GH5 Mark II .. Does it miss the mark too?
Unofficial GH5 Mark II rendering with glowing Lumix branding. Unconfirmed if this will be true.. because I made it up.
Panasonic has allegedly leaked the specifcations for their next “flagship” Micro 4/3’s camera and it’s not the long anticipated GH6. Which initially caused every MFT user to react with an unenthused “Wow…” After further investigation of the leaked GH5 Mark II specs, aforementioned reaction evolves into a dramatic fall to the knees while screaming “Why!” to the heavens.
The specs are posted all over the internet by now and you can take a look at them here. I’m really here to highlight the differences, although minute on paper, in practice some of these new capabilities can be quite useful. I’ll go through the “upgrades” then tell you what I personally would liked to have seen, being a GH5S user myself.
Note: I will be talking about the camera from a videocentric point of view as I use the GH5s as my primary video camera. I won’t touch on it’s still capabilities.
YAWN… Where’s My 8K 120FPS GH6?!
With sensor technology evolving and full frame sensors being developed with high end video capabilities, we start to see where the ceiling is for the Micro 4/3’s system. With the development of Sony’s 33 megapixel MFT sensor chip being used in some off-brand cameras like Bosma and former titan Sharp, both boasting 8k video, it was likely to assume Panasonic’s next entry would make a big splash.
Let’s Get Real.
Will 33 million photosites on such a small sensor yield clean results as a run and gun camera? After all, that’s the market this camera is aimed towards. Due to it being half the size of a full frame sensor we start to see the systems limitations at high resolutions.
ISO performance seems to top out on the GH5 around ISO 3200, then we begin to see a shift in color, lack of detail and lots of noise. That’s with roughly 20 million photosites crammed on to its sensor. Now we effectively cut the light gathering ability in half (or so) by adding another 13 million to the same surface area. Each individual photosite needs to be smaller, producing a lower signal to noise ratio at higher ISO’s. Theoretically speaking, the sensors ISO performance would top out at 800, unless they opt for a DGO sensor (dual gain output). It’s unlikely however as the only MFT sensor with a dual gain output, to my knowledge, is the 10MP GH5s.
Don’t get me wrong. In proper lighting conditions, exposed at base ISO, I’m sure the image quality off of Sharp’s prototype 8K camera is beautiful and a technological feat all on its own. I’m not discrediting that. I’m simply raising the question of usability. Will your computer handle 8K editing? Is the gigantic file size worth the resolution? Do you always film in studio or are you running and gunning in variable light conditions? These are important questions to ask yourself before falling into the “resolution trap.”
Same Same, But A Little Better
The biggest standout to me is the ability to record 10-bit 4k60p internally. As a GH5S user, I always feel a bit uncomfortable switching to the internal 8-bit 4k60p codec after shooting my footage in 10-bit 4k24/30p because of that loss in color information. The gradation especially in the red channel suffers in this 8 bit color mode. If I overexpose just a stop, the reds are orange and nearly impossible to recover in post.
As someone who films a lot of fashion related content, I need my colors to be accurate, and I feel like the 8-bit codec is a gamble. But wait, surprise! They opted for a 4:2:0 color space instead of the 4:2:2 available in the lower framerates. That means there is half the color data stored in the codec compared to its 4k24/30p options. It’ll be interesting to see how they match up after seeing some ACTUAL footage.
A couple minor upgrades to the hardware include an LCD (same resolution) but with a faster 120hz refresh rate. This should make monitoring a more enjoyable experience, my only concern is at what cost to battery life? Also, I enjoy that they’re including V-Log L in the box as opposed to the $99 paid upgrade necessary for the GH5 in 2017.
I’m Upset AF
What would I have liked to have seen? Usability feature upgrades. Number one on that list being AUTO FOCUS (AF). The only thing that keeps the GH5(s) from being one of the best cameras ever made is its atrocious auto focus. It’s contrast-detect, slow and confused, whilst every other camera manufacturer is developing phenomenal AF systems. Truthfully, I’m considering abandoning the MFT system due to the lack of AF development (even in their Full-Frame line!). So this is what I would’ve liked to have seen.
Phase Detect Auto Focus (PDAF) - make me feel comfortable flying a gimbal with touch focus.
Electronic ND Filters - your market is predominantly video users, this is a tool we need.
Pro Res RAW and SSD Compatibility - Blackmagic Design uses the same sensor and has this capability, take a note from them.
4K 60p 4:2:2 Internal - Why cripple hammer an already lackluster spec with a 4:2:0 chroma sub sampling?
6K 24/30p - The GH5 has 6K Photo mode, or 5.2K video mode, can we get this as an option in video recording with a 4:2:2 chroma subsampling? Maybe Non-Anamorphic 6K 8bit 4:2:2?
New Dual Gain Sensor - The same 4 year old sensor? Are we a joke to you?
I’m Being Harsh
The Panasonic GH5 and GH5s in 2021 are still fantastic and capable cameras. The GH5 has top class IBIS, you can hand hold it and get a beautiful 4K 10 bit 4:2:2 image right on to your SD card. It’s a small package that packs a punch and a lot of our quarrels with this iteration is cause we’ve been spoiled with a ramp up in current camera tech.
It’s tough to beat the image quality to price ratio. Is it perfect? No, but it’s still a viable tool. I look at it this way.
I’ve lived without great autofocus and it’s made me a better focus puller. I’ve lived without IBIS (in the GH5s) and it’s made my hands steadier and my movements more deliberate. I’ve lived without 10 bit 4K 60p and it made me more aware of “getting it right” in-camera and not to rely on post editing.
It’s up to you as an artist and operator to step up and work with your cameras “limitations”. It’s not going to shoot itself, and that’s what we seem to be looking for.
Why release this camera?
The Sony A7SIII is full frame and records up to 4K 120p in 10 bit 4:2:2 color internally. The GH5 Mark II isn’t even in competition with the latest camera tech. I believe that’s because they aren’t trying to be.
Panasonic knows their audience (they don’t listen but they know). From a consumer market standpoint their camera is priced moderately at $1,699 compared to the $3,499 A7S III. Bear in mind Panasonic has a full frame S-series that they cannot afford to cannibalize by giving top class specs to their more affordable MFT cameras. This latest GH5 iteration seems to be a sign encouraging those serious about video to move to their full frame line or cinema cameras like the EVA-1.
It feels like Panasonic knows they’ve reached the end of the tunnel as far as their MFT system is concerned. Right now they have a fantastic balance and I’m sure they’ve seen that adding to it is tipping the scale. Is this the end of the MFT system or will we see a GH6 with our dream specs later this year? We shall see.
