Basic Specifications
Full model name: Panasonic Lumix DC-GH5S
Resolution: 10.20 Megapixels
Sensor size: 4/3
(17.3mm x 13.0mm)
Kit Lens: n/a
Viewfinder: EVF / LCD
Native ISO: 160 - 51,200
Extended ISO: 80 - 204,800
Shutter: 1/16000 - 60 seconds
Dimensions: 5.5 x 3.9 x 3.4 in.
(139 x 98 x 87 mm)
Weight: 23.3 oz (660 g)
includes batteries
Availability: 02/2018
Manufacturer: Panasonic
Full specs: Panasonic GH5S specifications
Micro Four Thirds 4/3
size sensor
image of Panasonic Lumix DC-GH5S
Front side of Panasonic GH5S digital camera Front side of Panasonic GH5S digital camera Front side of Panasonic GH5S digital camera Front side of Panasonic GH5S digital camera Front side of Panasonic GH5S digital camera

Panasonic GH5S Review -- Now Shooting!

by and Jaron Schneider
Hands-on Preview posted: 01/08/2018


01/08/2018: Field Test Part I posted
03/20/2018: Field Test Part II posted
04/02/2018: Gallery Images posted

The Panasonic GH5S looks a whole heck of a lot like the GH5 which precedes it, but look closer and you'll see major changes in its imaging pipeline. The result is a camera which is less of an all-rounder, and more tightly focused on two specific niches: videography, and low-light photography including astrophotography. With half the resolution of the GH5 at around 10.2 megapixels, the GH5S nevertheless packs in plenty enough pixels for high-quality 4K video. And with pixels that are almost twice as large as those of the GH5, the Panasonic GH5S is a low-light specialist, hungrily devouring photons and yielding much cleaner results.

But if you're considering the GH5S as a still-shooting alternative to the GH5, there are certainly some potential drawbacks you'll want to be aware of, most notably the subtraction of the in-body image stabilization system. For the full story on what's new and what's not, click here to jump down the page to our full overview.


• • •


Panasonic GH5S Field Test Part II

Outside of a dedicated cinema camera, you will find no better filmmaking tool

by | Posted

It's not that it's rare to find us talking about a camera. Clearly that's not the case. What is rare, however, is talking about one with reverence. With respect. Heck, even with love. There are so few cameras that I cling to as treasured objects these days. I can recall just a few from my past that represent more than just a tool, but an extension of me as an artist. The GH5S is a camera that I have truly come to love, and that's just been in my short time with it. I've shot with it professionally twice now and used it in testing environments more than a dozen times, and the soul of this camera has gripped me since the first time I looked at the footage it produced.

It's more than just a capture device. It's a device willing to work with me the creator, and together we are making some truly breathtaking visuals. I've never been more proud of the work I've created, and I've never been so giddy to push a camera beyond what I once thought as limits only to find that those limits were only barriers put up by what I thought were great cameras before it.

GH5S Video Frame Grab: ISO 1600, Standard Picture Profile.
Click for full-res.

GH5S Video Frame Grab: ISO 1600, VLog Picture Profile
Click for full-res.

Look, there is no perfect camera. There is no perfect capture device. But there are cameras that feel as though they were created with purpose, care and as though the developers not only understood what we as artists wanted, but also saw beyond our desires to craft a finished product that exceeds even the loftiest of expectations. The GH5S is one such camera. It has quickly unseated every other tool I've used to create video in the past five years and jubilantly jumps ahead of any curve I've yet to throw at it. It's a wonderfully designed camera that may not get the widespread recognition it deserves because of its 10 megapixel label that some will refuse to see beyond and the fact that it isn't designed to be a photo camera as much as it truly excels as being a video camera. For some reason the wider audience won't respect it as much as a Canon, a Nikon or a Sony and that's OK. It's not supposed to be any of those cameras. It's supposed to be a Panasonic GH camera, and as one, it is truly the best they've ever made.

In this, the second field test of this camera, I want to show you what can be done in near darkness as well as how beautiful footage looks in ideal lighting. The mix and breadth of what the GH5S can accomplish is even more outstanding given the $2500 price point. $2500 for such a masterpiece of a camera is so mind boggling that I think that it even gets ignored, so flabbergasting is that concept. Today, outside of a dedicated cinema camera like an Alexa or a RED, you will find no better filmmaking tool than the GH5S.

• • •

I want you to take a look at this portrait I shot with the GH5S during a recent shoot in San Francisco. Look at how good the quality is. It's really quite excellent. The detail, the depth of field, the overall image quality is just superb. I suppose the only complaint at this point would be that it's limited to 10 megapixels...

ISO 200, Standard Picture Profile, Leica DG Nocticron 42.5mm f/1.2
Click for full-res.

But... what if I told you it wasn't a photograph?

That's right. The 4K video on the GH5S looks so good that stills captured from the 4K footage can pass off as stills.

I personally have been waiting for the day that this would start happening at a point where anyone who wanted to, could take advantage of it. Sure, RED and ARRI have been making this kind of quality for some time, but those are not what I call "approachable" cameras. Many filmmakers will go their entire careers without even touching one of those cameras. It's wonderful to finally see a camera that can produce this kind of imagery at a price point that is actually affordable.

The GH5S separates itself from the original GH5 in two other ways, one being the removal of on-sensor stabilization, and the second being the inclusion of VLog out of the box. I shot a lot in VLog in low light (the entire opening sequence of this video review was shot in VLog and graded in post), but before looking at purposefully-shot high ISO footage, I wanted to show how VLog changes even well-lit environments and offers quite a bit to those looking for more dynamic range.

Standard Picture Profile
Click for full-res.

Here is a scene I shot in the "Standard" profile to give you a sense of what the camera captures without using Log. It looks really good, but you'll notice that there are some very deep shadows around the edges that, though for this scene look excellent, offer no real recovery options in post should we want to change that look during editing.

GH5S Video Frame Grab: VLog Picture Profile
Click for full-res.

But in VLog, we get everything. It allows us to put different LUTs and looks over the footage to do just about anything we want.

VLog is especially useful thanks to 10-bit recording and improved ISO performance, which allows for the camera's use in some particularly dark environments.

GH5 Video Frame Grab: ISO 6400, VLog Picture Profile
Click for full-res.

Take a look at the GH5, shot in VLog, at ISO 6400. In this extremely dark environment, the shadows look especially noisy. The GH5 is doing its best to widen its dynamic range with VLog, but the sensor is having a hard time doing so without some serious noise. I wouldn't consider this "good" footage.

GH5S Video Frame Grab: ISO 6400, VLog Picture Profile
Click for full-res.

In contrast, the GH5S in the exact same situation at the exact same settings does considerably better. Not only is the subject well captured, but the shadows are also extremely usable. The noise has been dramatically reduced, and overall the footage is significantly more usable.

If you're curious how 10-bit, 8-bit and ALL-I compare for post production work, it's generally agreed upon that 10-bit is going to be your best bet. But looking below, even the shadows are hard to tell the difference among the three. What I'm saying is, unless you're doing really high level color grading and post production, you probably won't notice a difference in most circumstances.

Click for full-res.

I took a moment to do a "darkness reveal" using only ISO to see how well the GH5S can see in pretty much near-darkness. This scene was lit by three sources: a table light (which was the brightest), a small wall sconce just off camera left, and a very dim chandelier in the rear of the scene. I increased the ISO at each of its intervals, and I have to say, it's pretty impressive what this "little" sensor can see in the dark.

Click for full-res.

I'm willing to say that I'd use footage from this scene up to ISO 25,600, but after that it's just a bit too noisy for my taste.

That said, that's incredibly impressive. I don't care what size the sensor it is. Being able to feel comfortable up to ISO 25,600 in some cases basically makes it so I can shoot in any situation I have ever found myself.

I said that the GH5S is one of the best video cameras ever made, and I of course will catch flack for such a statement. I'll be told it's hyperbolic, since there are some truly outstanding video cameras on the market from Sony, ARRI and RED. Though the GH5S offers a great many capture settings, it won't shoot in RAW video, it won't capture above 60p in 4K, and it's not set up physically to compete with a RED or an Alexa.

GH5S Video Frame Grab: GH5S VLog Ungraded vs. Graded
Click for full-res.

But that doesn't mean it can't be one of the best filmmaking cameras ever made. Though an ARRI Alexa and a RED Epic are both among the best choices for high-end filmmaking, they aren't the best choice for anything other than that. Bulky, expensive, complicated and cumbersome (did I mention expensive), they are designed for the highest end level of filmmaking. But the GH5S can also work in that world, as proven by large studios even using a Canon 5D on sets of films as big as Marvel's Avengers. Not everything is for the Alexa, and if a Canon 5D can be used on a set then the GH5S sure as hell can. Additionally, the GH5S offers so much to just about everyone looking to capture video that it outclasses anything priced under $10,000 in sheer imaging potential for a lowly $2500. Argue with me all you want about Canon Cinema cameras or Blackmagic equipment, there is no doubt that the GH5S can do anything those cameras could be used for either just as well or better, and for a fraction of the price. Should I buy a C300, or four GH5S's? Or better yet, should I just buy one GH5S and outfit my entire filmmaking rig with my remaining $7500? Imagine the audio equipment I could get for that.

GH5S Video Frame Grab: GH5S VLog Ungraded vs. Graded
Click for full-res.

What I'm saying is, Panasonic has done truly marvelous things with such a small, inexpensive body that it's hard to recommend anything short of a high-end cinema camera over the GH5S. Even when you do, the GH5S will still do many tasks better than those high-end cameras.

GH5S Video Frame Grab: GH5S VLog Ungraded vs. Graded
Click for full-res.

The Panasonic GH5S is a spectacular filmmaking device that, I think, checks nearly every box. It works as a great camera alone, and even better when paired alongside the GH5. What the GH5S lacks in on-sensor stabilization (a move made by Panasonic at the request of high-end filmmakers who found it to work poorly with car, drone rigs and other mechanical stabilizers), it makes up for in pure image quality across a range of ISOs. With both cameras in your arsenal, there will be few situations you can't beautifully capture.

In the modern era, you will find fewer filmmaking cameras that will impress you as much as the GH5S, and none that can even come close to its price point.


• • •


Panasonic GH5S Review -- Overview

by Mike Tomkins

The Panasonic GH5S is going to look mighty familiar, if you've shot with the company's superb GH5, a mirrorless camera with lots to recommend it both on the still imaging and video fronts. The more video-centric (but still very stills-capable) Lumix GH5S shares almost exactly the same body with its earlier sibling, differing only in the addition of a red 'S' beneath the GH5 logo, a small red trim ring in place of the bottom row of knurling on the drive mode dial, and a bold red color for the video record button.

Crafted from magnesium alloy, the GH5S' body is still sealed against dust, moisture and cold, allowing it to withstand minor splashes, dusty environments and use in temperatures as low as 14°F (-10°C). But where its predecessor tipped the scales at 25.6 ounces (725g) loaded and ready to shoot (but without a lens), the GH5S weighs in at just 23.3 ounces (660g).

That's a noticeable difference of 2.3 ounces (65g) or almost ten percent, and it hints at a feature subtraction which we'll come back to in just a moment.

A resolution rein-in for a very different target market

Perhaps the most important difference of all between the Panasonic GH5S and GH5 can be found at their very core. The image sensors used differ radically, with each camera focused on very different needs. The GH5 is more of an all-around shooter for stills and video, and hence packs in plenty of resolution, the better to create great big, frameworthy prints. The GH5S, though, is aimed at low-light specialists and videographers.

With a sensor resolution of just over ten megapixels, the GH5S will definitely lag someway behind the GH5 when it comes to fine detail capture for still imaging under good light. But at the same time, it'll perform much better than its higher-res twin when shooting video or in low ambient light levels. (And for video, ten megapixels is still plenty even to allow for capture of downsampled Cinema 4K footage, which has a resolution of just 8.3 megapixels.)

An aspect ratio that's not 'baked in' at the factory

You may have noticed that I didn't list a specific sensor resolution just now, incidentally, and simply averred that it was above the ten megapixel mark. There's a reason for that divergence from our usual detail-oriented content: The Panasonic GH5S is rare in that it offers a true multi-aspect ratio capability, and so the very notion of a single, overall "sensor resolution" gets turned on its head somewhat.

Most cameras capture data from the full sensor area in its native aspect ratio, and then simply discard the top and bottom of the image for wider-aspect shots, or the sides for narrower-aspect ones. By contrast, the GH5S never uses its entire sensor area, regardless of the aspect ratio you choose. (And nor could it, as the very corners of the sensor likely extend beyond the image circle.)

Instead, the camera simply crops to your chosen aspect ratio within the image circle, and discards the rest of the sensor data. Where images shot with varying aspect ratios on most digicams will also vary in their diagonal field of view, with the Panasonic GH5S it never changes, and that makes choosing aspect ratios is a totally guilt-free experience.

10-megapixel resolution means much better low-light and video capture

And as for that issue of the sensor resolution, well... The best we can say is that, based on the maximum sensor width and height recorded in any of the available aspect ratio modes, the sensor resolution must be at least 11.3 megapixels. Panasonic quite correctly states it to be 10.2 megapixels as that's the pixel count in 4:3-aspect capture, which bests the 9.8-megapixel count for 3:2-aspect shots, and the 7.6-megapixel count for 1:1-aspect ones. (Note that for videos, the aspect ratio options are instead 4:3, 16:9 or 17:9.)

By way of comparison, the Panasonic GH5 has a resolution of 20.3 megapixels in its native 4:3-aspect ratio, or almost double that of the GH5S. That difference in pixel counts has a very big effect on the size of the photodiodes on the sensor surface, which in turn translates into a huge impact on noise levels. Each photodiode has grown in size by around 1.96 times, and according to Panasonic that change translates to a 1.5-stop (9.7dB) improvement in the signal-to-noise ratio.

The brand-new sensor allows a much broader sensitivity range

And when we say "much better" low-light capture, in particular, we mean it. A measure of Panasonic's confidence in the GH5S' low-light chops can be seen in its ISO range.

Sensitivity tops out by default at ISO 51,200, where the GH5 had an upper limit of ISO 25,600. And for the earlier camera, that was it, but the GH5S will now continue on up to ISO 204,800 if you enable its extended sensitivity range. At the other end of the scale, base sensitivity is ISO 160 and is expandable to ISO 80. (The GH5 was ISO 200 at base and ISO 100-expandable.)

Dual Native ISO translates to lower noise levels at higher sensitivities

But there's something very, very unusual about the Panasonic GH5S here, and it bears a little extra discussion. Unlike most cameras, there are actually two native sensitivity ratings in the GH5S, a feature the company refers to as Dual Native ISO. This makes it unlike most cameras, where one specific sensitivity offers the best signal to noise ratio since the signal needn't be amplified before A/D conversion, and noise levels climb or dynamic range is curtailed as you raise or lower the sensitivity from its native point.

For the Lumix GH5S, there are actually two different sensitivity levels at which the camera is able to operate natively, and thus noise levels will be at their lowest around both of these points, with a rise in noise levels between. The lower of the pair equates to ISO 400 ordinarily (ISO 800 for V-LogL or HLG capture), and the higher equates to ISO 2500 ordinarily (ISO 5000 for V-LogL or HLG).

A dramatic reduction in rolling shutter means better videos and 4K Photos

Ordinarily, at this point in one of our previews, we'd give you a rundown of the camera's performance, autofocus and exposure capabilities, and maybe some special features, then circle back for video capture towards the end of the article. That's because in most cameras, video capture feels like something of an afterthought, even today. Not so the GH5S. Here, video capture is clearly of huge importance, and an area in which this camera offers some really significant improvements over the GH5.

For one thing, the new image sensor has allowed a 25% reduction in rolling shutter since that used in the GH5, meaning that your videos should be much less prone to subjects that seem to lean to one side, and unsightly, jello-like wobbling in panning shots. And that's not just important for video capture, either. Like its sibling, the GH5S allow you to extract high-res 8.3-megapixel stills from 4K videos in what it terms "4K Photo" mode, and you can expect far less rolling shutter in these, too.

Input or output timecode to keep multi-camera shoots in sync

Another very important video feature which the GH5 lacks is the Panasonic GH5S' ability to produce timecode with which to sync another camera on a multi-camera shoot, or to input timecode from another device instead. (The latter approach will allow for more than two cameras to be kept in sync, too.)

And this is clearly a feature Panasonic expects most owners to take advantage of, as well, since it's including the requisite flash sync terminal to BNC conversion cable in the box.

Support for anamorphic and Cinema 4K capture, V-LogL, Rec. 709, HLG and more

As if that wasn't enough, there's plenty else for video shooters besides. You can record 4K and Full HD video without clip length limits, including true Cinema 4K or anamorphic content. And for the latter you can choose whether or not you want the GH5S to desqueeze the display (or if you prefer, squeeze it vertically as well) so that you can see the final result either for live view or playback.

There are also V-LogL and Rec.709 lookup tables in-camera without any payware software keys required to unlock their use, plus the ability to upload four more LUTs of your own in Panasonic's .VLT format. Also supported is Hybrid Log Gamma capture, and the GH5S allows you to record high dynamic range content with a low-bitrate 4K HEVC codec.

High frame-rate and slow-motion 4K capture achieved entirely in-camera!

The Panasonic GH5S impresses with its ability to shoot consumer 4K and Cinema 4K content entirely in-camera at a rate of 60 frames per second, both of which the company says are world's firsts for a mirrorless camera. Note, though, that 60 fps footage comes with a requirement that you record 8-bit, 4:2:0-subsampled content. If you want 10-bit 4:2:2 footage, you'll need to stay at rates of 30 fps or below.

You can also record slow-motion and fast-motion footage with the Panasonic GH5S entirely in-camera. Up to a 2.5x slow-motion effect is possible for 4K or Cinema 4K footage, and up to a 10x slow-motion effect for Full HD content. (Capture frame rates vary from two to 60 or 240 fps for 4K and Full HD respectively, and output rates from 24 to 60 fps.)

Other movie capture-related features include video-appropriate guide lines, a Rec.709-like gamma curve, luminance and knee controls, and both wave form and vectorscope monitors. And for the audio component of your videos, there are both 3.5mm headphone and microphone jacks as well as an onboard stereo mic with a third, hidden noise cancellation mic. That's all much as in the GH5, but one tweak for the GH5S is that the 3.5mm mic jack can also be switched to function instead as a 3.5mm line input.

A capable stills camera, but with lower resolution and no in-body / Dual I.S. support

As we said earlier, there's certainly a lot to talk about on the video front. But that's not to say that this is just a camera for the video crowd. Available-light stills shooters, astrophotographers and the like will likely also be interested despite the lower resolution versus the GH5. And there are certainly some noteworthy features targeted specifically at still capture, such as a 14-bit raw file format, and an all-red, night vision-friendly user interface mode.

However, as we noted near the outset, there's one fairly major feature subtraction compared to the GH5, which may persuade many photographers to opt for the higher-res body instead. The earlier GH5 includes an in-body, sensor-shift type image stabilization system, and then extends its utility still further by allowing it to function in concert with lens-based stabilization, a technique Panasonic refers to as Dual I.S. 2. But the GH5S lacks in-body stabilization of any kind, instead relying solely on your lenses to provide image stabilization. And that, of course, also means there's no Dual I.S. capability, either.

So if you want the best-stabilized images and the least possible fuss, you'll want to stick with the GH5. But if you opt instead for the GH5S, you will find that its much broader sensitivity range and lower noise levels allow you to use a higher sensitivity to achieve a faster shutter speed in the first place, so perhaps stabilization won't be needed as often.

In-body I.S. wasn't a good fit for the requirements of pro videographers

If you're wondering why Panasonic would remove the in-body stabilization, so were we. We're told that there are two main concerns in a camera aimed at professional videographers. Firstly and more obviously, the IS system itself can make noise that could potentially be picked up on your mics, disrupting your audio track. And secondly, the IS system moving could potentially disturb your framing, something that we understand could occasionally be triggered by environmental noise.

(Bear in mind that since it must keep the floating sensor centered and upright, an in-body IS system operates all of the time, even if to the end user stabilization appears to be "disabled". It's simply actively trying to hold the sensor still, rather than actively moving it to cancel out camera motion.)

Another feature subtraction versus the original GH5 is that the Panasonic GH5S lacks a 6K Photo mode, for the simple reason that it doesn't have sufficient pixels on its sensor to yield a 6K feed.

A slight (but noticeable) reduction in C-AF performance

In most other respects, the Panasonic GH5S looks a whole lot like the GH5 which preceded it. Output from its sensor is handled by a powerful Venus Engine 10 image processor, and the GH5S is capable of a swift 12 frames per second with single AF or 8 fps with continuous AF when shooting 12-bit raw files. With 14-bit raws, both figures drop by one frame per second.

In all cases, raw buffer depth is 80 frames and JPEG buffer depths as deep as 600 frames when using a UHS-II U3 compliant flash card. Note that continuous AF performance is one frame per second slower than was possible with the GH5, or two fps slower if you enable 14-bit raw capture.

If you need more performance, you can shoot in 4K Photo mode which will record an ultra-high def video at 60 fps, then allow you to extract frames at 8.3-megapixel resolution.

Slightly slower single AF too, but it'll darned near focus in the dark

Although the GH5S' autofocus setup is largely identical to that of the GH5, its single AF performance too is a bit lower than that of the earlier camera. The reason is that the Depth-from-Defocus based 225-point autofocus system's algorithms have less data to work with from the lower-resolution 10.2-megapixel sensor. The result: A claimed time to AF lock of as little as 0.07 seconds, compared to 0.05 seconds for the GH5. But that's for stills; you can expect the GH5S to prove much more satisfying when it comes to video autofocus.

One other key difference of the GH5S' autofocus system, as compared to that of the GH5, is its low-light sensitivity. Since the image sensor itself is being used to create the information on which the AF algorithms function, they too benefit from its larger photodiodes and improved sensitivity. And we're not joking when we say that this camera will pretty much focus in the dark. With a bottom-end rating of -5EV, the GH5S' AF system should be capable of focusing under partial moonlight, with a sufficiently high-contrast subject!

Helpfully, you can also frame in near-total darkness with the live boost function, which reduces live view frame rate and boosts sensitivity levels for a better view of dimly-lit scenes. Oh, and if you like to keep close tabs on your autofocus or even fine-tune focus manually, you'll also be happy to see both a 20x manual focus assist mode and an AF point-scope function present and accounted for.

A faster, smoother view through the electronic finder

We've mentioned the live view feed a few times, incidentally, but not yet detailed the electronic viewfinder and LCD monitor on which you'll be watching it. Now seems as good a time as any!

In terms of their basic hardware, both the 3.2-inch, 3:2-aspect, 1,620k-dot LCD monitor and 3,680k-dot, 100% coverage OLED viewfinder are essentially unchanged, although the latter can now operate with a 120 fps refresh rate as in the G9, rather than being limited to 60 fps refresh as in the GH5.

The LCD monitor is still on a side-mounted tilt/swivel mechanism to allow framing from all angles, a favorite design feature among IR staffers. And the EVF still has 1.52x magnification (0.76x in 35mm-equivalent) with a 21mm eyepoint from the eyepiece, and a -4 to +3 diopter adjustment.

Connectivity, storage and power are largely the same as in the GH5

Much like the GH5 before it, the Lumix GH5S sports twin SD card slots, compatible with higher-capacity SDHC and SDXC types, as well as higher-speed UHS-I, UHS-II and Video Speed Class 90 cards. The two slots can be written to sequentially, set to segregate by file type or to serve as a backup in the event of a card failure.

Wireless connectivity options, as in the GH5, include Wi-Fi and Bluetooth radios, but not NFC for easy Android pairing. Wired connectivity includes a USB-C port compatible with SuperSpeed USB 3.1 Gen1, a Type-A HDMI port, 3.5mm microphone / line level input and headphone jacks, and a 2.5mm remote jack.

Power comes from a 7.2-volt, 1,860mAh, 14Wh DMW-BLF19 lithium-ion rechargeable battery pack, just as in the GH5. The GH5S is also compatible with the same DMW-BGGH5 battery grip as that camera, which doubles battery life courtesy of an extra battery, and also adds portrait-orientation shooting controls. Battery life has increased by 30 frames to some 440 frames with the LCD, but only by 10 frames to 410 shots the EVF, to CIPA testing standards when using the same H-FS12060 lens.

The bundled charger now connects via USB, but you can't charge in-camera

One slight change, though, is that the bundled battery charger has been changed to a new model DMW-BTC13 which attaches to a bundled USB AC adapter, but could also be connected to other USB chargers or even your computer to recharge while on the go. Sadly, you can't just charge the battery in-camera, though, so you do have to remember to bring the charger along.

(We do favor an external charger like this over solely in-camera charging, though, as if you have to charge in-camera, you can't be charging and shooting at the same time.)

GH5S price and availability

Available from February 2018, the Panasonic GH5S is priced at around US$2,500 body-only in the US market. As befits a camera aimed at pros, no kit lenses or color options are offered.


Panasonic GH5S Field Test Part I

Is the GH5S the new low-light king?

by Jaron Schneider |

With the GH5S, Panasonic makes vast improvements to an already excellent camera
The Panasonic GH5 is already one of the best video cameras you can purchase, especially once you consider its size and low cost. Its ability to produce extremely high quality video in multiple formats, the inclusion of ultra-high definition 4Kp60 capture, the improved ISO performance and the continued excellence of its battery life (which has been a hallmark of the GH series of late) made for a truly excellent video camera.

But what if I told you it could be improved. And not just a little, but a lot?

But first, the minor changes
Before we get into the major things that make the GH5S different from the GH5, I wanted to first mention a few small things. On the new GH5S, Panasonic added some red embellishments to the camera that 1) look awesome (red is my favorite color, so I may be biased) and 2) quickly and effectively differentiate it from the GH5. The record button was also lightly modified, and now actually has the "REC" letters printed on the giant red button.

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$597.99 (318% less)

16 MP (36% more)

Also has viewfinder

214% smaller

GH5S vs GX85

$1499.00 (67% less)

24.3 MP (58% more)

Also has viewfinder

122% smaller

GH5S vs X-Pro2

$629.00 (297% less)

24.2 MP (58% more)

Also has viewfinder

97% smaller

GH5S vs EOS M50

$599.00 (317% less)

16.3 MP (37% more)

Also has viewfinder

120% smaller

GH5S vs X-T1

$2795.00 (11% more)

24.24 MP (58% more)

Also has viewfinder

158% smaller

GH5S vs CL

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