Panasonic Lumix GH5 II
Panasonic upgrades one of its most popular cameras. But without the headline-grabbing specs some hoped for, are the improvements enough? Jon Devo takes a closer look
If it isn’t broken, don’t x it. Just re ne the sensor and give it a better screen, a larger battery and bonus features that modernise it. That’s the approach Panasonic has taken with the new Lumix GH5 II. Released in 2017, the original GH5 was ahead of its time and one of the most successful hybrid camera releases. It offered truly professional lmmaking features and performance in a compact body that also took great photos. A year later, Panasonic released the GH5S, which swapped the original’s 20.3MP sensor for a 10.2MP one that delivered cleaner images and video in low light. But it was a niche tool, and not the upgrade that general GH-camera fans wanted.
Four years on from the original GH5 and many creators with a particular interest in video were hoping for a GH6 when the GH5 II was introduced. Oddly enough, we did get a GH6 announcement on the tail end of the GH5 II’s launch event. So with a GH6 on the horizon, it’s reasonable to ask why anyone would opt for the GH5 II at this point. The GH5 II costs £1,499 body only, but can be picked up for £1,999 with the Leica DG 12-60mm f/2.8-4 ASPH OIS lens, worth £879. However, the full-frame Lumix S5 can be acquired with a kit lens for around the same price. These factors make the case for investing in a GH5 II a challenging one, so let’s take a closer look.
Features
Comparing specs on paper, it may not be immediately obvious where the improvements have been made or what they deliver. For example, the same resolution
20.3MP Live MOS sensor sits at the heart of the GH5 II as its predecessor. However, it now features an anti-re ective coating that reduces are and improves image quality. The sensor of the GH5 II is also free of an optical low pass lter (OLPF), promising superior image detail. The new model also bene ts from the latest Venus image processing engine, which delivers faster sensor readout and more intelligent processing of image data. This includes moiré suppression algorithms to counterbalance the effect of dropping the OLPF, which means that the GH5 II should deliver sharper images without suffering greatly from image artifacts associated with repeating patterns from such things as fabrics or brickwork. The ISO sensitivity remains unchanged, with the camera’s native range running from ISO 200-25,600. Three extended Low settings are also offered at ISO 100, ISO 125 and ISO 160, however using these will limit dynamic range in the highlights of your shots.
The headline additional feature is the GH5 II’s live streaming capabilities. Based on recent trends, video streaming is projected to account for over 80% of internet traf c within the next couple of years. So Panasonic is clearly aiming to capitalise on this with the updates made to the GH5 II. There are a number of different ways to stream using this camera straight out of the box. You can pair it to a smartphone or tablet via the Lumix Sync app and stream wirelessly over Wi-Fi at up to 1080/60p, alternatively you can tether the camera to a Mac or PC via the Lumix Tether software and effectively use it as a high-quality webcam. Both of these options are limited to a maximum resolution of Full HD, but no additional kit is required, which will be a great bene t for a whole range of potential GH5 II owners. Via a future rmware update, the camera is also set to gain support for RTP/RTSP live streaming to a PC through its USB-C 3.1 port, which should allow for higher-quality video and a more stable connection.
The GH5 II utilises both 2.4GHz/5GHz 802.11ac Wi-Fi and low energy Bluetooth v4.2 connectivity. These functions can be used to send images directly to a smart device during or after shooting. It’s also possible to control the camera remotely and set up streaming, all via the easy-to-use Lumix Sync app.
Usefully, the GH5 II can now accept power delivery via USB-C. This means you can still operate the camera while it’s powered via battery pack or directly connected to mains. This is ideal for people who want to capture extended time-lapse sequences, as well as studio shooting sessions and video recording. Another key upgrade is its compatibility with the newer, higher-capacity DMW-BLK22 (2,200mAh) battery, which was introduced with the Lumix S5. However, Panasonic has had the good grace to allow for backwards compatibility with the BLF19 (1,860mAh) battery used in the GH5, so anyone upgrading will still be able to use their existing batteries. The catch is that the newer batteries will only work with the DVLC1005Z charger, which comes in the box with the GH5 II.
Innovative 6K and 4K photo modes remain, which allow you to utilise the camera’s video capabilities to capture a ‘burst’ at 30fps and then select up to 18MP stills from the resulting le. If you don’t mind capturing a lower-resolution 8MP
le, you can opt for high-speed 4K Photo, which works in the same way but allows you to draw a single image from a video recorded at 60fps. Each resolution option offers three methods of execution: Burst, Stop/Start and Pre-Burst, which will capture a second before you press and hold the shutter button. Your recording time is limited to a maximum of 15 minutes in these modes, but it’s useful functionality for when you want to capture a eeting moment or subject. If you don’t want to rely on either of these options, the GH5 II is capable of capturing up to 12 frames per second with single AF active and up to 9fps with AFC and live view engaged. Buffer-wise, the camera will re continuously for up to 100 frames when capturing raw + JPEG before any slowing down will occur. If you’re only shooting
JPEGs, it’s unlikely you will experience any buffering at all in normal use when utilising the recommended UHS-II Speed Class 3 SD cards.
The professional picture pro le V-Log L, which is designed to maximise the camera sensor’s dynamic range, is included in the GH5 II. It’s only available as a paid upgrade in the GH4 and GH5, for £79. When exposed correctly, footage captured using V-Log L will be able to capture up to 12 stops of dynamic range. This allows for greater exibility in the les captured by the GH5 II when adjusting highlight, shadow, contrast and colour information using post-production software.
The GH5 II also gains some additional frame rate options. Whereas the previous GH5 topped out at DCI 4K (C4K) video at a maximum of 23.98p 4:2:2 10-bit at 400Mbps, the GH5 II is capable of capturing DCI 4K footage up to 59.94p 4:2:0 10-bit internally at 200Mbps. It will also do up to 29.97p 4:2:2 10-bit internal recording at 400Mbps and 4K 4:2:0 10-bit video at 50p in Anamorphic video mode. Variable frame rate recording is extended to cover 2-60p recording options, though there’s no high-res audio during VFR recording unless you use the optional DMW-XLR1 audio module. Autofocus will now work in VFR mode, but not during recording.
Dual 5-axis in-body image stabilisation (IBIS) on the GH5 II promises a 1.5 stop improvement over the older GH5, up from 5 stops of compensation to 6.5 stops when used with compatible OIS lenses. But some may be disappointed to learn that this camera is still using the same 225-area Depth from Defocus (DFD) autofocusing system. However, thanks to its improved readout speeds, it does perform noticeably faster and more reliably this time around. In addition, the GH5 II bene ts from head, body and animal AF detection, as opposed to just Face and Eye detection in the previous model.
Build and handling
There are very few physical differences between the GH5 II and its predecessor. One might struggle to tell them apart at a glance, apart from the new name badge. But on closer inspection, the GH5 II has a more prominent anodised red record button, just like the Lumix S1H and Lumix S5. All of the Fn buttons have had their numbers removed or
replaced with a function symbol, with the Fn 1 button that sits on the top plate redesignated as a picture pro le selection button.
As a tried and tested form factor, it’s a positive that the GH5 II is nearly identical to its predecessor. Its frame is made from a die-cast magnesium alloy with weather-sealing against dust and splashes, and it’s rated to operate in temperatures between -10 °C and 40 °C. Measuring 98.1x138.5x87.4mm and 727g in weight, the camera manages to feel like a workhorse, despite being compact. This is due to its tactile, ergonomic feel, speckled metal body and generously rubberised grip. Its top dials both feature pleasingly knurled textures, while the exposure mode dial can also be locked into position. The mechanism is thankfully one that doesn’t need to be held down to operate, you simply depress the button once to lock it and again to release the dial when you want to change modes. The mode dial offers the usual PASM options, with an intelligent iAuto mode for no-fuss shooting scenarios where you’re happy for the camera to control your exposure settings. It also has positions for video recording and four custom modes.
On the camera’s left shoulder sits a slightly smaller drive mode dial, atop an anodised red ring. This dial gives you quick access to burst shooting, 6K/4K Photo, Post Focus, Self Timer and Time Lapse/Stop-Motion capture. A small switch around the AF-ON button allows you to smoothly switch between focusing modes. The only misstep is the position of the display button, marked ‘DISP’. It sits ush with the grip surface, directly below the rear dial. This is the precise area where your thumb rests, making it incredibly easy to press accidentally while holding the camera. This can lead to frequent cycling between display modes due to unwanted presses and unfortunately, it’s perhaps the only button one might use during REC mode that can’t be deactivated or reassigned.
In terms of ports, the GH5 II keeps everything the same, with USB-C 3.1 which now accepts power delivery and a full-sized HDMI Type A for external display and recording. It also has ash sync, headphone and microphone inputs on the left side of the body. On the right-hand side it houses two UHS-II compatible SDXC card slots, which are accessed via a spring-loaded door that slides back towards you and then opens outwards. The door is easy to open even with gloves on. The card
slots can be set to over ow from one to the other, record duplicates of every photo and video, or be segregated to record photo and video separately.
Overall the GH5 II body offers a satisfying grip, with all key functions easily accessible via its 20 buttons ( ve of which are virtual on the touchscreen), three dials and selection joystick. Aside from Playback, DISP. and the joystick, all of its controls can be customised and reassigned to suit the user, making this a highly personalisable camera. Rated to last 200,000 shutter actions and built to withstand rigorous use, the GH5 II is a body that feels every bit designed with active creators in mind, whether enthusiast or professional.
View nder and screen
The GH5 II’s OLED view nder offers a respectable 3.68-million dots of resolution, with 0.76x equivalent magni cation. With the aspect ratio set to its native 4:3, the view nder also offers a 100%
eld of view. It’s an appropriate size relative to the camera body and has a large rubberised eye cup that protrudes enough to offer comfort without disrupting the compactness of the camera’s form. The OLED display is bright, sharp and large enough to provide detailed settings information, as well as a level gauge and an IS scope for composition assistance. The
GH5 II can also apply a handy luminance spot meter, as well as choosing between either a waveform monitor or vector scope in video mode. The original GH5 also had a waveform monitor display, but now you can move it around and resize it to suit your frame inside the view nder, as well as when using the rear monitor.
Despite carrying a smaller 3in touchscreen, the GH5 II’s TFT free-angle LCD monitor is claimed to be 1.5x brighter than the 3.2in screen of the GH5. In use, it can be adjusted up or down in three increments and at its brightest +3 setting, it is noticeably easier to see in direct sunlight. In terms of resolution, the new display also has a higher pixel count, up from 1.62-million dots to 1.84 million. What it loses in size, it gains in clarity. While neither the EVF or rear monitor are going to blow you away, they represent a decent viewing set-up for a camera of this speci cation and at this price point. It could also be said that it offers superior information overlays when compared to any other camera in its class, speci cally when it comes to video recording. I particularly like that Panasonic has now included a red frame that outlines the displays while video recording, introduced in the Lumix S1H. It also has a blue frame that will activate when streaming is engaged.
Autofocus
Utilising much of the same hardware as the GH5, my expectations for the autofocus performance of the GH5 II were conservative. Community and pro- lmmaker cries for a modern on-sensor phase detection AF system remain unheard. While rivals like the Nikon Z-series and Sony’s class-leading Alphas continue to enjoy generational AF improvements, the GH5 II is stuck with the same 225-area depth from defocus system deployed by its predecessor.
However, the autofocusing capabilities of the GH5 II do see some marked improvement over the original GH5. This is primarily down to its increased processing power, which allows the camera to read data from the sensor at a faster rate. Combined with more advanced focusing algorithms, this brings a noticeable improvement in the GH5 II’s ability to nd and track subjects.
Continuous focusing can also be tweaked to suit your shooting style or subject. Both AF Area Switching and AF Sensitivity can be set from -2 Locked On to +2 Responsive, while Moving Subject Prediction can be set from 0 Constant to 2 Variable. It can take some ddling to nd a set-up that behaves in a way that consistently suits your shooting style, but it’s positive to see Panasonic squeezing improved AF performance out of the camera.
Performance
Although not a lot has changed from the GH5 to the GH5 II, the improvements make a positive difference in real terms. Powering up the camera takes less than a second, and is almost instantaneous if it’s only gone to sleep. By accessing the camera’s power saving mode, you can adjust the sleep and auto power off times for the EVF/Monitor. Basic power management should see you getting through a full shooting session on a single charge with little issue. The battery is rated to 1,200 shots in Eco mode and 120 minutes of 4K video, and I rarely had to switch batteries while shooting a mix of stills and video content.
I was initially expecting the autofocus to be this camera’s Achilles’ heel, but I was pleased to discover that my initial concerns were largely unfounded. It’s not as fast or tenacious as the best AF systems currently deployed by its mirrorless rivals, but in general, it’s good enough
for vlogging and basic video in good lighting conditions. The main area where this AF system is lacking comes with subjects that are moving quickly in unpredictable ways, or with other objects frequently passing between the subject and the camera. In terms of photography, I had no issue whatsoever with the focusing performance speed, accuracy or consistency.
I’ve been a big fan of the colour science of Lumix cameras since the GH3. I’ve found them to be faithful and well-toned in most shooting scenarios, and the same can be said for the GH5 II. The camera’s auto white balance and metering deliver consistent results from shot to shot, meaning less time is required for colour matching or tweaking in post-production software. Filmmakers will enjoy the inclusion of V-Log L here, which maximises the camera’s dynamic range capabilities. The GH5 II also introduces some other picture pro les: L. Classic
Neo, L. Monochrome D, Cinelike D2 and Cinelike V2, giving us more ways to express our creative vision. In terms of work ow, better processing capabilities enable the GH5 II to record up to 4K/60p 4:2:0 10-bit video internally, while simultaneously outputting DCI 4K/60p 4:2:2 10-bit via HDMI to an external recorder.
ISO performance is one area where the camera delivered as I expected in a negative way, due to its smaller Micro Four Thirds sensor. It’s not poor in low light by any means, but you will begin to see noticeable noise that may have a negative, colour-shifting impact on images at around ISO 2000. This can be mitigated when taking still images though, thanks to Dual IS 2, which will help you to capture shake-free images at low shutter speeds handheld. I was able to go down to 2sec handheld when using the Leica DG 12-60mm f/2.8-4 lens. This is because it also features OIS, which combines with the camera’s 5-axis in-body image stabilisation to deliver up to 6.5 stops of shake correction.
Image quality
If in doubt, I’d recommend utilising the raw les produced by the GH5 II. If you shoot JPEG you will want to get as close to your intended exposure as possible when capturing stills, particularly in low light conditions. Pulling up shadows by more than a stop can introduce noise; the same can be said for trying to recover detail in blown highlights. Whether shooting raw or JPEG, the les from the GH5 II are attractive if you’ve nailed your exposure near enough correctly. However, I didn’t nd its compressed les particularly forgiving when you miss the mark. This is common with smaller sensors that prioritise resolution over larger pixels, though, so this isn’t something that I would level against the GH5 II speci cally.