DEFINITION April 2018

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USER REVIEW PANASONIC GH5S

of the GH5 but for video the footage is processed to an internal 4:2:2 10-bit signal at a very high 400Mbps in Cinema 4K 30p/25p/24p for strong colour reproduction. At 60fps in Cinema 4K, it’s 8-bit footage recorded internally or at 10-bit of you record the signal via an external recorder. It can’t output Raw video files, unfortunately. The GH5S comes with V-Log video profile to maximise dynamic range which comes pre-installed on the camera while it was a paid upgrade for the GH5. V-log is ideal if the camera is used alongside Panasonic’s VariCam cinema cameras for a consistent look. HLG VS V-LOG There is also no maximum time limit for recording in HD or 4K and the camera is capable of recording in Hybrid Log Gamma mode for instant High Dynamic Range moviemaking. For action, the camera is blazing fast as it can record 10x slow motion at 240fps in 1080p HD, overtaking the 180fps GH5 as the speed king of mirrorless cameras, although this does crop the image at over 200fps. And 4K Photo mode enables 60fps high-speed capture where you can pull off a still roughly equivalent to an eight-megapixel image. That’s enough

THE GH5S COMES WITH V-LOG VIDEO PROFILE TO

MAXIMISE DYNAMIC RANGE

mounted, or using a motorised gimbal. Handheld work is just too wobbly for serious pro use. It also doesn’t have the larger EVF from the G9, and there is no Canon- style dual-pixel autofocus or Sony- esque phase-detect AF for video use. The fast readout from the new sensor is said to increase AF speed over the GH5 in low light, but the difference is minimal and means the GH5S is no rival for a Canon cinema camera or Sony mirrorless for autofocus during video. AUTOFOCUS The GH5S does allow you to set up to three focus points and then selectively switch between them during recording by tapping on the rear touchscreen. As it’s only a contrast-detect system, it can often hunt around when trying to lock on to the subject. You can customise lots of AF subject might be moving around the frame and how erratic that movement might be. Good in theory, but let down by the contrast-detect system. Realistically you have to think of this as a manual-focus video camera, and used with cine lenses it’s ideal. For stills, the high-tech AF system from the GH5 remains and is even quicker thanks to the new processing speed of the camera, but it’s still not a match for more advanced systems. The GH5S has the same video codec options and tools such as vectorscopes, wave forms and preview modes for anamorphic, Log and Hybrid Log Gamma shooting that the GH5 had. There is also a full-size HDMI port and no built-in flash, and twin microphones. These are useful settings for video, such as how sensitive the AF is, how fast the

so many users might never need to actually shoot stills. But there’s 14-bit Raw still capture up to 11fps for best- quality stills, too, which are relatively good in low light despite the small sensor size. One new feature that’s of use to both stills and moving image shooters is what Panasonic calls the multi- aspect sensor. It’s marginally bigger than the standard GH5 sensor so that you can get the same angle of view in 4:3, 17:9, 16:9 and 3:2 aspect ratios. The Panasonic is tough, with a magnesium body that’s splash proof, dustproof and freeze proof down to -10 degrees, as well as dual SD memory card slots. The top plate has been redesigned with a big red Rec button, much better for filming. There’s a nice red ring around the knurled drive mode button too, to signify it’s the S version. Like the standard GH5, there are separate buttons for ISO and white balance, while the shutter speed and aperture are altered by two dials. It’s intuitive to use and simple. But unfortunately the camera does not have any in-body image stabilisation as the larger sensor doesn’t leave enough room. The only way to curb the shakes is to fit one of Panasonic’s own image-stabilised lenses but this does crop the view slightly. Panasonic claims many pro filmmakers use their cameras on motorised gimbals or tripods, so it’s not needed. But it does feature on just about every other mirrorless pro camera and it may be a deal-breaker for those who love to shoot handheld stills or video. And once you’ve had it – such as on the latest Sony and Olympus mirrorless cameras - it’s a pain to live without it. It realistically means you always need to be tripod

LEFT The red ring signifies it’s the S-model. BELOW Waveforms aid exposure. ABOVE When it gets gloomy, the GH5S excels.

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