Panasonic GH5, GH5S and G80 cameras - discussion

Discussion in 'photography, graphics & art' started by alsoknownas, Sep 19, 2016.

  1. 59D8B838-50C1-45C3-8015-6CC5BE9C154A.jpeg
    It’s similar to this and has two xlr ins and a 3.5mm line in. The sound is fine after I worked out I had to drastically lower the camera audio in volume. Before I worked that out I thought it was going to be just a paper weight. Its major downside is it uses a 9v battery up in about an hour.
    I’m considering getting the Rode Video Mic Proplus as a more convenient on camera mic though (the new model).
    alsoknownas likes this.
  2. alsoknownas

    alsoknownas some bloke

    Yeah, you have to have the camera's pre-amp as low as possible with all these external setups. I've been looking at the Pro+ too, but it only offers convenience of size. You'll get a better sound quality from the mic you already have if you mounted it.

    eta - Ah, you did say convenience, so yeah, there's that :thumbs:
    Last edited: Apr 25, 2018
  3. The interesting thing about it (I presume you already know if you’ve been looking into it) is that it can capture two tracks (panned to each channel) with one being quieter to get you out of a fix if the main track clips. Which I thought sounded handy.
    alsoknownas likes this.
  4. alsoknownas

    alsoknownas some bloke

    Actually no, I hadn't twigged that it can run a safety track. That is handy. Mind you I could set that up with my pre-amp for any mic going through it, though I've never done so.
    Magnus McGinty likes this.
  5. I hadn’t, no, but I am now. Image stabilisation is what’s got me interested. I can live without RAW as long as the files aren’t compressed to death.
  6. alsoknownas

    alsoknownas some bloke

    Yeah, I mean there's no comparison really between using something you have to rig up and molly-coddle and something that's just built to work. The GH5 is a very pleasant device to use. The 10-bit H.264 is lovely to grade.
    I'm gonna have to miss out on IBIS myself (current GH4 user, looking to upgrade to GH5S), but it is a really nice tool to use. I can hand-hold without micro-judder using the EVF with 3 points of contact, so I'm fairly nifty without IBIS anyhow. Would be nice as an option though.

    eta - I should say 4 points of contact with a chest pad.
  7. Well there’s also gimbals but the decent ones will bump up the outlay a fair bit (plus it’s something else to lug about). The Zhiyun Crane II looks pretty decent (and that’s what I was going to get along with the BM camera) but it’d add a further £600 to the budget.
  8. alsoknownas

    alsoknownas some bloke

    :D Ha ha, we must be looking at all the same gear :thumbs:.
    Magnus McGinty likes this.
  9. alsoknownas

    alsoknownas some bloke

    The EBU report on the GH5S, conducted by Alan Roberts is out today. These (admittedly brain-frying at times) reports are similar to the BBC white paper reports I found really useful when I was starting out.

    The report looks set to stir up a bit of controversy, with people already questioning the methods and conclusions.

    My takeaways:

    HD on the camera is kickass. I rarely shoot HD these days, but would be tempted based on how good a rep it is getting on the GH5S.

    4K on the GH5 is probably inherently better than on the GH5S (because of super-sampling from the higher res sensor). However the GH5S probably more than makes up for this with it's superior colour science (that bit's not from the report, just me speculating).

    He claims a whopping 14.6 stops of dynamic range in Hybrid Log Gamma :eek:. This is a huge claim, and one of the things that is going to be highly contested. One thing this, and other recent measurements, have led me to believe, is that dynamic range, which should be quite an empirical value, is actually subject to a fair bit of subjectivity. There seem to be different ways of measuring it :confused:.

    He claims that Noise Reduction on the camera *increases* resolution, rather than decreasing it. This is also an unusual finding. If true, it might lead to some interesting strategies for low-light shooting (increase NR instead of ISO, anyone?).

    If I've interpreted the findings correctly, VLOG-L doesn't come out looking so great compared to the other profiles.

    The full report is here:

    Useful summary at Newshooter:
    Panasonic GH5s EBU Assessment
  10. alsoknownas

    alsoknownas some bloke

    Also interesting that the GH5S tested to have no Infrared detection. I've had some quite significant problems with IR pollution on my GH4, particularly indoors, and using vari-ND.
  11. It also picks up audio from the back which is good for close up interview situations (if the interviewer is behind the camera) - the NTG-3 disregards sound from the back of the mic as it’s super cardioid rather than bi-directional.
    Last edited: Apr 27, 2018
  12. alsoknownas

    alsoknownas some bloke

    Hmmm... I think your info is a bit out on that one. Rode+ is also super cardiod.

    I also doubt that using a bi-directional mic is going to be a viable strategy for video interviews. Positioned on camera is going to be inadequate for the interviewee; positioned halfway between interviewer and interviewee and the mic is gonna be in shot. That's why they're generally used for radio and the like.

    I use the rodelink radio mics, which have served me well, but I'm thinking of switching over to a boom buddy system to allow me to boom in as a single operator.
  13. Would depend on the lens though? Using one I have wide open at 18mm you’re pretty close to the subject. I might look at radio mics although I’m guessing they’re more indoors than outdoors?
  14. alsoknownas

    alsoknownas some bloke

    Let me take a guess - Sigma 18-35 f/1.8 ? If so, then we're in gear-sync again :thumbs:. Honestly, I wouldn't recommend any camera-mounted setup for interviews. Ideal mic position is as close as your frame possibly allows really.

    I use radio mics both interior and exterior. They are omni-directional, which may seem undesirable, but they are placed very close to the chest and mouth of the subject in comparison to any background noise that might be going on. I've gotten consistently good results with them.

    As mentioned I might switch to using the shotgun mic on a boom (with the boom buddy support), but that adds stuff to lug, including an extra stand and the boom pole itself.

    You might have good creative or aesthetic reasons to shoot your interviews at 18mm, but I'd be a bit concerned that people don't generally look their best at that focal length. Is that something you've already considered?
  15. Yeah I made an assumption after watching a YT vid showing audio being captured from the rear (which is probably normal behaviour for a super-cardioid).
    No it’s a Nikkor 18-300 DX mount (the lighter of the two iirc).
    I didn’t really consider how good the subject looked at 18mm, obviously there’s no chance of bokeh that wide either. It’s just me working within the limitations I have. I think it’s a good idea for me to get radio mics and Sony have a dual one but that’s well in excess of £1k so will happen sometime after the other things I’m upgrading.
    Last edited: Apr 29, 2018
    alsoknownas likes this.
  16. alsoknownas

    alsoknownas some bloke

    Yeah, super cardiod pick-up pattern has a little rear lobe, but it really is quite tiny.

    The RØDELink Filmmaker Kits I use are pretty affordable (around £250 for lapel mic, transmitter, and receiver). I've got two sets that I've been working to death with no issues. I find that with lapel-placed mics you have to restore a bit of treble in post.

    Focal length for interviews is tricky if you're a solo operator. Wide angles are not generally very flattering, but if you go to a portrait-type length then you end up too far away from the person you're interviewing, and you both start yelling across the room! For me, I seem to end up mostly compromising at around 35mm (MFT with Speedbooster (crop 1.6) ≡ 56mm FF), if that makes sense.
    Magnus McGinty likes this.
  17. alsoknownas

    alsoknownas some bloke

  18. Cheers, I’ll look into that but am I right in assuming I’ll have to somehow deal with two receivers on my camera if I want to use two mics?
    As it happens I do have a 35mm prime lens (DX mount) which I’ve been wanting to try for this stuff but haven’t got round to.
  19. Actually that’s a daft question as I could have a wired mic.
  20. Just trying to think of the most portable setup possible.
  21. alsoknownas

    alsoknownas some bloke

    Yeah, you could run a wired mic to yourself (perhaps another lapel).
    I have two receivers running into the pre-amp box if I'm doing a double interview (I don't record my own side of the conversation usually). This does look a bit cumbersome, but it gets the job done.
    Magnus McGinty likes this.
  22. Everything ends up cumbersome :D however nothing more so than a boom in terms of lugging about (plus bodies needed to operate).
  23. How do those lapel mics hold up in the wind? Are there dead cats for them? That’s the one major advantage with the boom / blimp / dead wombat. Wind doesn’t touch it.
  24. alsoknownas

    alsoknownas some bloke

    They come with a little miniature wind shield - a dead kitten if you will.
    They are a very portable solution - that's why I use them in fact. It's a bit of a compromise on audio quality compared to a boomed shotgun mic, but still very good mono dialogue as far as I'm concerned.
    Magnus McGinty likes this.
  25. alsoknownas

    alsoknownas some bloke

  26. Well this has been fruitful; you’ve talked me into getting a GH5 and talked me out of getting the videomic pro+ (as what I have already is superior) and into getting the Rode radio mic (which is comparable to the money I was going to waste on the pro+ !). :thumbs:
    alsoknownas likes this.
  27. alsoknownas

    alsoknownas some bloke

    Sound like pretty sound choices to me. I would urge you to do a bit more research though, don't just take my word for it. You might find that you have different needs / tastes / foibles than me :thumbs:
    Magnus McGinty likes this.
  28. Ive seen the Sigma 18-35 1.8 raved about now (with speed booster). Out of curiosity, do you use Canon or Sony mount (or other)? I suppose it depends what lenses you already have or what other camera bodies you’re considering using if there’s no actual differences.
  29. No it looks pretty good. I’d prefer prores than H.264 and a bigger sensor would be better for arty bokeh but it looks really good apart from that.
  30. alsoknownas

    alsoknownas some bloke

    Yeah, it is the classic combo. I use the Canon mount version.

    H.264 is a terrible acquisition codec, you're right. But I've never really had any codec-related quality issues from the GH4 or GH5 that I've been aware of, so it's a bit of a non-issue really. It just works really well at the bitrates they implement. I even tend to transcode to an intermediate codec for editing (CineForm) then master out to finishing codecs from there. Never had any problems.

    There's no problems generating shallow depth of field when required on a MFT sensor. You need the right glass though. Either something like the Sigma range we were just mentioning (there's also a 50 - 100mm f/1.8 to compliment the 18 - 35mm) with the SB , or, if you want to keep things native, and therefore lightweight and compact, something super-fast like the Voigtländer range that open up to f/0.95 !

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