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Panasonic GH5S GH5 S, 4K Video Edition
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  • Panasonic GH5S leaked by Tech Radar

    They put up a page too early, now gets redirected to their old GH5 review.

    But Google Cache remembers! ;-)

    Key info:

    • 4k Cinema at 60/50p
    • Internal 4:2:2 10-bit
    • V-LOG preinstalled
    • Complies with 4k HDR with Hybrid Log Gamma (HLG) mode in photo style.
    • Bundled BNC terminal, built-in time code generator
    • Focus in lower light level -5EV compared to -4EV on GH5
    • Max ISO 51,200
    • 10.2 MP sensor
    • Dual Native ISO
    • GH5s available from end of January
    • $2,499
  • Yep


    Panasonic has ditched the 20.3MP Micro Four Thirds Live MOS sensor found in the GH5 and replaced it with an all-new 10.2MP sensor. This has allowed Panasonic to improve on the maximum ISO of 25,600 on the GH5, with an ISO ceiling of 51,200 in the GH5S.

    To reduce the risk of background image noise in low-light conditions, Panasonic has also included its Dual Native ISO Technology – we'll bring you more detail on this when we have it.

    The Lumix GH5S also gives those shooting stills the option to shoot 14-bit raw files, while the newly developed multi-aspect sensor provides sufficient margin to get the same angle of view in 4:3, 17:9, 16:9, and 3:2 aspect ratios.

    Lumix GH5S shoots at a world-first 4K 60/50p recording in Cinema 4K (4096 x 2160).

    That's just part of the story, as the GH5S is capable of internal 4:2:2 10-bit recording, which should deliver even stronger color reproduction, while V-Log now comes pre-installed on the camera – something that was an additional cost on the GH5.

    Lumix GH5S complies with 4K HDR video with Hybrid Log Gamma (HLG) mode in Photo Style. The GH5S also records 4:2:2 10-bit 400Mbps All-Intra in 4K (at 30p/25p/24p) and Cinema 4K (24p) and 200Mbps All-Intra in Full HD.

    The Lumix GH5S has Timecode In/out, making it easy to synchronize multiple compatible devices when filming, for pain-free post-production editing. A bundled coaxial cable for a BNC terminal connects to the flash sync terminal of the camera, allowing the camera to be used as a Timecode generator for other GH5S cameras and professional camcorders.

    Apart from a flash of red round the collar of the mode dials on the top of the camera, and a red record button (and of course the 'S' designation on the front), the design of the Lumix GH5S is unchanged from the GH5.

    This means it also gets the same magnesium alloy full die-cast front and rear frame, while it's also dust-proof, splash-proof, and freeze-proof down to -10C. Like the GH5, it's equipped with dual SD memory card slots, compatible with UHS-II and Video Speed Class 60 SDXC cards, while there's a HDMI Type A terminal as well.

    Electronic viewfinder is same, with a large magnification ratio of 0.76x (35mm camera equivalent) that delivers a smooth display at 120fps, and a 3.2-inch vari-angle touchscreen with a 3,680K-dot resolution.

    The Lumix GH5S also promises to make composition and shooting in poor light that much easier. Live View Boost increases the sensitivity just for Live View, while there's also a night mode that features a red interface.

    The autofocus system has also been tweaked over the GH5. The 225-area AF arrangement stays the same, but the GH5S can now focus in light levels as low as -5EV (on the GH5 it's -4EV).

    As far as burst shooting speeds go, it matches the GH5's top burst rate of 12fps (12-bit raw files in AFS). This drops down to 8fps if you're in continuous AF (AFC), while if you're shooting in 14-bit raw it's 11fps (AFS) and 7fps (AFC).

    The Panasonic Lumix GH5S will be available from the end of January priced at £2,199/$2,499 (body only). Australian pricing is to be confirmed.


    800 x 467 - 50K
    638 x 365 - 30K
  • My immediate thoughts on the Panasonic GH5S is: FINALLY the first stills camera with TC I/O!

  • @IronFilm

    My second though is that Zaxcom wireless timecode patent made extremely negative consequences to industry.

    As otherwise we had it long time ago.

  • I think is better with no IBIS. The multi aspect is grate very functional. Dual pixel, i didnt thought it could be possible since sony sensor dont have this tech, but seem the readout in that HDR mode, give " that circuity" to emulate it. props for pana for making it possible.

    I wish they dont fuck up and give us only 150mbps long gop. ALL I is needed, is a must, if proper pro like work is spected. IBIS was not good for cinema use.

  • @endotoxic

    Main idea to eliminate IBIS is improve cooling, hence improve DR.

  • vitaly 14 bit video is possible if hacked? or venus engine h264/5 cant deliver 12 bit video? is on soc problem? cos on photo mode 14 bit can be achived.

  • The MAR sensor is back....? (!!!!)

  • Vk how much improvement s in DR you think we should expect here ,compared to GH5

  • Dual native iso seems to indicate varicam/eva1 tech in this beast. Is a little under the eva1's 14 stops reasonable?

  • @sammy

    If you compare real DR at the image level, I guess 0,5 stops tops.

    Marketing will be talking about pixel level I guess and pushing dual ISO.

  • A built-in ND filter of some sort would have been a nice compromise to taking away IBIS - and such a low megapixel count on the sensor also means there can't be much of an ex-tele mode in 4k.

  • I thought that it was for segmentation reasons, but now I think that IBIS was stripped for thermal reasons - in another forum an usar said that in its workplace they have an industrial camera with an Starvis sensor, and that it generates a lot of heat and big heat spreaders were needed.

  • @MarcioK

    You don't need "another forum" :-) you need to sometimes read PV posts.

    IBIS cameras always have more noise.

  • If you look at cinema cameras a big part of the bodies are typically heat sinks. The Alexa looks like almost 25% heat sink, with heat pipes off the sensor block. It seems heat = noise (it's probably more complicated).

    The eva1 has a 17.2MP sensor. A m4/3 area of that is about 12MP (in 4/3). So it would seem that the pixels are around the same size on this 10MP sensor.

  • @froboy88

    Yes and no.

    In cinema cameras frequently they can't make custom effective LSI.

    So they use FPGAs with significant heat output. Especially true with red and BM.

    Such chip can be 10-20x less power efficient than proper solution.

  • Looks very cool, but IBIS is pretty life-changing...going to be hard to go back. I could see a GH5 and GH5s kit working pretty well, however, depending on low light performance, much the same way I currently use a GH5 and a7s.

  • @kellar42

    Yet you can get almost 2 Sony A7S bodies (used) for one GH5S.

    And they have superior DR.

  • I will be going live on The Camera Store TV’s YouTube channel at 1:45 eastern standard time to talk about the camera if anyone wants to tune in!

  • @Vitaliy is right about the wireless t/c. And the Sony 7S.
    Several years ago, Canon dropped the pixel count for their "Pro" CMOS sensors, and the results were decent. I expect way better from this new sensor; it's the right idea. Hoping the multi aspect will give a nice crop fact on the wides.
    Too bad you can't turn IBIS on and off. Fact is, you really need IBIS sometimes, but this looks like an interesting camera. I can't see it hitting $500 for a while...
    The real deal will be what the IQ in "decent" light looks like, I'm not sure I can see it beating Sony on the LL vid but you never know.

  • Also note, if you are not using AF much, Sony A7S is cheaper, as good quality old FF bright glass is cheaper for starter.

  • The original A7s also can't record 4k internally so it's worth factoring an external recorder into your price calculations if you're looking for apples->apples vs the GH5s... unless you guys are saying that used A7S II's are half the price of a GH5s - and if so, please let me know where you're shopping (the cheapest I usually see them used in decent shape is 1900ish). :D

  • Im shit at remembering my lines!