwick
Member
January 24th, 2017
Reply to  Palmer Woodrow

And the Panasonic will have more vertical resolution.

And you’re right, there is a finite number of pixels on the chip.. which I illustrated earlier when I stated: that the GH5 has 20,155,392 pixels vs a Red 6k’s 19,415,040 pixels. Yes Math. That thing you were having a problem with earlier.

Palmer Woodrow
Palmer Woodrow
Member
January 24th, 2017

No, that cutesiness isn’t going to work either.

“you’re still not going to extract 6K’s worth of horizontal detail from it.”

See that word there? HORIZONTAL.

Reading: It’s that thing you’ve been having problems with this whole time.

 Jeremiah Bostwick
Jeremiah Bostwick
Member
January 24th, 2017
Reply to  Palmer Woodrow

I haven’t missed it. Like 4 posts back I conceded that it has more HORIZONTAL RESOLUTION. OMGOMGOMOGMOGMGO.

Is that clear enough for you? I have only stated that the GH4 has MORE resolution. A concept you can’t seem to understand. Also, you can’t seem to understand that what you’re arguing is arbitrary, as it’s limiting what you see as “resolution” to a 16:9 aspect ratio.

 Minolta Mind
Minolta Mind
Member
January 24th, 2017

OK, OK, people.

I guess it depends on whether you value horizontal or vertical resolution more.

Palmer Woodrow
Palmer Woodrow
Member
January 9th, 2017

“Emin Nime”

What is that supposed to mean?

 Kevin Almodovar
Kevin Almodovar
Member
January 8th, 2017

Shallower depth of field with the larger sensor?

Johnnie Behiri
Admin
January 7th, 2017

As requested by many and in order to clear confusion regarding which lenses are supported by the new GH5 when it comes to 5 axis stabilization, I’ve updated the article with a slide at the end of the article mentioning it all.

Thank you.

Johnnie

Sacha Giel
Guest
January 7th, 2017

Bueno ?

Member
January 7th, 2017

Always this give and take between the big camera corps on who can get to market first with the latest “K”.

Jamie LeJeune
Jamie LeJeune
Member
January 6th, 2017

In a video posted by Cinema5D they interview M. Uematsu of Panasonic who says that dynamic range of GH5 will be basically the same as GH4, so you’re looking at about 11 stops. Definitely not the 13 you require.

https://www.cined.com/the-hardware-of-the-panasonic-gh5-an-interview-with-panasonics-m-uematsu/

Paolo Rudelli
Paolo Rudelli
Member
January 7th, 2017
Reply to  Jamie LeJeune

Thas is only a very smart solution and show Panasonic don’t build camera o numbers to catch silly user.
But make great and usable product.

Why people don’t understand that is useless aving huge DR if then you can’t record it properly???

Always remember the rule: 1stop=6dB=1bit

If you use a camera you don’t record a test chart and you need usable information between each stop.

 Markus Magnon
Markus Magnon
Member
January 6th, 2017

Don´t understand the hype. Blackmagic shows that raw is possible in a camera for 1000,- Dollar. Same with Magic Lantern an Canon Cameras. I don’t care if its 8 or 10 bit. Or 4k (6k), or high data rate. raw is possible. i shoot raw on a Canon 50D for 400,- Euros. And alot of small Drone cameras can shoot raw, too. We all know that it is possible to bring raw into small camera from sony, panasonic, canon.

Gh2, Gh4, A7s, a6300… it all looks slighty better then the Canon 5D Mark II. Now you got 1 Stop more dynamic range. Or great low-light, or 4k. and S-log. but the real big step would be raw.

Oscar M
Member
January 6th, 2017
Reply to  Markus Magnon

I think that file size matters in raw.
422 10 bit is the answer for grading.

 Markus Magnon
Markus Magnon
Member
January 6th, 2017
Reply to  Oscar M

Why? I know so many people want to be professionals but switching to raw they say: “needs to much disc space”. You can get 2 TB for 100 Dollars. And USB 3.0 ist 10 times faster than USB 2.0.

Member
January 7th, 2017
Reply to  Markus Magnon

I’d rather shoot a highly efficient compressed codec like ProRes. Holds up great to grading but is much easier to work with. If you don’t forget to white balance and you’re not doing super heavy VFX-work, there’s not a lot of benefit to raw. It simply takes up waaaaay much more fucking space and requires waaaaaaay more computer power to work.

If ProRes out of an Alexa is fine for the majority of feature films, commercials, music videos, etc. why should everyone else shoot raw?

Also, Blackmagic have done 1080p RAW. Higher than that wouldn’t be possible with SD Cards. 4k RAW is an entirely different beast.

 Markus Magnon
Markus Magnon
Member
January 7th, 2017
Reply to  Oscar Stegland

This is just wrong. Its not only about white balance. Shooting raw means:
1. more details
2. adjust shadows, higlights, blacks, whites

Take you DSLR or whatever and take a picture in JPG and in raw. Both with perfect white balance. And than do some grading. raw is so much easier to grade than a flat picuture profile.

And for space. Just a buy some Terraby HD’s for 100 Dollar. With USB 3.0 the read/write speed is super fast.

Computer Power. raw doesn’t need much computer power. All you need is a PC around 800,- Euros. Soemtimes raw prozessing can be faster than h264. because h264 is a compressed video files. Davinci Resolve handles raw super fast… and you can downscale the resolution to half or fourth resolution. You don’t need proxies. And it will work also on a 500,- Euro PC.

Don’t compare “prores” from an ALEXA with poress form blackmagic or “Canon h264” compared wo ML-raw.

Member
January 7th, 2017
Reply to  Markus Magnon

There’s nothing wrong about it. I simply wrote how I prefer to work. I never stated raw doesn’t give you more information, it absolutely does. But most of the time, it simply isn’t worth the more difficult workflow, more expensive storage, etc.

A well designed camera shouldn’t work worse in ProRes for instance than it does in RAW. The Alexa is the golden standard here, but unfortunately quite a few cameras do perform better in raw than the internal compressed codecs (I’m looking at you Blackmagic). Then again, the FS7 turned out to have noticeably better dynamic range when shooting compressed internally than when shooting raw.

You can adjust shadows, highlights, blacks, whites, and whatever you want, as much with any format as you could with raw. The difference is that you can push the raw material further. But compared to ProRes 4444 out of the Alexa, I’ve never felt that raw really gives that much more, and it doesn’t matter how well Resolve handles raw. The roundtrip workflow with ProRes is unbeatable atm.

RAW isn’t necessarily better. It’s always more information (unless it’s heavily compressed like RED), but there’s downsides as well. RAW does require a lot of processing power. I don’t know why you don’t think that, but it certainly does. A HELL OF A LOT MORE than ProRes if you’re working in a Mac environment. Again, it’s not easier to grade either. You can push it further but raw images come from the same sensor with the same color science. If everything works as it should (ie on the Alexa) then your raw images should look practically identical to ProRes versions of the same shot, with the exception that you can push colors and so on, even further in post.

I work professionally as both a DP and DIT. Working as a DIT, speed is of the essence. I ALWAYS try to get USB3 7200rpm drives for SOURCE and BACKUP and then a Thunderbolt SSD for transcoding. Anything above 2.8K ProRes, and I demand a proper workstation and a RAID solution. Hell, I don’t think the Mac Pro keeps up fast enough either. Anything slower than this would severely limit me doing my job. 2.5″ HDD’s DO NOT cut it. Either for ProRes and definitely not RAW.

In a PC environment you could definitely build a decent RAW workstation for a limited amount of money but it’s all Mac where I am. I’m thinking about building a small hackintosh that could fit into a Pelican though.

I never compared anything with Canon’s H264. Don’t know where you got that from. 8-bit codecs are horrible to work with whether they come from Sony, Apple, Canon, or anybody else.

I’m curious why you wouldn’t want to compare Alexa ProRes with Blackmagic ProRes. Same codec and format so there’s no difference other than the fact that Blackmagic do higher resolutions these days, and they utilize different sensors. Tons of people have successfully intercut ProRes from Blackmagic with ProRes form Alexa.

Palmer Woodrow
Palmer Woodrow
Member
January 8th, 2017
Reply to  Oscar Stegland

I’m with you Oscar, on all points. I have a BMPC and the raw capability was a big draw. But I’ve ended up shooting 4K ProRes every time, and my clients love it.

I would shoot raw for critical greenscreen to get full color sampling (the BMPC doesn’t do ProRes 4:4:4), but so far I haven’t even done that.

I do shoot raw for time-lapse though, every time. There’s no reason not to.

And good call-out on the FS7 raw degradation, too. Sony has really undermined everyone’s confidence in shooting formats. Gee, what a shock, from the company that loves to undermine and bastardize industry standards.

Member
January 25th, 2017
Reply to  Oscar Stegland

Question, what would you want in a camera to satisfy you?

We seem to critique these things as is, at some point in the past, there was a level of perfection upon which we judge all new technology.

Member
January 6th, 2017

Does anyone know if the dual IS system will work with the older Lumix 12-35 lens?

Member
January 6th, 2017

Panasonic has never, to my knowledge, stated that the camera will be limited to 8bit 4:2:0 at launch. It indeed seems that it will come with 4:2:2 10-bit @150Mbps Long GOP out of the box. You can see all of the official specs in writing here:
http://www.43rumors.com/download-the-official-gh5-leaflet-and-specs-list/

Also Neumann Films has already used 10bit 4K in their preproduction models, and even posted ungraded V Log footage in both 10bit 4:2:2 and 4K60p modes for download:
https://www.youtube.com/watch?v=T-qUZTTb1fY

The April update is only for HD mode, adding 4:2:2 10bit @200Mbps All-I, with the massive 4K 400Mbps All-I update and other goodies following in Summer.

So, again, all indications are that we won’t have to wait for 4K 10bit @150Mbps.

 paolo baroni
paolo baroni
Guest
January 5th, 2017

180 fps with a 6400iso micro 4/3 means u can use it just under the sun or with 2x arri 2kw……everything looks promising except the sensor, is so wrong….they should have put an apsc at least and then ask for 1000€ more and go in the 5D price range

Member
January 6th, 2017
Reply to  paolo baroni

Nah, the performance gap between top Micro Four Thirds and most APS-C is a pretty small gap if any.

And the GH5 is already going to match the performance of the 5D mk3 in lowlight.

 paolo baroni
paolo baroni
Guest
January 6th, 2017

how do you know is matching a 5d,do you have it at home????????????

 Nicola Verdi
Nicola Verdi
Member
January 5th, 2017

How long in 6k you can record?

 Donald Van Patten
Member
January 5th, 2017

You know and I know Sony with the A7 series will have a answer to the Gh5.

They will have to add 10 bit 4.2.2 and a few other options. Not a big Sony fan

but by mid 2017 they will have a competitor to the GH5.

Member
January 6th, 2017

I’m skeptical Sony will have a response to the GH5 with 10bit and 422.

After all the GH4 has been out now for a long long time without Sony catching up!! As Sony has yet to make a mirrorless camera with 10bit out.

 Nicola Verdi
Nicola Verdi
Member
January 6th, 2017

They will add 10 bit 4.2.2 for external recording. Internal will stay 8bit.

Oscar M
Member
January 6th, 2017

a 4.2.2 furnace :p

George TheboyDreams Dean
Guest
January 5th, 2017

Damn

Gabrio Maglieri
Guest
January 5th, 2017

No ibis with non native lenses? Dealbreaker

Derek Hakkim
Guest
January 5th, 2017

when you have lens OIS, you get dual IS

Palmer Woodrow
Palmer Woodrow
Member
January 8th, 2017

I’m pretty sure you can get an ibis with any lens: http://animal-dream.com/data_images/ibis/ibis1.jpg

Gabriel Manz
Guest
January 5th, 2017

Why is there 6K in the Headline?

cinema5D
Guest
January 7th, 2017
Reply to  Gabriel Manz

Because it shoots 6K anamorphic

Jake Rotham
Guest
January 5th, 2017

Jarrod White insane!

Jarrod White
Guest
January 5th, 2017
Reply to  Jake Rotham

What do youuuuuu meannnnnnnnnnnnn

Jake Rotham
Guest
January 5th, 2017
Reply to  Jake Rotham

piggybanks getting hit wid duh hammuh come march fo sho

Palmer Woodrow
Palmer Woodrow
Member
January 8th, 2017
Reply to  Jake Rotham

(random name) crazy!

Stop posting this shit.

Thijs Hupkens
Guest
January 5th, 2017

Nothing about the dynamic range?

Bryce Hooper
Guest
January 5th, 2017
Reply to  Thijs Hupkens

It says in the article it’s the same as gh4

 thrower thrower
thrower thrower
Member
January 5th, 2017

Without a doubt a very informative post, but surely it lacks some information to be titled as “Hands-on”. I truly understand that there have been no time for real world experience since it’s just information from presentation, but I honestly think it is wrong way to promote material that way, since a lot of posts on C5D stays actual for long time.

Johnnie Behiri
Admin
January 5th, 2017
Marcus V Warner
Guest
January 5th, 2017

Too… little… too late, I moved on to the A7sii and I’m not looking back.

I do like Panasonic’s color science, but m4/3 just doesn’t cut it for me. If they would have built in a speed booster maybe. The lens selection just isn’t there for me and to have to drop another heap of cash on an adapter, puts the price barely below and A7sii and then throw more cash in the toilet for vlog… and you are now right at the price of one.

Even at that you are still not matching sensor size or the performance benefits from a larger sensor.

 Nelson Tan
Nelson Tan
Member
January 6th, 2017

After ditching GH4 for A7S/A7RII/A6300 I am seriously thinking moving back lol, keep A7s for the lowlight and rest on GH5

Lens selection is too poor on Sony, rolling shutter in 4K is bad, ergonomic and battery life sucks balls and for colour rendition I still prefer Pana’s better, IBIS is much less smooth than M43s especially Olympus.

Another reason is I am planning to upgrade from Inspire Pro to Inspire 2, so it easier to keep colour since they are most likely based on the same 20MP sensor, plus I can still use the same lens.

Member
January 9th, 2017
Reply to  Nelson Tan

I’m still in half a mind to simply grab a inspire 2 and hand hold that as a A cam :) when/if they make a gimble for the inspire 2 camera, that’ll be the m4/3 beast I’ve been waiting for.. raw straight to SSD. probably overkill for most work I get given to do, but a flying camera :) for the same price really..

Member
January 9th, 2017
Reply to  Tony Anastasi

well, the actual guts is still to be released by DJI unless you grab the quadcopter part then your adding another $3k to the mix.. but if they give us a hand held gimble with the rest of the camera guts added and SSD recorder bits.. happy times :)

Palmer Woodrow
Palmer Woodrow
Member
January 10th, 2017
Reply to  Tony Anastasi

” then your adding another $3k to the mix”

you + are = YOU’RE

Alexander Torro
Alexander Torro
Member
January 24th, 2017

You don’t have to buy a speed booster.. Shoot open gate using the 4/3 mode with your lenses. Now you are using your lenses and at the same time having access to a wider field of view compared to that of super 35mm. I know..lot of people don’t know this.. That’s why I’m here… To correct and to serve.. You welcome..

Brandon Douglas
Guest
January 5th, 2017

hoe yeah

Per Gunnar
Guest
January 5th, 2017

oh please… MFT so what. The GH5 will be a fun camera to shoot with? Looking forward for the 4:3?

Trevor Donovan
Guest
January 5th, 2017

Think i’ll stick with the beloved Sonys, I’m sure they will release the A7s3 soon which will shoot 6k at 400fps in the pitch black ???

 Andi Beqiri
Member
January 4th, 2017

Nice stuff, love that you guys got to go hands on with the GH5!

Emin Nime
Guest
January 4th, 2017

hey da gset echt not bad us

 Roland Boyden
Member
January 4th, 2017

The parenthesis around the 4k 60p spec that says “(output only)” is kind of alarming. Is the 4k 60p only going to be to an external recorder?

As a longtime GH4 owner with an Odyssey 7q+ to feed the output to I can say that 10-bit 4:2:2 isn’t always right for every job. One of the GH4’s great strengths was how well it’s 8-bit 4-2-0 4k footage stood up to grading, especially when mastering in 1080. It’s one of the lesser-known strengths of the GH4–but it delivers much more in 100mbs than my Sony A7SII. To me 10-bit internal is only worth having once the bitrate to back it is also released come summertime, and 400 mbps isn’t a datarate I want for every project.

I will be much more excited to finally have 4k 60p without having to rent an Ursa or an FS7.

Member
January 7th, 2017
Reply to  Roland Boyden

It does do 4k 60p internally but only at 4:2:0 8-bit. Here’s a documentary that’s hot entirely in that format: https://www.youtube.com/watch?v=BoYbqSxPWrA

Moses Wilson
Guest
January 4th, 2017

yeah. I’m gonna have to buy that. :P

Ryan Bazan
Guest
January 4th, 2017

two things we need to see before pre ordering, wee need at least usable 3200 iso and no less than 13stops of DR… IF not I don’t think this camera will replace Sony.

Nino Leitner
Guest
January 4th, 2017
Reply to  Ryan Bazan

It’s not a low light beast for sure but the noise will be far less than before – as far as we could see in the brief hands on. Need further testing but it definitely will not replace an a7s in that regard for example.

Ryan Bazan
Guest
January 4th, 2017
Reply to  Ryan Bazan

Nino 3200 iso is not too much toast for…. I’m not even asking for 6400… my GH4 gave only only 800iso usable…we are nottalkingabout a7s capabilities ,,, just descent 3200 iso… and DR is also very important… a6500 is delivering 14 stops

Nino Leitner
Guest
January 4th, 2017
Reply to  Ryan Bazan

Ryan Bazan yeah of course… Well if I recall correctly, but please don’t quote me on that, the 3200 ISO on the GH5 still looked very nice in our brief hands on. We’re trying to get it asap for a full review.

Ryan Bazan
Guest
January 4th, 2017
Reply to  Ryan Bazan

Nino Leitner looking forward your review

Paolo Rudelli
Paolo Rudelli
Member
January 7th, 2017
Reply to  Ryan Bazan

13 stops DR at 3200 ISO you must be kidding!!! or maybe you mean 13 stops DR at native ISO and usable image at 3200 ISO??
Any way more than 12 stop’s with “only” 4:2:2 10bit recording is absolutely useless.
Remember the basic rule 1 stop = 6dB = 1 bit, is useless having great DR if then you record a junk.
Most off people look only at the numbers but don’t understand nothing at the color/image science behind a cine/video camera.

Member
January 7th, 2017
Reply to  Paolo Rudelli

And knowing is most of the battle.

Eno Popescu
Eno Popescu
Member
January 4th, 2017

From what I see in this video, the low light performance is very good:

https://www.youtube.com/watch?v=Xd9OUNZg_es

James Grealish
Guest
January 4th, 2017

The more experienced among us will see past the headline grabbing specs and remember the tiny sensor, poor low light ability and ridiculous Toy-sized lenses…

Danny Kim
Guest
January 4th, 2017
Reply to  James Grealish

If you can light a scene adequately, the quality of the GH4 with a Voigtlander f0.95 lens is pretty stunning. If you are shooting night exteriors with no extra lights, you will certainly have problems. Really depends on the project’s requirements and budget. A fool who doesn’t know what they are doing could turn an Arri Alexa 65 into a crappy looking camera. Conversely, Roger Deakins could probably shoot something amazing looking on a GH5.

Matthew Hartman
Matthew Hartman
Member
January 6th, 2017
Reply to  Danny Kim

Well stated. We should all keep it in our minds that a good image is half the equipment and our creativity.

As technology improves, we forget more and more about the principles. Learn to light your scenes properly rather than rely on changing the sensitivity of a digital image sensor. Digital noise is not grain.

Remember, darkness is a narrative too. Contrast ratios tell a story too.

Palmer Woodrow
Palmer Woodrow
Member
January 23rd, 2017
Reply to  Danny Kim

True that, but if you can light a scene adequately, why not shoot with a proper motion-picture camera? A BMPC shoots ProRes or raw on a Super-35-sized sensor with no rolling shutter, and you can use a huge variety of EF lenses on it.

If you’re not getting good low-light capability, I don’t see the point of making quality compromises and limiting yourself to 4/3 lenses.

James Grealish
Guest
January 4th, 2017
Reply to  James Grealish

By that same logic, the GH5 could have 8K RAW internal video and still produce underwhelming images.

Most of the target market for this camera will shoot unscripted formats, which means limited lighting choices. The informed buyer at this price range would be wise not to limit their acquisition flexibility with noisy footage above ISO 1600 and a small range of optically inconsistent lenses.

Every Broadcast shooter I know who bought the GH4 after being dazzled by the specs wanted to rid of it after a few months of real world use for these very reasons.

 Carlos Martinez
Carlos Martinez
Member
January 6th, 2017
Reply to  James Grealish

And what camera those Broadcast shooters bought? What were the REAL specs they paid attention to?

Danny Kim
Guest
January 4th, 2017
Reply to  James Grealish

Many people have put out excellent content shot on the GH4 with skeleton crews for the past couple years. Some people prefer the A7S for its full frame sensor. I have both. I also have an Ursa Mini 4.6K, so I can shoot in RAW on PL lenses. But for a handheld concert shoot, I would prefer to take the GH4 to shoot in 4K on a fast lens. The f0.95 Voigtlander allows me to get plenty of light even in darker shoots. Without it, I’ll agree that the GH4 is a different camera. Point is that the GH4 and GH5 can definitely produce professional-looking images.

 the SUBVERSIVE
the SUBVERSIVE
Member
January 5th, 2017
Reply to  Danny Kim

Photographers care much more about sensor size than actual Cinematographers.

Plus, you put a focal reducer with a Sigma 18-35mm f/1.8 with IBIS and you have a heck of run and gun combo, unmatched by any other camera at this same market.

This basically can turn the GH5 into a Super35 with a 26-50mm f/1.2 lens.

Palmer Woodrow
Palmer Woodrow
Member
January 8th, 2017
Reply to  the SUBVERSIVE

“Photographers care much more about sensor size than actual Cinematographers.”

That’s silly and untrue.

Alexander Torro
Alexander Torro
Member
January 23rd, 2017
Reply to  the SUBVERSIVE

I’m right there with you buddy on what you said and how you said it. Amen brother. Too many sony and Canon users are coming from a photography background with thier cameras and NOW having a video conversation. It’s crazy. I have stated earlier in my blog that the gh5 is pure video and cinema camera. What makes a camera a video camera. The running time.. Having audio xl4 and even vetrascooe..master pedestal.. Etc.. The gh5 does all this.. And as far as cinema goes..you don’t get more cinema than CinemaScope and gh5 offers that too. Your right..too many Canon and Sony
photo users coming to this blog..

 the SUBVERSIVE
the SUBVERSIVE
Member
January 24th, 2017

Broadcast, ENG people are used to smaller sensors and cinematographers are used to Super 35 and even Super 16 sensors.

Full Frame comes from Photography and calling APS-C a crop sensor is also something a photographer says – and a lot of times in a pejorative or diminishing way.

This thing about shallow DOF, a lot of it comes from Portrait photography, in cinema it’s not so c’mon to have ultra bright lenses for that purpose because it’s much harder to keep everything in focus, even more when they had to measure and mark the focus points in the follow focus.

When the other guys replied that this affirmation is untrue, I didn’t even tried to explain because it would be a waste of time and as I wrote in my example, you put a focal reducer with the Sigma 18-35mm f/1.8 and you will get a faster zoom that you can get in any FF camera and even if you convert the DOF to FF, it’s still a shallower DOF than any FF zoom can give you and even a lot of primes.

And you can’t get a stop more of light with the 18-35mm f/1.8 in an APS-C body and neither you can get the same IBIS performance with the A6500, a smaller sensor will always be better at IBIS.

That without counting the fact that the original commentator talked about poor low light performance and from everything I’ve seen, the GH5 is not that. It seems that the GH5 really improved in 4K low light performance compared to any other Micro4/3 and it’s much more comparable to APS-C now, it doesn’t look like liability anymore. Again, add the Sigma you should be able to shoot in poor light without a problem.

But sure, it all comes down to what each person needs. Once I really wanted a FS5 – I’m not saying I could buy it though – but 10-bit 422, 4K60, 1080p180 and IBIS trumps what the FS5 offers to me. For my needs and my use, I would stick with the GH5, use the spare money for a Gimbal and a Mavic Pro for b-roll and aerial shots and I would be quite happy – right now I need to save some money! hahahaha…

 the SUBVERSIVE
the SUBVERSIVE
Member
January 4th, 2017

What codec will be used in the 400Mbps All-I video? Is it H.264 AVC or H.265 HEVC?

 the SUBVERSIVE
the SUBVERSIVE
Member
January 5th, 2017
Reply to  Graham Sheldon

Some of the guys that shot those GH5 promo video and Nick Driftwood as well, they all said they think the 400Mbps All-I will be H.265.

That means AVC Ultra-like quality but in a H.265 HEVC codec, can we call it HEVC Ultra? hahahaha…

Anyway, I’m not sure how my machine would handle H.265 but at the same time I’m happy to see Panasonic making it future proof by having both H.264 and H.265 options.

Member
January 5th, 2017
Reply to  Graham Sheldon

It seems to be Panasonic will be offering H.265!! :-)

 Sean Davis
Sean Davis
Member
January 4th, 2017

“6K/24p Anamorphic Video Mode, while fun, is severely hampered by its 4:3 aspect ratio”

So evidently the writer of this article does not know that True anamorphic is has to be captured on a 4:3 aspect ratio sensor…. Google is your friend bruv, 4:3 aspect ratio is exactly what you need for REAL anamorphic

Jacques Edward Boulter
Guest
January 4th, 2017

Sam Lowe getting this!!

Palmer Woodrow
Palmer Woodrow
Member
January 23rd, 2017

(random name) so what!

Alexander Torro
Alexander Torro
Member
January 23rd, 2017
Reply to  Palmer Woodrow

What are you saying so what to?

Lucia Moreno
Guest
January 4th, 2017

This or Sony a7s II ?

Gabe Kimpson
Guest
January 4th, 2017
Reply to  Lucia Moreno

Sony a7s II – full frame – best low-light in the world – internal 4K – just learn to color grade S-log and you’ll have great footage

Alexander Torro
Alexander Torro
Member
January 22nd, 2017
Reply to  Gabe Kimpson

Everyone who has a Sony or cannon keep on saying “Full Frame.”. Exactly, what does that mean to you!! And no, it’s not a question.. I think you fail to understand that the gh5 Trump’s Your field of view compared to your so called FULL FRAME when shooting video in 4/3 mode. So many FULL FRAME camera owners are always having a video conversation but comparing it to the still photography of the gh4/5 sensor. First, understand cinematography and photography are measured differently. Without 4/3 mode. In 16.9.. Gh5 is shy under 35 mm academy and greater than super 16mm. As far as employing the 4/3.. Well that’s a different story. You forget that the gh5 is also 4/3. The native aspect ratio for anamorphic. You don’t even have to throw an Anamorphic lens to still get a wider field of view than your so called FULL FRAME. You can use your Canon spherical lenses and shoot ” OPEN GATE” again…still giving you wider field of view compared to an Alexa 65 but with higher resolution. And they shot Rogue 1 with that camera. The alexa 65 open gate I believe is capped at 3,000 lines while Gh5 is 5,000 lines of pixel density…. Which again translates to a greater field of view than your so called FULL FRAME. So, your comment is a MUTE POINT!!! It has also been argued that having full frame you get a shallower depth of field than micro four thirds.. Again, because Your limited to a 16 by 9 aspect ratio..the 4/3 mode actually takes the background closer to the subjects focus plane and throws that in focus translating to a more shallower depth of field.. (Perspective Compression)!!! Again, when bring up FUll FRAME as compared to shooting video with micro four thirds…is a MUTE POINT!!!!!!

Palmer Woodrow
Palmer Woodrow
Member
January 23rd, 2017

Maybe there are some phrasing issues here, but several of your assertions are incorrect. Pixel density has nothing to do with field of view.

Yes, a lot of people are ignorant of the difference between 35mm frame sizes in still and motion-picture photography, and that “full frame” is NOT cinema 35mm. But your statement here is bogus:

“You don’t even have to throw an Anamorphic lens to still get a wider field of view than your so called FULL FRAME”

Not true. Are you just ignoring crop factor? Do we really have to get into that?

And finally: The term is not “MUTE point;” it’s MOOT point.

Alexander Torro
Alexander Torro
Member
January 23rd, 2017
Reply to  Palmer Woodrow

First, I want to debunk one objection about your saying i said “super 35mm is not cinema”. I never made such a claim. Go back and read post. I said the 4/3 mode is pure Cinema.. You don’t get much more cinema than that.. You mentioned I forgot the crop factor..of the gh5. Well, apparently…..YOU……missed the 4/3 mode. And yes, shooting in 4/3 which was and is the native aspect ratio for anamorphic…does give a wider field of view than your full frame camera because it’s limited to its 16 by 9 space. I also mentioned you can shoot open gate. Something only the Alexa 65 camera offers. But the Alexa 65 I believes caps at 3,000 lines where gh5 caps at 5,000 lines of Pixel density.. (Yes, field of view).. And..you don’t have to throw on an expensive cook 30 thousand dollar Anamorphic lens. You can take your Canon glass and shoot open gate using the 4/3 mode. So, please get your facts first before you come at me with these objections.. And also, please don’t tell me your trying to correct me on grammar on a blog about video specs.. I’m doing this in my phone and doing two things at the same time. It seems you are ” REACHING “..trying to make points since you really don’t have any.. Again, yes..because you have 4/3 mode…you gain access to a wider field of view than 16/9.. That’s the measurements of cinematography…. Look it up..and look up the term ” Open Gate” also a term used by professional cinematographers in the older celluloid cameras and used on the Alexa 65..

Palmer Woodrow
Palmer Woodrow
Member
January 24th, 2017

“your saying i said “super 35mm is not cinema”.

Who are you replying to? Nobody claimed you said that.

And 4:3 does not give you a wider field of view. That doesn’t even make sense. And why do you keep harping on pixel density? That has nothing to do with field of view.

Take a Super-35-sized sensor and mask the sides to make it 4:3 if you want. It’ll still give you a wider field of view than a 4/3 sensor with the same lens. That’s just a fact.

“please don’t tell me your trying to correct me on grammar”

you + are = YOU’RE

And YOU’RE welcome for helping you sound less ignorant. You’ve said “the point is mute” twice in this same comment forum, so I thought you might appreciate knowing what the correct term is. YOU’RE welcome.

 Markus Magnon
Markus Magnon
Member
January 24th, 2017
Reply to  Palmer Woodrow

Alexander Torro, Palmer Woodrow: please shut the fu** up. Is it really important to tell the other person that “6k” is not real “6k” and that RED 6k is 2:1, and 4:3 is different. And there are sooo many pixles.. so its “real 6k”, and APCS here, 35mm there. Really? NO ONE CARES! You can also masturbate about 10bit vs. 8bit, raw, dynamic range, lenses. Talking about Alexa 65.. and compare it with a Gh5. Really? Just stop it. Both of you. Stop it. Please.

Alexander Torro
Alexander Torro
Member
January 24th, 2017
Reply to  Markus Magnon

First Markus..your on a BLOG.. Number one.. Your not at a bed and breakfast which warrants silence.. So, you SHUT THE #%;” up with your comment. If thiers an objection on the table..then too, thier is a rebuttle for that objection.. It’s called a blog. And yes, when someone has misconception about full frame giving wider field of view than four thirds..them that would seem appropriate to rebut that in a blog about video. I would not rebut that in a church gathering even though I would have the answer because I would be out of line. Now, your out of line arguing the argument. It’s most appropriate to discuss specs on a topic about a specific camera.. Maybe you should join a blog about baking..I hear they are less argumentive..

 Markus Magnon
Markus Magnon
Member
January 24th, 2017

Well. “4/3 which was and is the native aspect ratio for anamorphic” is bullshit. its just easy to use anamorphic at 4/3 but here are no rules. And you are writing about the Alexa65 .. but the topic is Gh5. You are aguing about pixels. this is ONE little aspect of a camera. What if my next ipHohne can shoot 6K. Do you really want to talk if the sensor is 4:3, 16:9, 2:1 ? Does it matter?

Even if one of you is right… with pixel desnity, lines, open gate, etc. So WHAT? What if the Gh5 has “real 6K”. not “fake 6k”. so what?

Why do you talk aboput cameras like Alexa and RED who can shoot raw and has a dynamic range of 15+. And the image will look 1000 times better in 4k, than on a GH5 with flat picture style.

You don´t really want to talk about cameras. You just want to have right. And proof that the other is an idiot… because he know nothing about aps-c, full, frame 4:3.. or whatever. Ist insane. You are filling this comment section with crap.

Alexander Torro
Alexander Torro
Member
January 24th, 2017
Reply to  Markus Magnon

First of all markus..you need to relax.. This is an open forum.. Second, your all over the place with your complaints.. About 4k..discussing Alexa and red..why are we doing that….open Gate..etc.. we are on here discussing the GH5 and it’s format. Because we are doing that..many so called FULL FRAME camera users …argue the crop ratio… and say that’s not worth it to buy the camera. So, because that is the specific objection on the table…then you bring in THIRD PARTY to support your argument.. Hence the camera Alexa 65 because it too shoots 4/3. Now, again, maybey this is where your emotional and have selectiving hearing…nobody is comparing a gh5 to am Alexa 65…it was used in the topic to illustrate a point since the Alexa 65 also shoots open gate. But limits its pixel density RESOLUTION. Now, because that’s the case….the GH5 does shoot or will shoot at 5,100 lines of pixel density… Thus making this better than Alexa 65 or any other camera period in terms of Anamorphic. It also doesn’t mean the red or Alexa is less superior all around because of that. The two are independent of each other. It’s important you hear that
.that’s the argument being made.. There are many things these cameras do that the Gh5 does not do. We were on a conversation about “Field of view” when you replied and came in.. So, if your going to make a comment about comparison.. Make sure you know what’s really being compared and argued…

Alexander Torro
Alexander Torro
Member
January 24th, 2017
Reply to  Palmer Woodrow

4/3 is a wider field of view than 35mm field of view in its intrinsic format. But it’s often being compared to the 16 by 9 format because that’s when most of the time…lumix users are using that format to shoot in.. So again, because 16/by 9 is a norm now.. Obviously, the 4/3/has to crop to fit into the 16/9 space. Yes, it crops. But when something is being CROPPED …..then it must mean it was larger to start with. Again, croo by deffintion is removing or taking away from something bigger. So, if you don’t use the 16 by 9.. Then no crop.. No crop..then means you are getting full 5,000 wide by 4,000 tall.. Of image real estate.. What’s else does those measurments refer to??/ thier not measurements for color space or bit rate.. Here,, watch this link on CES. Maybe, Matt can explain it better than me. I’m getting no where with you..skio to section..6:00.. https://youtu.be/ho_JWMHjKl4

Palmer Woodrow
Palmer Woodrow
Member
January 24th, 2017

“4/3 is a wider field of view than 35mm field of view in its intrinsic format.”

Absolutely wrong. It’s clear you have no idea what “field of view” means. It has nothing to do with pixels.

You should spend time informing yourself instead of making things up and barfing them out in comment forums. It’s so easy: Just search for “field of view calculator.”

Alexander Torro
Alexander Torro
Member
January 24th, 2017
Reply to  Palmer Woodrow

I did at once upon a time research the field of view table of measurements and even studied cinematography at A.F.I.. And have been a practicing D.P.for 15 hears now.. So yea, I do know about aspect ratios and field of view.. But forget what I’m saying. By your very “CLAIM” you are also saying that the national …..not REGIONAL… But NATIONAL PANASONIC REP is also wrong.. Because he too says, and I QUOTE..’ My sensor (implying the GH5) is the same height as a super 35 in terms of Anamorphic..”. He even goes on to say that the sensor of the Gh5 is higher and more resolution… Now, again, it does not mean it’s BETTER.. We are on the topic of Anamorphic.. And yes, GH5…right now.. Is the only camera that has the highest resolution and larger sensor in terms of anamorphic. And it’s also doing this at a dual image stabilization..with proprietary lenses.. No camera in the world..right now..can do that.. It’s even larger than an F55 in terms of Anamorphic.. that’s a big deal.

Member
January 24th, 2017

The fact that we’re, for the first time in cinema history, debating about consumer cameras that not only match, but are now surpassing professional motion picture quality…..is very humbling.

 Markus Magnon
Markus Magnon
Member
January 24th, 2017

Ian Hunter: “The fact that we’re, for the first time in cinema history, debating about consumer cameras that not only match, but are now surpassing professional motion picture quality…..is very humbling.”

Totaly Bullshit. Not one consumer camera surpassing professional cameras. Professional cameras: raw and much more dynamic range.

Please stop compare a Gh5 wit a RED or ALEXA. PLEASE! Its a shame.

Palmer Woodrow
Palmer Woodrow
Member
January 24th, 2017

Maybe this will help you understand field of view better:

comment image

This one would be better, but unfortunately they never added 4/3 to it. But you can still see what happens to field of view when you go down in sensor size (and the fact that 4/3 is smaller than Super-35 isn’t under debate): http://www.abelcine.com/fov

Danny Kim
Guest
January 5th, 2017
Reply to  Lucia Moreno

Gabe Kimpson it’ll be interesting to compare the video quality of the A7SII’s 100mbps 4:2:0 codec with the GH5’s 4:2:2 400mbps codec.

Oscar M
Member
January 6th, 2017
Reply to  Lucia Moreno

I´ll take 4:2:2 10bit any day.

Derron Miller
Guest
January 4th, 2017

180fps in 1080P!

Nik Knezevic
Guest
January 4th, 2017

Stefan Gritsch shit – did I wait for this beauty?

Stefan Gritsch
Guest
January 5th, 2017
Reply to  Nik Knezevic

Ok fuck die is mega fett! Zuschlagen, oder?

Nik Knezevic
Guest
January 5th, 2017
Reply to  Nik Knezevic

Stefan Gritsch und ich habe gehofft du sagst sowas wie ne diggah, lass mal warten

Stefan Gritsch
Guest
January 5th, 2017
Reply to  Nik Knezevic

:D

Pyry Kivi
Guest
January 4th, 2017

Joku salaliitto täs on takana

Tatu Niemi
Guest
January 4th, 2017

jeeeep :D ois edes APS-C tai jopa Super35 niinku lähimmil kilpailijoil, mutku ei ni ei. tai ehkä niil on joku diili metabonesin kans et porukka ostais enemmä speedboosterei ton äpäräsensorin takii

Wen Ling
Guest
January 4th, 2017

any idea on it’s low light capabilities

Paulo Próspero
Guest
January 4th, 2017
Reply to  Wen Ling

In the article they refer its improved but still cant be considered a low light camera

Wen Ling
Guest
January 4th, 2017
Reply to  Wen Ling

thank u Paulo Próspero

Pyry Kivi
Guest
January 4th, 2017

joo toi vitun mft on kyl aika turn off, vähä ku nappais mimmilt housut pois ja sil ois siel dikki

John Ta
Guest
January 4th, 2017

I like micro four thirds. Portability is everything to me. I use pistol grip 3 axis gimbals.

Frankie Coto
Guest
January 4th, 2017

“MICRO” four thirds

Sam Sielen
Guest
January 4th, 2017

From article: “Panasonic will be squishing features like 4:2:2 10bit 4K with a bitrate of 400Mbps and 180fps FHD variable frame rate recording into the tiny 4.5 pound body of the GH5.”

The weight is actually under 2 pounds, not 4.5.

Sam Sielen
Guest
January 4th, 2017
Reply to  Graham Sheldon

No problem, Graham. Feel free to remove my comment if you want now that it’s fixed. Great write up, btw!

Tatu Niemi
Guest
January 4th, 2017

shiiiii, muuten kyl mut MFT toho hintaa ja V-Log on joku vitun $100 DLC :D jos noit lastentautei ei olis ni ostaisin heti

Chong Hua
Guest
January 4th, 2017

ugly monster!

Louis Wong
Guest
January 4th, 2017

Why is anamorphic in 4:3 a bad thing? Most anamorphic glass squeezes the image into a 2x ratio turning 4:3 into 2.35:1 when desqueezed. It’s a more pronounced look we are used to seeing in anamorphic shot films versus the 1.33x squeeze for 16:9 sensors. Plus the resolution is in 4K already

Danny Kim
Guest
January 4th, 2017
Reply to  Louis Wong

People who know anamorphic certainly see the positives of having a 4:3 sensor with a 2x adapter. The only other native 4:3 sensor option is an Arri Alexa. Every other camera including the Red needs to be cropped from a 16:9 sensor.

 Carlos Martinez
Carlos Martinez
Member
January 6th, 2017
Reply to  Danny Kim

That should mean that using the full 4:3 GH5 resolution in anamorphic, we would have the same resolution as the larger frame Red?

Brad Halstead
Guest
January 4th, 2017
Reply to  Louis Wong

Totally agree. If you want anamorphic, you might as well do it properly… the way we remember it and the look we’re chasing. 2x on 4:3.

cinema5D
Guest
January 5th, 2017
Reply to  Louis Wong

Thanks guys – yeah the wording didn’t sound right. We adjusted it. Graham was focusing on the fact that the “6K” is not 6K horizontal resolution – the 4×3 anamorphic sounds actually amazing.

Alvaro García Undurraga
Guest
January 5th, 2017
Reply to  Louis Wong

Red cameras have a 2:1 AR

Louis Wong
Guest
January 5th, 2017
Reply to  Louis Wong

Red’s 2:1 is not anamorphic though. It’s a sensor crop mode in between 1.85:1 and 2.35:1

Member
January 7th, 2017
Reply to  Louis Wong

4:3 gives you a 2.66:1 aspect ratio when desqueezed, meaning you have to crop off the sides when you’re finishing. I believe this is how it’s done when shooting anamorphically on film.

If you’re finishing in 2.35:1/2.40:1 you’d rather wanna use a 6:5 sensor (Arri has added this anamorphic mode on the Alexa SXT), but 4:3 with 2x desqueeze is a hell of a lot better than 16:9 1.33x.

Yes, RED technically crop the sensor but they use a sensor with an aspect ratio of around 2:1 that is larger than S35 by nearly 30% and as such they can still maintain the right height even when cropping. AFAIK, they’re currently the only company doing high resolution anamorphic. Hell, the Alexa crops in as well. The full sensor has an aspect ratio of 1.55:1 and is slightly larger than S35. When shooting anamorphic or anything other than open gate, it will crop some off of both the sides and the top/bottom.

Brian Weber
Guest
January 4th, 2017

Why is “6K” in quotes?!

Paulo Próspero
Guest
January 4th, 2017
Reply to  Brian Weber

Anamorphic 6k in 4:3

Graham Ehlers Sheldon
Guest
January 5th, 2017
Reply to  Brian Weber

Same resolution pixel density wise as 6K, but not 6000 pixels on the horizontal resolution.

Palmer Woodrow
Palmer Woodrow
Member
January 9th, 2017

In other words, not 6K.

Joe White
Guest
January 4th, 2017

Olli Slatter – this or an A6500?

Olli Slatter
Guest
January 4th, 2017
Reply to  Joe White

Tough decisions..

Member
January 5th, 2017
Reply to  Olli Slatter

Easy answer, the Panasonic GH5!! Beats the Sony a6500 is basically every way possible.

Personally there are only *TWO* reasons which matter to me as to why I’d go for the a6500 over the GH5:

a) that “possibly” maaaaaaybe I’d have an easier job at matching up the Sony a6500 to my Sony PMW-F3 just because they’re both Sony cameras with s-log

b) the a6500 is cheaper (but when I could spend a bit more and get a much better camera… I don’t think the a6500 is cheaper enough vs the GH5)

And that is it. Nothing else is strongly compelling me towards getting an a6500 over a GH5

Obviously if we’re putting an a7S mk2 as the comparison against the GH5 then we’d lose half the reasons to go Sony (i.e. the cheaper price of the a6500), & be left with only one reason not to buy the GH5 over a Sony mirrorless.

Liz Slatter
Guest
January 4th, 2017
Reply to  Joe White

Answer is NO

John Wee
Guest
January 4th, 2017

Hope they retained the 4:3 shooting feature :)

Nino Leitner
Guest
January 4th, 2017
Reply to  John Wee

yes they did … 6K 4:3 anamorphic coming in summer as firmware update

Alexander Torro
Alexander Torro
Member
January 7th, 2017
Reply to  Nino Leitner

Here’s the problem though.. Is it anamorphic 422 10 bit or 4.2.0 8 bit? Exactly.. Let’s not get excited too soon. Especially, since employing 4/3 is a feature you would use because you have a gh4 or a GH5 …..But can’t get 422.. 10 bit is a mute point… It’s like STILL shooting with gh4 anamorphic minus the extra real estate of resolution…. I hope it’s not true but Luke Neumann mentions this in another video he posted.. I need confirmation in this. Very important!!

Palmer Woodrow
Palmer Woodrow
Member
January 9th, 2017

10-bit is a MOOT point

Yeyo Menendez
Guest
January 4th, 2017

jaja lamadre 4K 4:2:2 10bit a 400Mbps… esta ya se le esta poniendo al tiro a las RED jajaja es una bestia.. nueva meta

 Brandon Freeman
Member
January 4th, 2017

I will bite the bullet for this, but probably will wait until summer/fall as I don’t want to purchase until it’s got all those features attached. Looking forward to pairing it with my Sony A7sII – two different cameras for two different purposes.

Manuel Bauer
Guest
January 4th, 2017

Anamorphic Video in 4:2:2 10 bit als well?

Lauritz Raisch
Guest
January 4th, 2017

hammer geil!

Anneliene Van Den Boom
Guest
January 4th, 2017

?? please tell me it’s brilliant in low-light?

Juank Palmieri
Guest
January 4th, 2017

Pablo Palmieri hay que entrarle, de una.

Palmer Woodrow
Palmer Woodrow
Member
January 6th, 2017
Reply to  Juank Palmieri

We don’t know who that is, so knock it off.

Lucia Moreno
Guest
January 4th, 2017

Micro four thirds