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The LUMIX GH5S achieves the highest ever sensitivity and best image quality in LUMIX history. This is realized by combining the newly developed high sensitivity sensor with Dual Native ISO technology and the latest Venus Engine.
Dual Native ISO is a s revolutionary technology featured on Panasonic's professional video cameras and offers the advantages of very high sensitivity while keeping noise levels low.
Usually, with a conventional single native ISO, noise levels rise when sensitivity is increased. However, the newly developed image sensor implements dual circuits able to switch to high native sensitivity before gain processing. This means you can achieve beautiful footage with suppressed noise in low lit situations.
The LUMIX GH5S sensor handles multiple aspect ratios; 4:3, 17:9, 16:9 and 3:2. Thanks to broad margins of effective pixels, focal length does not change in these aspect ratios.
Rolling shutter distortion, compared to the GH5, is suppressed by aprrox. 1.3x with high readout speeds when recording video or using an electronic shutter.
The superior sensor saves super detailed RAW files in 14bit RAW data to give photographers a wider range of expressive options.
The LUMIX GH5S realized -5EV luminance detection perfromance with Low Light AF. The Live View Boost function is also added so you can clearly monitor and compose your subject when shooting in dark situations. 20x Manual Focus Assist is also useful for night sky photography, making it possible to focus on a single start by enlarging it.
The original LUMIX GH5 made it possible to record 4k/60p and 4k/50p video on a DLSM camera. Now, to greatly extend your creative possibilities, the LUMIX GH5S takes this even further and for the first time ever**, includes 4,096 x 2,160 Cinema 4K 60p/50p* video recording. Moreover, there no limit*** to the recording time, not even when shooting FHD or 4K video. * Cinema 4K (C4K: 4096 x 2160) resolution defined by Digital Cinema Initiatives (DCI).
** As of January 8, 2018 as a Digitil Single Lens Mirrorless camera that complies with Cinema 4K (C4K: 4096 x 2160) resolution defined by Digital Cinema Initiatives (DCI). According to a Panasonic study.
*** Subject to SD card capacity and battery life.
With internal recording of video in 4:2:2 10bit* and an impressive 10.2 megapixel Digital Live MOS Sensor backed by a Venus Engine that handles digital signals at ultra high speed, this camera's image quality per frame is dramatically improved with faithful colour reproduction and grading. High bit rate recording at 400Mbps, optimal for nonlinear editing, is also made possible. * 4:2:0 8bit in C4K 60p/50p and 4K 60p/50p recording on an SD Memory Card.
The LUMIX GH5S complies with 4K HDR video. The HDR (High Dynamic Range) is a mode to reproduce both bright parts and dark parts of an image, making the subject appear just as the human eye perceives it. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and you can now choose Hybrid Log Gamma (HLG) in Photo Style. A low bit-rate recording mode 4K HEVC for HLG is also available, which enables playback on AV equipment compatible with the HEVC compression format, such as Panasonic $K HDR TVs.
The V-LogL is pre intalled in LUMIX GH5S. Log recording offers exceptional flexibility as well as a wider dynamic range for colour grading in the post production process and V-LogL features log characteristics with 12 stops of dynamic range. By default, the Look Up Table (LUT) data is Rec.709 standard. LUT can also be custom set for VLT format in camera. Then, with the V-LogL View Assist function, you can preview what your footage may look like after it's been post processing.
Shooting with an anamorphic lens and using the fullest extent of the 4:3 sensor the camera's built in 4:3 anamorphic mode makes it possible to create video in the cinemascope format. Stunning cinemascope videos are created in post production using dedicated software but the de-squeezed cinemascope images can also be previewed while recording, or in playback, on the camera display.
To elevate video expressivity even further, a variety of effects are available on the LUMIX GH5S. The VFR (Variable Frame Rate) lets users record overcranked / undercranked video C4K/4K (60fps, maximum 2.5x slower**) and FHD (240fps, maximum 10x slower**). The minimum frame rate for quick motion effects video is 2fps. * The degree of effect varies depending on the recording format and frequency and angle of view narrows if you select a frame rate with a number of frames 204 or more.
** In 24p playback.
|59.94p||50p||29.97p||25p||24p / 23.98p|
|2fps FHD||2fps FHD||2fps C4K/4K/HD||2fps C4K/4K/HD||2fps C4K/4K/HD|
|30fps FHD||25fps FHD||15fps C4K/4K/FHD||12fps C4K/4K/FHD||12fps C4K/4K/FHD|
|56fps FHD||46fps FHD||26fps C4K/4K/FHD||21fps C4K/4K/FHD||20fps C4K/4K/FHD|
|58fps FHD||48fps FHD||28fps C4K/4K/FHD||23fps C4K/4K/FHD||22fps C4K/4K/FHD|
|62fps FHD||52fps FHD||32fps C4K/4K/FHD||27fps C4K/4K/FHD||26fps C4K/4K/FHD|
|64fps FHD||54fps FHD||34fps C4K/4K/FHD||30fps C4K/4K/FHD||28fps C4K/4K/FHD|
|90fps FHD||75fps FHD||45fps C4K/4K/FHD||37fps C4K/4K/FHD||36fps C4K/4K/FHD|
|120fps FHD||100fps FHD||60fps C4K/4K/FHD||50fps FHD||48fps C4K/4K/FHD|
|150fps FHD||New 125fps FHD||75fps FHD||60fps C4K/4K
|180fps FHD||150fps FHD||90fps FHD||75fps FHD||72fps FHD|
|New 210fps FHD||-||105fps FHD||87fps FHD||84fps FHD|
|New 240fps FHD||New 200fps FHD||120fps FHD||100fps FHD||96fps FHD|
|-||-||135fps FHD||112fps FHD||108fps FHD|
|-||New 240fps FHD||150fps FHD||125fps FHD||120fps FHD|
|-||-||165fps FHD||137fps FHD||132fps FHD|
|-||-||180fps FHD||150fps FHD||144fps FHD|
|-||-||New 195fps FHD||-||156fps FHD|
|-||-||New 210fps FHD||175fps FHD||168fps FHD|
|-||-||New 225fps FHD||-||180fps FHD|
|-||-||New 240fps FHD||New 200fps FHD||New 192fps FHD|
|-||-||-||-||New 204fps FHD|
|-||-||-||New 225fps FHD||New 216fps FHD|
|-||-||-||-||New 228fps FHD|
|-||-||-||New 240fps FHD||New 240fps FHD|
The LUMIX GH5S has large LVF (Live View Finder) with a stunningly high magnification ratio of approx. 1.52s / 0.76x (35mm camera equivalent) and providing a smooth display at 120fps. The high precision, high speed OLED (Organic Light-Emitting Diode) display features 3,680k-dot high resolution and a 100% field of view. With an eyepoint of approx. 21mm, the LVF offers high visibitlity with comfort for users wearing glasses. It is always sharp and clear from the center all the way to the corners.
Adopting a static type touch control system, the 3.2 inch free-angle rear monitor in 3:2 aspect with 1,620k-dot high resolution features and approx. 100% field of view. It uses a pixel structure of RGB (Red / Green / Blue) and White to feature even higher visibility in sunny outdoor scenes. It tilts up and down by approx. 270 degrees to make shooting at either high or low angles even easier.
Tough enough to withstand even heavy field use, the main structure is composed of a magnesium alloy die cast front and rear frame. Secure construction and a sealing for every joint, dial and button make the LUMIX GH5S not only splash-* and dust-proof but also freeze-proof down to -10 degrees C (14 degrees F). * 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 protection does not guarantee that damage will not occur if the camera is subjected to direct contact with water.
The shutter unit is also durable for approx. 200,000 cycles. It also offers the highest shutter speed at max. 1/8000 sec. not only to capture spur of the moment, fast moving subjects but also for impressive defocusing effects, for example using a high speed lens with aperture fully open, even outdoors. An external flash can be synchronized with a max. 1/250 second shutter speed.
The LUMIX GH5S is now fitted with a TC IN/OUT terminal. By setting up TC synchronization (through the flash synchro terminal and bundled BNC cable), it is easy to carry out non-linear timeline editing of footage shot with multiple cameras. For more flexible video production, LINE input is supported by a 3.5mm mic jack to enable sound input from an external audio device.
When shooting video, this adaptor allows you to record high grade stereo sound to the camera directly through a high spec XLR microphone. High-Res recording* (at 96kHz/24bit) is also possible when shooting 4K video. Selecting between separate MIC / LINE / CONDENSER MICROPHONES is also possible using the input switches on the control panel. * In MOC only.
By using two batteries, one in the camera and the other in the grip, the DMW-BGGH5 extends battery life for longer shooting times. Robust as well as splash-* / dust and freeze proof the grip is easy to grasp even when shooting vertically, complementing the LUMIX GH5S design.
* Spash-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 protection does not guarantee that damage will not occur if the camera is subjected to direct contact with water.
The LUMIX GH5S integrates Bluetooth® 4.2 (Bluetooth® Low Energy) and Wi-Fi® connectivity for more flexible shooting, smoother remote control and faster image sharing with minimal power consumption. Connected to a smartphone or tablet, you can shoot, browse and share images remotely, as well as adding a GPS geotag. Furthermore, on a multiple GH5S camera shoot, your main camera settings can be transmitted wirelessly to other GH5S units. In addition to standard 2.4GHz Wi-Fi®, this camera connects to tablets and other devices by the more secure, more stable and faster 5GHz(IEEE802.11ac)*.
*5GHz Wi-Fi® is not available in some countries
*The Wi-Fi CERTIFIED Logo is a certification mark of the Wi-Fi Alliance®
*The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Panasonic Corporation is under license. Other trademarks and trade names are those of their respective owners
With the ever-growing popularity of web streaming and content, especially on YouTube and Twitch; the need for a high level production (or one that at least looks like it) is accelerating. Just turning your webcam on won’t cut it anymore. You’re going to be up against a lot of competing content that looks professional. Essentially, you’re looking at a small-scale live production, where every aspect needs to be considered. So, where do you start? The majority of streamers already out there, most likely, will have started out with a webcam, routed through a CDN platform like OBS, which is free software that, as well as streaming, provides basic mixing features that allow them to create live productions. A basic enhancement is to stream direct from a professional camcorder or attach your existing camera to a Teradek VidiU Go or Datavideo streaming encoder.And, by all means, that’s where you should start too. But if your channel starts to grow and you pick up a decently sized viewer base, you may be able to start gaining revenue from your channel through video monetisation or subscriber donations. At this point, it’s definitely time to update your gear. Webcams are fine but, like TV, it’s a competitive market and subpar equipment and production value will leave you in the depths…Only to be overlooked by a bored viewer, aimlessly scrolling through YouTube.
Here's an overview of our vendors exhibiting at ISE 2020. Please call us on +44 (0)1457 851000 if you would like to book a stand tour with one of our manufacturers. BLACKMAGIC DESIGN HALL 3, STAND C140 The Video Assist 12G 5” and 7” monitor recorders are now shipping. The original HD versions were incredibly popular with AV technicians who wanted to verify SDI and HDMI feeds and check waveform levels. For production teams, their 4K HDR capture makes them a superb on-camera SD card recorder. The ATEM Mini is a very small, cost-effective 4 channel HDMI video switcher with streaming output. Great as a portable mixer or a signal switcher, it’s being adopted by everyone from conference producers to AV technicians looking for simple HDMI switching.
The Panasonic Lumix GH5S has been tested by Colour Science Expert Alan Roberts according the European Broadcasting Union R.118 guidelines and, as a result, it is effectively approved for Broadcast use in HD and for second camera use in UHD productions. For acceptance in the EBU Tiering system, the camera should be used with the optional DMW-XLR1 sound module to allow for XLR audio connections. These camera tests produced a great result for the Lumix low-light champion, and also revealed some unexpected findings. The full report can be read on the European Broadcast Union’s website, and will also be hosted by the Guild of Camera Professionals.
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