Just like earlier models in the series, the Panasonic Lumix DC-GH5 II ($1,699.99, body only) is a capable stills camera that puts its video features first. It uses the same stabilized 20MP sensor as the GH5, but ups processing power to get more out of it. There are some updates to the body, too, including the viewfinder. It’s a worthwhile upgrade for system owners, and a top-flight choice for videographers, but not quite as good an all-around performer as the Fujifilm X-T4, our Editors’ Choice winner in the class.
Refreshes GH5 Design
The GH5 II doesn’t represent a massive change in concept or capabilities. For the upgrade, Panasonic stuck with the same image sensor, a 20MP Micro Four Thirds imager with support for 4K60 recording at 16:9, and 6K30 when using anamorphic lenses.
Another GH camera, the Lumix GH6, is coming later this year, but isn’t set to replace the GH5 II. Instead, the GH6 promises higher-resolution recording, 5.7K60. Panasonic hasn’t fully outlined its specs, but the two cameras will coexist in the lineup; the GH6 is expected to sell for around $2,500.
The GH5 II’s body design doesn’t stray too far from its predecessor. It’s relatively compact, about 3.9 by 5.5 by 3.4 inches (HWD), but dense at 1.6 pounds. The magnesium body is protected from dust and splashes, so the GH5 II is as fit for location work as it is on a set.
Its sensor and lens mount are Micro Four Thirds. The camera works with autofocus lenses fromOlympus, Panasonic, Sigma, and a few others, and has broad compatibility with manual focus lenses. It’s not compatible with Panasonic’s full-frame L-mount system, though, so you’ll need to take a little care when shopping for glass.
Panasonic sells the GH5 II as a body only for around $1,700. It’s also available in a kit, bundled with the excellent Leica DG Vario-Elmarit 12-60mm F2.8-4, for around $2,300. The kit is a money-saving proposition, as the 12-60mm costs $1,000 when purchased separately.
Centered EVF Design
Panasonic makes Micro Four Thirds cameras in a couple of styles. Some, like the GX85 and other GX models, use corner-position viewfinders, much like a film camera with an optical rangefinder. The GH5 II takes its cues from SLRs, with a centered viewfinder and substantial handgrip.
The body includes top and rear control dials, along with top controls to set the capture mode and to change the drive speed for photography. The camera splits the shutter release and video record button, putting record further back on the top plate so it’s easier to access from a tripod. There’s also a rear switch to swap between focus modes, an uncommon feature, and the expected eight-way joystick for direct control over the focus area.
There are a slew of control buttons, providing direct control over white balance, ISO, and other frequently adjusted settings. They’re supplemented with an on-screen interface. The GH5 II’s 3-inch LCD is sensitive to touch, giving you the flexibility to tap the screen to change settings or to go with the directional controls on the rear for navigation through menus.
The Q button launches an on-screen menu, with up to twelve programmable functions. The default set includes white balance, ISO, picture control, and others. It’s a malleable, flexible system, one that you can tweak to best match your workflow. There are two display modes available, and you’re able to set up separate menus for still and video modes.
Panasonic has stuck with a vari-angle design for the LCD, a favorite for video. The 3-inch display swings out to the side and faces forward for vlog-style video. It’s a little smaller than the 3.2-inch GH5 screen, but a bit sharper (1.8 million dots) and brighter for outdoor use. The EVF is also improved. The GH5 already had a big, crisp OLED, but now the 0.76x magnification EVF refreshes twice as fast (120Hz) for a smoother, more natural view.
Power and Connectivity
The GH5 II uses a new battery, the DMW-BLK22. It has the same form factor as the DMW-BLF19 bundled with the GH5, but holds a bit more juice. It’s rated for around 400 photos per charge, or about an hour of 4K60 video. Older batteries will power the GH5 II, and in-camera charging is available via USB-C.
There’s also a full-size HDMI port, the GH5 II sends out a clean 4:2:2 10-bit signal for use with an Atomos Ninja V or other recorder. It includes dual UHS-II SDXC for internal recording, available at up to 4:2:0 10-bit quality. There’s a 3.5mm input for external mics, and a headphone jack for monitoring. The Lumix XLR1 accessory is available for $400 if you need to use XLR mics—it adds two balanced inputs.
Bluetooth and Wi-Fi are built in. The GH5 II connects to Android and iOS smartphones using the Panasonic Lumix Sync app, a free download for either platform. The app supports wireless control, photo transfer, live streaming (to Facebook, YouTube, and RTMP), and can save camera settings on your phone. The latter is useful if you’re sharing or renting equipment—you won’t have worry about going through the menu and setting the camera up manually. Saving to an SD card works too, if you don’t want to fiddle with the phone app.
Intelligent DFD Autofocus
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.
For most applications you won’t note the difference. The GH5 II locks focus in a snap, and has an intelligent focus system that recognizes people and many animals. You will note a little focus flutter in the viewfinder when using continuous focus, but it’s not as distracting as with earlier models.
For video, autofocus is typically reliable, and supports face and eye detection. It’s better at keeping on your subject at 30 or 60fps than at 24fps, simply because the camera checks for focus more often when using quicker frame rates. It’s something to consider if you rely on autofocus and prefer the 24fps look. For that type of video, think about the Olympus E-M1 Mark III in Micro Four Thirds, or the Fujifilm X-T4 if you’re not tied to the system.
It does limit the drive speed to 9fps in AF-C mode, but that’s still quick enough for many types of action. With focus fixed after the first shot (AF-S), the GH5 II supports 12fps capture with Raw (or JPG) quality and the mechanical shutter. The buffer is ample, good enough for more than 125 Raw+JPG pairs before filling up. You can switch to 6K (18MP) or 4K (8MP) Photo mode to snap JPGs at 30 or 60fps, respectively, with the electronic shutter—focus is fixed for the sequence.
Stabilized 20MP Sensor
Panasonic puts the GH5 II’s sensor on a 5-axis stabilization (IBIS) system, beneficial for both still imaging and video. It’s a common feature among mirrorless cameras—most competitors have IBIS, including the Fujifilm X-T4 and Olympus’ Micro Four Thirds cameras, the E-M1X and E-M1 Mark III.
The 20MP sensor is made for both, too. In stills mode it captures photos in Raw or JPG format. Raw photos have more room to edit color, while JPGs are ready to share. The camera supports a native ISO range from ISO 200 through 25600, and has ISO 100 available as an extended setting.
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The default JPG output shows natural colors, with little noise and clear results through ISO 6400. You can tune the color profile to taste, or select from plenty of preset options, including a number of good black-and-white looks, and video profiles like Cine2 are available for stills, too.
We took a look at Raw output in Adobe Lightroom Classic, our standard processor, and found them to be very editable. There’s room to adjust highlights and shadows, and fine-tune color to taste, with much more flexibility than with JPGs.
10-bit 4K60 Recording
The GH5 II enjoys an upgrade to its video engine versus the GH5, with the maximum frame rate improved from 4K30 to 4K60. You’ll be limited to 4:2:0 color sampling at 60fps (24 and 30fps retain more color information, sampling at 4:2:2). Both are 10-bit, and the flat V-Log L is included with the GH5 II; it was only available as a paid upgrade for GH5 owners.
Anamorphic options are expanded, too. If you’re using a lens made for extra-wide aspect ratios, you have the option of setting the camera to 4K30 or 6K30. You’ll need to apply a correction when editing to get the proper widescreen look, a necessary step for anamorphic lenses.
The Micro Four Thirds format supports loads of adapted lenses, so you’ve got the flexibility to use modern lenses for a sharp, high contrast look, or go with vintage lenses for a more artistic style. We went with an antique Canon 50mm F1.2 for the sample clip above, captured at 24fps using the Cine2 profile.
There’s a virtual laundry list of formats and compression levels to choose from when recording to a card. The MP4 format is an option for casual use and projects without heavy edits. The MOV container format opens up more options, with 150Mbps Long GOP and 400Mbps All-I codecs.
Panasonic doesn’t include Raw recording via HDMI, something you get with the first-generation GH5 and the low-light specialist GH5s. We don’t think it’s a reason to skip upgrading. V-Log L offers plenty of room to edit, and you’ll still be able to take advantage of more robust codecs like ProRes if you’re recording to an external device.
Micro Four Thirds for Video
Panasonic did a good job updating the aging GH5, a 2017 release. The series is a long-running favorite for video, and the Lumix GH5 II carries on the tradition. It puts video first, upping the quality of its 4K, and making some welcome updates to its autofocus system. Cinematographers will enjoy the better action shots and half-speed slow-mo from 4K60, and we’re happy to see V-Log L included with the camera.
The GH5 II is still a 4K camera, fine for many projects, but not bleeding edge. If you want to record at higher resolutions, you may want to hold out and wait for the 5.7K GH6, coming later this year for an estimated $2,500. The full-frame S1H, also from Panasonic but with support for L-mount lenses, records at 6K and is certified for use in Netflix productions, but you pay for the high-end hardware, around $4,000.
The GH5 II lives up to the series’ reputation, and should be one of the first you look at for video projects. It’s a very capable stills camera too, with updated autofocus for action. We like it a bit better than the Olympus E-M1 Mark III, another recent Micro Four Thirds update, but it’s not our favorite all-around camera in this class. The Fujifilm X-T4 is our Editors’ Choice winner, as it’s a stunning stills camera and no slouch when it comes to video.
