Nathan Gabriel

Most likely it is just the way that people are calculating the crop factor. The crop factor for M43 is 'considered' to be 2.0. But it is a 4:3 sensor while a 35mm sensor is 3:2. The crop factor is based on the diagonal but there is more of a crop on the width and less of a  crop on the height with a 4:3 sensor.
As in crop factor width = 36/17.3 = 2.08x
And crop factor height = 24/13 = 1.85x

Sony's new sensors have a very impressive pixel design when it comes to low light, the A9 is another one - was blown away how good it looked at high ISOs in 4K, considering it has none of the compromises of a 10 or 12 megapixel camera on the stills side. I actually would not mind that 24MP sensor in an A7S 3. It no longer needs to be just 12MP!
The pixel architecture, low noise readout, aluminium process instead of copper, less heat, oversampling, downscaling, BSI, all helps.
Sony also designed the sensor in the GH5S.
I hope Panasonic's Fuji partnership for an organic sensor bears fruit, as Sony definitely need better competition.
Canon 5D Mark IV is shit in low light for instance.

JVC LS300:

https://www.bhphotovideo.com/c/product/1096581-REG/jvc_gy_ls300_4kcam_handheld_s35mm.html

I've certainly seen some nice shots on a hacked GH2. Having never owned one, one always needs to imagine how good it looks without the compression. It's funny because the GH5S is bringing back the multi-aspect sensor- something the GH2 already had and we lost with the GH3, GH4, and GH5. To my eyes, the GX80 has a slightly different color algorithm than the GH4 and I'm satisfied. The GX80's size, colors, 4k, and IBIS trumps the hacked GH2's 1080p, but right now the GH2 is half the cost- not bad.
Personally, the GX80's still a value option that's hard-to-beat. It gets the job done for me. I still haven't seen any features in any of those new Panasonic cameras that would merit the price jump. Secondly, the GX80's successor is going to have to be pretty damn good to convert me.

Yeah, but if someone is on a budget they can hack a gx85 to get cinelikeD 4k which is already at 100mbps plus stabalization that the gh4 didn't have. That's why the gx85 was so impressive (and the g85 is also a low price point with longer battery life than the gx85, fully articulating screen and a mic input. BUT why not just get an external recorder if you need a front facing screen and mic input. That way you get 422)

I understand that it is disappointing to see a giant price tag on the new cameras, but I don't think Panasonic is actually moving backwards. I was one of the few people who really liked the gh3. The battery life is incredible and it marked Panasonic's move to actually providing high bit rate support rather than having to rely on a hack. I've also never had any moire issues with it. 
Additionally I want to say that I shoot on a budget and don't do enough serious work to justify buying the most expensive cameras. Hell, I started out with an Olympus e-pl2 which provided barely useable 720p. I bought the gh3 after the gh4 came out and planned to buy the gh4 when the gh5 came out. But the gx85 was so good I thought that I could really serve my needs better with a gx85 than with the gh4. I have no idea what Panasonic will follow up the g85/gx85 with, but if it's a huge disappointment for some reason, you can at least bet that the gh5/gh5s won't still be selling for >$2000. Can't you already get a gh5 for $1400?
If we can get 4k 422 output on the gx85, then I think it's going to be difficult for Panasonic to really mess things up. As long as they keep the features they already have they can only move forward.

Hey John, AVCHD has 50i to 25p and 24mpbs, MP4 has 25p and 20mpbs. So first one has higher bitrate and second one higher resolution, if I figured that right.
I would go with the true 1080p and MP4, as it has 20mpbs for twice the resolution in the y axis than the AVCHD 1080i is providing.
 

The render shows also a mic input, if so this would be the PERFECT camera for vlogging for me!

I've been wanting an ultra compact camera, with a 1" sensor and flip up screen which also most importantly.... has a mic input!!

Tie a 20lb weight to your arm. Done. Increased mass will mean it takes more force to alter the momentum of the camera #physics. Your footage will look silky smooth. Obviously use a tripod for stationary shots. How did we survive before the gh5? 
Also (though I prefer Panasonic over Canon) this is a good attitude to have: 
 

The RX line already had competition with the mark ii and LX15. And in some respects the lx100.
I recommend at least five people to consider the canon mkii over the rx100xx. All of them choose the Canon after trying both. Imo that says something about appealing to regular people.
Personally Ive bought the rx100, ii and the iv no less than 4 times and been disappointed. So if Canon makes this it will be on my radar.

24-35 is like having a 24-50 F2 constant on the A7R III due to Super 35mm crop mode.

It doesn’t change the situation with Pro Color because the A7R III doesn’t let you select BT.2020 with a standard gamma curve, only LOG (HLG) mode... So you can’t use it for straight out of camera colour (which is what EOSHD Pro Color is for). You need to add a LUT.
In the article I say BT.2020 is developed jointly by BBC and NHK. It’s not a Sony standard but a HDR broadcast standard. Canon use it as well.
S-Gammut is the Sony equivilent wide colour space. And that needs tweaking to work well and / or expert grading.

I just don’t get it... I have the GH5 and I was happy to learn about the GH5S. Pre-ordered immediately. Who doesn’t like options. No one is forced to buy this camera. Honesty won’t miss IBIS. A gimbal is a better solution.

Fuji is the one that lies like hell about their ISO's

the extra $500 is the "you know you fuckin want it" tax.

There is some silly people on here!

It’s a pre-production unit. So hopefully this is rectified by release.
The final judgment will be the image. If NR is good, and doesn’t turn the image to mush while it maintains high IQ, then I’m ok with it. 
I’m honestly hoping this thing pans out. We will know soon enough. Like I’ve said before clean 6400 ISO would be enough to make me happy. Anything beyond that is just gravy.

Not at Full 4k. And the GH5s can even do 10 bit  @60p in full 4k on HDMI out. And it has faster Slo Mo than the GH5. 240 versus 180. But there is a crop above 190 FPS.

Original GH5 was the first ever stills camera to do 10bit internal. 
GH4 was first with 10bit external. 

For me... after years of shooting the GH2, the GH4, the GH5... there's finally a worthy upgrade. I kept on saying: 'the GH5 and E-M1 Mark II are trully remarkable cameras... I just wish they had an APS-C sensor inside for the one reason that the 4/3" sensor has always been tricky regarding dynamic range, lowlight high ISO performance and color' (although color has greatly been improved in cameras that came out after the GH4).
Back in the day I went with the GH2, one of the reasons was that it shot great video AND had dedicated compact lenses native to the sensor size, which made the overall system really compact. With that being a priority for me FF is out of the question. The two most interesting mirrorless APS-C systems are by Sony and Fujifilm. But Sony have showed no interest in releasing any more compact lenses native to the APS-C sensor size... and keeping the body itself compact I think is the wrong concession as it only leads to issues. I'd then be leaning more towards Fujifilm, but they've been rather traditional in the past and only have been making progress regarding innovation and video more recently. Still think the X-T2 is not quite there yet, but possibly a X-H1 that's rumored would. So, no FF and no mirrorless APS-C quite yet for me.
Another option would be getting a cinema or production camera that instead of thin brittle footage gives you thick pushable material to work with. Problem is, aside from the JVC GY-LS300 is that if you're invested in the MFT system, your lens collection is basically rendered useless. And once you add all the options, accessoires, powersupplies and storage needed to operate a true cinema or production camera, be it a EVA1, VariCam LT, Blackmagic URSA Mini, Sony FS, Canon Cinema EOS, Kinefinity Terra, RED, ARRI, etc, you're looking at spending a 5 figures amount! That's not a very friendly 'up' from the GH-range. Plus, again, it's a different ecosystem, so you'd also need to get a new lens line-up. And if you'll still be using MFT lenses for their compact size with MFT bodies for stills, you can't exactly switch out one lens for another, theferefor are spending even more!
Now, with the GH5S, I'm finally getting that performance I felt was lacking in the previous cameras. Not that you couldn't make it work, but it was just very restrictive and indeed some shots you just couldn't pull of perfectly because of it. You are getting that lowlight high ISO performance finally, and how! I'd never think I'd see that in a 4/3" sensor anytime soon (atleast not until the implementation of the now still early stage organic sensor tech with rich colors, high sensitivity low noise performance, loads of dynamic range and global shutter implementation). I think dynamic range went somewhat into the shadows, mostly into the highlights. You can really see into the shadows now, especially thanks to the better ISO performance. The highlights don't clip so harsh at a certain point, but roll off smoothly. Of course, you didn't really see any of that in Kai's video, because he was shooting V-Log L in a very low contrast scene... *rolls eyes*. Overall I think it just holds up really well. And another thing that's greatly improved is color. So really, I do not have to look at APS-C mirrorless systems or cinema/production cameras anymore if I have the GH5S.
Lack of sensor stabilization. Well yeah, of course it's always nice to have, but we started out shooting with the 5DmkII, GH2, GH4, BMPCC, A7S and to this date still many, mostly traditional DSLR, other cameras and it was no different then. It still isn't if you're rocking a Samsung NX1, Fujifilm X-T2, Canon 5DmkIV, 1D C or 1DX mk II, Nikon anything or high end cinema camera. And we've all seen the reasons for why this feature might have/has been omitted from this release. The lack of any good C-AF... listen, that's not something new with Panasonics either. And until they address that, as they've addressed the sensor performance right now with new technical advancements, that's not going to change any time soon. And again, take these cameras mentioned earlier, we've all been there already and we made it work. It's just that simple. We wanted to shoot like industry professionals and now we can. We stabilize our cameras ourselves and direct the focus with intention by focus pulling one way or another and not relying on C-AF. Plus, if you get into commercial video production and start to land bigger fish, you can put a high-end cinema camera in the rental budget and you'd have already come to terms with the areas of stabilization and focus.
To me... it's a great option to have. And I see it as an 'up' from the current line-up for someone that wants better performance, but wants an up that's also in the financial whereabouts of their previous camera. Getting into new ecosystems, especially if you're sticking to MFT for stills in a compact fashion, could turn out rather expensive. And this GH5S will only set you back 500 bucks more than the GH5 launched for. Coincidentally you might rock the Lumix G9 next to it for stills capture and providing you with still quite nice video features and most of all with in-body stabilization. That should have your bases covered.
You should really regard the GH5S as the GH-range up for cinematographers. If people comment with 'No IBIS, no buy' or 'Fail!', I think they fail to see this camera is just not aimed at them. They should wait for a possible GH5V, a Casey Neistat signature edition vlogger's camera with Canon licenced DualPixel AF and 6.5 stops of body image stabilization or move over to something else completely. Casey did. He now rocks the 6DmkII. Which btw is a camera without sensor stabilization, just sayin'...

I note better performance of GH5s at f5.6, 12800iso, rec709. Look at the massive artefacts, blocking on the A7s. Gruesome. So in some lowlight scenarios, one will fare better with the GH5s. Open in new tab for enlargement.
 
 

Just last month I went to visit Panasonic UK for a hands-on with the new Panasonic GH5S. My full review is in the pipeline but first an introduction to the new camera on the block...
The GH5S has a newly developed 10.2MP sensor for enhanced low light performance, as well as 240fps 1080p S&Q. Furthermore for the first time since the GH2 this sensor is an over-sized 1.86x crop multi-aspect sensor.
Possible for the first time is 60p at Cinema 4K resolution (4096 x 2160), whereas the GH5 is just Ultra HD 60p. The field-of-view will be slightly wider in Cinema 4K on the GH5S compared to the GH5 due to the larger sensor. The new CMOS also brings colour improvements with a new 14bit readout and less noise.
Read the full article

I'm all for trying this on the GH5.
Is it worth a try? Can someone get me started?

Great work @BTM_Pix
On the GH5, maybe we could unlock that 400Mbit 4K mode ahead of time 
CineLikeD on the GX80 is a great start.

So, as some of you may know, I've been "experimenting" with having little chats with different Panasonic cameras over WiFi and after whispering in the GX80s ear last night, I may have come up with something quite interesting.
The first image is a grab from a GX80 using its Standard profile.
The second image is a grab from a GX80 that is definitely not using the Standard profile.......