Approx. 725g / 1.60 lb (SD card, Battery, Body)/Approx. 645g / 1.42 lb (Body only)/Approx. 935g / 2.06 lb (SD card x 1, Battery, H-FS12060 lens included)/Approx. 1030g / 2.27 lb (SD card x 1, Battery, H-HSA12035 lens included)/Approx. 1045g / 2.30 lb (SD card x 1, Battery, H-ES12060 lens included) The Luminance Spot Meter is the smaller square on the display and lets you assess the exposure of the element underneath it.

bit LongGOP) (LPCM, High-Res Audio)/<[4K] 3840x2160> 25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) (LPCM, High-Res Audio) *7/<[4K] 3840x2160> 25.00p, 150Mbps (4:2:2 10-bit LongGOP) (LPCM, High-Res Audio) / 100Mbps (4:2:0 8-bit LongGOP) (LPCM, High-Res Audio)/<[Full HD] 1920x1080> 50.00p, 200Mbps (4:2:2 10-bit ALL-Intra) (LPCM, High-Res Audio) *7/<[Full HD] 1920x1080> 50.00p, 100Mbps (4:2:2 10-bit LongGOP) (LPCM, High-Res Audio) *6/<[Full HD] 1920x1080> 50.00p, 100Mbps (4:2:0 8-bit LongGOP) (LPCM, High-Res Audio)/<[Full HD] 1920x1080> 25.00p, 200Mbps (4:2:2 10-bit ALL-Intra) (LPCM, High-Res Audio) *7/<[Full HD] 1920x1080> 25.00p, 100Mbps (4:2:2 10-bit LongGOP) (LPCM, High-Res Audio) *6/<[Full HD] 1920x1080> 25.00p, 100Mbps (4:2:0 8-bit LongGOP) (LPCM, High-Res Audio) A new handshake correction mode is added, which provides optimum correction when using 2.0x and 1.33x Anamorphic lens. Both cameras offer twin SD/SDHC/SDXC memory card slots, both of which are UHS II and U3 compatible. Panasonic quotes a V60 speed rating for the GH5 and V90 for the GH5 II. It’s not clear whether the GH5 II’s card slots are any faster or whether this reflects the memory card speeds available at the GH5’s launch. DimensionsA mind-blowing 400Mbps (ALL-Intra) high bitrate recording mode will be available by firmware update***.

AVCHD [FHD/60p]: Approx. 75 min (rear monitor), 75 min (LVF) with H-ES12060, Approx. 80 min (rear monitor), 75 min (LVF) with H-HSA12035 / H-FS12060/AVCHD [FHD/60i]: Approx. 75 min (rear monitor), 75 min (LVF) with H-ES12060, Approx. 80 min (rear monitor), 80 min (LVF) with H-HSA12035 / H-FS12060/MP4 [4K/60p]: Approx. 50 min (rear monitor), 50 min (LVF) with H-ES12060 / H-HSA12035 / H-FS12060/MP4 [4K/30p]: Approx. 55 min (rear monitor), 55 min (LVF) with H-ES12060 / H-HSA12035 / H-FS12060 However, it would have been nice to have seen this extended even further, especially at the higher end of the range, where the GH5 loses out to rivals like the Nikon D500 and Sony Alpha A7S II. The Lumix GH5 II's vari-angle screen is actually slightly smaller than it's predecessors but Panasonic says its luminance and color rendering have been improved. (Image credit: Rod Lawton/Digital Camera World)While Panasonic is marketing the Lumix GH5 at both pro videographers and enthusiast photographers, most units are probably going to fall into the hands of the former, and as such it's no surprise to see the GH5 sporting an impressive movie spec. This is big and chunky camera, but none the worse for that, and it doesn’t feel unbalanced even with premium zoom lenses like the Leica 12-60mm. Its still image and video specifications don’t break any boundaries these days, but it’s the way they are combined in a single camera that’s impressive. The GH5 II is capable of capturing huge dynamic range at lower sensitivities, though as ISO sensitivities rise, its sensor limitations start to become apparent. At ISO 1600 and above, the GH5 II starts to trail its rivals, capturing as much as 2 stops less dynamic range than the full-frame Panasonic Lumix S5 when you reach ISO 25600. Image sensor shift type (5-axis / 5-stop*), Dual I.S. (Dual I.S. 2 compatible)/* Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=60mm (35mm camera equivalent f=120mm), when H-FS12060 is used. The AF area in [Multi AF] can be moved to the other edge (side, top or bottom) when it reaches one edge.

C4K] 4096x2160> 23.98p, 400Mbps (4:2:2 10-bit ALL-Intra) (LPCM) *7/<[C4K] 4096x2160> 23.98p, 150Mbps (4:2:2 10-bit LongGOP) (LPCM) / 100Mbps (4:2:0 8-bit LongGOP) (LPCM)/<[4K] 3840x2160> 59.94p, 150Mbps (4:2:0 8-bit LongGOP) (LPCM)/<[4K] 3840x2160> 29.97p, 400Mbps (4:2:2 10-bit ALL-Intra) (LPCM) *7/<[4K] 3840x2160> 29.97p, 150Mbps (4:2:2 10-bit LongGOP) (LPCM) / 100Mbps (4:2:0 8-bit LongGOP) (LPCM) / 100Mbps (4:2:0 8-bit LongGOP) (AAC)/<[4K] 3840x2160> 23.98p, 400Mbps (4:2:2 10-bit ALL-Intra) (LPCM) *7/<[4K] 3840x2160> 23.98p, 150Mbps (4:2:2 10-bit LongGOP) (LPCM) / 100Mbps (4:2:0 8-bit LongGOP) (LPCM) / 100Mbps (4:2:0 8-bit LongGOP) (AAC)/<[4K] 3840x2160> 29.97p, 72Mbps (4:2:0 10-bit LongGOP) (AAC) (HEVC, HLG recording) *7/<[4K] 3840x2160> 23.98p, 72Mbps (4:2:0 10-bit LongGOP) (AAC) (HEVC, HLG recording) *7/<[Full HD] 1920x1080> 59.94p, 200Mbps (4:2:2 10-bit ALL-Intra) (LPCM) *7/<[Full HD] 1920x1080> 59.94p, 100Mbps (4:2:2 10-bit LongGOP) (LPCM) *6/<[Full HD] 1920x1080> 59.94p, 100Mbps (4:2:0 8-bit LongGOP) (LPCM)/<[Full HD] 1920x1080> 29.97p, 200Mbps (4:2:2 10-bit ALL-Intra) (LPCM) *7/<[Full HD] 1920x1080> 29.97p, 100Mbps (4:2:2 10-bit LongGOP) (LPCM) *6/<[Full HD] 1920x1080> 29.97p, 100Mbps (4:2:0 8-bit LongGOP) (LPCM)/<[Full HD] 1920x1080> 23.98p, 200Mbps (4:2:2 10-bit ALL-Intra) (LPCM) *7/<[Full HD] 1920x1080> 23.98p, 100Mbps (4:2:2 10-bit LongGOP) (LPCM) *6/<[Full HD] 1920x1080> 23.98p, 100Mbps (4:2:0 8-bit LongGOP) (LPCM)/<[Full HD] 1920x1080> 59.94p, 28Mbps (4:2:0 8-bit LongGOP) (AAC)/<[Full HD] 1920x1080> 29.97p, 20Mbps (4:2:0 8-bit LongGOP) (AAC)/<[Full HD] 1920x1080> 23.98p, 24Mbps (4:2:0 8-bit LongGOP) (AAC) What's new | How it compares | Body & controls | Initial impressions | Video quality | Image quality | Conclusion | Sample gallery | Specifications Despite having the same 20.3MP resolution, the sensor isn’t exactly the same as the GH5’s. Panasonic has added an anti-reflective coating this time around, which the company says reduces flare from bright light sources. Another major addition in this camera is support for wireless streaming via Panasonic’s LUMIX Sync mobile app, where the previous GH5 only supported USB streaming via a PC and Panasonic’s own streaming software.

The GH5 II is one of the least expensive cameras to offer the option of an XLR audio input module or control over whether the camera restricts its recording to 'broadcast safe' values or offer two levels of input gain for external microphones: its video prowess runs deeper than a simple consideration of frame rate and bit-depth.

Video Guide Line] is added to display the image in a variety of aspects, such as Cinescope, 16:9 and 1:1 while recording video. This can be used not only in Anamorphic mode but also in other video recording mode. HLG] (Hybrid Log Gamma) is added to [Photo Style]. HDR (High Dynamic Range) is a mode to reproduce both bright part and dark part in an image, making it look just as human eyes see. 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]. There was a problem in which theexposure adjustment did not operate properlyduring live view standby when the [SS/Gain Operation] display was set to [ANGLE /ISO] while [Variable Frame Rate] was selected for Creative Video mode. This has been fixed. Anamorphic Desqueeze Display] was added, which lets you view an enlarged image in Cinescope size while recording with 2.0x and 1.33x Anamorphic lens. So, for stills photographers, the lower resolution does at least come with the promise of improved all-round image quality. For videographers, this Dual Native ISO feature is designed to appease those reluctant to accept the Micro Four Thirds format and its perceived weakness at high ISO settings – and this seems like a good time to take a closer look at this camera’s video features, and what makes them so special. Panasonic GH5S video featuresOne of the differences between the original GH5 and the version II is the move from offering the semi-flat 'Cinelike D' color profile to 'Cinelike D2.' In the company's S1H, engaging Cinelike D2 resulted in a 1EV increase in minimum ISO, and more than a 1EV increase in highlight capture, as a result. The D2 profile was also much more linear than before. According to the specs, what the GH5 II does is unremarkable, save for some more advanced video modes. In practice, its combination of still image quality, video quality, stabilization, burst mode, wireless streaming capability and all-round handling mark it out as a camera that is so much more than just the sum of its parts. In fact, what Panasonic has produced is a camera that keeps the GH5 concept fresh and current. There’s probably not enough here to tempt a GH5 owner into upgrading, but any new buyers looking for a powerful 4K hybrid camera without the cost and weight of a full frame system may just have found the ideal candidate.