Dimitris Stasinos

They have posted the sensor's specs on their Facebook page. It is a typical 1/2.3 inch sensor, nothing fancy...

It is obvious that the reasons they did not implement IBIS in GH5s are clearly technical, although I think it is possible with this new sensor after some minor mods in the body. I respect every technical justification for not implementing IBIS, like: It doesn't fit, it generates heat ,vignetting is introduced etc. But those exaggerated claims like: "We asked the pros and they said NO, IBIS sucks, don't implement this, cinema cameras don't have IBIS, leave this off board please", cmon these are bullsh$t... GH5's target group (i am talking about the majority here) does not mount their cameras on cars, and even if they will, the proper way is to put the camera on a gimbal. How many users have encountered problems with these "ibis jumps" when using GH5 on a gimbal? I am using this camera every day for almost 6 months now. I have never switched IBIS off, and never encountered these problems that "the same company which produced the freakin camera" reports. Until last week IBIS was one of the reasons to buy a Lumix, and since last week it is a flow which "professionals users reported to Pana"? GH6 will definately have it, paired with a stupid marketing term like "magnet freeze", and those "reported by pros issues" will vanish. We know this, they know this.

@webrunner5Apart from high iso settings (where a higher base iso like 2500 helps getting wider DR, exactly like Zak said) is there any evidence out there indicating that GH5s will deliver wider DR in daylight and properly lit environments than GH5? From every comparison shot i have seen so far between GH5 & GH5s, DR seems exactly the same, at least to my eyes (and my monitor of course).

Of course they are not useless... It is just that some new technologies like IBIS are extremely useful for specific applications. For low budget productions (a market where the Lumix line thrives), features like IBIS do make a world of a difference while shooting in tight spaces and in tight schedules. GH5 is the reason i am enjoying shooting handheld again after many years, plus i can finally drink 1-2 espressos before work...

Once you get used to IBIS there is no turning back... The majority of GH5's users have already invested in expensive adaptors and fast glass, a combo where IBIS becomes a "must". It would be a pain in the @ss to manual focus a 1 kg glass while shooting handheld with no IBIS.

@Liszon I am not talking about bugs & actual faults of the camera. Panasonic could not ignore these anyway, because the competition on this specific price range is getting "hot" right now, Sony will respond and Fuji also. From the very first days of GH5, people expected miracles from it & even 1 week later the first comparisons with RED cameras came on line. Some users called this a mini Alexa for f**k's sake! Reviewers said that it has the exact same IQ with GH4, which of it DOES NOT. Some made complaints about it's low light performance, which is totally FINE, and others made complaints about it's codec, which honestly, it's the best i have worked with. There is nothing wrong with "babies", they know exactly what they want. They just can't wait for it...

People will never stop finding deficiencies & faults and then asking for more. This is why these companies are treating us like babies, because we are indeed babies. I have my GH5 from July and i don't see any faults or deficiencies here. Better low light performance would be welcomed, although i don't see my self paying a grand more for this. But you never know, babies are unpredictable.

Thanks @IronFilm. I totally missed the Marantz PMD-706. At this price it looks like a bargain for all these features, though i am expecting slightly worse preamps than F4? I did saw your suggestions on your blog last week after Kisaha mentioned it (nice blog by the way). Did you experience high noise floor while using the Deity, or it's just that many are using bad preamps?

I totally get your point. The 416 is a reference and the starting point in paid jobs, along with professional recorders like MixPre, my little research also confirms that. But what you consider as a lower end solution will totally work perfect for me, as i am a videographer in first place ( i want this setup for interviews).. The 14 year old kid you mentioned might make more money for YT views than me from audio recordings...Anyway, thanks to you guys i ended up looking for an NTG3 which i think will perfectly fit my needs. As for the recorder i have mixed feelings about Tascam as a company. They have terrible QC issues, i had an audio interface that turned into a fog machine...twice.

@Kisaha & @IronFilm Thanks guys for your suggestions. I have a long relationship with music production but i am a newcomer at boom recording. I am planning to buy a zoom H5 and a mid range shotgun mid. Probably that would be an MKE 600 or a Deity. The only thing that concerns me is Deity's high noise floor in addition to Zoom's consumer level pre amps (i am sure you are using higher end recording devices with better pre-amps as professionals). So both in mid & high budget setups, i guess that mic selection must include as a parameter the recording device and it's pre-amps, right?

Which one is your primary? I was looking for a Sennheiser 416 but a couple of comparisons online did not justified (at least to my ears) the price difference from the Deity.

It seems that everyone is satisfied with MKE 600's performance at this price range, right? Considering that here in Europe, it's price is around 300 E, would anyone recommend something different? NTG4? Something else? The Aputure Deity seems like a good deal but will this outperform products from AKG, Rode & Sennheiser?

This would solve many problems, but then shooting VFR with shutter angle gets kinda tricky regarding exposure.

After some tests i figured this out. When you set GH5 to record 4K 60 fps, for some reason the shutter speed goes up to 1/30 sec and does not stop at 1/60 as it should. So if you accidentally set the shutter speed at 1/50 for example (as i did), then the camera records at 30 fps (it totally makes sense). In FHD 60p mode though the shutter speed can't be set at these values, it stops at 1/60, again as it should be to prevent mistakes. So be careful with the shutter speed setting when you are recording 4K 60 fps, it's different than shooting FHD 60 fps.

Hi guys. I have an issue with 4K 60fps to 30fps conforming into FCPX. I didn't want to open a new thread because it might be something really simple i am missing here.. It worked fine when i shot some stuff at 4K 50 and conformed to 25. But yesterday i tried to do the same with 4k 60fps footage on a 30 fps timeline (with automatic speed of course) and after conforming i noticed that the playback was choppy. I zoomed in and saw duplicate frames, exactly as this was shot at 30 fps and then stretched at half speed....Weird. Do you have any idea what's going on? P.S. I also shot some stuff in 1080p 60 on the same card (Sandisk V30) and it worked as expected in post, the problem lies only on 4K 60 files, they actually behave as 4k 30...(Firmware 2.00).

Gh5's IBIS is definitely superior. But IS is totally usable in any Canon lens it has been incorporated, including telephoto & macro lens. As for DR, i have not used 1dx ii but i guess you can pull 1-2 usable stops more than GH5, but this is kinda objective. In a controlled environment, using v-log and exposing properly, i think you can gain back those 2 stops.

I shot 4 weddings with the exact same combo you are considering (gh5+SB ultra & Canon glass) and everything worked as expected. Tap to focus works with every Canon i tested so far, IBIS also and overall i didn't notice a single glitch. I was switching all day between a 24-70 2.8, a Tokina 11-16 and a vintage 50mm Helios. I will keep working with this setup since i feel i can totally trust it and will buy a native 14-140 as an all around & backup "save my ass" lens. My 24-70 with SB ultra turns into a 35-100 F2 and if you count EX telephoto in, then we have a 35-200 F2 lens in a m43 camera...quite impressive, isn't it?

I would say that GH5 with a speedbooster is more viable & future proof as a solution. You can achieve a look close to 5d 14bit raw if you expose and grade correctly. At least this is my experience since i have used both. If Resolve is your main NLE, 5d raw workflow is not much more time consuming than working with gh5's 10 bit files (at the present time), but as an FCPX user i hated using 2 NLEs, one for preparing the files and the other for editing. Also, consider that a 64 GB card in 5D will give you about 10 minutes of FHD 14bit RAW (for me that was a deal breaker). So i would strongly suggest that you take the GH5 with a speed booster and Canon FF lens. If you won't get pleased with the outcome, you can always sell the newer camera (which is pretty hot right now) for a good price, keep the lens, and buy a used 5D iii without spending more that you have already paid. Just my 2 cents.

I think you have just answered your own question. Pixel size of course matters but m43 and aps-c/aps-h cameras have a bigger target audience and bring significantly greater sales to these companies than FF, so R&D departments are finding ways to make them more efficient, regarding light gathering and also codec wise, as stated above. It's the same reason that 1/2.3 sensors are evolving quite rapidly these days.

As i said i didn't have the chance to see the files on my main system. So i am mainly reporting the EVF issue which has nothing to do with image quality but rather it's usability, as jitter/judder/strobe/whatever causes eye fatique. As for the final output (which indeed is a different thing) have you seen the video below? This is a gh5 on a tripod with IBIS turned off, panning "slowly" to the left and a fair amount of judder is introduced. I just wonder if this is considered as "normal" or it's a case of a faulty unit.

Yep, 1/50. It's definitely not lens jitter cause i am using speedbooster with non IS lens. It's the camera and i am seeing many users (including experienced ones) reporting this.

Has the jittery motion on viewfinder been discussed here? The motion i am seeing when recording at 25/30 fps (on viewfinder only) is a total mess. On the monitor the motion seems ok. Some users are saying that the final output when recording at 25/30 fps is jittery with the slightest movement of the camera but i can't test it right now cause i am away from my pc.

So you are saying that compression causes footage to look like "home made" and uncompressed raw data emulates film better? Not trying to argue here but to my eyes the main reason that gh5 looks "videoy" is it's limited DR and some compression artifacts that i personally consider as acceptable. What blew my mind on early C200 footage is DR, and i don't care about numbers & stops, that image clearly exceeds many standards. I think that EVA1 won't look like GH5 because due to it's sensor size and 5.7K>4K downscale it will employ different encoding algorithms, taken from the Varicam family and DR will wishfully be close to Varicams.

I will try this combo (GH5 + SB ultra + 24-70 2.8 ii) in about 2 weeks & can give you some feedback. I think you should consider Ultra over XL too so that you can use some fine s35 lenses like Sigma 18-35 without experiencing vignette.

This is for sure an overstatement...I don't have a GX85 or GH5 yet but i do have several Canon lenses (including 24-105 f4 IS) and IS on these is just for micro jitters and maybe some slow pans with the camera's strap forced against your neck. Better than GH5's IBIS? No, no this can't be true. In the shots above the guy used warp stabilizer, you must totally hate coffee to achieve shots like these with IS only, & beyond 70 mm it's impossible while Pana's IBIS have been proven effective at extreme focal lengths.