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“The Middle Path”: A Lumix GH5s Short

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This video proves that GH5 "S" is not only a low light camera, but a lowlight sea MONSTER. It also works underwater, as the scene gives us obvious clues to this feature. Also the use of boats sug

Let's ruthlessly dissect and analyze Neumann's first comment of 2018: First of all, let's look into his first sentence, why did he write "Happy New Years" and not the more common "Happy New Year"

I'll make sure to do a side by side with the UM46K when I get the GH5s.

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On 23-11-2017 at 5:43 PM, Cinegain said:


Anyways. Again, the rumors were about Panasonic starting to offer choices in their high-end flagship line-up. First the GH5, a video allrounder. Then the G9, stills flagship. Now... who knows. A7S style? GH5 body but low megapixel count sensor that does better in lowlight? Personally I think there's still nowhere to go for a GH5 shooter... the EVA1 is supposed to bridge the gap between the GH range and VariCam LT, but is it really, though? You'd have to ditch your native MFT lens line-up and you're still looking at spending 5000+, more like 10k when you've got it kitted out.


Well, this would be just that.


Now... what I think would be interesting... take a Canon XC15, right? Remove the fixed lens and give it a MFT mount and APS-C sensor (JVC GY-LS300 style, with variable sensor mapping 'n stuff). Keep the MP count on the low side (like the Sony A7S) for better lowlight... and forget about stills altogether. Add sensor stabilization, obviously... and do whatever you have to (in terms of body size: battery grip like bottom) with buffers, processing and storage (would be pretty cool to have quickswap mSATA drives like the Videodevices SpeedDrive) to enable ProRes and RAW DNG with the camera. Keep the price under $5k. Basically... you take the essence of the BMPCC... a fairly compact standalone (no need to wire ext. monitor/recorders) ProRes/RAW DNG cinema camera and bring it quite a bit up to speed.

I mean, not quite. But I didn't think you were able to pull off DR and lowlight high ISO performance with a 4/3" sensor. But the general idea of a fairly compact standalone cinema camera it is.

Of course, it's in now such body with such-like specs. So it's still more like the BMPCC that came to market more resonably priced than we expected for what it stood for. And lacks IBIS... well, I kinda took that into consideration as well of course.

On 26-11-2017 at 10:23 AM, Cinegain said:

Do we think it will lose the body image stabilizer (and using EIS instead) for better sensor data pulling ability (regular cinema cameras don't have in-body stabilization, also still making it more interesting to still own (and for them to sell you) a regular GH5)?

On 26-11-2017 at 4:32 PM, Cinegain said:

Well, one of the things they've said previously is that you can't have a proper heatsink on a free moving sensor. The whole thing is just limiting the access to the sensor in general of course, it's like de-boarding a full train through one door rather than all doors, or pretty much having a single lane highway between two major cities, rather than a multiple lanes one: limited flow, congestion, there's going to be more pushing, it's going to be slower/less efficient.

Ofcourse it's going to depend on what you want to pull from it and what technology you're relying on. The Samsung NX1 was ahead of its time and was reported to have some sick data pulling capability for instance due to having the right chip infrastructure in place. Think that's the thing you need if you want to pull 4K60p 10-bit 400Mbit/s LOG format internally. Also, better wiring may also reduce noise. And less pixels might be easier to handle as well (with larger photosites = better lowlight in general). Then it's all about finding a harmony between processing, buffer and writespeeds. I can also see a scenario for ProRes/RAW DNG recording of some sort, where you could use the dual cardslots for alternate frame dumping. They would need to be combined after recording.

Think that's one of the more intriguing things about it... they could really make it a proper cinema camera. An eVND solution would be pretty cool too, but might be in the way for certain lenses or speedboosters. But not having to cater for stills photography would allow them to greatly enhance the video capturing capability. Of course, for more serious video work, you'd see more folks going from handheld run 'n gunning to putting the camera on sticks, dolly, gimbal, shoulder rig, jib, crane, etc, so no IBIS shouldn't suddenly be something new for cinema style shooters and for new operators in that scene, it's a good lesson to learn, should they rent and operate a Blackmagic, RED, ARRI, etc one day. Of course there's something to say for people who aren't looking at all to shoot like that, that just want their MFT handheld powerhouse in a relatively compact package.

From Panasonic's perspective it would also allow them to keep other cameras still interesting and sellable. Where the GH5 is the handheld allrounder and the G9 the stills flagship. Unfortunately the segmentation game is still played strong by all parties.

Dunno, I would be quite happy, personally. Now I just want to see footage!! :lol: C'mon already!

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@Mmmbeats good points. With the GH5, Panasonic included some professional features into their consumer division flagship camera, the GH5s continues this tradition. Since they don’t have a $5000 cine camera, that don’t have that product line to protect. 

Does any one know how successful the sales have been for the GH5? I figured they were great, but I could have been thinking that based on this microcosm. 

12 minutes ago, jonpais said:

Matthew Scott  , a supremely gifted colorist and accomplished cinematographer, went from shooting Red to the BMMCC to the GH5. Anybody in this thread have a look at any of his grading tutorials, lighting setups or reels and tell me he isn't a pro who knows his shit. 'nough said.

I follow him on IG, really talented and nice fella, it seems. But I wonder if he would have ditched the BMPCC/BMMCC for the GH5, if it didn’t have IBIS?

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@mercer He says he prefers the image quality.

I would never choose the BMMCC again to be honest. I don't believe the colour science is at all better, let alone far better ;) I get no IR contamination with the GH5 and in 10-bit V-LOG, skin tones are beautiful. On the dynamic range side of things, the Micro has 1.5 extra stops...which isn't much....and honestly, I've never found myself needing more than 10 in my entire career. So, personally, I'm ready to sell the Micro! Does that mean the Micro isn't a great camera? Not at all...it's awesome! But I like the GH5 better for a number of reasons, not just regarding image quality.

Markus Magnon I'm pretty sure it's an extra 1.5 stops over what you say in Vlog...and what? I still have to record vlog and a high bit rate? How is that something to complain about? I don't post videos like this to upset people...I'm just sharing and being enthusiastic about my latest build that works really well. I have a lot of experience as a working professional DoP (over 10 years) having shot many films and tested many cameras. I'm excited these days with how tiny cheap cameras can compare (image qaulity wise) with others I've owned and operated in the past that cost 10 x more. I care a LOT about dyanmic range and bit depth. Give us a break....

From comments section over at YT.



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37 minutes ago, jonpais said:

Matthew Scott  , a supremely gifted colorist and accomplished cinematographer, went from shooting Red to the BMMCC to the GH5. Anybody in this thread have a look at any of his grading tutorials, lighting setups or reels and tell me he isn't a pro who knows his shit. 'nough said.

I have much respect for Matthew Scott! I follow him a little. 

But I thought he was still with the Blackmagic Micro Cinema Camera, hadn't seen anything saying he'd changed over to the GH5?

Edit: ohhh... never mind!

I look forward to his next blog post talking about the GH5 :-) I hope so? Or maybe the GH5S instead!

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