Its difficult to handhold a camera at the best of times. Thanks to the 5-Axis Dual Image Stabiliser 2* intelligent compensation comes to your aid. This is the equivalent to 5 doublings of exposure duration meaning you can use a 5-stop slower shutter speed up to tele-end. The LUMIX GH5 eliminates shakes in both body and lens from wide-angle to tele-end**. It also works in both photo and video recording, including 4K video. The astonishing power of the 5-axis Body I.S. corrects shake for all lenses, including classic lenses not equipped with O.I.S. C4K] 4096x2160> 24.00p, 400Mbps (4:2:2 10-bit ALL-Intra) (LPCM, High-Res Audio) *7/<[C4K] 4096x2160> 24.00p, 150Mbps (4:2:2 10-bit LongGOP) (LPCM, High-Res Audio) / 100Mbps (4:2:0 8-bit LongGOP) (LPCM, High-Res Audio)/<[4K] 3840x2160> 24.00p, 400Mbps (4:2:2 10-bit ALL-Intra) (LPCM, High-Res Audio) *7/<[4K] 3840x2160> 24.00p, 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> 24.00p, 200Mbps (4:2:2 10-bit ALL-Intra) (LPCM, High-Res Audio) *7/<[Full HD] 1920x1080> 24.00p, 100Mbps (4:2:2 10-bit LongGOP) (LPCM, High-Res Audio) *6/<[Full HD] 1920x1080> 24.00p, 100Mbps (4:2:0 8-bit LongGOP) (LPCM, High-Res Audio) The camera may stop recording when used in lower or higher than recommended operating temperature: -10 to 40 degrees. The autofocus is very fast, responsive and positive for single images. We didn’t have an opportunity to test the GH5 II with fast moving subjects in burst mode, where some users complain of focus ‘dithering’ caused by Panasonic’s DFD contrast AF system, but for regular stills work it’s very good indeed. Surprisingly, the 20.3MP GH5 II is able to match the full-frame Lumix S5 for capturing fine detail at lower sensitivities. It goes to show that even with a slightly lower megapixel count and a significantly smaller physical sensor area, the four-thirds sensor design is still able to produce extremely sharp images straight out of the camera.

Panasonic wasn't the first company to introduce high quality video to what was otherwise a still camera, but with its GH series it has been constantly expanding the range of professional video features appearing in consumer stills/video cameras. The GH5S takes this logic one step further, by lowering the sensor resolution and omitting image stabilization to make a more single-minded video tool, rather than an hybrid intended to be similarly capable at both disciplines. MODE1] has been added to the Live View Boost function, which increases the frame rate for smooth image display to enable easier manual focusing.Full HD] 1920x1080> 59.94p, 28Mbps (LongGOP) (Dolby)/<[Full HD] 1920x1080> 59.94i, 24Mbps (LongGOP) (Dolby) (Sensor output is 29.97fps)/<[Full HD] 1920x1080> 59.94i, 17Mbps (LongGOP) (Dolby) (Sensor output is 59.94fps)/<[Full HD] 1920x1080> 23.98p, 24Mbps (LongGOP) (Dolby) There were cases where peripheral distortion occurred in video recording while walking when used with Panasonic wide zoom lenses (H-F007014, H-E08018). This bug has been fixed. The GH5 II relies on Panasonic's DFD autofocus system. It's built around contrast detection, a different approach than the hybrid phase-contrast system used by most rivals, including Olympus' top Micro Four Thirds models, the E-M1 Mark III and E-M1X. Olympus M.Zuiko 100-400mm, 400mm, f/7.1, 1/320-second, ISO 200

The a7R III is an interesting comparison. As you say, its Super35 mode video is highlight detailed, thanks to oversampling, but we wouldn't expect it to be as strong in low light as the a7S II, given it's effectively using an APS-C sensor at that point. It is possible to set continuous AF on the live view screen in Creative Video mode or in other video recording mode when the video recording area is displayed.Interestingly (or even disappointingly), Panasonic has swapped the rear screen from the 3.2-inch display on the GH5 to a smaller 3-inch screen on the GH5 II, though it does have a higher resolution and Panasonic says its luminosity and color rendition are improved for outdoor daylight use. EVF If, as we suspect, it's a Bayer version of this chip then it suggests Sony Semiconductor also thinks the pixel count has been chosen for video. On the top of the camera there is a record button clearly marked in metallic red but not so easy to find by feel – a raised ‘pimple’ would have helped here, as it’s closely surrounded by four other buttons for different camera settings and pressing these by accident is really annoying. AVCHD [FHD/60p]: Approx. 150 min (rear monitor), 150 min (LVF) with H-ES12060, Approx. 160 min (rear monitor), 150 min (LVF) with H-HSA12035 / H-FS12060/AVCHD [FHD/60i]: Approx. 150 min (rear monitor), 150 min (LVF) with H-ES12060, Approx. 160 min (rear monitor), 160 min (LVF) with H-HSA12035 / H-FS12060/MP4 [4K/60p]: Approx. 100 min (rear monitor), 100 min (LVF) with H-ES12060 / H-HSA12035 / H-FS12060/MP4 [4K/30p]: Approx. 110 min (rear monitor), 110 min (LVF) with H-ES12060 / H-HSA12035 / H-FS12060"