You’ll find our test footage for the GH5 II and our notes of each function. This page will be updated regularly.
Anamorphic in 6K and 4K
The GH5 II can shoot up to 6K Anamorphic (4992 x 3774) at 200 Mb/s in 10-bit at 4:2:0. We shot on the Sirui 50mm f/1.8 Anamorphic 1.33x Lens. We really enjoyed shooting at the wider aspect ratio. Most of our shooting was at f/18 because we didn’t have an ND filter.
To shoot anamorphic on the GH5 II, you first have to choose a recording function that captures in 4:3. At this point, the image on the monitor is 4:3 and everything is squeezed. Thankfully, the GH5 II has a desqueeze function. This is required to be even when reviewing captured footage. Another new feature to the GH5 II is sensor stabilization when shooting anamorphic, which is a fantastic addition.
Up to 180 frames per second (fps) in HD or 60 fps in 4K
The GH5 II offers a variable frame rate mode that can shoot up to 180 frames per second in HD. A byproduct of being in this shooting mode is that audio is not captured. 180 fps is on the cusp of being specialty slow motion. When slowed to 24fps, a 2-second capture at 180fps plays back as 15-second slow motion.
The camera can also shoot up to 60fps in DCI 4K.
The original GH5 has the option of a paid upgrade that brings V-Log to the camera. Comparatively, the GH5 II comes standard with V-Log and is the VariCam version of V-Log called V-Log L. Our dynamic range test will be coming shortly.
You can either use the full width of the sensor or be in pixel for pixel mode. It is helpful to use pixel for pixel mode to get a little further reach on a shot when you need it.
Low light performance a.k.a ISO Noise test
Low light performance – we would recommend using it up to 6400 ISO, but over that the noise color shifts and is much more noticeable. Any denoising to footage over 6400 will likely result in detail loss
New photo styles for the GH5 II include L. Classic Neo, L. Monochrome S, Cinelike D2 and Cinelike V2.
AF didn’t work well. In the testing situation, the subject was in low contrast with the background. There was significant hunting regardless of our settings, and other faces confused the camera as to what the main subject was. It might work better in high key settings. However, we wouldn’t rely on the AF from the GH5 II.