Panasonic Lumix GH5S, Unstabilized Genius of Low Light Cinematic Video – Giant List of Links and Videos

Panasonic drew back the curtains today at CES 2018 in Las Vegas on one of the most controversial cameras of the last twelve months, one the existence of which has been hotly debated and even more hotly denied by potential buyers right up to the moment Panasonic’s curtain-puller really started itching to pull the strings to revealed the company’s available darkness cinematic video-shooting genius, the Lumix DC-GH5S, to all the world. 

Panasonic Lumix DC-GH5S camera with DMW-BGG5 battery grip and Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric zoom lens.

As we have been preoccupied with serious health matters here at ‘Untitled’, we will be doing some catching up with our research into and coverage of the Panasonic Lumix GH5S over the next several days, but for now here are some lists of links to articles, press releases and videos about the camera and its pros and cons.

We will be adding further material as it appears and will add our own commentary as appropriate.

FYI, “unstable” refers to the GH5S’ controversial lack of in-body image stabilization aka IBIS and “genius” relates to the GH5S’ apparent low-light video capabilities.

Panasonic Lumix DC-GH5S

Apologies to my many female readers for the very real impression given by the links below that new product releases and trade shows like CES are “boys’ clubs” aka “sausage fests” aka “sausage parties” just like the movie and television industries themselves.

That is the reality of media production in all its forms worldwide as well as the usual situation for female brand ambassadors, moviemakers, product reviewers and members of the press both traditional and digital.

I have heard that there are signs things are changing but those days cannot come fast enough.

As Geena Davis of the Geena Davis Institute of Gender in Media states, “if she can see it, she can be it” and female visibility makes a huge difference to female participation.

Meanwhile many thanks to Panasonic Australia and its press relations consultants and staff members for all their kind assistance with assets for use in these articles.


Press Releases

Product Pages


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  • Angelbird 256GB Match Pack for the Panasonic EVA1B&H – special promotional packaging of two Angelbird 128GB AV Pro UHS-II SDXC memory cards that are just as usable in other cameras than the AU-EVA1 that also have UHS-II SD card slots.
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  • Atomos SUMO19M 19″ HDR/High-Brightness MonitorB&H
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News Shooter: Atomos Shogun Inferno & Ninja Inferno get AtomOS 8.4 firmware updates bringing easier HDR & 2K 240fps for Varicam LT

“… One of the fundamental issues with shooting HDR is your camera’s LCD screen isn’t an HDR monitor so you won’t see exactly what you’re getting. A great option is using the Atomos Shogun Inferno or Ninja Inferno for reference as well as recording to an edit friendly, high-quality codec….”

Atomos Facebook Page Notification of AtomOS 8.4 Release, 10th October 2017

We have just released AtomOS 8.4 – a major free update for our Shogun Inferno and Ninja Inferno 4K monitor/recorders with stunning new features.

The AtomOS 8.4 release makes capturing and delivering in HDR as seamless as in standard dynamic range (SDR). It also brings 2K 240fps Raw-to-ProRes and 4K 12-bit CDNG Raw recording to the Panasonic Varicam LT, when coupled with the Shogun Inferno. This adds to the existing Raw support for several Sony and Canon cinema cameras, as well as improving support and enhancements for many more cameras.

The Hybrid Log-Gamma (HLG) HDR output of cameras like the Sony FS5, Z150 and Panasonic GH5 can now be recorded directly to the Inferno series recorders with the correct metadata flags embedded into the Apple ProRes or Avid DNxHR .MOV files. With this metadata the recorded clips can be used seamlessly in an end-to-end HLG workflow, just like Rec709!

These HLG clips can be natively edited in NLEs that support HLG, or uploaded directly to YouTube HDR in HLG to be seamlessly played back on any SDR TV for stunning improvements using the current SDR infrastructure. This is achieved with the metadata flag from the Atomos recording following the file through the NLE, then on through to YouTube HDR upload. Finally, it is then played out from HDR supported devices like the Google’s ChromeCast Ultra and Amazon’s Fire TV with 4K Ultra over HDMI correctly to any SDR or HDR TV! – Atomos makes it simple to produce HDR in HLG today.

For both HLG and PQ formats, the HDR info frames detected on HDMI input can be used to automatically set the gamut and gamma of the Shogun or Ninja Inferno’s own display, making the user experience of shooting in HDR seamless. The HDMI output will also transmit the correct HDR info on loop out to other devices downstream. There is also the useful option to convert regular camera Log inputs from a wide range of cameras to display in HDR using either PQ or HLG, with a choice of output colour gamut – great if you want to connect a HDR TV in the chain.

The AtomOS 8.4 release also allows owners of the Shogun Inferno to use the Panasonic Varicam LT to create gorgeous slow motion footage in 2K at up to 240 fps, direct from the Raw output of the camera. A Shogun Inferno running the firmware also brings 4K 12-bit Raw to CDNG shooting at up to 30 fps and 2K 10-bit Raw to CDNG at 100 and 120 fps. The quality of this footage is astounding and makes the Varicam LT / Shogun Inferno combination an obvious choice for Raw and high speed, but without the costly media, licenses, or proprietary Raw recorders that are usually associated.

Also included is improved support and enhancements for several other cameras:

Users of RED DSMC2 cameras will benefit from the updated support of the IPP2 pipeline. Inferno monitor/recorders can now be set to display the output of the camera or footage shot using the Log3G10 curve with REDWideGamutRGB.

Analogue audio embedding is now supported on loop through, making the Infernos great gaming recorders, perfect for developers and other recording live game play up to 4Kp60 in amazing 10-bit quality.

Audio support with Nikon cameras is also enhanced, which should prove especially useful with the new D850 full frame 4K DSLR which was recently launched.

Support for 2TB drives has optimised providing extra long recording times for 2K/4K high frames and CDNG RAW workflow.

AtomOS 8.4 firmware is available now from the Atomos website. Download it for free here –


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Larry Jordan: An HDR Workflow in Final Cut Pro X

“HDR (High-Dynamic Range) video is the newest hot topic in media creation. It features both pixels that are brighter than what we are used into in HD and with a richer level of saturation….

… Until the standards for HDR solidify and settle down, it does not make sense for smaller shops to invest in HDR monitors. It does make sense, however, to start shooting high-bit-depth material to protect our projects and clients. And edit it in such a fashion that we can extract an HDR version whenever the client decides they want to pay for it.

Now, when you are ready to step up to HDR, FCP X can handle the whole process for you….”


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The Panasonic Lumix GH5 & Some Notes Before Upgrade to GH5 Firmware Version 2.0 – UPDATED

I was lucky enough to try out the Panasonic Lumix DC-GH5 recently and quickly came to the conclusion that it really is the top-quality Super 16/Micro Four Thirds documentary video and stills photography camera that I have been hoping for.

Looks like a previous reviewer forgot to re-attach the GH5’s rubber eyepiece.

As reported in a previous article, the GH5 loaner at right arrived in a stripped down state, minus its rubber eyepiece, HDMI port protector and the lens hood for the provided Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric kit zoom lens, so there were some minor challenges.

Sadly, the loan period expired before Panasonic released its feature-packed firmware version 2.0 so I have yet to experience all that the GH5 can do now, firsthand, so no HLG HDR or ALL-Intra for me for the time being.

Top of the wishlist

The GH5 and associated accessories have been living at the top of my video camera hardware wishlist for some time, but purchasing must be put off until our self-financing effort via land subdivision and sale is finally finished sometime early next year, after getting through the multiple gauntlets of high-priced consultants, three levels of bureaucracy, recalcitrant tradesmen and the inevitable cost overruns tying up all our savings until completion.

Seercam’s Cube GH5 cage with Classic Handle Plus and Extension Kit is terrific for bigger rigs on or off tripod or stripped down to cage alone for smaller and more mobile assignments. Seercam is currently working on a battery pack, seen at right behind and below the microphone. As a fan of Panasonic’s battery packs, I look forward to Seercam’s coming cage-savvy battery solution.

When I do get my own GH5, one thing is certain – I will be adding a battery grip and XLR adapter and I am hoping that Olympus will have released its M.Zuiko Pro 17mm ultra-fast prime lens by then along with the 42mm and perhaps a 12mm or 14mm focal length.

Although I do love my Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens for stills and video, I always feel safer supplementing it with a fast prime to account for available darkness situations and find a moderate wide-angle more versatile than a so-called normal focal length of 25mm in Micro Four Thirds.

I am hoping Olympus’ excellent pro-quality M.Zuiko Pro lens range will achieve a full complement of well-spaced fast primes and zooms by early to mid-2018.

Although I own and use several non-M.Zuiko Pro Olympus and Panasonic lenses and find their lack of manual clutch focus annoying, their focus-by-wire challenging but workable enough via back focus button, I am far more comfortable with lenses I can manually focus fast with repeatable and predictable results.

Stills made with the GH5

The Panasonic Lumix GH5 is a fine stills camera made more so with the absence of an anti-aliasing filter to combat moiré.

I am adding photographs here as I reprocess them in the latest versions of some raw processors and image editors.

Most have been done in DxO Optics Pro Elite as that is the very first raw processor I ever used and remains my reference for all camera types other than Fujifilm.

DxO products are built on a codebase that supports only Bayer sensors, not non-Bayer sensors such as Fujifilm’s X-Trans.

Video still frames shot with V-Log L, processed with Leeming LUT One for V-Log L 501 rc2

Leeming LUT One is being updated to version 501 to get even better results from GH5 V-Log L footage at the moment and will be released soon along with LUTs for Cinelike D and HLG HDR.

In the meantime, here is a gallery of GH5 V-Log L video still frames minimally graded with Leeming LUT One version 501 RC 2 with the occasional addition of a second LUT from Paul Leeming’s free Leeming LUT Quickies 1 version2 set.

I found that the combination of V-Log L plus Leeming LUT One with the GH5’s in-body stabilization is a powerful one, granting me the confidence in knowing I am able to shoot almost anything anywhere.

As a result using the GH5 was, quite simply, fun.

Of course neither IBIS nor V-Log are the answers to every shooting situation and there are times when I will want to carry a monopod, a tripod or one of the new generation of gimbals like the Zhiyun Crane 2.

Video still frames shot on GX8 with Cinelike D, processed with Leeming LUT One for Cinelike D 501 rc2

I was so taken with the GH5’s V-Log capability that I quite forgot to shoot enough Cinelike D footage, but here is some footage from my GX8 by way of comparison.

According to professional documentary cinematographers like Rick Young of Movie Machine, the GX8’s sensor is not dissimilar to the one in the GH5 and produces similar results to the point where they use both cameras on the same projects.

I don’t think I am going to have any problems editing footage from the GH5 and GX8 together in the same project when using the appropriate Leeming LUT One for each.

GH5 first impressions

Straight out of the box and in its shopworn state, as it were, the GH5 impressed me with a solidity and ease of handling well beyond that of the GH4 and even the GX8.

The GH5 packs so much more processing power in than its GH4 predecessor and GX8 sibling, and that extra hardware has to go somewhere so a slightly bigger and heavier body it is.

The GH5’s hardware ergonomics has advanced beyond that of the GH4 and Panasonic has done so with great balance and a solid feel in the hand.

Some reviewers have complained about its size and weight but, as always, I prefer small cameras to be a little weightier for better balance and achieve that by adding battery grips, cages and other accessories as appropriate.

Naked or mounted in Seercam’s excellent Cube GH5 cage with Classic Handle and Extension Kit, the GH5 felt just right and neither too heavy nor too light.

Other users may differ but I prefer a little extra weight due to permanent injuries received on the job some years ago as it helps with my own sense of balance and ability to move.

There were, as always, annoyances with the GH5 but they were minor and have now been accounted for in Panasonic’s GH5 version 2.0 firmware release.

Foremost was the positioning of the Display button in precisely the worst location possible, with one solution being adding a Sugru collar around it and the other, courtesy of firmware version 2.0, switching the button off via a menu item.

The other annoyances were so minor that they have escaped me now, sorry.

With the GH5’s stablemates

Panasonic Lumix GX8 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro and Røde VideoMic Pro+ attached via no-brand 3.5mm-to-2.5mm adapter that I have since replaced with a Beachtek SC25 coiled adapter cable.

While the GH4 and GX8 retain their places in my heart for advancing the small camera moviemaking promise that Canon’s EOS 5D Mark II waggled so prominently about, the GH5 gives me the best of those two Lumix stablemates along with other fine qualities from more recent Panasonic releases, the G7 and the GX80/85.

I have not had the pleasure of trying either of those two latter cameras, but there are clear similarities between the GX8’s sensor and the GH5’s, something I deduced when applying Leeming LUT One for the GH5 to footage from the GX8.

The GH5 and its siblings show that the self-funded independent moviemaking road ahead belongs to mirrorless hybrid cameras, with an array of professional-quality features DSLR-users can only dream of and that may never come to DSLRs of either traditional major brand.

Pro-quality video features

Foremost of these features is the GH5’s ability to shoot 4K UHD and 4K DCI video in 10-bit 4:2:2 with the V-Log L flat logarithmic photo style, the closest thing to raw that can be achieved in a non-raw video camera.

The first thing I did when the GH5 review loaner arrived was to install indie documentary moviemaker Griffin Hammond’s GH5 camera settings file, but after comparing his Natural-based custom photo style with others offered by the GH5, it was clear that V-Log L was what I really wanted.

I had passed on V-Log L for the GH4 after downloading and trial-grading 8-bit 4:2:0 log footage that early purchasers were sharing.

Macro colour blocking and other strange behaviours indicated Panasonic was reaching too far with too little colour depth and that 10-bit 4:2:2 was the way to go.

Then there was the unfortunate still-current issue of the way in which Panasonic sells the V-Log L licence.

Sending a slip of paper in a cardboard box packed with synthetic filler around the planet so one can complete the transaction online before throwing box, filler and little bit of paper away – sheesh.

Sorry but time to wake up and smell the coffee of global environmental responsibility, Panasonic.

Getting the best out of non-log footage prior to the GH5

Paul Leeming’s GH5 rig in 8Sinn cage and Scorpio handle, rod riser, Shoot35 follow focus, and Manfrotto Xume magnetic filter attachment system on vintage Zeiss Contax prime lens.

Instead of Natural or any other Rec. 709 photo style, I chose a Leeming-customized Cinelike D photo style for my GH4 and GX8, and have been happy with the results even though they both only shoot in 8-bit 4:2:0.

Then and now, 4K 8-bit 4:2:0 flat footage shot at 400 ISO satisfies a fair percentage of my short movie shooting needs.

Paul Leeming’s Leeming LUT One for the GH4 brought the best tone and colour rendering I had achieved in small camera video by combining Mr Leeming’s custom Cinelike D settings with his Leeming LUT One for the GH4 applied to my footage in Final Cut Pro X, Blackmagic DaVinci Resolve or, even, Adobe Photoshop’s Motion workspace for short video projects.

Paul Leeming testing Panasonic Lumix GX8, Blackmagic Pocket Cinema Camera, Samsung NX1 and Digital Bolex D16 cameras for versions of Leeming LUT One for each.

I have achieved good results on the GX8 with the GH4 and now more recently using the GH5 version of his Cinelike D LUT to the point where I am happily combining Cinelike D and V-Log L footage from all three cameras into the same movie project.

Mr Leeming tells me he will be updating some of his LUTs after having completed work on several feature film projects to approach the results he has obtained with the V-Log L photo style version of his LUT for the GH5.

Work is in progress right now on that and he will be releasing recommended camera settings for all Panasonic cameras along with two Leeming LUT One versions that will work for all off them, for Cinelike D and V-Log L.

Versatility and 15 photo styles options

I set the GH5 loaner up with Mr Leeming’s Cinelike D and V-Log L photo style customizations, but shot most of my video on V-Log L and have been very happy with the results and the one to two stops extra dynamic range that it bestows.

The GH5’s 10-bit 4:2:2 V-Log L and ISO range from a base of 400 up to 1600 or 3200 depending on how prepared one is to apply de-noising in post-production gives me the confidence to take on pretty much any subject or common lighting situation.

Panasonic has gone to town with photo styles on the GH5.

As well as four custom settings slots, eleven readymade customizable styles are available when shooting video and one has a choice of nine when shooting stills.

The Panasonic Lumix GH5’s 15 Photo Styles:

  • Standard
  • Vivid
  • Natural
  • Monochrome
  • L.Monochrome
  • Scenery
  • Portrait
  • Custom1
  • Custom2
  • Custom3
  • Custom4
  • Cinelike D
  • Cinelike V
  • Like709 – video-only
  • V-Log L – video-only

The new ability to shoot JPEGs in Cinelike D or Cinelike V is an interesting one. I bought my GX8 as a backup video camera as well as production stills camera, and the addition of both customizable options to the GH5’s stills photo styles list improves its usefulness as a production stills camera, alongside of its 6K and 4K Photo capabilities.

Shoot Cinelike D or Cinelike V JPEG stills for fast, easy integration into the video edit without raw processing or painstaking colour matching.

If the video has been shot in Cinelike D customized for Leeming LUT One, create a matching customized Cinelike D for your JPEGs, hand them over to the production company then archive your raw files for post-processing later.

For years I relied on two Leica M4-P rangefinder cameras and a set of Summicron lenses for documentary, magazine and newspaper photography assignments and personal projects, along with cameras in other formats.

Movie production stills photographers traditionally rely on DSLRs encased in blimps, an unwieldy and costly solution to the need for shooting silently when the cinema cameras are running.

However, the production stills photographers of my early acquaintance carried Leica M rangefinder cameras that they used in between takes, not while movie film was rolling.

Although I did not enter my colleagues’ esteemed ranks working on feature films, I took on the occasional small production stills assignment and relied on my Leicas, 120-format rangefinder cameras and 4”x5” sheet film cameras, all mirrorless and close to silent when shooting.

Now, I might choose from an array of mirrorless cameras each with the native ability to shoot silently via their electronic shutter options with my current personal preference being rangefinder and rangefinder-style cameras in Micro Four Thirds and APS-C sensor sizes.

Sensors, sizes and camera shapes

In the long lead up to the arrival of the GH5, some documentary moviemakers of my acquaintance added a GX8 to their tool kit and raved about how good its video is and speculated that the GH5’s sensor may have similar qualities.

Their guesses were close to the mark especially in both cameras’ megapixel ratings. 20MP has become the new mirrorless base standard, and picky clients have even fewer reasons to demand their photographers shoot only with so-called “full format” or “full frame” cameras.

Until I invest in a second Fujifilm X-Pro2 rangefinder camera or more likely the coming OVF-less X-E3 for second-camera duties on documentary stills projects, I carry my 20MP GX8 alongside my 24MP X-Pro2.

Despite its lack of an OVF, the GX8 handles in a similar way to the rangefinder camera especially in allowing me to shoot with both eyes wide open and brain displaying wider and narrower images side-by-side.

Better yet, the GX8’s unique tilting EVF allows me to shoot as if using a waist-level viewfinder camera like the sadly discontinued Rolleiflex Twin Lens Reflex cameras.

Full articulation and HDR bracketing

The GH5 and other DSLR-style cameras do not, or at least they do so with some difficulty.

I was not a dedicated SLR photographer during the analog era, preferring rangefinders and the sheet film cameras with which I learned photography in art school.

However, I find that DSLR-style cameras like the GH5 and GH4 are my best option for two forms of photography for which I once relied on sheet film and roll film technical cameras – architecture and product photography.

The key feature tipping me over into relying on both cameras for both types of subject of matter is their fully articulated monitor.

The one or two-way tilting monitors on Sony’s and Fujifilm’s cameras do not come close in utility value. If a monitor is to move at all, please, give me full and not partial articulation.

I often shoot HDR architectural exteriors in our famous Australian laser beam sunlight that makes squinting into an EVF a challenge.

A fully articulated monitor can be tilted and swung away from the camera body and shaded or shielded with a hood.

It allows me to hold the camera high or low without the old news photographer’s Hail Mary guess at what the camera is actually seeing.

Product photography in my cramped little kitchen-cum-studio is next to impossible without a fully articulated monitor allowing me to set up and make a shot while standing off at left or right of the camera and Panasonic has my eternal gratitude for this.

Much of my product photography is shot in HDR these days, a habit I took up when I discovered my GH4 allows up to 7 bracketed exposures.

I stayed away from High Dynamic Range photography for years when HDR appeared to be all about hyper-surrealism and the extreme exaggeration of colour and tones.

All that changed with Macphun’s Aurora HDR 2017 and now Aurora HDR 2018 used in combination with Macphun’s Luminar raw processor-cum-image editor, allowing me to produce architectural and product shots that look and feel more realistic than single-shot photography permits.

Recently I have found myself shooting 5 to 7 brackets at 2/3 to 1 stop apart, combining them in Aurora then exporting them to Luminar for export to JPEG after the most minimal of tweaks.

On lenses and the Leica kit lens

GH5 with Panasonic Leica 12-60mm f/2.8-4.0 kit zoom in its Seercam Cube GH5 cage with Røde VideoMic Pro and Peak Design Clutch and Cuff camera straps, making for a versatile, protective handheld rig. Breakthrough Photography ND filter attached via Breakthrough Photography brass step-up ring.

The loaner GH5 came with the Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric Power OIS zoom lens, one of two kit zoom options with the other being the Panasonic Lumix G X Vario 12-35mm f/.8 II Aspheric Power OIS zoom lens.

The Leica zoom lens’ optical qualities are a pleasant reminder of my beloved Leica M-System prime lenses and its 12mm to 60mm is a more versatile improvement on its Lumix sister’s shorter 12mm to 35mm focal range.

The rationale for kit zooms is that they should provide enough focal lengths to cover most stills or video situations that one might encounter.

The Leica zoom is a promising solution for photography given the GH5’s ability to leverage the lens’ Optical Image Stabilization with the camera’s In-Body Image Stabilization via its Dual IS capability.

Its low effective maximum aperture of f/4.0 at the long end is more of a problem for documentary video where shooting in unpredictable lighting is common despite the increasing availability of small, portable LED lights.

While carrying the GH5 plus Leica zoom throughout the day within a range of lighting conditions, I often found myself yearning for a faster maximum aperture or a longer maximum focal length as well as a more usable manual focussing system than focus-by-wire.

I would love to see Panasonic’s optical engineers take a leaf out of the Olympus lens design book.

The manual clutch focus feature in Olympus’ ever-growing M.Zuiko Pro prime and zoom lens range tipped the balance for me in buying two Olympus zoom lenses and I have more on my wishlist.

Ditto the Olympus M.Zuiko Pro f/2.8 zoom lens maximum aperture and f/1.2 prime lens maximum aperture.

Many times even f/2.8 can be a stop or two too little and having one or two f/1.2 prime lenses in one’s video camera kit proves to be a wise investment.

If f/2.8 or f/1.2 and upper ISOs of 1600 or 3200 are not enough then time to consider carrying a Rotolight Neo 1 or Neo 2 to supplement that available darkness with some beautiful available light.

Enough for now?

I had intended this article to be much more in-depth when commencing writing, but being at the end of the review loaner queue tends to steal one’s thunder after so many brand ambassadors and early adopters have already published such excellent videos and articles.

What, I often wonder, would I have to add that is new and interesting to an already mature conversation?

I have removed the video still frames and photographs used to illustrate the first version of this article as software and LUT makers have now added or improved GH5 support to their products or that support will be be coming real soon now.


Image Credits

Header image concept and hack by Carmel D. Morris. Product shots made as single shots or HDR brackets on Panasonic Lumix GX8 or GH4 with Lumix G 25mm f/1.7 Aspheric lens then processed with Macphun Aurora HDR 2018.

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Nick Driftwood: 8K Lumix GH5 Hi Rez Anamorphic – Hybrid Log Gamma – All Intra HLG Pro Rez to HEVC using Handbrake

“Music by Nick Driftwood. This is a 10-bit 420 encode using Handbrake HEVC x265. Now you can use Handbrake to encode your HLG Rec2020 / videos. This is an extreme example at hi rez anamorphic but basically the settings for handbrake h265 HEVC encodes are the same. Use the CRF constant Rate Factor to slide/change quality (lower is better quality but longer encodes).

Use chrome or other compatible browser to view upto 8K (Anamorphic x2 desqueeze to 9 884 pixels x 3 744 pixels in great quality INTRA).

Download special commit of Handbrake or info to build your own from here:

The critical thing to remember is to insert the text ‘transfer=arib-std-b67’ into the Additional Options box.”


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  • Atomos Ninja Inferno 7″ 4K HDMI Recording Monitor and accessoriesB&H
  • SLR Magic 35mm, 50mm, 70mm 2x Anamorphot-CINE Lenses (MFT Mount), sold individuallyB&H
  • SLR Magic 2x Anamorphot-CINE Lens Set with 35, 50, 70mm Lenses (MFT Mount)B&H
  • SLR Magic 25mm T0.95 HyperPrime Cine III Lens and Anamorphot-40 1.33x Anamorphic Adapter Kit (MFT)B&H
  • SLR Magic Anamorphot-40 1.33x Anamorphic Adapter (Compact) – B&H
  • SLR Magic Anamorphot 133X – 40 With Built-In RangefinderB&H
  • SLR Magic Anamorphot-50 1.33x Anamorphic AdapterB&H
  • SLR Magic 25mm T0.95 HyperPrime Cine III Lens (MFT Mount)B&H
  • SLR Magic Cine 35mm T0.95 Mark II Lens with MFT Mount – B&H
  • SLR Magic Cine 35mm T1.4 Mark II Lens with Micro Four Thirds Mount – B&H
  • SLR Magic HyperPrime 50mm T0.95 Lens with MFT Mount – B&H

4/3 Rumors: Panasonic officially released the GH5 firmware update!

“The Big GH5 firmware is now available for download at

And the good news is that there is also a firmware update for the GH4, 30mm and 42,5mm lenses…”


Image Credits

Header image concept and hack by Carmel D. Morris.

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  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 8-18mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-35mm Lens KitB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H