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

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-XLR1or 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

Panasonic GH5 with the Panasonic DMW-XLR1

 

Smartshoe of Panasonic GH5S used for 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).

News Leak: Zoom F4 with six inputs and eight tracks (is like a new low priced Zoom F8!)

zoom_f4

News got leaked accidentally by B&H that a new Zoom F4 is coming.

I thought the Zoom F8 when it was announced was a groundbreaking new recorder in what it brought to a new low price point for soundies.

Now the F4 is even cheaper (US$650 vs US$1K), and has nearly everything the F8 has! Except for most notably the lack of extra XLR inputs (8 vs 4, thus the names: F8 vs F4. The “F” = field recorder, “H” = handheld recorder such as H1/H4n/H5/H6) and the lack of an app for the F4 to mix on a tablet like you can with the F8. Oh, and in a more minor point the F4 has a monochrome screen vs the 4 color screen of the F8.

But everything else (such as pre amps, and time code) is basically exactly the same as the F8! Some things are even an improvement, such as adding camera return to the F4 that was missing from the F8, adding extra short cut keys to the top of the F4, and using XLR outputs instead of the TA3 outputs the F8 has.

Having the missing XLR inputs from the F8 is not such a big deal for many prospective F4 buyers, as 4 XLR inputs is plenty for many small/medium jobs. And when you need a bit extra, adding in two more XLR inputs for a total of 6 XLR inputs is cheap to do with the Zoom EXH-6:

https://www.bhphotovideo.com/c/product/981648-REG/zoom_exh_6_dual_xlr_trs_input_capsule.html

The F4 is positioned quite interestingly, as it has nearly everything from the F8 (except for the extra XLR inputs and the tablet app), yet the F8 is a small enough bump up in price it will tempt a fair few people to spend a little more for those couple of extra features…   however for many other people the F4 will suit them perfectly, as they won’t need more than the usual 4 (or occasional 6) XLR inputs and they won’t be using a tablet for mixing (but I would like to use a tablet for entering metadata! Hmmm…).

Andrew Jones (who was one of the testers of the F4 for Zoom) said it is almost the same size as the F8, but (strangely!) is a tiny bit heavier. I guess cutting out a few XLR inputs does not save much weight, but where does the extra weight come from? Maybe it is more robustly built?

Crazy idea time: what next for Zoom after the Zoom F4? Is a “Zoom F2” next? The idea might sound hilarious! But being serious now, if it is bag friendly (a very small bag!!), ultra lightweight, and very cheap (perhaps US$400ish? Keeping the 50% price jump ratio from F2 to F4 to F8), then a Zoom F2 certainly would be popular!
 
For many jobs 2x XLR plus an extra stereo input (for up to 4x ISO tracks) would be plenty! (Plus a L & R XLR output, plus Timecode, etc… just like the F4)
 
Heck, for the last couple of days I’ve been doing a job with my Sound Devices 552 which only needed the one XLR for the boom to be recorded, plus one XLR output to be sent to the Sony F3 as a reference scratch track.
 
A “Zoom F2” would even be overkill for that! Could you pretty please make this “F2” dream come true Zoom?

 

 

Zoom-F4_Front

ZOOM-F4_Left ZOOM-F4_Rear ZOOM-F4-Right ZOOM-F4-Top

Blurb and specs list from B&H (page is currently down, you need to use Google cache to view it):

Designed to provide big Hollywood sound on an affordable indie budget, Zoom F4 is a 6-input / 8-track professional field recorder featuring super-low-noise preamps and timecode with pinpoint accuracy. The unit provides recording and playback resolutions up to 24-bit/192 kHz with impressive audio specs including an extremely low noise floor (-127 dBu EIN) and high gain (up to +75 dB), with +4 dB line-level inputs. The on-board temperature-compensated crystal oscillator (TCXO) generates timecode at 0.2 ppm accuracy and supports all standard drop-frame and non-drop formats, as well as jam sync for external devices.

The advanced on-board limiters provide overload protection for all inputs and outputs, which lets you capture audio in a wide range of environments. Limiting can be applied simultaneously at full resolution with 10 dB of headroom and features controls for setting threshold, attack, and release.

The F4 offers four combo XLR-1/4″ inputs, a 1/8″ stereo input, and includes a Zoom mic-capsule input for recording six discrete tracks with an additional stereo mix, all at full 24-bit/192 kHz resolution. Additionally, inputs 5/6 can function as a camera return for audio monitoring only for confidence checks. The dual-SD card slot features simultaneous recording to both cards allowing you to make a backup or split recording with all eight tracks on one card and a stereo mix on the other.
Each of the four XLR-1/4″ inputs offers a dedicated preamp with gain control, phantom power, a six-segment LED level meter, plus a Record Ready and PFL switch. In addition to the 1/4″ headphone output with a dedicated volume control, the F4 provides two main balanced XLR outputs, as well as two sub outs on a single unbalanced 1/8″ stereo mini-jack, enabling easy connection to a camera. All timecode I/O is provided on BNC connectors and the unit includes a variable-frequency slate-tone generator to confirm levels.

An easy-to-read 1.9″ LCD display is suitable for use in all lighting environments including dark low-light sets to bright sunlight. The on-board mixer not only provides user-adjustable level, pan, and input/output delay, but also offers high-pass filtering for noise and wind reduction, phase inversion, and Mid-Side decoding. The F4 ships with a camera-mount adapter, AC power adapter, and download codes for Cubase LE and Wavelab LE.

Six-input / eight-track multitrack field recorder with integrated mixer

Six discrete inputs, including four with locking Neutrik XLR/TRS combo connectors, a stereo 3.5mm input, and Zoom mic-capsule input

Compact and lightweight metal chassis, weighing just two pounds (without batteries)

High-quality mic preamps with up to 75 dB gain, less than -127 dBu EIN, and +4 dB line inputs

Support for up to 24-bit/192 kHz recording as well as 96, 88.2, 48, and 44.1 kHz, plus 47.952 and 48.048 kHz for HD video compatibility; 16-/24-bit resolution

Accurate timecode (0.2 ppm) I/O on standard BNC connectors; dropframe/non-drop formats with Jam Sync

Two different power supply options: 8x AA batteries or external DC battery pack with 4-pin Hirose connector

Dedicated gain control knob, 6-segment LED level meter, and PFL/Solo switch for each channel

Phantom power (+48V/+24V) on every preamp

Advanced on-board limiters for input and output

High-pass filter, phase invert, and Mid-Side decoder

Input delay of up to 30ms per channel / output delay of up to 10 frames per output

Compatible with all Zoom mic capsules; optional ECM extender cable enables remote positioning

Dual XLR balanced Main Outs plus 1/8″ stereo mini-jack Sub Out

Dedicated headphone output (100mW) with front-panel volume control

1.9” white, backlit monochrome LCD

Dedicated PFL display with viewable trim settings

Dual SD/SDHC/SDXC card slots, up to 512GB each

Records in BWF-compliant WAV or MP3 file formats

Support for extensive metadata (BWF and iXML); input time, date, project, scene number, etc.

Built-in tripod mount; camera-mount adapter also included

Use as a 6-in/4-out USB audio interface (@ 96 kHz)

Edit: ah ha! The Zoom page for the F4 is now up.

https://www.zoom.co.jp/products/field-recording/zoom-f4-multitrack-field-recorder

Edit 2: now a few minutes ago Zoom tweeted the announcement.

Edit 3:  and now the B&H product page is live.

https://www.bhphotovideo.com/c/product/1260110-REG/zoom_zf4_f4_multitack_field_recorder.html