As many of you already know, Panasonic made big news this week with the release of its new camera, the Lumix GH5S. Rumors about this new camera have been circulating online for weeks and are now confirmed thanks to an official launch at CES.
I haven’t had any early access to this camera, so I’ll hold off on doing a full review of the GH5S until I can spend some time actually using it. That said, I still wanted to share some first impressions of it here today, as I’ve had a lot of readers ask me what I thought based on the camera’s specs and price.
But first, let me introduce the historical background of my use of the GHx series——
My first Lumix camera was the GH2 and I absolutely loved it. This was also my first SLR camera and after testing it on many projects I became a huge advocate of it. Many of my earliest blog posts centered around my experiences with the GH2 and later the GH3 and GH4. Of the three GH cameras I own, the GH2 is actually my favorite, mostly because of its color science and motion rhythm. GH3 and GH4 offered incredible upgrades in many ways, but GH2 offers some X-factor and looks more cinematic, at least in my opinion.
When the GH5 came out, I decided not to invest in it. Not because it wasn’t (and isn’t) an amazing camera – in fact, I think it’s probably the best choice for the vast majority of filmmakers looking for a mirrorless camera – but because I needs have changed. I still do a lot of small/DIY projects but mainly use cameras like the Blackmagic URSA Mini Pro, and for larger jobs I often rent a RED or Alexa as needed.
Even so, I still need a DSLR/mirrorless camera for certain projects, but no longer a Swiss Army camera like the GH5 that can do it all. I don’t need all the bells and whistles. But what I do need, and what I’m looking for, is the best color science Maybe that’s why I ended up switching to Fuji X-T2.
I mention all this just to provide context for anyone reading my opinion on the GH5S. As you probably know, I have a very unique set of criteria that are important to me when it comes to investing in cameras. So please take everything I say with a grain of salt. My opinions are completely biased and highly subjective given my personal experience with the GHx series and my unique preferences as a filmmaker…not to mention that in this case, my impressions are also speculative, Because the camera was just released.
With that in mind, here are my thoughts on the current situation with the GH5S –
GH5S
First let’s discuss what this camera is not – a GH5 replacement. This is not GH6. It is GH5S, the replacement of GH5.
This may sound obvious, but I’ve had a lot of people ask me for advice on whether they should “upgrade” to the GH5S. I don’t blame them for wanting to know, since at first glance the GH5S appears to be the higher-end model. After all, it’s brand new, more expensive, and comes with tons of new pro features.
Below are just some of the specs –
- 10.28MP multi-aspect ratio MOS sensor
- DCI 4K60p and Full HD 1080/240p video
- Internal 4:2:2 10-bit long GOP
- V-Log L Gamma and HDR Hybrid Log Gamma
- 0.76x 3.68m dot OLED viewing window
- 3.2-inch 1.62m dot free-angle touch screen
- Dual native ISO 400 and ISO 2500
- Dual UHS-II SD slots; Wi-Fi and Bluetooth
- Advanced DFD autofocus system
- 12 fps continuous shooting and 4K photo mode
- Dedicated timecode input
- Price: $2497
It’s worth noting that the GH5S has a lower-megapixel (but versatile) sensor that offers dual native ISO settings of 400 or 2500, functioning similarly to the Varicam LT or other Panasonic cameras that offer this feature. Being able to shoot at a base ISO of 2500 on a sensor with larger pixels obviously means this camera will be far superior to the GH5 in terms of low-light capabilities. This will be huge for many shooters, especially those who are doing documentary or event work and primarily need to work with minimal/available light.
Other highlights include the ability to record in Full HD at up to 240fps, built-in V-Log, and the ability to jam sync timecode using the TC input on the front of the camera.
What all this tells me is that Panasonic seems to really care about the needs of professional users and is clearly working hard to deliver not just great image quality, but great functionality as well. I’m a firm believer in investing in cameras and camera brands that really “get it” because it tells me that in the long run, a company like Panasonic will have their customers’ best interests at heart.
But as I mentioned above, as impressive as all these features are, and as much as I commend Panasonic for making this camera, the GH5 will still be a better choice for some people… and I’ll be one of them one.
The main reason is the GH5S’s lack of image stabilization, which is undoubtedly the biggest drawback for filmmakers who are hesitant between the two models. While features like dual native ISO and 1080/240fps are incredible, they won’t be as important to most filmmakers as built-in image stabilization.
This might sound interesting to me since I own an X-T2 (without built-in IS), but I also tend to shoot with heavier cameras when I need a more stable handheld look, so it doesn’t Must have been a deal breaker for me.
However, I suspect this will actually be a deal breaker for many others, as the GH5’s internal stability is so good that many filmmakers (especially those who shoot a lot of run-and-gun/guerrilla projects) rely on it day in and day out.
In many ways, I think 5-axis stabilization is one of the main reasons why mirrorless cameras are still thriving, despite the competition from Blackmagic of the world… Many cameras can produce beautiful images, but few allow filmmakers to truly keep a low profile.
So if I were looking to invest in a new camera and no other camera already met my needs in this area, I would probably choose the GH5 over the GH5S based purely on sensor stabilization. If you do guerrilla shooting or run and gun (which is what I do), this is a very important feature, and a worthwhile trade-off compared to the other features the GH5S offers.
For example, dual native ISO on the GH5S is clearly a technical achievement, but it’s not a feature I use particularly often. In the past, even if I had a camera like a Canon C100 or Sony A7S that could shoot at incredibly high ISOs, I would rarely shoot above 800 or 1600. Love looking at high ISO footage, no matter how clean it is. This is partly because I’m a firm believer in purposeful lighting (even if it’s natural light) as a means to achieve a more traditional look. But I also don’t like the changes in color and overall IQ when working at very high ISO on almost any camera.
So while ISO 2500 on the GH5S may provide some very clean ultra-low light footage, I personally wouldn’t use that feature very often. Certainly not as much as I require internal stability.
Even being able to shoot in Full HD at 240 fps isn’t really a draw for me personally. It’s a cool option, but I can only think of one project where I had to shoot at such a high frame rate, and 99% of what I shot was 24p. I also have no idea how clean/artifact-free the 240fps footage will look, and am very curious to capture some test footage in-house at these frame rates.
However, this is all subjective based on my specific needs. Many of your needs will vary!
final thoughts
In conclusion, I would like to reiterate that I sincerely commend Panasonic for what they have done with the GH5S. This is a major technical achievement that shows they truly care about their professional customer base, and is a great alternative to the GH5 for filmmakers who need improved low-light sensitivity and higher frame rates.
This also ups the competitive ante, and I can’t wait to see how Sony, Canon, Fujifilm, and others try to step up their game as a means of competing with Panasonic. There is no doubt in my mind that competitors are taking notice now and with NAB only a few months away I bet we are in for a great year!
In the future, I’ll aim to review the GH5S more thoroughly once I get a chance to use it, so be sure to stay tuned…
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