Pro Moviemaker July-August 2021 - Web



Price: £1499/$1698 body only Sensor: 20.3-megapixelMicro Four Thirds CMOS sensor Recording format: H.264/MOV MPEG-4AVC. Audio format: LPCM(2ch48kHz/16-bit, 48kHz/24-bit, 96kHz/24-bit). MP4: H.264/MPEG-4AVC, H.265/HEVC File sizes: C4K: 4096x2160, 23.98p and 29.97p at 400Mbps in4:2:2 10-bit All-Intra. 23.98p, 29.97p at 150Mbps 4:2:08-bit and4:2:2 10-bit LongGOP, 23.98p at 100Mbps 4:2:08-bit. 60p at 200Mbps 4:2:0 10-bit LongGOP at 150Mbps 4:2:0 8-bit LongGOP 4K: 3840x2160, 29.97/23.98p at 400Mbps 4:2:2 10-bit. 59.94 at 200Mpbs 4:2:0 10-bit LongGOP, 29.97/23.98p at 150Mbps 4:2:2 10-bit All-Intra, 29.97/23.98p at 100Mbps 4:2:08-bit LongGOP. HD: 1920x1080 59.94/29.97/50/23.98p at 200/100Mbps 4:2:2 10-bit All-Intra, 59.94/29.97/23.98p at 100Mbps 4:2:08-bit LongGOP Anamorphic 6K: 4992x3744 23.98p at 200Mbps 4:2:0 10-bit LongGOP. 4K3328x2496 23.98p at 400Mbps, 4:2:2 10-bit All-Intra. 50p at 150Mbps 4:2:0 8-bit LongGOP and 200Mbps 4:2:0 10-bit LongGOP Streaming: RTMP/RTMPS protocol. HD29.97p/59.94p Recordingmedia: Dual SDHC/SDXC slots Connections: USB 3.1, HDMI, headphone port,mic input jack ISO: Auto 200-25,600 (expandable 100-25,600) Image stabilisation: Five-axis hybrid image stabiliser, 6.5 stops Screen: 3inLCDarticulating touchscreen, 1.84mdot Shutter speed: 60secs-1/16,000sec Autofocus: Contrast AF, 225 focus points Picture style: CinelikeD2, Cinelike V2, Like709, V-Log L, HLGand LUTpicture display Dimensions (wxhxd): 139x98x87mm/5.5x3.9x3.4in Weight: 727g/1.6lb

W hen Panasonic unveiled its Lumix GH5 four years ago, we said it was a cinema camera in disguise. That was because it offered class-leading specs, such as 4K at 60p with 10-bit 4:2:2 output, 180fps slowmotion in HD, waveform and vectorscope monitoring and V-Log L gamma if you paid an extra £99/$100. With a rear touchscreen, full-sized HDMI port, dual SD card slots and five- axis IBIS that works especially well when combined with a compatible Panasonic image-stabilised lens, it was a filmmaker’s dream camera in a small and affordable package. At least it was for those who didn’t mind that the sensor size is Micro Four Thirds (MFT), which is a quarter the area of full-frame. And that its contrast detection AF was not as advanced, snappy or accurate as the combination of phase detect and contrast detect systems used by Sony, Canon, Fujifilm and Olympus. Lots of customisable AF settings – such as AF Sensitivity, AF Area Switching Sensitivity and Moving Object Prediction – plus face detection and tracking modes were decent, but not the best in class. Most users of GH5 stick to manual focusing, aided by the camera’s in-built focus peaking. While zebra

YOUTUBE STAR The revised Panasonic GH5 II is an ideal buy for emerging internet content creators

settings and vectorscope display help gauge exposure. Like a proper cinema camera, then. However, a lot has happened to technology since the GH5 launched. Sensors have grown bigger, with Panasonic leading the way alongside Sony, Canon and Nikon in going for full-frame mirrorless cameras with the ability to shoot Raw video, either captured internally or externally. Autofocus has become more advanced across the board, as has image stabilisation. And 10-bit 4:2:2 capture is very common in cameras designed for filmmakers, as is resolution of more than 4K. There has also been a trend for manufacturers to update their cameras with new firmware to improve and add features. Panasonic has boosted the AF performance of its S series full-frame mirrorless range by increasing recording options, having newer menus and adding more anamorphic shooting benefits. But the GH5 was left behind, as its processor was not up to powering some of these latest upgrades. Enter the new GH5 II, a camera that shares the same design, sensor and basic spec of the older model, but has a new Venus processor. This unlocks lots of the

“The GH5 processor was not up to powering the upgrades. Enter the GH5 II”



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