I'm not the type of person that likes switching brands. I've been with Nikon from day one, but my needs are changing, and Panasonic seems to have made my dream camera. I know this may sound crazy, but I may soon be selling the majority of my Nikon gear and buying six Panasonic GH5 cameras.
Let me first start by saying that if I was still shooting weddings regularly, I wouldn't even consider switching. I love the image quality and ergonomics of the Nikon line for shooting stills. The problem is that I am shooting mostly video these days. Yes, Nikon DSLRs can shoot video, and we've made it work for us for seven years now, but there are a few issues most DSLRs have that make them pretty inconvenient to shoot video with.
Many times I've considered upgrading our video gear to something like a Canon C300 or a Sony F7, but the idea of lugging around a giant camera was never exciting to me; especially when we usually travel with six cameras. Plus, I like having a video camera and a still camera in one body. I love the idea of having one camera that can do everything, and although I haven't tested one yet, I'm hoping the GH5 is that camera.
In this post, I'm going to quickly touch on a few of the features that are getting me excited enough to make the switch. Keep in mind that many of these features have been available in "professional" video cameras for years, but never have they been available in such a small package; and we have shot 100% of our videos on Nikon DSLRs, so to us these will be massive upgrades.
Better Video Quality
This is probably what most people are excited about, but the video quality is actually the least important feature to me. I know that what we do most of the time doesn't require insane bit rates or flat color profiles – and most of our stuff is wildly compressed and will be viewed on Youtube – but these stats are still important. This camera can shoot 4k 30fps 10-bit 4:2:2 at 100 Mbps. In the past, 10-bit video recording has been a feature of high-end, extremely expensive cameras. Not any more.
Better Slow Motion
Frame rate is far more important to me than bit depth, and the GH5 can shoot at 4k at 60fps or 1080p at 180 fps. This camera will be fantastic for slow-mo shooting.
Better Stabilization
Most of the lenses we use on our Nikon bodies have internal stabilization. This feature does a great job of smoothing out footage, especially when the cameras are handheld. The GH5 has in-body five-axis stabilization that can be combined with a stabilized lens to produce five stops of stabilization. This means that if you can safely take a picture at 1/60th of a second without stabilization, with this feature engaged you can take the same image at 1/2 of a second without blur. That's insane. Still photographers will certainly love this feature, but I have no interest in using it to take pictures. I want this kind of stabilization so that I can leave my tripod at home when I'm shooting videos.
Better Sound
Nikon DSLRs are notorious for recording poor sound via the audio input jack. We use Sennheiser lav mics plugged directly into the side of our D750s. Although the sound is acceptable, it's missing the highs and lows found when using the same mic with and external recorder. From what I've read, the audio input on Panasonic cameras is superior to Nikon's; plus you will be able to buy the DMW-XLR1 to add two powered XLR inputs to the GH5.
Simplified Time-Lapses
We shoot time-lapses at lot, and they can be extremely hard on both your camera and your hard drive while being time consuming to build and render. Panasonic cameras (even their cheaper models) have made the process of shooting time-lapses a breeze. Simply choose your camera settings, choose the amount of images you want to take, and click "Go." Because these cameras are mirrorless, they will silently shoot images without wearing down the mechanical shutter found in DSLRs. When you're done, the camera will give you the option to build a 4k time-lapse video on the spot from the images taken. We no longer import thousands of pictures onto our computer; we only transfer over finished 4k time-lapses.
A Smaller Camera System
The main reason why I haven't upgraded our cameras to "professional" models was simply because they were too big. If I was shooting a job with one camera, I probably wouldn't care about the size, but when we are traveling and shooting with up to six cameras at once, the last thing I want to deal with is more size and weight.
The GH5 is significantly smaller than a Nikon DSLR, and because it's a micro four thirds camera, the lenses will be significantly smaller as well.
Unlimited Shooting Times
This is this most important feature to me and, if you shoot video, probably will be for you as well.
If you don't shoot video, you may not know that most DSLRs limit the length of video clips to 20 minutes. It's pretty amazing that we have been able to film many of our tutorials (some being over 20 hours in length) by stopping and starting the cameras every 20 minutes. It's annoying, but it's all we have ever known. In fact, our first Nikon cameras could only shoot a maximum of five minutes.
I've been waiting patiently for seven years to use a video camera that can continue to record until the battery dies or the card fills up. The GH5 will be the first video camera I will have ever used that has this feature.
We Still Need To Test This Camera
Keep in mind I haven't tested this camera yet. Once we get our hands on a unit, we could find that the GH5 may not actually be the perfect video camera. I'm nervous that it will not perform well in low light. Maybe the battery life will be worse than what I am accustomed to. Perhaps I will miss the super shallow depth of field my full-frame cameras can produce. I'm also going to assume that as a still camera, it's not going to be able to compete with my Nikon cameras, meaning that I will have to keep at least some of my Nikon gear to shoot stills. This isn't ideal, but if the GH5 is as good as I hope it will be, I'll be happy to deal with both systems.
To learn more about the GH5 you can read more specs here.
So basically, you're looking to stop image making, and concentrate of making video content.
Well -- there we have it then....
This story might as well just be titled "I'm going to selling my Car, because of the new GH5..." see my car cant take photos but it does have wheels and drive me places, but i dont drive but i do take photos.. and cameras have sensors and things... and well a car gets you places....
Come over to the other side, Lee 🍹🎉😀
You'll find the Panasonic ergonomics are so much better... Rivaling Pentax's.
Main negatives you probably know about are due to the smaller sensor... Less DR... Only OK noise up to ISO1250... Hard to get narrow DOF which doesn't matter much for video.
That said, I still want to upgrade my GH4 just for IS (not sure if the GH5's works in video) and hopefully their electronic shutter works fires the hotshoe so you can use it with studio flash (the GH4 needs mechanical shutter to trigger flashes)
I personally wouldn't want to carry around a camera the same size as my 5D with only a 4:3's sensor.
Same size?
Hopefully that's not the stock lens for the GH4, because together it looks like they're heavier than that Canon next to it. :-)
Numbers always look good on paper....
You're right and I will give a detailed review when I finally get to test it out.
Can't wait. I am looking at getting into video, and am weighing options.
I am looking forward to your review!
The GH5 does look incredible. I wonder how Panasonic have managed planned obsolescence. In other words, what tech is missing from this camera that can easily be put into a GH6 in a couple of years?
I've never undestood why people feel they need to dump one system for another, especially if they're already paid for. There's no reason why you can't have two or more systems. I have also looked at the GH5, and may consider it for video, however I see no point why I would need to dump my Nikon gear. I'm actually already invested a bit in M4/3, in the form of a GM5, 12-32 and 45-150 lenses. I also have some Nikon 1 gear. All this stuff works for me hand in hand
I don't like having to buy the same lenses and accessories over and over again for every platform. It's awesome knowing can pick up 1 camera and 1 lens for any type of job.
er, as long as it's a video job then ? :)
You are only limiting yourself that way, having both offers you the maximum versatility, no need to be on one team or the other if you can actually have both.
That's the camp I'm in. Nikon for stills Sony for video.
Having two systems is double the work, two sets of batteries and chargers etc plus the backups for potential failure. It's pretty clear actually.
And? What if you have two cameras of the same make? You still have two sets of batteries and chargers. It's gear. Whatever it needs.
I think he means two different sets. When we bought our first Nikon camera with the new EN-EL15 battery (D7000 maybe?), we sold off every other camera that used the EN-EL3e battery because it was a pain having two different sets of batteries and chargers. Yes, that meant replacing our D700 full frame cameras with DX D7000 cameras.
If you need say 4 batteries for back up, you don't want 4 of this type and 4 of this other type if you could have 4-6 of one type altogether.
True, but then you have cameras, audio recorders, lights, external data recorders, etc. All of them need their own battery types. You're already there.
Honestly the only 2 batteries we use are Nikon el15s and standard aa
The goal is to get away from half the stuff you just mentioned. We do not use audio recorders, battery powered lights, or external data recorders.
You know, I can understand data recorders and even lights, but not having audio backup sounds rather brave on your part. :-)
We double mic people and record into multiple cameras. Audio is backed up in the files themselves. You can put dual memory cards in most cameras too for backed up data.
I guess it depends on what and how you shoot. I shot an event where I had 4 cameras, but besides various performances, there were speakers whose voices were going through a PA. I would not trust the sound quality from the position of the cameras, although I used them for other purposes. I had a direct feed from the PA going into a recorder.
What Patrick said. I'm guessing from your posts you don't work professionally.
So you have the same batteries for your audio recorder(s) as your camera(s)? Got battery power lights? Do they run off the same batteries as well? Do you have external data recorders? What kind of batteries do they run off of?
A production needs whatever it needs, and that's pretty much all there is to it.
Any accessories we have run on AA batteries with the exception of my headphones and Profoto remotes which use AAA. Both batteries charge on the same charger though
Spy Black has been one of the longest readers we have had on FS and his comment count is half of mine. He won't ever upload a portfolio so no one knows what type of work he produces....
The problem is that many think they are married to their gear and/or brand.
This way of thinking only hinders them in the long run, because they end up having to let go something that they need or things that may, in fact, help them work better/faster.
I use mirrorless for location portrait work and DSLRs for studio and I couldn't be happier, both from different brands.
You will not be happy with the gh5 as a stills camera if you are not happy or even thrilled with the apsc options Nikon has.
I'm afraid of that but I'm not totally against crop sensors. My main camera for many years was the d7000
I have just bought a Fujifilm XT1 and am really struggling with the crop factor on my MF legacy nikkor glass. (I plan to buy the equivalent of a metabones speed booster - even 1 is too exxy for me so I'll be getting a cheaper option, the Lens Turbo II. All moot as it's a mf solution to a mf problem) but the 1.5x crop multiply is hard to take once you have gone FF and go back to DX.
It's in your head.
Pick the lense that show what you want to show, regardless if it's a 56 or a 35mm...
Take the challange and guess the sensor size:http://guesstheformat.com/photo
It's a good test and looks to be fair as the photos could easily be picked to mislead the user (which is what I was expecting). However as someone who uses full frame I got a high score, the hardest to differentiate was 4:3 against apsc
Proof or it didn't happen...
It's one thing to pick photos on the web; it's entirely another to see your own photos different than you're used to working. I briefly dallied with apsc for "weight savings." The difference was worse than the slightly heavier full frame. Working photographers know the difference in sensor size in their own work.
Sure.
Zack Arias, David Hobby and all the Fuji team aren't working photogs and so can't tell the difference...
Again, proof or it didn't happen...
No one ever said they couldn't tell the difference - I'll bet they did and were fine with it. Some are, some aren't. Anyway, Fuji dollars in your pocket really help the difference go down!
Yeah, unless you're absolutely *obsessed* with ultra-shallow DOF, a 1.5x or 1.6x sensor is more than you'll ever need. Especially with the Nikon DX sensors that have been consistently matching the DR of their FX siblings.
Unless you're using *absurdly* high ISO's, a ~2x sensor is all you'll ever need, too. For general photography that is never going to be printed larger than 10-20", heck just by a Sony RX100 or RX10 and be done with it. The results, from 4K video / timelapse to hobbyist / general stills, will be stunning.
To me dynamic range is king-with the Panasonic log it stretches to get 12 stops. That and a small sensor is why I'll never go Panasonic. Although I might pick one up as a crash cam...
For stills absolutely not, specs for video are probably the best at this price point-just wish they'd at least have a s35 sensor!
Judging by your hilighting of the GH5... Just go RED: 16bit RAW (or super sampled ProRes up to 12 bit), 4K+, 240 fps in 2k, one of the best sensors out there with near the top color science, interchangeable lens mounts and OLPFs (except the Raven), tried and true workflow, will do low light better then the GH5... And in the name: Digital STILL and MOTION Camera-all your bases are covered and then some compared to Panasonic.
Go big or go home ;)
I feel like the red is perfect for a commercial or a movie but it is exactly what I don't want for a 6 camera shoot
Why is it the file sizes? If I were to shoot with my RED in 4K with compression at 7:1... The file size is about the same as what the GH5 shoots. Still RAW and 16bit.
And with the option now to record in ProRes or Dnx it'll work with just about any workflow.
Sure it's pricey, but your rates go up with it as well. Already paid off my Weapon and had it for a year.
As Lee already wrote, "the idea of lugging around a giant camera was never exciting to me; especially when we usually travel with six cameras". So it is clearly the physical size of the body, not the file sizes or the cost, that is the main problem he has with such cameras.
Red makes fantastic cameras. No argument here. But they require so much to operate in terms of rigging to make them function. Sure you can charge higher rates, but that means you have to hire more people to help you shoot once you start using those production a net. Especially on multicam shoots. Before you know it you need a small army for your production.
I love that thr dslrs already come ready to shoot for the most part and with them you can keep the crew small and nimble.
Define a "giant" camera. The DSMC2s are just over 3.5 lbs; bare bones depending on the lens I've rigged mine to just over 5 lbs... Hate to see how you'd label an Alexa XT.
Every Red setup I have seen is about 2 times larger than a DSLR with grip and 70-200 lens. At the moment, that DSLR setup is our largest setup and we are looking to make it smaller. The sad thing is when you compare the footage from the larger setup (DSLR with 2.8 70-200 lens) with the footage from a 4:3 sensor that is smaller and has a smaller 2.8 or 4.0 lens, the DSLR still falls short.
My Leica 80-200 is a bit lighter then my Nikon 70-200, but all together a bare bones Weapon/Leica like this is not even a pound heavier then a d800 with a 70-200. But six of these not including power would be tricky for all the traveling you guys do
The RED would not be ideal for his needs.
I think it's a good call. As someone who is an exact 50/50 hybrid, it is unfathomable to own a camera that doesn't hold it's own in both categories. I recently sold my Samsung NX1s for the fuji X-t2 and haven't looked back. I am loving these cameras for stills, and for low to mid budget video work.
I was going to invest in a Kinefinity terra 5k later this year as I decided I wanted a real production camera for higher end work...but now i can essentially 3 of these for the price of one, and because I have the GH3 and Gh4 as well, I am already good to go with lenses, and accessories. Nobody really needs to shoot raw, and with internal 10 bit at 400mpbs, you're going to have plenty of data to work with in post.
I have always found panasonic's stills quality to be a bit BLEH. They have some incredible lenses though, and the Nocticron 42.5 is still one of my favorite lenses ever. I'd say it's more than sufficient for most people, but I have a feeling those with backgrounds in photography will want something more.