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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