The above video is by Nick Driftwood who has been one of the few filmmakers who has been working with Panasonic on the development of the GH5 and sent this through to newshooter.com

It was shot in 4:2:0 8-bit 60p mode (59.94fps) in 4K UHD, H.264 Level High 5.2, 158 Mbps, married with the new 12-60 Leica f2.8-4.0 ASPH lens.

Had he shot in 24/25/30p instead, it would have indicated the true low-light potential of this camera so instead my judgements are going to be more on the level of noise.

Up to 12,000 ISO it is still very usable and cleaner then I had initially expected of the GH5. 6400 ISO looks to be very clean (for a micro 4/3 sensor at least). Mind you, despite the A7S being known as a low-light king, my particular taste is to not push it past 10,000 ISO as beyond that point I start to dislike the level of noise. The GH5 seems to produce similar levels of noise as the A7S (at 10,000 ISO) somewhere between 3200 and 6400.

Slow motion capabilities have also been improved with the camera shooting at an impressive 180fps in FHD.

Also included in the camera is a 5-axis dual image stabiliser (IS) so photographers can be a bit more liberal with their shutter speed and filmmakers can achieve smoother, sexier camera moves. This will not be a substitute for having a Steadicam or gimbal but together I can imagine you’ll be able choreograph some exceptionally stable shots. Which is fortunate as the GH5 is a small unit, so shooting handheld would otherwise be annoyingly shaky if it weren’t for the IS.

The camera is capable of 4K 60p/50p ultra high-definition. Awesome.

It will be capable 6K/24p in Anamophic mode (4:3). Very exciting!

It also does internal 4:2:2 /10-bit video recording. THANK YOU!

Previously the GH series could only achieve this by outputting to an external monitor/recorder (such as an Atomos Shogun) and being limited to 8-bit video internally. My A7s is no different and although the A7sii is capable of internal 4K, the colour depth is still lacking, still only managing 8-bit video.

These improvements are especially important for colour grading and the indie filmmaking community is going to rejoice the fact that 4:2:2 10-bit is now not limited to expensive cinema style cameras.

Rolling shutter has also be reduced, no cropping of the sensor in 4K (take note Canon) and finally we have a mirrorless/DSLR that has no recording time limit.

Your picture profiles like ‘Cinelike D’ and ‘Cinelike V’ are there while V-LogL will come as a paid upgrade. Like I mentioned earlier, it will be capable of 6K/24p later in the year. Here are all the future upgrades expected to come.