PANASONIC GH5 II GEAR
which is a great feature, but it’s in manual focus only and at 4:2:0 8-bit. With Sony’s full-frame A7S III now outputting 240fps in 4:2:2 10-bit HD, with all the AF functions working, it’s not the best in class any more. Shooting the GH5 II at 180fps does affect image sharpness and resolution, but it’s still a great feature – and less than half the price of the Sony. The sensor itself gets a new anti-reflective coating which, after our non-scientific tests, seems to control flare well. But we had no issues with the GH5 sensor anyway. Of course, a smaller sensor means some compromises. This is largely around image noise at higher ISO settings. Up to around ISO 3200, there isn’t much of a problem – but higher than that and you need to add noise reduction in post. But the benefit of a smaller sensor and a fast, new processor is that it handles rolling shutter incredibly well. The new processor does mean the camera gets the AF improvements that the rest of the high-end Panasonic mirrorless cameras are blessed with. Using the firm’s own Depth-by-Defocus technology, it’s the best yet in a GHmodel. So, it’s much better than it was – certainly at acquiring focus quickly. It also seems to work smoother at high frame rates, too, though it’s still not the best compared to phase detection autofocus systems. The camera body itself is virtually identical to the GH5, apart from a couple of nice red aluminium flashes and a change to one of the custom buttons. The rear screen has shrunk slightly from 3.2in to 3in, but received a boost in resolution and brightness, which is excellent.
THE VERDICT The GH5 was a hugely
“Of course, using a smaller sensormeans there are some compromises, largely around image noise at higher ISO settings”
popular camera – and the new GH5 II is a far better tool, that costs less than the GH5 did at launch. It has better AF and battery, improved internal recording with no time limit and simple streaming capabilities. It also has Log gamma, vectorscopes, waveforms, built-in LUTs and 180fps super slow-motion in Full HD, too. And the quality of internally and externally recorded 60p in 4K is fantastic. As always, it’s still disappointing that the contrast-based AF system isn’t as good as rival hybrid systems and there is no way of capturing Raw footage at all. However, the sort of filmmaker with this camera is most likely not a Raw- exclusive user. When we tested the GH5, we said it was a good camera that offered serious value for money. The GH5 II is a better one all-round, with a great and simple streaming offering, at an affordable price point. Live streaming and lots of pro filmmaking features, but no Raw option or PDAF Performance: 8 As always, the autofocus still isn’t the best and the small sensor can’t match full-frame for noise Handling: 9 Easy to use andmenus are simple. Waveforms add to a great filmmaking package Value formoney: 10 A great-value camera that also does something no others can –make streaming a simple process HOW IT RATES Features: 9 PROMOVIEMAKER OVERALL RATING: 9/10 It’s probably the best camera for the YouTuber/content creator generation, but also works for serious filmmakers Pros: Great streaming, loads of codec options Cons: AF isn’t the best, no Raw recording
All the menus and tools are great for filmmaking, including the waveform pattern, which can be adjusted in size and position. You can even change the shutter speed to shutter angle and ISO to gain. Like the S class cameras, there is now a red outline around the rear screen when recording, allowing upright videos for social media. And there are dual zebras, so you can set one to white and one to skin tone, for example. A luminance spot meter helps nail exposure. The image stabilisation system has been improved and, if used in combination with Panasonic’s own matched lenses, gives up to 6.5 stops of shake resistance. We used the camera with the new kit lens option, the Leica 12-60mm f/2.8-4 lens, and the image stabilisation was up there with the best we have ever seen. For tripod-like shots, hold it still or move around for gimbal-like smoothness. That’s not to say it replaces a tripod or gimbal, but it certainly gets you out of a hole when seeking some smooth, handheld footage. Panasonic has also changed some of the capabilities in terms of audio – often such a critical, yet overlooked part of mirrorless camera design. The range of adjustment is widened, to deliver better use of external mics. And the optional XLR audio input module allows the use of professional- quality XLR mics, as well as a ‘broadcast safe’ setting of two levels of input gain. It is these factors that make the GH5 II not only ideal for YouTubers, but for serious filmmakers, needing a reliable, top-quality camera that operates in professional workflows. For around £2k, you can own a 10-bit C4K-shooting camera, complete with an XLR audio input module that allows you to livestream from your phone. That’s a very rare thing.
TWIN PEAKS The GH5 II takes a
pair of SD cards, which can be used as backup or in relay recording mode for extra time while shooting
More information
panasonic.com
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PRO MOVIEMAKER
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