GEAR SONY A7 III V PANASONIC GH5S
SENSOR/IMAGE QUALITY
This is where the cameras differ most, although both have brand new sensors. The Sony has a very large, 24-megapixel full-frame CMOS sensor with an 8-bit readout, while the Panasonic has a much smaller 10-megapixel sensor, but with a superior 10-bit readout at higher bitrate. The Sony outputs 4K but with no slow motion, while the Panasonic is capable of the larger DCI 4K size at 60p. That’s the benefit of a smaller sensor as data can be read from it much quicker. Both cameras have pros and cons in different shooting situations, but neither can output Raw video. The GH5 was the first mirrorless camera to offer 4K video recording at 60fps, and the GH5S goes further by offering it in the larger Cinema 4K format thanks to a slightly larger sensor; this also slightly affects the angle of view. The GH5S records 14-bit Raw stills files and the video footage is processed to an internal 4:2:2 10- bit signal at a very high 400Mbps in Cinema 4K 30p/25p/24p for excellent colour reproduction. At 60fps in Cinema 4K, it’s 8-bit footage recorded internally or 10- bit if you use an external recorder. At low ISO, the footage is sharp with no banding between colours, a result of the 400Mbps bitrate. And shooting Cinema 4K at 60fps in bright conditions is glorious with punchy results. Compared to a more conventional 8-bit, 4:2:0 capture, the 10-bit 4:2:2 of the GH5S captures each tone with 64 times more detail, and you can see the difference. The rolling shutter is well controlled and dynamic range is good, capturing lots of shadow and highlight detail. The Panasonic’s multi-aspect sensor is bigger than a standard Micro Four Thirds size so you can get the same angle of view in 4:3, 17:9, 16:9 and 3:2 aspect ratios. The camera also lets you create time- lapse and stop-motion videos, and there is an anamorphic desqueeze function if you use the right lenses. The Sony has none of the fancy time-lapse, stop-motion, anamorphic or 10-bit output. It can’t even do DCI 4K or shoot 4K at 60p. You’d think it would be a walkover for the Panasonic. But where the Sony excels is that it samples a 6K image to deliver 4K video in its highest-quality XAVC-S
GH5S
STILLS PHOTOGRAPHY
Sony designed its A7 III as the ultimate all-round camera, with its top video spec but also as a camera to finally wrestle the majority of enthusiast stills photographers away from their DSLRS. Its 24-megapixels sensor means it’s great a high-ISO shooting, with very little noise. And as it has both mechanical and electronic shutters, it can shoot stills totally silently so is perfect for weddings or wildlife. Any electronic shutter introduces some rolling shutter and the A7 III is no different. The AF system is incredible, the large sensor gives crisp, detailed footage with loads of colour and the handling is excellent. For stills, the high-tech AF system from the GH5 remains and is quick, but it’s not a match for Sony. The smaller sensor introduces more noise and the ten- megapixel sensor means there’s much less detail. After all, this is a camera designed for filmmakers. Panasonics’s 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 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. Winner: Sony, as it was designed to shoot stills
A7 III
codec up to a maximum bitrate of 100Mbps, in full-frame without a horizontal crop in 24 and 25p. At 30p there is a minor 1.2x crop. In HD, even at 120fps, there is no crop. All footage is 8-bit 4:2:0 rather than the 10-bit 4:2:2 many filmmakers want. If you record to an external monitor, you get 4:2:2 clips but still at 8-bit. But the quality is glorious: lots of dynamic range, sharpness, contrast and great colours. Skin tones aren’t the best, but a tweak in post can nail them. It may not have the features of the Panasonic, but in ultimate quality terms the Sony takes it.
ABOVE You won't be disappointed with the footage out of the Panasonic or Sony as they are both excellent, But the Sony has the edge..
Winner: Sony, courtesy of its sensor’s bigger real estate
“Shooting Cinema 4K at 60fps in bright conditions is glorious with punchy results”
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PRO MOVIEMAKER AUTUMN 2018
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