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Panasonic GH5 - all is revealed!


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"6K/24p Anamorphic Video Mode, while fun, is severely hampered by its 4:3 aspect ratio" UM! That's what an anamorphic mode is - 4:3 Someone let our dear friends at Cinema5D know.

Here are some 1080 JPEGS from a music video that I shot with the GH5 + SLR Magic anamorphic primes.  

A couple of quick screengrabs from a recent Jazz concert I shot. I must say I was super impressed with the GH5 on this one - not only it recorded for 1h30m straight with no issues but it did so on one

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19 minutes ago, Adam Kuźniar said:

DAE find it super stupid that the GH5 doesn't record audio for the first like 5 frames or something? One one hand it's cool that they didn't just lag it out and if I need to get a split second shot those frames are there but having to cut each clip's beginning is kinda tedious 

You know, I'd never noticed that before, but I just checked, and pulled up 3 random shots and the audio kicks in between 7th and 8th frame on the first two, and between 5th and 6th on the third.  What a strange thing!

I'm not sure it would bother me that much for what I do, but I certainly include shots where the first few frames are beneficial, so it's the fact I don't rely on audio much that means it's not a big deal for me.

Does anyone know why this happens?  The delay seems to vary.

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On 12/2/2019 at 9:57 AM, Amazeballs said:

Everything shot hand-held, mostly 4k60 and some rare 120fps shots. I love how you can do almost gimbal-like shots with 4k60 on GH5. I dont like 120p most of the time as it is too slow for my taste and overused. But those other filmakers which are using Sony and Canon dont have much choice if they want something as smooth. Suggest watching it in 4k.

Really nice footage, makes me glad I got one. 

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Decided to do a quick test with my newly acquired GH5. 

I am pretty happy with how its doing in these difficult lighting situations. I am also really happy with the GH5 up to 3200 iso, which I was often hitting. I am not a big fan of the Minolta 50mm 1.4. It may just be my copy but the sharpness isn't great until 2.8. I guess thats ok but I've heard people say it is one of the sharpest lens in its class even wide open. Must be a bad/old copy.

I really like Paul Leeming's creative luts as well. The East German LUT and faded film are really nice I think. 

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48 minutes ago, thebrothersthre3 said:

I am not a big fan of the Minolta 50mm 1.4. It may just be my copy but the sharpness isn't great until 2.8. I guess thats ok but I've heard people say it is one of the sharpest lens in its class even wide open. Must be a bad/old copy.

I'm not familiar with the Minolta 50mm 1.4 specifically, but the faster primes are often not so sharp until stopped down 2-3 stops.  That's so common that it's kind of a 'rule' in cinematography.  Some lenses are exceptions, but they're normally the modern / super expensive ones.

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14 minutes ago, kye said:

I'm not familiar with the Minolta 50mm 1.4 specifically, but the faster primes are often not so sharp until stopped down 2-3 stops.  That's so common that it's kind of a 'rule' in cinematography.  Some lenses are exceptions, but they're normally the modern / super expensive ones.

Yeah that's usually the case, though I am very happy with my minolta 35mm 1.8 as well as the Nikon 50mm 1.8 wide open. I may try to acquire another copy or maybe try the Minolta 50mm 1.8. 

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11 hours ago, Amazeballs said:

I did bring the gimbal with me, but almost have not used it.

I just bought one. The more I use it the more I want a camera that pretty much eliminates the need for it 95% of the time. 

Here is a quick test I did 4 months ago with GH5S and 50-200 f/2.8-4 and Paul Leemings HLG corrective LUTs. It's a straight HLG -> Rec.709 conversion. No additional color grading. All handheld. Mix of 24fps, 60fps, and 120fps (the 120fps is Cine-D).

Posting it here for anyone interested in the lens or camera combination.

 

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I just watched cinema5D video they did with the SteadXP+. Why the hell is panasonic not doing this with their cameras? They have an accelerometer, gyroscope, and rolling shutter data already in the cameras for their IBIS systems. Seems like it’s not too far of a leap to record this data inline with time stamps for external software to use.

The SteadXP looks great for non IBIS cameras like my GH5S. Requiring a 1/100 shutter for handheld isn’t that terrible. You could also fake a bit of motion blur in post for the critical shots.

This sure beats the hassle of a gimbal.

Anybody have experience with this thing? I see mixed reviews/experience with it.

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5 hours ago, Video Hummus said:

I just watched cinema5D video they did with the SteadXP+. Why the hell is panasonic not doing this with their cameras? They have an accelerometer, gyroscope, and rolling shutter data already in the cameras for their IBIS systems. Seems like it’s not too far of a leap to record this data inline with time stamps for external software to use.

The SteadXP looks great for non IBIS cameras like my GH5S. Requiring a 1/100 shutter for handheld isn’t that terrible. You could also fake a bit of motion blur in post for the critical shots.

This sure beats the hassle of a gimbal.

Anybody have experience with this thing? I see mixed reviews/experience with it.

I've also seen mixed reviews.

I think it works great in some situations and not in others.  It would probably work very well for non-IBIS cameras like the GH5S and P4K/P6K.  

In terms of working with the GH5, the IBIS becomes a problem.  The motion recorder will record what motion there is, but it won't know what residual motion there is left after the IBIS has done it's thing.  You could potentially try and record that too, but that adds another level of complexity to things.  

I think it could be made to work, at least to the point of it being better than EIS, but it would require R&D, the willpower from Panasonic (or other brands), and they'd have to see a clear return-on-investment.  It's definitely true that the GH5 owes part of its excellent reputation to the IBIS, but I'm not sure how much of a factor that is (as the GH5 is also an excellent camera in many other ways) and beyond the IBIS and the EIS I'm not sure how many people would be in the "shut up and take my money" camp if Panasonic improved things on top of the existing performance.

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2 hours ago, kye said:

think it could be made to work, at least to the point of it being better than EIS, but it would require R&D, the willpower from Panasonic (or other brands), and they'd have to see a clear return-on-investment.

They are already hitting limits with the gyroscope sensitivity (Olympus has said the electronics are needing to be so sensitive that the earths magnetic field becomes a problem) on the latest IBIS tech in the EM1X. Adding this “smart” EIS in addition to the IBIS seems like a logical improvement.

2 hours ago, kye said:

It's definitely true that the GH5 owes part of its excellent reputation to the IBIS, but I'm not sure how much of a factor that is

I would say it’s pretty high on the list, if not at the top.

People I know bought the GH5 for the unlimited 4K recording in ALL-I and the IBIS.

People buy Olympus for the supreme ability to hand hold a 800mm lens and nail shots of wildlife.

It allows something like the tiny EM5 mark 3 to take hand held 50MPx high resolution shots with slower moving subjects.

I would say the super power of MFT is the IBIS. It was designed for it from the birth of the mount. The smaller sensor makes it much easier to reach the 7.5 stops of stabilization in the EM1X, for example. I doubt it’s as easy to do that with a larger sensor.

In the “bigger is better” days of camera sensors we live in today it would be wise for MFT manufactures to play the strengths of the system. Stabilization IS the big one.

I could imagine a day where a GH6 or a EM1.3 is capable of shooting 6K video with near Steadycam levels of stabilization with near zero levels of fuss—or taking 50MPx or 80MPx handheld shots for portraits, street, wildlife, or landscape from a compact “small”, “low” MPx sensor that has amazing readout speeds with zero or very subtle motion artifacts.

A smaller sensor is a trade-off. Sony at least has mitigated the lowlight sensitivity / high ISO performance of MFT sized sensors. What is left is now trading shallow depth of field for all of the things I stated above. I’ll take that trade.

/rant

Sorry for the thought dump. 

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1 hour ago, Video Hummus said:

They are already hitting limits with the gyroscope sensitivity (Olympus has said the electronics are needing to be so sensitive that the earths magnetic field becomes a problem) on the latest IBIS tech in the EM1X. Adding this “smart” EIS in addition to the IBIS seems like a logical improvement.

I would say it’s pretty high on the list, if not at the top.

People I know bought the GH5 for the unlimited 4K recording in ALL-I and the IBIS.

People buy Olympus for the supreme ability to hand hold a 800mm lens and nail shots of wildlife.

It allows something like the tiny EM5 mark 3 to take hand held 50MPx high resolution shots with slower moving subjects.

I would say the super power of MFT is the IBIS. It was designed for it from the birth of the mount. The smaller sensor makes it much easier to reach the 7.5 stops of stabilization in the EM1X, for example. I doubt it’s as easy to do that with a larger sensor.

In the “bigger is better” days of camera sensors we live in today it would be wise for MFT manufactures to play the strengths of the system. Stabilization IS the big one.

I could imagine a day where a GH6 or a EM1.3 is capable of shooting 6K video with near Steadycam levels of stabilization with near zero levels of fuss—or taking 50MPx or 80MPx handheld shots for portraits, street, wildlife, or landscape from a compact “small”, “low” MPx sensor that has amazing readout speeds with zero or very subtle motion artifacts.

A smaller sensor is a trade-off. Sony at least has mitigated the lowlight sensitivity / high ISO performance of MFT sized sensors. What is left is now trading shallow depth of field for all of the things I stated above. I’ll take that trade.

/rant

Sorry for the thought dump. 

Certainly the IBIS distinguishes the GH5 from its competition more today than it used to, but before the GH5S, A73, P6K, P4K, Z6, etc, lots of people were buying it and using it on tripods exclusively.  If Panasonic can make another “solid reliable work-horse” camera that had modes that other cameras only dreamt of in the GH6 then i’m not sure how important improving the IBIS will be.  Of course, how you create a workhorse with new features is a bit of a tricky one..  (8K? 6K60? 4K240? 1080p960? or 12-bit h.265 in a variety of aspect ratios and bitrates perhaps?).
Certainly I want higher bit-depths, higher DR and dual-ISO for shooting in difficult available-light conditions, but the file sizes of RAW make my blood pressure rise beyond acceptable levels, plus the lack of stabilisation for vintage manual primes is a deal-breaker anyway.

Smaller sensor isn’t a trade-off when you compare it to 10x8 style film cameras, it just seems to be sub-optimal because the shallow DoF and wide angle lenses people want aren’t quite so available.

I look at the S1H and apart from the ridiculous cost and the fact I’d have to re-buy all my lenses, I just look at how large and heavy it is and rule it out immediately based purely on that.

Everything is relative.  FF is a trade-off that isn’t worth it for me because it’s too large.

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1 hour ago, kye said:

I look at the S1H and apart from the ridiculous cost and the fact I’d have to re-buy all my lenses, I just look at how large and heavy it is and rule it out immediately based purely on that.

Everything is relative.  FF is a trade-off that isn’t worth it for me because it’s too large.

I share this sentiment. I do think the S1H is an amazing cam though, despite its size. I’ve held one and it just feels solid and trustworthy, like any good tool should. But at the end of the day, for me anyway, is what is most convenient to use and handle with me on my adventures. It’s MFT, always.

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