Lens stabilization still works, so you have options if you absolutely need them. The overall body shape, grip design, handling characteristics and external features are the same between these two cameras. The main thing that strikes me about the current 24 megapixel full frame sensors is they are CLEAN. It can also shoot anamorphic and desqueeze that footage on a monitor all through the camera's firmware. The lower of the pair equates to ISO 400 ordinarily (ISO 800 for V-LogL or HLG capture), and the higher equates to ISO 2500 ordinarily (ISO 5000 for V-LogL or HLG). While both cameras use contrast-detect AF systems, the GH5S is rated for better low-light AF, thanks to its lower-res sensor with larger pixels. Getting the main gripe out of the way, we should talk about the lack of in-body image stabilization. With a 12MP Four Thirds sensor, the GH5S is, yes, a camera that can take still photos, but it is designed for video. And not just a little, but a lot? Panasonic Leica DG Nocticron 42.5mm f/1.2 at f/1.2; 1/100 second; ISO 4000. 03/20/2018: Field Test Part II posted The uncommonly low-resolution sensor here allows for a really large individual pixel size, which makes for much improved low-light and high ISO performance. In this, the second field test of this camera, I want to show you what can be done in near darkness as well as how beautiful footage looks in ideal lighting. I’m sure some of you are accustomed to it by now, but I felt that it was a bit complicated to figure out how to get certain settings properly engaged. The $500 price bump for the "S" is absolutely worth it, and the camera is a total steal at US$2,500. The benefits of ALL-I encoding and 400 Mb/s bit rates are also easy to see. (The GH5S actually managed even deeper raw buffers in our lab testing. It's simply actively trying to hold the sensor still, rather than actively moving it to cancel out camera motion.). And part of me thinks that's a good thing, and the other part of me thinks that's a missed opportunity. Heck, even with love. Low saturation is a good way to hide ISO noise, but I'm not prepared to say that's the reason the A7S II looks so much better. Thus, videographers wanting stable handheld footage with their GH5S will need to invest in extra equipment or make sure to use Lumix lenses with optical image stabilization which can't correct for roll. In the end, if you're a serious video creator or a professional looking for a feature-packed video camera inside a small, SLR-styled body, the Panasonic GH5S is the one to pick. And needless to say, the Panasonic GH5S is yet another worthy addition to our list of Dave's Picks. Doing some static shots where you want to change focus positions using the touchscreen is quite smooth, though. This is dramatically larger than the original GH5, which saw its ISO range stop at 12,800. For most cameras, shutter lag is less in manual focus than autofocus, but usually not as fast as when the camera is "prefocused". As befits a camera aimed at pros, no kit lenses or color options are offered. With Dual Native ISO, a specialized sensor design, and the full backing of Panasonic’s video history, the GH5S punches well above its weight. There are fewer pixels for the GH5S' DFD AF system to pull data from, so the AF speed is rated slightly slower, and our lab tests concur. Output from its sensor is handled by a powerful Venus Engine 10 image processor, and the GH5S is capable of a swift 12 frames per second with single AF or 8 fps with continuous AF when shooting 12-bit raw files. Panasonic also slightly modified a couple of the quick menus to show the vast number of recording modes a bit more effectively. But the GH5S lacks in-body stabilization of any kind, instead relying solely on your lenses to provide image stabilization. I appreciated it here. It's actually outstanding, and looks much better than just about any other video camera it could be compared to in its class other than the A7S II. Sadly, you can't just charge the battery in-camera, though, so you do have to remember to bring the charger along. #0907905; Sec. Fortunately, all the statements I made about the stills quality transfers over to its 4K specs. The ‘Low ISO’ range from 80 – 800 and the ‘High ISO’ range from 800 – 51200. The easiest assumption is that it had to go to make room for the larger multi-aspect sensor. Joe, a couple of interesting things in that video. But neither the GH5 nor the 1DX II are considered "low light cameras." This means that the GH5s sensor has 2 sets of ISO circuitry, each optimized for a different range of ISO. Clean performance at 12,800 is already extremely impressive, but what about at even higher ISOs? In low light, the autofocus in Live View took 0.12 seconds, for a total shooting time of 0.19 seconds. Another feature subtraction versus the original GH5 is that the Panasonic GH5S lacks a 6K Photo mode, for the simple reason that it doesn't have sufficient pixels on its sensor to yield a 6K feed. I'm not sure which is worse. 3. The Panasonic GH5s is expected to start shipping next week, and you can currently put in a preorder for when it becomes available. And secondly, the IS system moving could potentially disturb your framing, something that we understand could occasionally be triggered by environmental noise. The native ISO of a camera is the ISO at which the analog signal is converted to a digital signal without being amplified. 2. The GH5S does however have a Power Save LVF mode which can increase battery life to a whopping 1,300 shots when using the EVF. Time per shot, averaged over buffer length of 138 frames, then slows to an average of 0.17s or 5.8 fps with a lot of variation. Take a look at the GH5, shot in VLog, at ISO 6400. (The GH5 was ISO 200 at base and ISO 100-expandable.). I increased the ISO at each of its intervals, and I have to say, it's pretty impressive what this "little" sensor can see in the dark. The GH5S offers better video quality, more recording options, and just tons of advanced video features. The 4K video on the GH5S looks so good that stills captured from the 4K footage can pass off as stills. And that isn’t the only body change that is helpful to pro video capture. However, as we noted near the outset, there's one fairly major feature subtraction compared to the GH5, which may persuade many photographers to opt for the higher-res body instead. Typically as you need to brighten the image by increasing the ISO, the image quality degrades. When examining the two cameras, the A7S II appears to be a bit less saturated than the GH5S, and that is much more noticeable the higher the ISO we go. The GH5, on the other hand, does have IBIS, which works really well, making handheld video shooting very easy. For some reason the wider audience won't respect it as much as a Canon, a Nikon or a Sony and that's OK. Likewise, the A7S II's full-frame sensor leads it to do much better shooting high-ISO still images as well, although the GH5S does deliver surprisingly good images for a Micro Four Thirds camera. It's supposed to be a Panasonic GH camera, and as one, it is truly the best they've ever made. VLog is especially useful thanks to 10-bit recording and improved ISO performance, which allows for the camera's use in some particularly dark environments. A measure of Panasonic's confidence in the GH5S' low-light chops can be seen in its ISO range. Clearly that's not the case. When shooting 12-bit RAW or 12-bit RAW + Large/Fine JPEG files, the average frame rate actually exceeded Panasonic's spec, at 12.5 and 13.1 frames per second respectively. It easily fits into both professional and amateur videographer productions and workflows. I’d even argue that it could be better than many lower-end cinema cameras. But in VLog, we get everything. Imaging Resource © 1998 - 2020. Firstly and more obviously, the IS system itself can make noise that could potentially be picked up on your mics, disrupting your audio track. Lines are cleaner and more defined, and the blurriness that tends to start to show at high ISOs on any sensor doesn't really exist at all on the GH5S like it does on the GH5. Because it's one thing to upset the people who just bought the GH5 less than a year ago by introducing one that's better, but it's another to force those same people to buy two cameras instead of one. Where images shot with varying aspect ratios on most digicams will also vary in their diagonal field of view, with the Panasonic GH5S it never changes, and that makes choosing aspect ratios is a totally guilt-free experience. Although the GH5S' autofocus setup is largely identical to that of the GH5, its single AF performance too is a bit lower than that of the earlier camera. 10-bit recording is a revolutionary feature for video in mirrorless cameras. When it comes down to it, the folks who will be more inclined to purchase the GH5S are those who already own the GH5. In contrast, the GH5S in the exact same situation at the exact same settings does considerably better. It looks as clean as a shot I would expect at something like 400 or 800 ISO; it's that good. It’s sharp, clean, and impressive. Bottom line, the Panasonic GH5S' performance is generally quite good to excellent for its class. The result: A claimed time to AF lock of as little as 0.07 seconds, compared to 0.05 seconds for the GH5. So if you want the best-stabilized images and the least possible fuss, you'll want to stick with the GH5. Up to a 2.5x slow-motion effect is possible for 4K or Cinema 4K footage, and up to a 10x slow-motion effect for Full HD content. A high-precision, high-speed OLED (Organic Light-Emitting Diode) display features 3,680K-dot resolution and 100% field of view. The Panasonic GH5s appears to be a pretty nice little upgrade for those who need the expanded ISO, and looking for something to compete with the Sony a7sII in low light conditions. It also plays a part in heat dissipation, an issue we have seen on ultra-compact cameras. The Panasonic GH5s will definitely do better in low light. Not so odd is that the GH5S includes a full-size HDMI port, which should be more appreciated. Wireless connectivity options, as in the GH5, include Wi-Fi and Bluetooth radios, but not NFC for easy Android pairing. Internally, you can hit standard frame rates, but the GH5S has the distinction of having external 10-bit recording for DCI 4K at 60p. making "No" the preferred answer. Buffer depths when shooting RAW files were quite generous, at 120 or 138 frames depending on bit-depth, and RAW+JPEG buffer depths were also very good, ranging between 99 and 101 frames. This is a video-centric camera, and the fact it takes photos really is secondary. For example, they reduced the total photo megapixel output of the sensor to 10.2MP. This is one of the best video cameras you can buy today, and basically the best video camera at or under $2,500 (the closest competitor camera is the original GH5, and again it depends on what you value more: ISO or IBIS). The Panasonic GH5S retail package (as reviewed) contains the following items: Note: Given the more specialized, video-centric nature of the this camera and its lower-res sensor, the GH5S did not undergo our full laboratory testing treatment for still images. Hd. That is what Panasonic did here with the GH5S. First found in the GH5, the GH5S just makes it all better. Startup and mode switching are reasonably fast, while autofocus speeds and shutter lag are pretty quick. Buffer clearing, however, is surprisingly sluggish, particularly with RAW files, despite the small, lower-res 10MP size and UHS-II card support. I can recall just a few from my past that represent more than just a tool, but an extension of me as an artist. by Mike Tomkins, Jaron Schneider, William Brawley and Zig Weidelich Taking a page from Sony’s playbook and the a7S series, the GH5S features a conservative 10.28MP Multi-Aspect MOS sensor. But that's not to say that this is just a camera for the video crowd. 04/02/2018: Gallery Images posted Here, video capture is clearly of huge importance, and an area in which this camera offers some really significant improvements over the GH5. You easily get two more stops over the standard GH5 and, I would say, it is usable up to ISO 12800, and potentially even ISO 25600 if you need it. Also supported is Hybrid Log Gamma capture, and the GH5S allows you to record high dynamic range content with a low-bitrate 4K HEVC codec. And that, of course, also means there's no Dual I.S. Or better yet, should I just buy one GH5S and outfit my entire filmmaking rig with my remaining $7500? Power comes from a 7.2-volt, 1,860mAh, 14Wh DMW-BLF19 lithium-ion rechargeable battery pack, just as in the GH5. The GH5 starts to become quite noisy at ISO 3200, so backing down to ISO 1600 seems like the maximum point to reach.. Up steps the video-optimized GH5s with a nice party trick – Dual Native ISO. Besides sensor tech improving low-light performance—the Achilles’ heel of Micro Four Thirds, if you ask me—the GH5S gains Dual Native ISO, a function that had previously been reserved for high-end cinema cameras. Unlike the GH5, the GH5s has a low … ) Note that continuous AF performance is one frame per second slower than was possible with the GH5, or two fps slower if you enable 14-bit raw capture. “At both 12,800 and 25,600, the GH5S looks slightly better than the A7S II at the same ISOs, which is both unexpected and subjectively highly impressive for a camera featuring a sensor that is a fraction the size of the other. As high as ISO 25,600, there is very little noise and the end result is extremely clean. Though the GH5S offers a great many capture settings, it won't shoot in RAW video, it won't capture above 60p in 4K, and it's not set up physically to compete with a RED or an Alexa. Posted by 2 years ago. When manually focused, the GH5S' lag time dropped to 0.083 second with the mechanical shutter, which is very good, though not quite as fast as the GH5's 0.066 second. Burst performance is excellent, as are buffer depths, however buffer clearing can be sluggish when shooting RAW files despite UHS-II card support and the smaller 10.2-megapixel files. The big story surrounding the GH5S is going to be the ISO performance, but there have been other changes to the camera as well. The GH5S is a surprisingly capable stills shooter. The GH5S features an 11.93-megapixel multi-aspect Four Thirds sensor with a maximum output resolution of about 10.2MP in 4:3 mode, yielding about half the pixel count of the regular GH5. I'm very impressed with the performance at 25,600 considering it's two stops more than I can achieve with either the 1DX II or the GH5. Much like the GH5 before it, the Lumix GH5S sports twin SD card slots, compatible with higher-capacity SDHC and SDXC types, as well as higher-speed UHS-I, UHS-II and Video Speed Class 90 cards. That's not to say the GH5S is bad. Close. The GH5S is also slightly slower to focus than the GH5, though not to a significant degree. Serv. Whereas the EVA1 has Dual ISOs of 800/2500, a quick test of the GH5S shows it to use 400/2500 for its Dual ISOs. But if you opt instead for the GH5S, you will find that its much broader sensitivity range and lower noise levels allow you to use a higher sensitivity to achieve a faster shutter speed in the first place, so perhaps stabilization won't be needed as often. Still, the GH5 was designed as a hybrid camera, one that's made for photographers and videographers alike. Single-shot cycle times were quite fast at 0.39 second for best quality JPEGs and 0.45 second for RAW+JPEG. For the Lumix GH5S, there are actually two different sensitivity levels at which the camera is able to operate natively, and thus noise levels will be at their lowest around both of these points, with a rise in noise levels between. It allows us to put different LUTs and looks over the footage to do just about anything we want. The combination of the new LUMIX GH5S with the Atomos Ninja Inferno 4K monitor / recorder offers multiple shooting solutions, expanding what is possible to do with the new video-centric camera from Panasonic. It appears that Panasonic took the time to make a mirrorless for professional video applications, instead of just relying on the past success of GH models. The GH5S shares many of the same Pros & Cons as the GH5 -- for the full list, see our GH5 Conclusion. It's the camera to get out when you really need to push the limits of current sensor tech. Every digital camera has a native ISO. Many would argue that the Panasonic GH-series mirrorless cameras transformed the industry with their compact sizes and professional feature sets. The two slots can be written to sequentially, set to segregate by file type or to serve as a backup in the event of a card failure. I think that if you are looking to buy a mirrorless solely for its video prowess, it’ll be hard to not include the GH5S on your list. But at just 12 megapixels, it’s a big sacrifice in resolution to get there especially in the 8K age. Surprisingly clean high ISOs in the GH5S. And the thing is, the GH5 wasn't even bad at 12,800. And we're not joking when we say that this camera will pretty much focus in the dark. Deal. While the GH5 can already do so in UHD, the GH5S adds the additional pixels in Cinema 4K. The other main accessory is the always useful DMW-BGGH5 Battery Grip. The Panasonic GH5 is already one of the best video cameras you can purchase, especially once you consider its size and low cost. But Panasonic quite correctly states it to be 10.28 megapixels effective, as that's the active pixel count in 4:3-aspect mode (10.2 megapixels of which are in the final image after some peripheral pixels are discarded during processing), which bests the 9.8-megapixel count for 3:2-aspect shots, and the 7.6-megapixel count for 1:1-aspect ones. There is no perfect capture device. There are so few cameras that I cling to as treasured objects these days. Like. Even when you do, the GH5S will still do many tasks better than those high-end cameras. Speed up future orders, see order history, create wish lists, and more. With the exception of the original, the Panasonic G1, all Lumix MFT cameras have also shot video to some extent. But what if I told you it could be improved. The result is a digital imager that can "faithfully reproduce even the dark parts of the image," with a new ISO range of 80 through 204,800. With 14-bit raws, both figures drop by one frame per second. Finally, Panasonic has developed plenty of accessories for the GH5S, so let’s talk about the video-specific ones. Now seems as good a time as any! Not responsible for typographical or illustrative errors. Additionally, Panasonic removed in-body image stabilization in the GH5S, meaning if you want stabilization you'll have to rely on the lens. For the best idea of how they performed against one another, I recommend watching the video above. Is it more important to have good ISO and IBIS, or excellent ISO and no IBIS? Time per shot, averaged over buffer length of 120 frames, then slows to an average of 0.16s or 6.2 fps with a lot of variation. Argue with me all you want about Canon Cinema cameras or Blackmagic equipment, there is no doubt that the GH5S can do anything those cameras could be used for either just as well or better, and for a fraction of the price. The CIPA-rated 440 shots per charge when using the LCD monitor and 410 shots with the EVF are above average for a mirrorless ILC (but keep in mind there no built-in flash with is normally fired for 50% of shots for CIPA testing), however battery life is much lower than a typical DSLR when using an optical viewfinder. Manufacturer rebates, terms, conditions, and expiration dates are subject to manufacturers printed forms NYC DCA Lic. I don't care what size the sensor it is. With both cameras in your arsenal, there will be few situations you can't beautifully capture. How does it stack up in that regard? Leave a comment below! To minimize the effect of different lens' focusing speed, we test AF-active shutter lag with the lens already set to the correct focal distance. The reason is that the Depth-from-Defocus based 225-point autofocus system's algorithms have less data to work with from the lower-resolution 10.2-megapixel sensor. 1. Each iteration has made huge jumps over the last, though each has also been designed to balance still-photo functionality with the more popular video specs. (And for video, ten megapixels is still plenty even to allow for capture of Cinema 4K footage, which has a resolution of just 8.3 megapixels.). Before we get into the major things that make the GH5S different from the GH5, I wanted to first mention a few small things. The GH5S continues the trend, but in doing so makes sure to include all the essential controls, buttons, and dials right on the body. This is also finally a Micro Four Thirds camera I’m not afraid to use at night. But then when you realize that with the GH5S you lose IBIS, suddenly the conversation shifts. The GH5S' low-res sensor also allows for native capture (one-to-one pixel mapping) of DCI 4K video with no crop, faster readout speeds, reduced rolling shutter and reduced heat generation than higher res sensors, all else being equal. Otherwise, below are some comparisons between the two cameras (Click images to see them at full resolution). Its 10MP resolution is a bit low for photos, but it's great for video. As if that wasn't enough, there's plenty else for video shooters besides. Let’s start with the camera bodies:The Blackmagic Design Pocket Camera 4K (Amazon, B&H) is definitely looking good here. 06/14/2018: Performance posted With the addition of ISO 25,600, 51,200, and two expanded ISOs of High 102,400 and High 204,800, you're going to find that three of the four are actually usable, and two of the four are in the "excellent" category. Of course, it can still take still photos, but at the end of the day, the GH5S is designed for video and serious videographers. It’s on the GH5, so why is it gone here? This trend continues up until neither camera is useful. When shooting 12-bit RAWs, it actually exceeded the 12fps spec. This GH5S is of course better for higher ISOs. This has, so far, been a good decision. You have until Feb 01, 2021 to return or exchange items bought after Oct 19, 2020. In the lab, the GH5S produced a full-autofocus shutter lag (with the subject at a fixed distance) of 0.173 second using 1-area (center) AF-S mode in mechanical shutter mode with the Panasonic Leica DG 12-60mm f/2.8-4 lens at about 25mm (50mm equivalent). It also seems like the colors just popped and were more vibrant than standard DSLR/mirrorless 8-bit recordings. It's wonderful to finally see a camera that can produce this kind of imagery at a price point that is actually affordable. Though from a pure image-making perspective it's superior to the GH5, losing IBIS removes part of what makes the GH5 such an excellent camera. When it comes to performance metrics, it's no surprise that this camera shares a lot of similarities to the GH5. Today, outside of a dedicated cinema camera like an Alexa or a RED, you will find no better filmmaking tool than the GH5S. One slight change, though, is that the bundled battery charger has been changed to a new model DMW-BTC13 which attaches to a bundled USB AC adapter, but could also be connected to other USB chargers or even your computer to recharge while on the go. But that's for stills; you can expect the GH5S to prove much more satisfying when it comes to video autofocus. Note, though, that 60 fps footage comes with a requirement that you record 8-bit, 4:2:0-subsampled content. That said, given the GH5S's intended focus as a professional video camera, it's safe to assume that most users will be cinematographers that utilize manual focus the vast majority of the time. Bigger megapixels take in more light, and more light means less gain is needed to bump up exposure. Although the imaging sensors are different, both models use the same generation of Venus Engine processor. I wouldn't consider this "good" footage. Throughout the history of Panasonic's Micro Four Thirds Lumix cameras, they all have, by and large, been photography-centric cameras. I'm still trying to wrap my head around the technology that Panasonic packed into the GH5S, especially with its incredible low light, high ISO performance. Unlike most cameras, there are actually two native sensitivity ratings in the GH5S, a feature the company refers to as Dual Native ISO. Sure, RED and ARRI have been making this kind of quality for some time, but those are not what I call "approachable" cameras. Working with the footage was quite easy. Unique 12MP Four Thirds sensor improves video quality, especially at higher ISOs, 14-bit RAW support (12-bit still available), High-speed 4K Photo mode captures images at 60fps, Dual UHS-II card slots with hot-swap support, OLED EVF refresh rate bumped up to 120fps, Full sensor-width video capture even at 4K, Weather-sealed and freeze-proof to 14°F/-10°C, Optional hot-shoe-mounted XLR microphone adapter, Good battery life, with slightly increased battery life over GH5, Time code in/out via the PC sync terminal (BNC adapter included), 10MP resolution limiting by modern standards for still images; limits print size, Lower sensor res prevents support for 6K Photo features, Expensive, though a very good value compared to pro-level, dedicated video cameras, Can't record two different video formats simultaneously to each SD card. Mirrorless for video came about because the cameras are small and affordable; packing-in these pro-level features make that true again.