“Panasonic’s $7,345 AU-EVA1 is a Super35mm single-sensor camcorder with a 5.7K Bayer-mask sensor, an EF lens mount, variable frame rates, and 14+ stops of dynamic range, recording on SDXC cards using log, HLG, and standard gamma renderings. Its compact, boxy body with removable rotating side grip is like that of the Sony FS5, but its images, menus, and touchscreen monitor make it feel more like a junior VariCam LT, with maybe a pinch of DVX200 added into the mix….”
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.
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.
Fully-articulated LCD monitor of Panasonic’s Lumix DC-GH5S can be folded to protect the glass, an excellent feature when shooting in the field in difficult and dirty conditions.
Panasonic Lumix DC-GH5S
Flipping the Panasonic Lumix DC-GH5S’ fully-articulated LCD monitor and rotating it is crucial when shooting in tight spaces.
The Panasonic Lumix DC-GH5S’ touch screen enables operating and focusing when unable to have the EVF to your eye. It can be positioned off to the left and tilted two ways when you can be directly behind the camera.
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.
Digital Trends – Panasonic Lumix GH5S hands-on review – “…if video is your thing, we expect the GH5S may be the best sub-$3,000 camera out there, and it even gives more expensive cameras a serious run for their money.”
cinema5D – The Man Behind the Panasonic GH5S – “An interview with Yosuke Yamane-san – the head of imaging at Panasonic and a key person behind the newly announced Panasonic GH5S – about the new camera and beyond.”
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Angelbird 64GB AV Pro UHS-II SDXC Memory Card – B&H
Angelbird 128GB AV Pro UHS-II SDXC Memory Card – B&H
Angelbird 256GB Match Pack for the Panasonic EVA1 – B&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.
Angelbird Atomos Master Caddy 4K RAW (500GB) – B&H
“Designed for DSLR and mirrorless cameras, the Ronin-S combines advanced stabilization, precision control, and manual focus control capabilities in a compact, single-handed form factor. With the Ronin-S, creators can shoot with the freedom of stabilized shots on the move….”
Not one but two new cages for the Fujifilm X-T2 camera have been released by SmallRig and these are as unexpected in their design and assembly methods as LockCircle’s cage for the X-T2 minus vertical power booster grip that I wrote about earlier this year. These are interesting times, not only for X-T2 cages but for the X-T2 itself, with a rumoured firmware update soon to appear and a possible “ultimate X-camera based on the X-T design”.
A standout feature in the larger of SmallRig’s two cages for the X-T2 is that they arrive in four pieces that then require the proud new owner to do a little self-assembly work with a classic Allen key.
The Vertical Power Booster Grip-inclusive SmallRig design seems to have one flaw that photographer/moviemaker Mike Kobal discovered when assembling his recently, in the way the included HDMI cable clamp prevents easy access to the VPB-XT2’s battery tray.
Mr Kobal’s solution was to extend the clamp away from the cage body via two rods included with another camera cage in his collection. A SmallRig-branded alternative may lie in SmallRig’s own 15mm 1/4″-threaded micro-rods.
SmallRig X-T2 Cage for Fujifilm X-T2 Camera 1888
SmallRig Fuji X-T2 Cage for Fujifilm X-T2 Camera 1881
SmallRig HDMI Cable Clamp for Fujifilm X-T2 Cage 1949
I have been informed of other X-T2 custom cages on the horizon and am keeping a keen eye out for them. An X-T2 is high up on my wishlist as companion for my X-Pro2 for zoom lenses and prime lenses wider and longer than comfortably work with the X-Pro2’s hybrid optical viewfinder, but I am in two minds about the X-T2 as a video camera right now.
As cinematographer/director Paul Leeming has written, the 4K Super 35 X-T2 needs some firmware updates for it to become a serious contender against Panasonic’s 4K Super 16 Lumix GH5. A better bet may be to wait until that mooted “ultimate X-camera based on the X-T design” arrives on the scene sometime in the coming year.
Meanwhile some intriguing developments are occurring on the Fujinon broadcast and cinema lens front, with the legendary high-end Cabrio PL-mount lenses dropping US$10,000 each, as reported by News Shooter below, and the two zoom lenses from Fujifilm’s new MK line appearing later this year with X-Mounts.
Might X-Mount XK zooms be a distant possibility, perhaps when that “ultimate X-camera based on the X-T design” arrives? In which case, heftier X-T design camera cages will be required for the higher-end Super 35 moviemaking to which the camera may be perfectly suited.