ADVERT…Panasonic GH5S Now in Stock at H Preston

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Telephone 01684-575486 and ask for John or Andy.

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ADVERT…Monday 29th January at Production Gear

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Join us at Production Gear HQ in Barnet, North London as we welcome professionals from Zeiss who will be talking about and demonstrating their fabulous CP3 prime and LWZ Zoom lenses.

Zeiss lens open day…Monday 29 January 2018 from 12:00 – 16:00 GMT at Production Gear Ltd, Unit 13, Wrotham Business Park, Potters Bar, EN5 4SZ

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The findings of my Low Light experiment on the Panasonic GH5S

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I came to this knowing the GH5S was better in low light but its the little extras that this camera brings to the table that set it apart from the GH5.

The refresh rate of the Live Viewfinder (LVF) has been set at 120fps (Switchable to 60fps) twice that of the GH5, that would be a welcome FW update I would like to see on the GH5.

The MIC socket on the camera can now be switched from MIC with power to MIC with no power to LINE. The XLR settings remain the same from 48kHz/16bit, 48kHz/24bit to 96kHz/24bit.

In ISO Auto mode if using the older dB scale like I do there is one extra stop of minus gain from -12 to -14 and on the positive scale you get to 30dB (GH5 cut off point) to 33, 36, 39, 42, H45, H48, H51 and H54dBs.

The GH5S also has Dual ISO settings from Auto, Low (400) and High (2500). Dual native ISO means exactly that: there are two optimal settings for the camera. The native ISO of a camera is the sensitivity that gives the best images. Any other setting means applying gain, which amplifies the noise floor. Ideally, you should always use a camera at its native ISO.

Note : The cameras were set to 4K 25p 10bit 422 running at 400Mbps to get the best out of them using a 25mm Leica f1.4 lens set to f3.2, Dual ISO set to High.

I have to say the noise level at 6400 ISO on the GH5S is stunning especially when you consider 3200 ISO being the last usable ISO on the GH5.

I was not aware how noisy 6400 ISO was on the GH5 as I never use high ISO speeds.

The killer for me was the GH5S at ISO 12800 ISO on the GH5 it turns to a noisy mush while the GH5S is more than usable.

What about the killer blow that many commentators are banging on about, the lack of on board image stabilisation.

Simple, use a tripod or a Panasonic lens with power OIS. There is a cracking Panasonic lens the 12-60 f3.5-5.6 which is brought into light with the GH5S by utilising the higher ISO speeds this power OIS lens is a great standard zoom lens for the GH5S.

If Panasonic can do anything via firmware please allow us to lock the GH5/GH5S at a speed of a 50th. 

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The Panasonic GH5S arrives in Glasgow

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We have seen various snippets of low light capability with the Panasonic GH5S on the internet but none in my opinion done the good old fashioned way with a Colour Rendition Chart.

The GH5S has two native ISO settings HIGH and LOW or 400 ISO and 2500 ISO I will be comparing these beside a GH5.

Still love the Red REC button but sadly rarely use it as Panasonic have the sense to add the same functionality to the button at the front of the camera unlike the annoying Sony a7S cameras.

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Back in time…IBC 2010

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Was looking through some old footage and came across this our first trip IBC in 2010 which was the year of the Panasonic AF101 at a mere £4,000.

Strangely enough I am informed that the Panasonic EVA-1 in now selling, not in the quantities of the AF101 but with a lot more competition in the market than the AF101 had.

27th May 2011…The Panasonic AF101 has started a massive ball rolling from the day it landed in the UK and beyond, Panasonic were quietly optimistic about world wide sales but were dumb struck by the uptake of the camcorder and has outstripped everyone’s expectations. Having owned one for the last 5 months I have only now had time to reflect on what has been a momentous journey with my Panasonic AF101.

So what made me sell my AF101 eventually…The resolution topped off at about 800 lines while the Sony FS100 gave you 1000 lines of resolution.

Here is the video I produced back in 2010 recorded at 1280 x 720 50p upscaled to 1920.

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GH5S First Thoughts

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The king pin of low light filming to date has been the Sony A7s Mk11, thats why Panasonic are so desperate to knock them off their perch hence the GH5S.

Note. The GH5S no longer allows you to shoot 6K anamorphic but you can still shoot anamorphic.

An Australian company called DigiDirect did some impressive low light testing with the GH5S and the Sony A7s Mk11.

At 12800 ISO the GH5S out performs the Sony which is a first but when you take onboard the GH5S is 10bit, 422 while the Sony is 8bit 420 thats why the colour of the box in the shot is so different and more natural in my opinion, you are starting off with a punchier shot.

So why half the resolution i.e. 10.2MP compared to the 20MP GH5, remember 4K video only needs 8.3MP so having a 10.2MP sensor is no big deal apart for photographic work but we already know the GH5s is not a photographic camera.

You can also now set the audio to line input as well as mic input direct from the 3.5″ mini jack on the side of the camera.

One myth that grew along side the GH5S was its ability to shoot 10bit 422 footage in 4K 50p, unfortunately that was just a rumour as its still 8bit 420 filming 4K 50p but 10bit at 25p but so is the GH5.

You are getting 240fps slow motion thats an extra 60fps on top of the GH5.

With an additional cable via BNC to flash you can now use timecode in and out of the GH5S a very exciting professional feature used in higher end video productions.

I love the red REC button, really looks classy. Will I be getting a GH5S to add to my three GH5’s you bet. I decided to trim my budget, rejecting the Panasonic EVA-1 and bought GH5’s instead a great move for my present production needs.

One colleague of mine is now reflecting if he wants to buy the EVA-1 or a GH5S as he needs three of them so its £19,000 EVA-1 with no VF versus £6,600 GH5S (for 3 cameras).

Will the GH5S affect the EVA-1, only if price is a consideration, but its interesting this has been produced with the EVA-1 in mind, touting it as a camera with similar specs for higher end work, interesting though it does have the dual ISO setting the same as the EVA-1.

Sensor-shift IS systems operate by ‘floating’ the sensor using a series of electromagnets. Even when they’re ‘off’ they’re not locked in place, they’re simply set so that the electromagnets aren’t attempting to correct for movement. This has the side-effect that, which mounted on a professional stabilization rig, there’s a risk of the sensor being shaken around.

For high-end video work, Panasonic says its users would prefer to use dedicated gimbals and dollies, rather than internal stabilization, and that means physically locking the sensor in place to avoid unwanted interactions between these systems and a floating sensor.

However, regardless of what Panasonic says, there’s also the limitation imposed by the oversized sensor: since the camera captures right out to the edge of the image circle there’s simply no room to shift the sensor without risking capturing footage of the inside of your lens barrel. This is highlighted in the one situation in which the GH5S does offer digital stabilization: when combined with a lens offering optical stabilization. When engaged, the video has to crop-in slightly to provide room to pan and scan around the sensor.

The lads at WEX have done a great job explaining the new features of the GH5S…

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GH5s impressive in low light

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This is one of the better demonstrations of the GH5s v GH5 and the Sony A7sMk11

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New GH5s with Dual ISO announced today by Panasonic £2,199 body only

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While the Lumix GH5 was the first mirrorless camera capable of shooting 4K footage at up to 60/50p, the Lumix GH5S takes this one step further and shoots at a world-first 4K 60/50p recording in Cinema 4K (4096 x 2160).

That’s just part of the story, as the GH5S is capable of internal 4:2:2 10-bit recording, which should deliver even stronger color reproduction, while V-Log now comes pre-installed on the camera – something that was an additional cost on the GH5, hopefully V-Log will become a free download for GH5 users after today.

Additional features:

  • Increased ISO Range: 160-51,200
  • New Venus Engine
  • 3.5mm audio jack can be set to line level: This allows for greater flexibility during production
  • Extended battery: 440 shots, rather than 410 in the GH5
  • 14-Bit RAW Photo up to 11fps burst
  • 12-bit up to 12fps in burst
  • Same autofocus as GH5, but with GH5S’ sensitivity improvements, it now goes up to -5EV


  • Sensor:10.2MP High Sensitivity MOS Sensor with Multi-Aspect
  • ISO Sensitivity: ISO 160-51,200 (Extended: 80-204,800)
  • Native ISO: Dual (ISO 400 / ISO 2500)
  • Viewfinder:3,680k- dot OLED 21mm
  • Rear monitor: 3.2” 3:2 1,620k dot dree-angle, static-touch LCD
  • Autofocus: Approx 0.07sec -5EV
  • Burst shooting: 14-bit AFS 11fps, AFC 7fps / 12-Bit AFS 12fps, AFC 8fps
  • 6K Photo: No
  • 4K Photo: 8MP 60fps (H.264)
  • Construction: Mag alloy, Splash/Dust/Freezeproof (down to -10°C)
  • Body image stabilisation: None
  • Video recording rate:
    • C4K: 60p/50p (4:2:0 8bit), 30p/25p/24p (4:2:2 10bit)
    • 4K: 60p/50p (4:2:0 8bit), 30p/25p/24p (4:2:2 10bit)
  • Monitor output:
    • 4:2:2 10bit output & internal recording (C4K/4K 60p/50p is output only)
    • 4:2:0 8bit output & internal recording (C4K/4K 60p/50p)
  • V-LogL: Pre-installed
  • Anamorphic mode:Anamorphic 4K
  • SD Card slots: 2 x UHS-II U3
  • Wireless / Bluetooth: 802.11 a/n/ac (5GHz) / Bluetooth 4.2
  • Input/Output terminals: Timecode In/Out / Synchro Terminal, 3.5mm MIC Jack / Line input (3.5mm headphone jack) / 2.5mm remote socket / HDMI Type A Socket / USB 3.1
  • Battery life: 440 pictures
  • Weight: 660g
  • Dimensions: 128.5 x 98.1 x 87.4mm


Introducing a newly developed 10.2MP High Sensitivity MOS sensor for enhanced image quality in low light: Allowing up to 51,200 ISO recording without extended ISO.
• Time Code IN/OUT for easy synchronization of multiple cameras and Dual Native ISO, providing low range (400) and high range (2,500) ISO environments.
• True “Multi-Aspect Ratio” Function in Both Photo and Video

Las Vegas, NV (January 8, 2018) – Panasonic is proud to introduce the new hybrid Digital Single Lens Mirrorless Camera LUMIX GH5S with expanded video recording capability and enhanced image quality. Designed and developed for professional filmmakers, the LUMIX GH5S achieves highest-ever image sensitivity and video image quality in the history of LUMIX cameras, especially in low-light situations.

Packed with big features to satisfy demanding photographers and videographers alike The new 10.2-megapixel Digital MOS Sensor with Dual Native ISO Technology and Venus Engine 10 faithfully reproduce even dark parts of the image, allowing high ISO capture when the use of supplemental lighting may not be possible. This sensor is a multi-aspect type with a sufficient margin for realizing the same angle of view in 4:3,17:9,16:9 and 3:2 aspect ratios. The sensor also enables photo shooting in 14-bit RAW format, providing higher flexibility for professional RAW stills development workflows. When shooting in dark environments, videographers can now focus on filming that perfect shot as they no longer need to worry
about noise which often results from having to use higher ISOs. The Dual Native ISO Technology suppresses noise to produce cleaner footage when taken in all light. Both videographers and photographers can now enjoy the same diagonal field of view across all aspect ratios with the True “Multi-Aspect Ratio” Function. This feature means you can easily swap between difference aspect ratios giving you the accuracy you want from your lenses, and making the process easier while producing and editing in post-production. The LUMIX GH5S is compatible with Time Code IN and OUT, like the professional camcorders, which is easy to set using the flash sync terminal and bundled conversion cable for a standard BNC terminal. This is especially important for “lip synchronization” when using multiple cameras.
The LUMIX GH5S can be used as Time Code generator for other GH5S cameras and professional camcorders. The Time Code IN/OUT functionality makes a production teams job pain-free as it provides synchronization for both video and audio devices used on multi-cam productions.

The LUMIX GH5 achieved 4KUHD 60p video recording for the first time as a digital mirrorless camera in 2017.2 The new LUMIX GH5S establishes a new milestone by realizing the world’s first 4K 60p video recording in Cinema 4K (4096×2160), 3 capable of internal 4:2:2
10-bit video recording up to Cinema 4K30p and internal 4:2:0 8-bit Cinema 4K60p. This is a color subsampling commonly used for film production, for even more faithful color reproduction.4

The LUMIX GH5S also records 4:2:2 10-bit 400-Mbps All-Intra in 4K 30p/25p/24p and 200- Mbps All-Intra in Full-HD.

Continuing the LUMIX GH tradition, there is no time limit for both Full-HD and 4K video recording. The LUMIX GH5S complies with 4K HDR video with Hybrid Log Gamma (HLG) mode in Photo Style. A low-bit-rate recording mode, 4K HEVC for HLG, is available. This enables playback on AV equipment compatible with the HLG Display format, such as Panasonic 4K HDR TVs.

The VFR (Variable Frame Rate) function lets users record overcranked (time-lapse) and
undercranked (slo-mo) video in C4K/4K (60 fps, maximum 2.5x slower) and FHD (240 fps, maximum 10x slower). A V-LogL and Rec.709 LUT (Look Up Table) are pre-installed in the camera, so users can play videos recorded in V-LogL without having to separately purchase a Software Upgrade Key. Four additional LUTs can be installed using the Panasonic Varicam (.VLT) file format.

DFD (Depth From Defocus) technology and ultra-high-speed digital signal processing achieve fast auto focusing of approximately 0.07 sec 6 with 12 fps (AFS) / 8 fps (AFC) in 12- bit RAW and 10 (AFS) / 7 (AFC) fps in 14-bit RAW high-speed burst shooting. In addition to a total of 225 focus areas, The options for Face/Eye Recognition, Tracking AF, 1-area AF and Pinpoint AF are available for precise focusing. The 4K PHOTO enables 60 fps high-speed capture in approximately 8-megapixel equivalent resolution.

Achieve outstanding footage in any environment, especially in low light
As a camera that excels in shooting in low light, the LUMIX GH5S boasts -5EV luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. Live Boost is another practical feature that makes it possible to check the composition even in total darkness, by boosting the sensitivity just for Live View. The magnification ratio in MF assist is increased from conventional 10x to 20x, which is convenient especially for astronomical photography. An AF Point Scope function, first introduced in the Lumix G9 and Night mode are also integrated.

In order to make the GH5S tough enough to withstand even heavy field use, it is composed of a magnesium alloy full die-cast front, rear and top frame that is not only splashproof7 and dustproof but also freezeproof down to -10 degrees Celsius. The GH5S is equipped with a double SD Memory Card slot, compatible with the high-speed, high-capacity UHS-II and Video Speed Class 90. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording. The HDMI Type A terminal is provided, along with the USB-C Gen1 interface.

Exceptional image capture without concern
The GH5S has a large LVF (Live View Finder) with a stunningly high magnification ratio of approximately 1.52x/0.76x (35mm camera equivalent) providing smooth display at 120 fps. A high-precision, high-speed OLED (Organic Light-Emitting Diode) display features 3,680K-dot resolution and 100% field of view. In addition to dual dials, an omni-directional joystick enables more intuitive and flexible operation.

The GH5S includes Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. For Wi-Fi, 5 GHz (IEEE802.11ac)8 can be selected in addition to the conventional 2.4 GHz (IEEE 802.11b/g/n) for an even more secure and stable connection.

For extended battery life and a more stable hold, the new Battery Grip DMW-BGGH5 (sold separately) is available. The XLR Microphone Adaptor DMW-XLR1 (sold separately) allows high-res sound recording with an external XLR microphone.9

The Panasonic LUMIX GH5s will be available from end of February 2 and will retail for $2499 (body only).

*1 RAW files are in 14-bit even when 12-bit is selected.
*2 4K 60p/50p(for a Digital Single Lens Mirrorless Camera), 4:2:2 10-bit (for a digital interchangeable lens camera) as of 4 January, 2017
*3 As of January 8, 2018 as a Digital Single Lens Mirrorless camera that complies with 4K (4096×2160) resolution defined by Digital Cinema Initiatives(DCI). According to a Panasonic study.
*4 4:2:0 8-bit in C4K 60p and 4K 60p recording on an SD Memory Card.
*5 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses.
*6 In AFS, at wide-end with H-ES12060 (CIPA) when LVF display speed is set to 120fps.
*7 Splash Proof is a term used to describe an extra level of protection this camera offers against exposure to a minimal amount of moisture, water or dust. Splash Proof does not guarantee that damage will not occur if this camera is subjected to direct contact with water.
*8 5GHz Wi-Fi is not available in some countries.
*9 In MOV only

Also with the new cool Red record button

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New 34″ monitor from LG for video editing

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This new 5K UltraWide monitor from LG earned the VESA DisplayHDR-600 badge, meaning it hits at least 600 nits peak brightness, 10-bit encoding, and 99% sRGB and 90% DCI-P3 coverage.

The 34-inch 5K UltraWide is the real eye catcher, a monitor that takes aim at video editors who want to edit 4K footage at native resolution and still have room for editing panels on either side of the screen. Boasting a 21:9 aspect ratio and resolution of 5120 x 2160, the monitor could ostensibly replace a 2-screen setup with a single panel.

Combine that resolution with the fact that VESA have given this monitor its DisplayHDR-600 designation, and you’ve got a truly HDR-capable IPS monitor, something LG only managed to achieve thanks to its Nano IPS technology and possibly some other trickery (more on that later…).

As for color reproduction, Nano IPS technology manages to squeeze 98% of the cinema-grade DCI-P3 color space into the 4K monitor below. It stands to reason, then, that this same technology would bring similar results to the 5K UltraWide, but we’ll have to wait for LG to confirm this. The HDR-600 badge means the monitor has to at least hit 90% DCI-P3, but it’s likely the 5K UltraWide hits a higher percentage than that.

Finally, the monitor also features a Thunderbolt 3 port that, according to LG, “enables the transmission of 5K resolution images at 60Hz with a single cable.”

The LG 5K UltraWide 34WK95U will be on display at CES in Las Vegas in a couple weeks’ time, where we hope to find out more technical details. LG hasn’t released official pricing and release date details, but the monitor has been spotted online with a price tag of $1,500 and expected release date of May 2018.

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Philip Bloom’s Review of the Panasonic EVA-1

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© Philip Bloom

I actually had this camera on order for a while till Panasonic decided to price it at £6,358. I am getting great results from my Panasonic GH5s so much so that I now have three of them. Philip has as usual done a great and honest job reviewing this camera, it lacks serious auto focus capabilities which has become a great deal with older cameramen like myself.

The lack of a decent viewfinder is also very limiting though Panasonic would argue it keeps the cost down and there is a host of third party viewfinders to choose from.

Anyway, here is Philip’s long awaited video review of the Panasonic EVA-1, there is a lovely shot of Philips cat Percy at the end of the review that made me laugh, i’m glad he left it in.

The Rambling Review Of The Panasonic EVA1 from Philip Bloom Reviews & Tutorials on Vimeo.

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