Leaked: the specs of the Panasonic GH5S, & FINALLY we get the first stills camera with timecode I/O!

Posted on January 8, 2018 by David Peterson

This camera has not yet been announced by Panasonic (it will be in a few hours at CES), but the Panasonic GH5S got leaked by Tech Radar.

They put up a page too early, now gets redirected to their old GH5 review.

But Google Cache remembers!

http://webcache.googleusercontent.com/search?q=cache:nTmLu6vItjcJ:www.techradar.com/news/the-lumix-gh5s-is-panasonics-most-video-focused-camera-yet

Key info:

4k Cinema at 60/50p
Internal 4:2:2 10-bit
V-LOG preinstalled
Complies with 4k HDR with Hybrid Log Gamma (HLG) mode in photo style.
Bundled BNC terminal, built-in time code generator
Focus in lower light level -5EV compared to -4EV on GH5
Max ISO 51,200
10.2 MP sensor
Dual Native ISO
Multi-aspect sensor
GH5s available from end of January
US$2,499

Lots of interesting points there, such as Dual Native ISO like the Varicam LT & Panasonic EVA1, a multi-aspect sensor (means a wider field of view, like the famous GH2 had), and only 10.2MP sensor (“The Megapixel Wars” are truly over!).

But what excites me the most is that *FINALLY* we get the first stills camera with timecode input/output on the camera’s body!! (YAGH doesn’t count)

Because we have had the “HDSLR Revolution” for a number of years now, which have given us glorious image qualities at low prices, but DSLRs (and mirrorless cameras too) have always been rather crippled on the audio front in numerous ways. One example, is always lacking any way to jam timecode. Now all this is going to change with the Panasonic GH5S!

To quote the relevant part from the Tech Radar leak:

The Lumix GH5S is also compatible with Timecode In/out, making it easy to synchronize multiple compatible devices when filming, for pain-free post-production editing. A bundled coaxial cable for a BNC terminal connects to the flash sync terminal of the camera, allowing the camera to be used as a Timecode generator for other GH5S cameras and professional camcorders.

This is amazing news, as it has never been done before. Although the bad news is they’re not using any existing standard for TC I/O…. oh no, not yet another TC cable us soundies need to buy!! But wait, there is good news: it says the GH5S comes bundled with a cable for it to be used as a BNC connection, thus every GH5S owner will have one. Phew! We can just use our existing standard BNC cables with the GH5S that we already have in our sound kits.

Although it would have been nice to have seen a full size BNC on the GH5S itself (rather than using the bundled cable), it is very understandable that a small mirrorless camera couldn’t have this (but please could we get at least a DIN connection? At least that is used by some TC systems already, such as the Ultrasync ONE. But that is probably even less likely to happen).

And in a way, it is kinda ingeniously smart of the Panasonic engineering team to use the flash sync terminal of the camera as the timecode input/output. Because you’ll never ever need the flash sync terminal otherwise while doing video (the camera flash is only for stills! Not needing while filming).

And if they’d used the 3.5mm audio input or the smartshoe (which can be used for the Panasonic DMW-XLR1, which is an accessory for the original GH5 that allows 2x XLR inputs, & I assume the DMW-XLR1 will stay compatible with the GH5S’ smartshoe) then that would be two steps forward and one step back for the GH5S’ audio capabilities (as you’d gain TC, but lose flexibility in audio inputs).

But by using the flash sync terminal that keeps both the 3.5mm jack and the smartshoe free to be used as an audio input source, My hope (because as of yet, we have no detailed info at all as to how many tracks of audio it can record at once) is the GH5S will allow us to use both at once! To record 4 tracks simultaneously.

At a “minimum” hopefully the 2x XLR inputs via the smartshoe (the Panasonic DMW-XLR1) or the stereo 3.5mm input, plus the built in stereo mic. Thus allowing you to use a stereo camera hop from your bag to the camera, while also keeping a safety scratch track from the camera’s own built in stereo mic (to wish to record all six tracks at once is just greedy and dreaming! 2x XLR + stereo 3.5mm + built in stereo mic). I expect however my hopes will be dashed to pieces!

But if not now, perhaps we can push Panasonic for a firmware update to do this? Who knows. We are living in a brave new world of audio possibilities on a stills camera!

Panasonic GH5 with the Panasonic DMW-XLR1

Smartshoe of Panasonic GH5S used for DMW-XLR1

Just had one final closing thought: I assume the the Panasonic DMW-XLR1 for the GH5 will be compatible with the GH5S as well. But maybe they will be updating that too, bringing out a “Panasonic DMW-XLR2” with excellent pre-amps and limiters? But also this new “DMW-XLR2” for the GH5S would be the perfect opportunity for Panasonic to include an industry standard BNC connection for timecode (or at least a DIN connection!). Assuming the smartshoe on the GH5S can support not just audio being passed through, but timecode too. Would be wonderful!

Minor final final note: “what about the Panasonic GH4 with a YAGH??” Nope, that doesn’t count. As the Panasonic GH4 never had a timecode input on the body itself. (plus the YAGH was quite the flop, as it was awkwardly cumbersome, needed external powering just to use it!!) While the Panasonic GH5S doesn’t need any extra purchases whatsoever, as the TC input is right there on the body itself (and as a bonus: comes with a timecode cable for it! But you could easily make up your own if you wanted to).

First Ever Panasonic GH5 Footage Spotted Online…

Posted on December 30, 2016 by David Peterson

Take a look at Griffin Hammond’s latest YouTube upload:

Check out what YouTube says: 4K 60p!

Yet it is shot on the Panasonic 42.5mm f1.2 lens….

& Griffin Hammond is a Panasonic brand ambassador.

You connect the dots! 😉 All the clues are pointing in one direction…. seems like GH5 footage to me! (the close ups that is)

Confirmed: confidential Panasonic GH5 prototype exists, is being tested by users outside of Panasonic.

Posted on September 25, 2016 by David Peterson

UPDATE: nope, unfortunately it is just the Panasonic FZ2500 (unless Panasonic has another superzoom camera secretly under development it plans to release very shortly after the just announced FZ2500??? While an FZ2500 with a constant f2.8 lens would be wonderful, I highly doubt Panasonic is bringing out a new camera for this particular niche so soon after the FZ2500 announcement).

This does however strike me as very odd, that Panasonic lends “The Camera Store TV” a camera marked “confidential“ which has been announced in all its detail, can be pre-ordered, and even has had many multiple hands on reviews online already. So why on earth mark it “confidential“??

Anyway, you can see for yourself by looking at this picture of the Panasonic FZ2500 and comparing it with the image from Jordan Drake, they appear to be the same:

First photo of the Panasonic GH5 in action out in the wild! There had been doubters as to if Panasonic is up to the stage yet of having a prototype Panasonic GH5 body to hand out to outside testers to try out the GH5 for feedback to give Panasonic, well you can’t get a clearer confirmation than this:

https://www.instagram.com/p/BKvyqb-DPIo/

Clearly by just looking at the picture you can tell it is a Panasonic body! But if you need even further proof of this, you can see Panasonic Lumix Canada’s response on Instagram “Anything for you guys Jordan !!” (Jordan is the name of the videographer for The Camera Store TV) and on Twitter:

@TCSTVJordan always happy to help you get the latest gear

— lumixcan (@lumixcan) September 24, 2016

Next question is which Panasonic body is this?? Due to the placement of the viewfinder we can say there are only four possibilities:

1) Panasonic GH4 successor (a Panasonic GH5)

2) Panasonic G80 successor (a Panasonic G90)

3) this is just an old photo taken before the Panasonic G80 announcement (but only now being shared after the G80 announcement)

4) an entirely new line of cameras

As the Panasonic G80 only just came out, and we already saw the Panasonic G7 released after the Panasonic GH4 came out, it seems very unlikely there will be a Panasonic G90 coming out before the Panasonic GH5 is released.

While there is maaaaaybe a chance Panasonic is releasing a new line up of cameras, perhaps their take on a Canon C100 body but with a MFT sensor inside it? That however seems very unlikely.

If you compared this picture with the back of the Panasonic G80, you can see it clearly is not the G80. So we can rule out that possibility.

Thus the only reasonable conclusion we can have, is that this is the Panasonic GH4 successor, and we’re seeing here the first ever picture of the Panasonic GH5 body in action (and not just the mock up that Panasonic showed at Photokina hidden in a glass case).

How does this compare to the current Panasonic GH4 body:

We can see this Panasonic GH5 prototype has moved the Q.MENU button up to be next to the AF/AE LOCK button, and thus presumably the record button has been moved elsewhere? I wonder where…. presumably on the top, like we can see here on the Panasonic GH5 mock up shown at Photokina:

(one small notable difference between these two pictures however is that Photokina Panasonic GH5 mock up appears to have a button (small joystick?!) located between the AF/AE LOCK and the EVF, however you can’t see this in the Instagram picture? Unless maybe the angle of the photo means it is obscured by the eyecup, but I doubt it)

Couple of key conclusions we can take from this is that Panasonic is well developed along their process of bringing out the Panasonic GH5, so we can be very confident it is indeed on track to be released in the first half of 2017, and that it is very encouraging that Panasonic is actively seeking out and getting feedback from a wide range of top notch users (such as Jordan Drake, Illya Friedman, Griffin Hammond, Luke Neumann, Chris Niccolls, & Nick Driftwood, just to name a few). Means the Panasonic GH5 is sure to be an excellent and well polished product when it is launched! (just like the GH1/GH2/GH3/GH4 have each been!)

Panasonic GH5 leak: will have full size HDMI! (also, a new XLR audio extension, & low light improvement over the GH4)

Posted on September 21, 2016 by David Peterson

Looks like the bastard awful days of micro HDMI might be over? I’ve heard from a Panasonic GH5 tester that it will have *full size* HDMI! (am very happy to hear that!) One stop better as well, and IBIS too.

In other news, we can see this on top of the GH5 body at Photokina:

Very pleased to see, as I have many times suggested, that Panasonic should go with a Sony XLR-K2M audio addition instead of doing another YAGH again!

While it is exciting reading about all the new features the Panasonic GH5 will bring (such as 4K 60fps or 4K 30fps 10bit 422), it is somewhat depressing reading on other places on the internet how quick the anti-MFT trolls are out, and of course their first red herring is “but it sucks at low light”.

This low light argument reminds me of the megapixel race, sure there was big benefits from going from 2 megapixels to 5 megapixels, then to 12 megapixels, but then at around 16 megapixels to 24 megapixels range… the arguments got a lot weaker. And for 99.9% of users we don’t need 50 megapixels!

Ditto low light, not being constrained by 50 ISO film is AWESOME, then getting to 200 ISO… great! And now we can do workable 800 and 1600 and even 3200 ISO!

The Panasonic GX85 is as good in lowlight as the new Canon 5Dmk4 (but the GX85 is a fraction of the cost! & has better detail):

Let’s assume GH5 carries on and is one stop better even than that? How is that not a very workable ability to handle?

Do we NEED to have clean 100,00 ISO?? Nah, that is over the top in nearly all cases. Like having a 100 megapixel camera (for some people they’ll *need* that, but for most of us it is serious overkill and a bad compromise to purchase a 100 megapixel camera).

Plus remember there is the Metabones Speed Booster XL that gives Micro Four Thirds an extra 1.3 stop gain with the lens you’re using, nothing else has that aside from MFT. And Micro Four Thirds mount has access to a uniquely wide range of very fast lenses (I love my SLR Magic 25mm T0.95!).

I’d rather pass on the unnecessary over the top extreme high ISO capabilities and have instead the well polished and extensive range of features that the GH5 will have (just like Panasonic had each time with the GH1/GH2/GH3/GH4, relative to the other cameras of their time). So while yes I agree, better lowlight would be nice, let’s keep some perspective about this (when do you ever hear anyone complaining about lowlight from a new Canon APS-C release?!).

Lens Options for 360 Degree Virtual Reality Camera Rigs? And other thoughts on cameras.

Posted on August 2, 2016 by David Peterson

I’m a long way from upgrading my multiple (from six to a dozen cameras at once!) action cameras 360 Degree Virtual Reality Rig (thus I don’t need to worry about interchangeable lens options on this rig), but when I do I am thinking to go with Blackmagic Micro Cinema Camera. Even though high resolution is very important for 360VR.

If you do go with 4K cameras then the Panasonic GH4 is a very popular 4K option (such as these guys using GH4 cameras for 360VR: http://shinichi-works.info/project_gh4.html). Also there is the Sony a7R mk2 / a7S mk2 options (but costs skyrocket, after all you’re not buying just one camera but many!) or Sony A6300 (which has overheating issues, an especially troubling issue if you have six of these operating all cramped up close together to each other! As then they’ll overheat even faster). Also Blackmagic Design has their Micro Studio Camera, but that requires an external 4K recorder, which introduces significant size/power/cost issues. Samsung NX1 is also very much worth a look (& NX500, but in 4K it has a harsh crop factor), but it is a dying system and ever since the NX1 hack came out the secondhand prices of the NX1 have been staying high.

Thus in the end I’d prefer the BlackMagic Micro Cinema Camera (BMMCC), because I’d prefer the dynamic range, bit depth, and color space of the BMMCC. And while the Panasonic GH4 / G7 does a max of 30p @ 4K, you are gaining resolution but giving up frame rate and I’d rather keep it at 60fps (as arguably high frame rates are nearly just as important for Virtual Reality as resolution is. Least you give the viewer motion sickness. And you can get higher resolution by using more cameras!). Presumably the GH5 will give 4K 60fps, but that will probably cost US$2K or more per camera (and you need many multiple ones of them of course for complete 360 degree coverage!), and it hasn’t even been announced yet so who knows.

Though given the likely length of time until I’ll be upgrading, we’ll surely see a Panasonic G7 sale by then which might make that option too cheap to resist vs going with BlackMagic Micro Cinema Cameras.

Anyway, I have still been putting a lot of thought & research this year into the various options for the future, and I decided I’d at last put the metaphorical pen to paper and share a few of my thoughts on this particular aspect of lens choices. We can broadly speaking split it into three groups:

a) native mount (i.e. MFT lens, or E mount lenses if a person was using A6300/A7 series instead), but then this can severely limit a person a couple of years down the track if they change bodies. It would be a lot smoother / cheaper if only the bodies need to be swapped out and not lenses as well. I’d like to have some degree of versatility with this rig.
b) full frame UWA lenses (in Nikon F mount of course, as I’ve explained in other blog posts), but not an option as you can’t then go truly wide if using them on APS-C or smaller bodies. And A7r mk2 / A7s mk2 are the only truly interesting options to consider here for use that are full frame. Maybe with the one exception of the Rokinon 14mm f2.8 lens, which does almost hit the sweet spot for price & focal length even when used on APS-C. Or the Rokinon 12mm F2.8, but then you have to deal with fisheye distortion.
c) APS-C UWA lens, this appears to hit the sweet spot of maximum versatility plus maximum FoV.

APS-C lens options:

Sigma 8-16mm f/4.5-5.6, max FoV but I’d be concerned about the slow f-stop, as then you’d start to be losing one of the key gains of ditching GoPros with their poor lowlight ability.
Tokina 11-16mm f/2.8 (or the newer Tokina 11-20mm f/2.8, but that costs more so no), this is the lens I own myself and is in my eyes the “best” UWA lens for normal filmmaking, but does that mean it is for 360VR too?? Hmm
Rokinon 10mm f/2.8, is lighter/cheaper/wider (all 3 keys points for a 360VR rig) than the Tokina but is a fixed focal length (probably not a disadvantage though at all! As you absolutely don’t want that focal length to change once you’ve set it, thus why people will tape down zoom lenses if using them on a 360VR rig). However the Rokinon 10mm f/2.8 isn’t cheaper than Tokina when you consider the older Tokina models can easily be picked up secondhand, but the Rokinon can’t be so easily found at all secondhand as it is a newer lens.
Rokinon 16mm f/2, the fastest option but by this point at 16mm it is only barely UWA at all.

Outside these options listed, I can’t think of any good UWA lenses, or am I missing something? Everything else that comes to mind seems that they’d all be a worse compromise somewhere in price/FoV/speed/etc than these four that I listed.

Keen to hear in the comments your views on my thought process and each of the options I reached at!

How to pick a camera when buying more than one?

Posted on May 18, 2015 by David Peterson

When buying multiple cameras there are two key ways to look at it:

Complementary cameras or matching cameras.

In some cases you want your cameras to be “matching cameras”, such as when doing multi camera coverage of wedding ceremony or doing an interview. Such as 2x GH4 to cover the wide of the interview and the close up, or one to cover the interviewer himself and another on the person being interviewed.

But in most cases you want your cameras to be complementary instead. As you need to view each camera body as merely one kind of tool in your box of tricks. So when you go out on a shoot, you can pick the best tool for the job.

Thus for cameras to be complementary, you want one camera to cover the weaknesses of the other, and in the reverse too.

For instance GH4 + BMPCC:

96fps vs 30fps
Compressed vs raw
Photos vs n/a
4K vs 1080

Or A7s vs BMPCC:

FF vs S16
Amazing low light vs so so low light
Compress vs raw

You can see how in each case, one does well in covering some of the weaknesses of the other camera.

Thus you can see how for many people getting a BMCC and BMPCC makes no sense at all really, as they’re two very similar cameras.
So this BMCC + BMPCC combo only makes sense if you’re looking for two “matching cameras” rather than two “complementary cameras”, or if you already have a BMCC and you want the BMPCC to just cover for the big weakness of the BMCC: its bulky size.

I really wouldn’t recommend the BMPC4K at the moment, URSA Mini 4K is just around the corner for the same price and is better in every way.

What I’d suggest is getting a Samsung NX1 right now (or any one of the currently top three hybrid cameras: Samsung NX1 / Sony A7s / Panasonic GH4. But I reckon the NX1 is the best of the 3 at the moment) and a set of Nikon F mount lenses. Then when the USRA Mini ships (and “if” it gets the favorable reviews we’re all expecting) get that as well. You’ll have a killer combo of two cameras able to cover a wide range of needs. Don’t worry that the URSA Mini is still a few months away from shipping, as having the Samsung NX1 to start with is still a phenomenal camera, and when you’re just starting out your equipment really isn’t your limiting factor just yet. As gear has got so good and so affordable.

If you lean towards doing a lot more multi camera work (such as weddings) than single camera, then I’d suggest instead starting out with a Panasonic GH4 for you, plus Panasonic G7 for your second shooter (your second shooter might supply their own camera, but even if they do, it is best if their camera matches well with your own. Makes life easier in post), and 3x Panasonic GH1 bodies (which go for merely US$150 on eBay, and still are quite damn fine cameras! Does miles better than any Canon Rebel series DSLR shoots) to cover the multiple extra angles during the ceremony and speeches. Then once they ship, pick up a BMMCC and BMD VA for your single camera work (music videos / adverts / short films / etc). Or get a BMPCC if you simply can’t wait for that.