Many would argue that the Panasonic GH-series mirrorless cameras transformed the industry with their compact sizes and professional feature sets. 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. Now, Panasonic has decided to create something dedicated entirely to its cine-minded audience: the GH5S.
The Image
Taking a page from Sony’s playbook and the a7S series, the GH5S features a conservative 10.28MP Multi-Aspect MOS sensor. Lower resolutions mean faster processing and less noise. 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. Rated at ISO 400 and 2500 (or ISO 800 and 5000 in V-LogL), it works by using two different circuits to process the image data, each optimized for a different setting and providing clean footage instead of simply applying gain as non-dual-ISO sensors do.
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You can see a great benefit in stills across the board, making it a little unfortunate that we lose some of that resolution. One thing I noticed is that vignetting became a bit apparent with certain lenses wide open, no doubt due to the slightly larger multi-aspect sensor—something to keep an eye on. Other than this, the sensor is outstanding, with very clean output at high ISOs. A bonus for stills and time-lapse shooters is the addition of 14-bit raw, a first for Panasonic. This provides a slightly wider dynamic range and more color information. The GH5S is a surprisingly capable stills shooter.
You didn’t buy this camera for the stills, though. You bought the GH5S because of its video prowess. Fortunately, all the statements I made about the stills quality transfers over to its 4K specs. It’s sharp, clean, and impressive. This is also finally a Micro Four Thirds camera I’m not afraid to use at night.
10-bit recording is a revolutionary feature for video in mirrorless cameras. First found in the GH5, the GH5S just makes it all better. Internally, you can hit standard frame rates, but the GH5S has the distinction of having external 10-bit recording for DCI 4K at 60p. Working with V-LogL—which comes standard—the GH5S boasts an incredible dynamic range for a mirrorless system. This makes use of the 10-bit recording for maximum flexibility when you bring it into Premiere or DaVinci Resolve. It also seems like the colors just popped and were more vibrant than standard DSLR/mirrorless 8-bit recordings.
Reviewing the footage revealed that its improvements to low-light performance are not understated. 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. The lower resolution does mean that you won’t get the potential benefits of down-sampling (namely sharper images); however, the images seemed quite sharp and lacked any issues, such as aliasing or moiré.
Working with the footage was quite easy. V-LogL is well known at this point and I’ve always been pleased with how it grades. The benefits of ALL-I encoding and 400 Mb/s bit rates are also easy to see. The biggest advantage is that external recorders are now becoming less necessary than they used to be—though an Atomos Ninja V can’t hurt and will be wanted for 4K60 recording in 10-bit. Mirrorless for video came about because the cameras are small and affordable; packing-in these pro-level features make that true again. You don’t need to outfit it with a billion little accessories and mounts to get what you need.
With Dual Native ISO, a specialized sensor design, and the full backing of Panasonic’s video history, the GH5S punches well above its weight. I’d even argue that it could be better than many lower-end cinema cameras.
The Performance and Design
Video-specific tuning has resulted in some awesome improvements, and some weird changes. Getting the main gripe out of the way, we should talk about the lack of in-body image stabilization. It’s on the GH5, so why is it gone here? The easiest assumption is that it had to go to make room for the larger multi-aspect sensor. Because this goes out to the edges of the image circle, having stabilization could lead to vignetting issues. The other explanation is that Panasonic thinks most pros will be using this on specialized stabilization equipment and would rather not have to worry about in-body stabilization getting in the way. Lens stabilization still works, so you have options if you absolutely need them.
Image may be NSFW.
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Time to talk about that big red button. This is the feature that tells everyone exactly who this camera is targeting—filmmakers, if you still didn’t catch it. And that isn’t the only body change that is helpful to pro video capture. Another is an odd extra feature of the flash sync terminal to also serve as a timecode in/out port via a BNC adapter. Not so odd is that the GH5S includes a full-size HDMI port, which should be more appreciated. This connection feels so much better than the micro and mini option of many competitors, making it one of the best options for use on a professional set.
Many have considered the GH series to be relatively large, considering its sensor size and mirrorless design. This has, so far, been a good decision. The GH5S continues the trend, but in doing so makes sure to include all the essential controls, buttons, and dials right on the body. I appreciated it here. Everything is easy to find and easy to use. And with the flip-out touchscreen in the back, it is so easy to get things done. It also plays a part in heat dissipation, an issue we have seen on ultra-compact cameras.
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Sharp and free of noise at high ISOs
Panasonic Leica DG Nocticron 42.5mm f/1.2 at f/1.2; 1/100 second; ISO 4000
One thing I will ding the GH5S for is the menu system. 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. To be fair, I don’t think anyone has figured out a great menu system for mirrorless since we started cramming video into these things.
For autofocus performance, I will say the GH5S is not at the top of its class. During stills shooting, the Advanced DFD system is reliable, but being only contrast based is limiting. In my experience, I’m not sure I would rely on it 100% for tracking myself during a vlog, for instance. Doing some static shots where you want to change focus positions using the touchscreen is quite smooth, though. In other words, the GH5S has decent autofocus, but it’s not going to blow you away when it comes to fast subject tracking and face detection.
Finally, Panasonic has developed plenty of accessories for the GH5S, so let’s talk about the video-specific ones. The YAGH is gone and, for better or worse, it has been replaced with the DMW-XLR1 XLR Microphone Adapter. Reminiscent of Sony’s solution, this shoe-mounted device adds two XLR inputs and a few physical controls for handling audio, and it has a hot shoe on top for mounting something; pro audio without needing to sync later—which makes sense to me. The other main accessory is the always useful DMW-BGGH5 Battery Grip. Double the battery life, simple as that. This is useful, considering the GH5S is one of few mirrorless cameras that does away with the 29 minutes 59 second recording limit.
Overall, the GH5S is a brilliant evolutionary step in the GH line. 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. Whether everyone will see it that way is still a good question, considering the noticeable pushback on a camera without in-body stabilization. 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.
Have your own thoughts on this camera? Leave a comment below!
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