FIRST LOOK: Panasonic Lumix DC-GH5

In summary

During the 48-hour period we spent with the camera it was a real pleasure to use. The grip was comfortable and even though the new camera is heavier than the GH4, it didn’t feel noticeably so. All the frequently-used functions were readily accessible and the movie button was easy to reach without the need to take one’s eye from the viewfinder.

The 4K Photo and 6K Photo modes worked exactly as they were programmed to and the AF system was able to select the main subject in a scene quickly, track its motion and swap to another subject when necessary. Our general impression was a significant improvement in AF speed and accuracy over the GH4.

We can’t provide objective assessments on the performance of the camera and the new lens until we receive production-standard units to test. However, we can report that as someone who shoots mainly still pictures, the temptation to shoot video with the GH5 was extremely strong and reinforced by the results displayed upon the monitor screen.

This camera is very well set up for switching between stills and video shooting, even when you need to swap quickly. And, if you opt for the 4K video mode, you can grab individual frames at a resolution of 8-megapixels, which is printable at A3 size.

The sample images give you a taste of what the camera can do in a wide variety of different lighting conditions and subject types. They’re captioned to show the shooting mode, lens focal length and aperture setting and exposure parameters. A full review of imaging performance will follow soon.

Good news for raw file shooters: the GH5 is supported by Adobe Camera Raw in both Photoshop and Lightroom. Other third-party developers of raw conversion software are likely to follow soon.

 

 

Full review

When Panasonic unveiled its new Lumix DC-GH5 camera in a ‘development announcement’ at Photokina last September it was hailed as a ground-breaker. A successor to the equally revolutionary GH4, it provides further evolution of both the movie recording capabilities and the proprietary 4K Photo modes. Resolution has increased from 16 to 20 megapixels in the new camera and 4K Photo shooting has been increased   to 60 fps (50 fps for PAL system users), while a new 6K Photo mode can record at 30 fps and deliver 18 megapixel stills.
 

 Angled view of the Lumix DC-GH5 with the bundled Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 ASPH. / POWER O.I.S lens. (Source: Panasonic.)

Photo Review was among a group of reviewers who attended Panasonic’s regional ‘Go Conference’ in Queenstown, New Zealand between 19 and 21 March, where we had the opportunity to try out the camera in a wide variety of shooting situations. We hope to obtain a production-standard camera and the new 12-60mm f/2.8-4 lens for Imatest testing in the near future, which will allow us to complete our review of this camera.

When it goes on sale in April, the GH5 will be more expensive than its predecessor. But then it offers quite a bit more in both features and functionality. Panasonic has the following prices listed on its website:  
 Body only (DC-GH5GN-K) for AU$2999 RRP;  Body with 12-60mm f/2.8-4 lens (DC-GH5LEICA) for AU$3999 RRP;  Body with 12-35mm f/2.8 lens (DC-GH5PRO) for AU$3999 RRP.

Both the bundled lenses, the Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 ASPH. / POWER O.I.S and the Lumix G X Vario 12-35mm f/2.8 II ASPH. POWER O.I.S. lens are listed at  AU$1199. The  Leica DG Vario-Elmarit 12-60mm was unveiled in early January The G X Vario 12-35mm f/2.8 II is an update to the lens we reviewed in April 2013.

Who’s it For?
 The improvements Panasonic has made to both resolution and video capabilities will make the GH5 even more attractive to photojournalists, news and current affairs reporters and independent documentary makers than its predecessor. It will also suit wedding and event photographers, particularly those who work alone, as it supports silent stills shooting and 4K movie recording.

Professional sports and wildlife shooters will benefit from the weatherproof body construction, improved stabilisation and growing number of fast telephoto lenses with similar splash- and dust-proof   durability.  Both the camera and many of the M4/3 lenses it can use are small enough to fit into tight spots that a pro camera can’t reach and light enough to carry on location.

The shutter is rated for 200,000 cycles, the same as the GH4’s. The 4K Photo and 6K Photo modes will be handy for all the above users, not least because they can deliver high-resolution image files for printing.

Most of these aspects of this camera also make it attractive to advanced enthusiasts   who want to capture high-quality stills and also tackle serious video movie production. And its price tag, though higher than the GH4’s, remains within reach of many of them.

Key Specs   Compared
The table below lists the main similarities and differences between the new GH5 and its predecessor, the GH4. These will be covered in detail below.

	Lumix DMC-GH4	Lumix DC-GH5
Announced	February 2014	September 2016
Sensor size & type	17.3 x 13.0 mm Live MOS
Image processor	Venus Engine IX (quad core)	Venus Engine X (five core)
Effective resolution	16.05 megapixels	20.3 megapixels
Max. image size	4608 x 3456 pixels	5184 x 3888 pixels
Max. movie recording	4096 x 2160 pixels (24fps)	4096 x 2160 pixels (30fps)
Codecs/ data rates	IBP and ALL-Intra / 1080p up to 200Mbps	LongGOP and ALL-Intra / 3840 x 2160 up to 400Mbps
Special Photo modes	4K Photo	6K Photo
Image stabilisation	Lens based	Integrated 5-axis IS with Dual I.S. support for stabilised lenses  and digital IS for video
AF system	Contrast AF with DFD technology
Focus points	49	225
Monitor	Free angle, 3-inch, 1,036,000 dots	Free angle, 3.2-inch, 1,620,000 dots
Touch screen	Yes
Viewfinder resolution	2,59,000 dots	OLED 3,680,000 dots
Shutter speed range	60 to 1/8000 second	Mechanical: 60 to 1/8000 second; Electronic: 1 to 1/16,000 second
Exposure compensation	+/- 5EV in 1/3EV steps
Bracketing	AE: +/- 3EV; 3,5,7 frames; WB (3 exposures)	AE: +/- 3EV; 3,5,7 frames; WB (3 exposures), focus (1-999 images, 5 levels, aperture (3, 5 or all positions in 1 EV step)
ISO range	ISO 125 – ISO 25600	ISO 100 – ISO 25600
Continuous shooting (max)	12.0 fps; 7.5 fps with continuous AF, 30 fps in 4K Photo mode	12.0 fps; 9 fps with continuous AF; 60 fps in 4K Photo mode; 30 fps in 6K Photo mode
Buffer capacity	~ 100 JPEGs, ~ 40 raw files	~ 600 JPEGs, ~ 60 raw files
Storage	Single slot for SD, SDHC, SDXC cards, UHS-1 compatible	Dual slots for SD, SDHC, SDXC cards, one slot accepts fast V60 class cards
Flash	Built-in	External flashguns only via hot-shoe
Battery	DMW-BLF19
Battery capacity (CIPA)	Approx. 500 shots/charge	Approx. 400 shots/charge
Interface connections	USB 2.0 High Speed Multi, HDMI,2.5 mm remote terminal, 3.5 mm mic terminal . 3.5 mm headphone jack	USB Type-C, Super Speed USB3.1 GEN1, HDMI, 2.5 mm remote terminal, 3.5 mm mic terminal . 3.5 mm headphone jack
Integrated Wi-Fi	Yes, 802.11b/g/n, WPA/WPA2, WPS, Wi-Fi Direct
Integrated Bluetooth	No	Yes
Dimensions (wxhxd)	132.9 x 93.4 x 83.9 mm	138.5 x 98.1 x 87.4 mm
Weight (body only)	Approx. 480 grams	Approx. 645 grams

Build and Ergonomics
 While retaining the same SLR-like styling, the GH5’s body is roughly 12% larger than the GH4’s, a change made partly to provide better dispersal of heat from the sensor and processor chips. According to Panasonic, the sensor provides roughly 30% of the heat generated, while the processor (which has double the processing speed of the chip in the GH4) is responsible for the rest.

Physically, the GH5 is very similar to the GH4, with a generous grip, separate memory card and battery compartments and the ability to accept a variety of useful accessories. And although the magnesium alloy body of the GH5 is 155 grams heavier than the GH4’s, it remains relatively small and light when compared with a similarly-priced DSLR.
 

 Front view of the GH5 body with no lens attached. (Source: Panasonic.)

Eliminating the built-in flash enables better environmental sealing, making it freeze-resistant as well as dust- and splash-proof. You can still use many of the accessories designed for the GH4 like gimbals and cages ““ but not the battery grip, where a new DMW-BGGH5 unit replaces the one designed for the GH3 and GH4.
 

 Rear and top views of the GH5 body with no lens attached. (Source: Panasonic.)  

The main external differences between the GH5 and GH4 are listed below:
 1. The monitor screen has been enlarged to 3.2-inch diagonal size and its resolution is increased to 1,620,000 dots (900 x 600 pixels) to provide a larger, clearer screen. Panasonic has also switched to a new RGBW display with four dots per pixel (red, green, blue and white), which should provide better outdoor visibility and reduced power consumption when shooting in dim lighting.

2. The OLED EVF now boasts a resolution of 3,680,000 dots (or 1280 x 960 pixels), a 25% increase in linear resolution compared with the GH4.  

3. A new AF joystick on the rear panel makes it easy to change the location of the AF point in AFS (single) and AFF (flexible) focus modes.
 4. The video button has been enlarged and moved to behind the shutter release where it’s much easier to access.

5. There are now dual SD card slots in the right hand side panel. Both slots include the extra contacts for high-speed UHS-II cards and can support a minimum sustained write speed of 30MB/second. Slot 1 is compatible with the new Video Speed Class cards that support minimum sequential write speeds of 90MB/second.

6. The GH5 is the first camera equipped with a USB-C (3.1) port.

7. It also boasts a full-sized HDMI socket for connecting the camera to an external recorder or monitor.

8. The built-in microphone has been updated and relocated to the top of the viewfinder hump. It claims to offer a 10dB improvement in its wind noise reduction, thanks to a new noise reference microphone, which records the sounds created by the lens movements and subtracts them from the audio recording, rather than filtering it out with software in post-production.

The battery is the same as in the GH4, a feature owners of that camera will appreciate. But its capacity has been reduced a little. It is CIPA rated for between 380 and 400 shots/charge with the EVF, depending on which lens is used, or between 400 to 410 shots with the monitor. The new optional DMW-BGGH5 battery grip accommodates a second battery, effectively doubling these capacities.
 Internally there have also been a few important changes:
 1. The AF system is still contrast based but it gains Panasonic’s depth-from-defocus (DFD) technology and the new processor (see below) has enabled a dramatic increase in sensor areas as well as a faster 480 fps AF drive system.  Panasonic claims the GH5 can lock onto a subject within 0.05 seconds. Combining motion detection, motion vector analysis and DFD data enables the camera to more accurately predict the distance of a moving subject when the shutter is pressed and/or the frame is recorded. The system is also sensitive down to -4EV.

Face/Eye Recognition, Tracking AF, 1-area AF and Pinpoint AF are supported and the GH5 includes a custom memory that can hold four presets for AF Sensitivity, AF Area Switching Sensitivity and Moving Object Prediction Level. All focusing operations can be controlled with the new joystick located on the rear panel.

A new focus transition function enables users to control focus pulls by setting the start and end positions. Users can choose from up to three focus positions: foreground, middle and background and transition speeds are user-adjustable. These settings can be operated from the touch screen. The camera can also ‘remember’ different focus settings for the stills and video modes.

2.The Dual I.S. 2 system has been ported across from the Lumix G85 camera. Coupling the five-axis sensor-shift stabilisation with dual-axis in-lens stabilisation, it claims up to five stops of shake correction and provide gimbal-like steadying when shooting movies as well as during pans. Seven lenses currently support the system, with five more gaining support through updates that will be released during the year.

 
 The illustration above shows the key components of the Dual I.S. 2 system: the sensor-shift and lens-shift mechanisms, which combine to provide up to five stops of shake correction. (Source: Panasonic.)

3. An electronic shutter has been added to the mechanical focal plane shutter in the GH4, with a speed range of 1-1/16,000 second. Users can choose between the mechanical and electronic shutters or select the auto option and have the camera make the decision.

There’s also a new floating shutter mechanism that is protected from vibration, making the shutter highly resistant to shutter shock.  

4. The menu system has been modified to take advantage of the larger monitor screen. Panasonic’s familiar tabbed design is retained but it’s been tightened up to take advantage of the higher screen resolution and larger display area. The new menu displays eight items at a time (instead of five), reducing the number of pages in each section. It also includes a new 23-item My Menu tab for storing frequently-used combinations. Settings stored in My Menu can be saved to an SD card and used when swapping cameras.

A new pop-up display appears when menu items that are greyed-out are selected, explaining why they can’t be accessed. There’s also a new scroll bar display on the right of the screen that shows where you are in the menu; the page number is shown in the top right of the screen.

5. Auto ISO is now available in the Manual movie mode.

6. The addition of Bluetooth LE communication supports auto transfer of image files recorded by the camera to a connected smart device as well as GPS auto tagging and remote control over key camera functions. The camera can also be ‘awakened’ remotely via the Bluetooth connection.

Sensor and Image Processing
 The sensor in the GH5 is a new 20.3-megapixel Live MOS chip without an optical low-pass filter.  On paper it appears to be virtually identical to the sensor used in the Olympus OM-D E-M1 Mark II.

The sensor’s signal readout speed is 1.7x faster than the GH4 and it’s partnered with a completely different image processor, the Venus Engine X chip, which has five cores, one more than in the previous processor chip to give it a  faster clock speed (1.3x faster).  It also includes some new processing algorithms, outlined below:

• Multipixel Luminance Generation is a refinement to the demosaicing algorithm which enables it to cover a larger six-by-six pixel area from the Bayer-filtered image sensor (nine time larger than the two by two pixel selection on the GH4). It also ensures that pixels on the edges of images are sharp and free from false colours.
• Intelligent Detail Processing separates the image frame into areas with mostly flat tones, areas with high levels of fine detail and areas spanning the boundaries between them.   Each is processed separately, resulting a smoother images.
• Three-Dimensional Colour Control adds brightness evaluation to the hue and saturation mapping provided in the GH4. The brightest and darkest tones are mapped and the comers interpolates the values between them to provide a finer gradation in hues and tones as brightness varies across the image.
• High-Precision Multi Process NR uses improved noise reduction algorithms to deliver a claimed fourfold improvement in resolution after processing, compared with previous regimes.

The new processor also underpins improvements to autofocusing performance. The GH5 now has 225 AF points, compared with 49 in the GH4. The AF drive speed is increased to 480 fps, with a claimed lock-on time of 0.05 seconds, compared with 0.07 seconds in the GH4. An improved DFD (Depth From Defocus) algorithm combines motion detection and motion vector analysis to better predict the distance to a moving subject at the time of capture, improving focus tracking performance  

Although the top continuous shooting speed hasn’t changed since the GH4, the GH5 offers faster continuous AF in burst mode, with a top speed of 9 fps, compared with 7 fps in the GH4. The new camera also has a greater buffer depth, with a claimed capacity of more than 600 frames for JPEGs or 60 frames when there are raw files in the mix.

Interestingly, however, the GH5 supports the same ISO sensitivity range, with a minimum setting of ISO 100 and a maximum of ISO 25600 for stills, although it extends sensitivity from the GH4’s limit of ISO 6400 to ISO 12800 for movies.

Raw files are recorded in Panasonic’s proprietary RW2.RAW file format. RAW+JPEG capture is supported and users can choose between fine and standard quality settings for the latter. Four aspect ratio settings are available: 4:3 (the default), 3:2, 16:9 and 1:1. The table below shows typical resolutions.  

Aspect ratio	Image Size	Resolution
4:3	RAW	5184 x 3888
	L	5184 x 3888
	M	3712 x 2784
	S	2624 x 1968
3:2	L	5184 x 3456
	M	3712 x 2480
	S	2624 x 1752
16:9	L	5184 x 2920
	M	3840 x 2160
	S	1920 x 1080
1:1	L	3888 x 3888
	M	2784 x 2784
	S	1968 x 1968

Raw files are typically around 23 megapixels in size, while Large/Fine JPEGs with a 4:3 aspect ratio are between 8 and 10 megapixels, depending on the amount of detail in the scene.

Improved noise reduction processing enables the camera to support exposures of up to 60 minutes, with a minimum exposure time of 1/8000 second for freezing action. The camera also provides a Bulb mode for even longer exposures. Time Lapse Shot and Stop Motion Animation modes are available for producing stop-motion video movies with sequential pictures. Both are created in-camera without any postproduction processing required.

Video
 Panasonic has substantially increased the video capabilities of the GH5, while retaining the 4K capabilities that made its predecessor so popular with independent and documentary filmmakers. The 20-megapixel sensor provides more data to capitalise on than the GH4’s 16-megapixel chip and the new camera uses the full image sensor width for recording video, only cropping to match the aspect ratio selected.

The GH5 also supports a wider range of Variable Frame Rate options than its predecessor for slow-motion and quick-motion capture. The minimum frame rate for quick motion video is 2 fps and under-cranking for quick motion is available for the first time in 4K (60fps, up to 2.5x slower) as well as Full HD (180fps, up to 7.5x slower).

The camera can also record 25/30p 4K video at 4:2:2 10-bit or up to 180 fps at 4:2:0 8-bit and 1080p internally onto an SD card.  It also supports the Hybrid Log-Gamma (HLG) standard for recording HDR video as well as ‘Cinelike D’ and ‘Cinelike V’ gamma settings,  plus 709-like gamma and knee control for HDTV compatibility.

The GH5’s V-Log profile enables videographers to capture footage with the same flat colour profile found in Panasonic’s Varicam broadcast camera. It’s ideal for professionals who require the ability to colour grade because it increases the dynamic range to over 12 stops of latitude and has similar characteristics to the Cineon characteristic curve for film digitisation.

Users wanting to capitalise on this feature will require the DMW-SFU1 Upgrade Software Key (sold separately), which also accesses the dynamic range LUT(Look Up Table) for editing.   The V-LogL View Assist function can display up to four sets of LUT data from the installed SD card.

As before, three recording formats are supported: MOV, MP4 and AVCHD. The first two can support 4K recording but AVCHD is restricted to 1920 x 1080 pixel Full HD, although it allows for longer recording times. Whereas the GH4 was restricted to the consumer 4K format (3,840 x 2,160 pixels), the GH5 also supports Cinema 4K (4,096 x 2,160 pixels), both with bitrates of 150Mbps.

The table below shows the options available for the PAL TV format used in Australia.

Recording format	Resolution	Frame rates	Bit Rate	Colour depth	Colour subsampling	Compression
MOV	3840×2160	50p	150Mbps	4:2:0	8-bit	LongGOP (interframe)
		25p	400Mbps	4:2:2	10-bit	ALL-Intra
			150Mbps			LongGOP
			100Mbps	4:2:0	8-bit
	1920×1080	50p	200Mbps	4:2:2	10-bit	ALL-Intra
			100Mbps			LongGOP
				4:2:0	8-bit
		25p	200Mbps	4:2:2	10-bit	ALL-Intra
			100Mbps			LongGOP
				4:2:0	8-bit
	4096×2160	24p	400Mbps	4:2:2	10-bit	ALL-Intra
			150Mbps			LongGOP
			100Mbps	4:2:0	8-bit
	3840×2160		400Mbps	4:2:2	10-bit	ALL-Intra
			150Mbps			LongGOP
			100Mbps	4:2:0	8-bit
	1920×1080		200Mbps	4:2:2	10-bit	ALL-Intra
			100Mbps			LongGOP
				4:2:0	8-bit
MP4	3840×2160	50p	150Mbps	4:2:0	8-bit	LongGOP
		25p	400Mbps	4:2:2	10-bit	ALL-Intra
			150Mbps			LongGOP
			100Mbps	4:2:0	8-bit
	1920×1080	50p	200Mbps	4:2:2	10-bit	ALL-Intra
			100Mbps	4:2:0	8-bit	LongGOP
		25p	200Mbps	4:2:2	10-bit	ALL-Intra
			100Mbps			LongGOP
				4:2:0	8-bit
		50p	28Mbps
		25p	20Mbps
	4096×2160	24p	400Mbps	4:2:2	10-bit	ALL-Intra
			150Mbps			LongGOP
			100Mbps	4:2:0	8-bit
	3840×2160		400Mbps	4:2:2	10-bit	ALL-Intra
			150Mbps			LongGOP
			100Mbps	4:2:0	8-bit
	1920×1080		200Mbps	4:2:2	10-bit	ALL-Intra
			100Mbps			LongGOP
				4:2:0	8-bit
			24Mbps
AVCHD	1920×1080	50p	28Mbps	n.a.	n.a.	LongGOP
		50i	24Mbps
			17Mbps

Some of these modes will only be available after a firmware upgrade in April 2017, which will add 10-bit 4:2:2 Full HD footage. A subsequent firmware upgrade, adding support ALL-Intra recording with a 200Mbps bit rate and frame rate options of 60, 50, 30, 25 or 24 fps, hybrid log and anamorphic features will be released around July 2017.

Together,  the more powerful processor and higher-resolution sensor generate much more heat than the same items in the GH4 so the camera body has been redesigned to provide better heat dispersion. This enables longer continuous video recording times, with approximately 150 minutes available for AVCHD clips and up to 110 minutes for MP4 clips. There is no recording time limit for both FHD and 4K video.

Professional video capabilities include Waveform Monitor Display and SMPTE-compliant Time Coding in Rec Run or Free Run with the ability to synchronise multiple video footage or sound sources in post-production workflow. Luminance Level is selectable between 64-1023 / 64-940 / 0-1023 (10-bit) and users can access Synchro Scan to suppress flicker; Master Pedestal adjustment with +/-15 steps and the industry standard Color Bars (SMPTE / EBU / ARIB Standard).

The rather cumbersome  DMW-YAGH Interface Unit required for outputting video at 4:2:2 10-bit quality to an external device and giving the GH4 the video, audio, and power connectivity required for professional video workflows has been replaced by a smaller and less expensive XLR audio interface unit that clips into the hot shoe.

4K Photo and 6K Photo modes
 Panasonic’s 4K Photo and Post Focus modes were added to the GH4 via a firmware update (v.2.5) released on 16 March 2016. At the time, the capture rate was limited to 30 fps, which provided one-second bursts of 8.3 megapixel images.

In the GH5, these modes are selected via a special setting on the drive dial on the left hand side of the top panel. The GH5’s 4K Photo mode can now support bursts of up to 60 fps, while the new 6K Photo mode with a higher resolution of 18 megapixels supports 30 fps capture rates. Resolution depends on the selected aspect ratio, with image sizes shown in the table below.

Aspect ratio	4K Photo	6K Photo
4:3	3328 x 2496 pixels	4992 x 3744 pixels
3:2	3504 x 2336 pixels	5184 x 3456 pixels
16:9	3840 x 2160 pixels	n.a.
1:1	2880 x 2880 pixels	n.a.

The 4K Photo modes are essentially the same with 6K Photo recording. There are still three burst modes: the Burst mode simply records a sequence of 4K or 6K video for as long as the shutter button is pressed. The Burst (Start/Stop) mode starts recording when the shutter is pressed and stops when it’s pressed a second time.

The Pre-Burst mode will start recording when the shutter button is half pressed and stores the last 30 frames captured before the shutter button was pressed as well as one shot when the shutter is pressed and 29 frames after it. A total of 60 individual frames will be recorded in two seconds.

Each of these modes lets you record the event on high-resolution video ““ without being restricted to the 16:9 aspect ratio (although 6K Photo is limited to 4:3 and 3:2 only). You can select the best frames from the footage for printing and/or sharing online via the camera’s touch-screen controls, which offer smartphone-like operation.

The Post Focus mode is also selected via a separate setting on the drive dial, although its operation hasn’t changed. In this mode, the camera records a stream of video at the selected resolution and frame rate, scanning the scene and capturing frames at different focus points.  

Users can select and save individual frames from the sequence or combine the sharpest frames by stacking the shots to provide a single image that is sharp from front to back. Because each Post Focus clip is actually a high-resolution video recording, there’s no real need to select the frames via the Camera’s playback mode.

It’s easy to grab individual frames later when you’ve downloaded all your images to your computer, although the file names won’t be in the regular JPEG format. Any frame-grabbing program that supports MP4 movies can be used to capture individual JPEGs.  

First Impressions
 During the 48-hour period we spent with the camera in New Zealand we found it a real pleasure to use. The grip was comfortable and even though the new camera is heavier than the GH4, it didn’t feel noticeably so. All the frequently-used functions were readily accessible and the movie button was easy to reach without the need to take one’s eye from the viewfinder.

The 4K Photo and 6K Photo modes worked exactly as they were programmed to and the AF system was able to select the main subject in a scene quickly, track its motion and swap to another subject when necessary. Our general impression was a significant improvement in AF speed and accuracy over the GH4.

We can’t provide objective assessments on the performance of the camera and the new lens until we receive production-standard units to test. However, we can report that as someone who shoots mainly still pictures, the temptation to shoot video with the GH5 was extremely strong and reinforced by the results displayed upon the monitor screen.

This camera is very well set up for switching between stills and video shooting, even when you need to swap quickly. And, if you opt for the 4K video mode, you can grab individual frames at a resolution of 8-megapixels, which is printable at A3 size.

The sample images below will give you a taste of what the camera can do in a wide variety of different lighting conditions and subject types. They’re captioned to show the shooting mode, lens focal length and aperture setting and exposure parameters. A full review of imaging performance will follow soon.

Good news for raw file shooters: the GH5 is supported by Adobe Camera Raw in both Photoshop and Lightroom. Other third-party developers of raw conversion software are likely to follow soon.

 

SPECS

 Image sensor:17.3 x 13.0 mm  Live MOS sensor with 21.77 million photosites (20.3 megapixels effective)
 Image processor:  Venus Engine
 Lens mount: Micro Four Thirds
 Focal length crop factor: 2x
 Aspect ratio settings: 4:3, 3:2, 16:9, 1:1
 Image formats: Stills: JPEG (DCF, Exif Ver.2.31, MPF Baseline compliant), RW2.RAW, MP4 H.265/HEVC (for 6K Photo & 4K Photo); Movies: MP4: H.264/MPEG-4 AVC, MOV: H.264/MPEG-4 AVC,  AVCHD Progressive, AVCHD (Audio format: Dolby Audio 2ch)
 Image Sizes: Stills ““ 4:3 aspect: 5184 x 3888, 3712 x 2784, 2624 x 1968, 4992 x 3744 (6K Photo) / 3328 x 2496 (4K Photo); 3:2 aspect: 5184 x 3456, 3712 x 2480,  2624 x 1752, 5184 x 3456 (6K Photo) / 3504 x 2336 (4K Photo); 16:9 aspect: 5184 x 2920, 3840 x 2160, 1920 x 1080, 3840 x 2160 (4K Photo); 1:1 aspect: 3888 x 3888, 2784 x 2784, 1968 x 1968, 2880 x 2880 (4K Photo); Movies: [C4K] 4096 x 2160 at 23.98p, 150Mbps (4:2:2 10-bit LongGOP) (LPCM, High-Res Audio) / 100Mbps (4:2:0 8-bit LongGOP) (LPCM, High-Res Audio); [4K] 3840 x 2160 at 50.00p, 150Mbps, 25.00p, 400Mbps, 25.00p, 150Mbps;  [Full HD] 1920 x 1080: 50p 200Mbps/100Mbps, 25p 200Mbps/100Mbps, 24p   200Mbps/100Mbps, 50p 28Mbps, 50i/24 or 17Mbps, 25p/24 or 17Mbps
 Image Stabilisation: Image sensor shift type (5-axis / 5-stop), Dual I.S. 2 compatible; digital stabilisation available for movies
 Dust removal: Supersonic wave filter
 Shutter (speed range): Focal-plane shutter (1/8,000 – 60 seconds plus Bulb); Electronic first curtain shutter (1/2,000 – 60 seconds plus Bulb); Electronic shutter (1/16,000 – 1 second); Bulb max. 30 minutes; Shutter life approx. 200,000 cycles
 Exposure Compensation: +/- 5EV in 1/3EV steps (+/-3EV for movies)
 Exposure bracketing: 3, 5, 7 images in 1/3, 2/3 or 1 EV step, max. +/-3 EV, single/burst
 Other bracketing options: Aperture, Focus, White Balance
 Self-timer: 2 or 10 seconds delay plus 10 sec delay, 3 images
 Focus system: Contrast AF system with DFD technology
 Focus modes: AFS (Single), AFF (Flexible), AFC (Continuous), MF; Face/Eye Detection, Tracking, 225-Area, Custom Multi / 1-Area / Pinpoint
 Exposure metering:  1,728-zone multi-pattern sensing system with Multiple, Centre-weighted and Spot metering patterns
 Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual
 Photo Style modes: Standard, Vivid, Natural, Monochrome, L. Monochrome, Scenery, Portrait, Custom 1, 2, 3, 4; Movie options: Cinelike D / Cinelike V / Like709 / V-LogL (optional Upgrade Software Key DMW-SFU1 is required)
 Creative Control modes: Expressive, Retro, Old Days, High Key, Low Key, Sepia, Monochrome, Dynamic Monochrome, Rough Monochrome*, Silky Monochrome*, Impressive Art, High Dynamic, Cross Process, Toy Effect, Toy Pop, Bleach Bypass, Miniature Effect**, Soft Focus*, Fantasy, Star Filter*, One Point Colour , Sunshine* (*For photos only. **Not available in 4:2:2 10-bit video or 4K video recording)
 Colour space options: sRGB and Adobe RGB
 ISO range: Auto, Intelligent ISO, 100 (Extended), 200, 400, 800, 1600, 3200, 6400, 12800, 25600 (Changeable to 1/3 EV step)  
 White balance: Auto, AWBc, Daylight, Cloudy, Shade, Incandescent, Flash, White Set 1, 2, 3, 4, Colour temperature setting 1, 2, 3, 4; Blue/Amber, Magenta/Green bias adjustments
 Flash: TTL External Flash (sold separately)
 Flash modes: Auto*, Auto/Red-eye Reduction*, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off (* For iA, iA+ only); first/second curtain synch available
 Flash exposure adjustment: +/- 3EV in 1/3EV steps
 Sequence shooting: Max. 12 frames/sec.; max. 60 fps in 4K Photo mode
 Buffer capacity: Max. 600 JPEGs, 60 RAW files or   RAW+JPEG pairs
 Storage Media: Dual slots for SD, SDHC, SDXC cards (Compatible with UHS-I standard SDHC / SDXC Memory Cards)
 Viewfinder: OLED Live View Finder with 3,680,000 dots, 100% coverage,   approx. 1.52x  magnification, 21 mm eyepoint, -4.0 – +3.0 dpt dioptre adjustment, eye sensor
 LCD monitor: Free-angle 3.2-inch,  3:2 aspect  TFT LCD monitor with static touch control, approx 1,620,000 dots, 100% coverage
 Live View shooting: 2x, 4x digital zoom, Extra Tele Conversion: max. 2x for stills, 1.6x for 4K Photo, 2.7x for movies (FHD)
 Playback functions: 30-thumbnail display, 12-thumbnail display, Calendar display, Zoomed playback (Max. 16x), Slideshow (All / Picture Only / Video Only, duration & effect is selectable), Playback Mode (Normal / Picture Only / Video Only), Location Logging, RAW Processing, 4K PHOTO Bulk Saving, Light Composition, Clear Retouch, Title Edit, Text Stamp, Video Divide, Time Lapse Video, Stop Motion Video, Resize, Cropping, Rotate, Rotation Display, Favourite, DPOF Print Set, Protect, Face Recognition Edit, Picture Sort, Creating Still Pictures from a Motion Picture
 Interface terminals: USB Type-C, Super Speed USB3.1 GEN1, HDMI (TypeA / VIERA Link, Audio: Stereo), 2.5mm jack for remote controller, 3.5mm jacks for headphones and   external microphone
 Wi-Fi function: IEEE 802.11a/b/g/n/ac, Bluetooth v4.2 (Bluetooth Low Energy (BLE), QR Code Connection
 Power supply: 7.2V, 1860mAh, 14Wh rechargeable Li-ion battery pack; CIPA rated for approx. 400 shots/charge
 Dimensions (wxhxd): Approx. 138.5 x 98.1 x 87.4 mm (excluding protrusions)
 Weight: Approx. 645grams (body only);   725 grams with battery and card

RRP: AU$2999 (body only); US$2000 (body only)
 Distributor: Panasonic Australia, Ph. 132 600; www.panasonic.com.au

 

SAMPLES

 

Portrait shot with 12-60mm lens at 60mm, 1/320 second at f/5, ISO 200.
 

Environmental portrait;12-60mm lens at 27mm, 1/250 second at f/7.1, ISO 200.
 

Animal portrait;12-60mm lens at 60mm, 1/60 second at f/5, ISO 200.
 

Landscape shot;12-60mm lens at 22mm, 1/250 second at f/10, ISO 200.
 

Strong contre-jour lighting;12-60mm lens at 28mm, 1/2000 second at f/11, ISO 200.
 

Landscape shot taken from a helicopter;12-60mm lens at 20mm, 1/640 second at f/8, ISO 200.
 

Landscape shot (from a converted raw file);12-60mm lens at 38mm, 1/200 second at f/10, ISO 200.
 

Landscape shot in late afternoon 3:2 aspect ratio;12-60mm lens at 12mm, 1/250 second at f/9, ISO 200.
 

Landscape shot in late afternoon;12-60mm lens at 12mm, 1/200 second at f/10, ISO 200.
 

Landscape shot just after sunset;12-60mm lens at 12mm, 1/8 second at f/7.1, ISO 2000.
 

12-60mm lens at 18mm, 1/250 second at f/8, ISO 200.
 

 Action shot (stills mode);12-60mm lens at 60mm, 1/500 second at f/5.6, ISO 200.
 

Close-up with 7-14mm lens; 8mm focal length, 1/30 second at f/8, ISO 200.
 

Ambience shot with 7-14mm lens; 7mm focal length, 1/25 second at f/11, ISO 200.
 

Interior shot 7-14mm lens; 14mm focal length, 1/8 second at f/11, ISO 400.
 

Low light shot with 12-60mm lens at 34mm, 1/8 second at f/7.1, ISO 3200.
 

Low light shot with 12-60mm lens at 34mm, 1/50 second at f/7.1, ISO 25600.
 

 10 sequential frames from a 6K Photo burst shot at 30 fps.
 

Single frame from a 4K Photo burst shot at 50 fps.
 

Single frame from a 6K Photo burst shot at 25 fps.
 

Single frame from a MP4 4K (3840 x 2160) video clip taken at 24 fps.
 

Single frame from a MP4 4K (3840 x 2160) video clip taken at 24 fps.
 

Single frame from a MP4 4K (3840 x 2160) video clip taken at 25 fps.
 

Single frame from a MP4 4K (3840 x 2160) video clip taken at 24 fps with the highest ISO setting.
 
 

Single frame from a MP4 Cinema 4K (4096 x 2160) video clip taken at 24 fps from a helicopter.
 

Single frame from a MP4 Cinema 4K (4096 x 2160) video clip taken at 24 fps in late afternoon lighting.
 

Single frame from a MP4 Cinema 4K (4096 x 2160) video clip taken at 24 fps in overcast conditions.
 
 

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