GH5 Panasonic GH5S Press Announcement

As one who owns two Gh5 cameras, I will probably add a Gh5S to the arsenal. Although not cheap, compared to what cameras used to cost, this is a steal. And having another camera body is not always a bad thing in case of problems. They share the same eco system with gear. And then when I need low light, I just grab the Gh5S.

One question. Does it look like the color is going to be a spot on match for a Gh5 (for Multicam shoots)? Or does the different chip change color rendering significantly?
 
newadam said:
Does it look like the color is going to be a spot on match for a Gh5 (for Multicam shoots)? Or does the different chip change color rendering significantly?
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From the tests I've seen so far they look like a close match, with slightly better looking color from the GH5s. I expect that once the GH5s is on the market there will be custom LUTs available to get an exact match if needed. ( 10-bit recording should be a big help too )
 
Bassman2003 said:
I would say this night footage is very impressive.
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Why? Every shot has lots of lights in it and we never see any people and their faces in dim lit areas. So many people making videos always claiming low light video when they shoot in highly lit up places like NYC, Las Vegas, Tokyo and so on.
 
Thomas Smet said:
A fundamental issue I have been hearing all over the internet in regards to the GH5s is that most people are thinking of it as an upgrade. It is not. It is a side grade or an alternative option. I think it is important that we all think of the GH5s in this way.

I totally get the IBIS thing. It is a bummer for me too. My only perspective is I and many others have used cameras without IBIS for a very long time and there are always options. I realize those options may require more effort but they are nevertheless still options. With that said the loss of IBIS is a huge blow to many of you.


As I stated before...I'm not a fan of much camera movement...I came up through old school where the pan rate on an Arriflex was 23 seconds for an object shooting with a 50mm entering one side of the frame to exit the other...My cameras live built out with external monitor/recorders on VCT 14 plates on a shoulder pad and on a tripod or a rail system in the case of small controlled movement...I have to say I was told about IBIS by a friend (took my GH5 2 months after purchase to get to me)that I would be blown away)...I was however unprepared...I owned a HVX 200 with stabilization but almost never used it...the GH5 just blew me away with the quality of IBIS and shots I would have spent a long time on, are there now instantly for the taking....I can be shooting something handheld (completely still) and see an interesting little composition sufficiently lit that was unplanned, yet would cut in nicely with the scene, and in under a minute have it!...I don't own nor ever will own a gimbal...I would hire a proper steadycam operator instead (truly not kidding about being old school)...but I cannot overstate enough how it changes what one can achieve rapidly...I may well add the GH5s to live built out essentially as a Cine cam package, or simply swap it out on the rig for an occasional low light shot, but my GH5 is here to stay...and I find the results in Prores HQ so impressive, that I'm quite content with taking a wait and see approach with the GH5s...and lastly....the little talked about, but open gate feature on the GH5 is just the final icing on the cake in a camera I've really come to love using.
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garya said:
Why? Every shot has lots of lights in it and we never see any people and their faces in dim lit areas. So many people making videos always claiming low light video when they shoot in highly lit up places like NYC, Las Vegas, Tokyo and so on.
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I think it looks good because you can see into the shadows without all of those light blooming like crazy. "Low light" is more about quality than if you can see in the dark.

Also, it was stated in the YouTube notes that the footage was shot in standard mode. So there is potentially more to be had using VLog etc...
 
The more I think about the hit the stills take on the GH5s the more I may actually be ok with it. Even at 300 DPI I can still get some 12x9" prints from the Gh5s which is honestly all I'm likely to do. I rarely print larger than 8x10 for my own personal photos and to be honest 99% of my photos live in a digital world anyway and viewed on my iPhone or iPad. Watched them once through my AppleTV but I got bored. Even when I get a 4k TV someday the GH5s stills are still good enough for that.

Scaling slightly for an 11x14" print is not a big deal and I can likely push into GH5 territory considering how much cleaner the GH5s stills are in terms of noise and the 14 bit color. Seems weird to take a step backwards and shoot 10mp stills but maybe it isn't as big of a deal as it sounds on paper.
 
Thomas Smet said:
The more I think about the hit the stills take on the GH5s the more I may actually be ok with it. Even at 300 DPI I can still get some 12x9" prints from the Gh5s which is honestly all I'm likely to do. I rarely print larger than 8x10 for my own personal photos and to be honest 99% of my photos live in a digital world anyway and viewed on my iPhone or iPad. Watched them once through my AppleTV but I got bored. Even when I get a 4k TV someday the GH5s stills are still good enough for that.

Scaling slightly for an 11x14" print is not a big deal and I can likely push into GH5 territory considering how much cleaner the GH5s stills are in terms of noise and the 14 bit color. Seems weird to take a step backwards and shoot 10mp stills but maybe it isn't as big of a deal as it sounds on paper.
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Some of my favorite photos are from an 8MP camera. If focus is on and lens is sharp then 10MP is fine for many, many uses.
 
joe12south said:
Some of my favorite photos are from an 8MP camera. If focus is on and lens is sharp then 10MP is fine for many, many uses.
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Very good point. I need to hold out to see how clean those 10mp stills really are. I downloaded some of the samples from DPreview but the raw currently doesn't work on my iMac and the fps have a ton of moire and aliasing issues in the resolution chart sections. Diagonal lines look very jagged as well compared to the GH5 examples. I'm going to assume right now there is just an issue with the jpgs from the pre-release model and wait to see how good the raw images look. I can learn to live with the lower resolution but I cannot except the stills if the have more artifacts. I thought the entire point of the 1:1 sensor was to reduce scaling artifacts.
 
Thomas Smet said:
Very good point. I need to hold out to see how clean those 10mp stills really are. I downloaded some of the samples from DPreview but the raw currently doesn't work on my iMac and the fps have a ton of moire and aliasing issues in the resolution chart sections. Diagonal lines look very jagged as well compared to the GH5 examples. I'm going to assume right now there is just an issue with the jpgs from the pre-release model and wait to see how good the raw images look. I can learn to live with the lower resolution but I cannot except the stills if the have more artifacts. I thought the entire point of the 1:1 sensor was to reduce scaling artifacts.
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http://whatis.techtarget.com/definition/Nyquist-Theorem

I often hear people blame oversampling for moire, but actually, oversampling is necessary to eliminate sampling errors. One to one sampling will always have problems.

Certainly, bad down scaling can introduce problems, but in general, 2x oversampling is well understood to be the sweet spot.
 
joe12south said:
http://whatis.techtarget.com/definition/Nyquist-Theorem

I often hear people blame oversampling for moire, but actually, oversampling is necessary to eliminate sampling errors. One to one sampling will always have problems.

Certainly, bad down scaling can introduce problems, but in general, 2x oversampling is well understood to be the sweet spot.
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Only if there is no low pass filtering.

People have had moire and aliasing on GH5 stills where they never had on the GH4. The superior scaling helps compensate for the lack of an optical loss pass filter on the GH5 but there are situations where the lack of a filter can cause issues.

A 1:1 sensor should have an optical low pass filter and I really hope the GH5s does have one. If not then yes without a doubt a 1:1 sensor could have more issues. I sure hope thats not the case here.
 
Thomas Smet said:
Only if there is no low pass filtering.

People have had moire and aliasing on GH5 stills where they never had on the GH4. The superior scaling helps compensate for the lack of an optical loss pass filter on the GH5 but there are situations where the lack of a filter can cause issues.

A 1:1 sensor should have an optical low pass filter and I really hope the GH5s does have one. If not then yes without a doubt a 1:1 sensor could have more issues. I sure hope thats not the case here.
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The GH5s does have an OLPF. A necessity on a 1:1 sensor. But remember, that's a glorified blur filter. ;-) To capture the most true detail, a sensor needs to capture twice the display resolution. That's why an 8K sensor makes sense even when 8K displays don't.
 
joe12south said:
The GH5s does have an OLPF. A necessity on a 1:1 sensor. But remember, that's a glorified blur filter. ;-) To capture the most true detail, a sensor needs to capture twice the display resolution. That's why an 8K sensor makes sense even when 8K displays don't.
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Yes and the GH4 had a 1:1 sensor with a OLPF and didn't have the same level of aliasing and moire I am currently seeing in the DPreview GH5s downloaded samples. I'm hoping this is due to the pre-release camera but right now the jpg is pretty ugly. Can't view the raw yet until there are some software updates to support the GH5s raw.
 
TheTrickster said:
There is some confusion it seems (in my mind anyway) on the number of stops of dynamic range.

I presumed VLOG-L is limited (or designed?) for a max of 12 stops, perhaps HLG is more in camera, but from this official video from Panasonic, Luke Neumann, clear states 'a two stop increase will bring this up to 14 stops of dynamic range which is just about film'

Start at 1m42s - https://youtu.be/1ZngGNXZiMI?t=1m42s
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Here's another confirmation of the 14 stops of DR. Straight from Panasonic's Matt Frazer.
 
Kin869 said:
Here's another confirmation of the 14 stops of DR. Straight from Panasonic's Matt Frazer.
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Wow. Generally Matt and Sean try avoid talking about DR. Would LOVE for this to prove out!

Concerning the VLOG-L curve ... it's the same as the VLOG curve. That was always the point (or problem, depending on your perspective.) The top was wasted on the GH4/5, but theoretically, if the GH5s really does offer more latitude, it will use more of it, like the EVA-1 or Varicam does.
 
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