bit LongGOP) (LPCM, High-Res Audio)/<3328x2496> 29.97p, 400Mbps (4:2:2 10-bit ALL-Intra) (LPCM, High-Res Audio) *7/<3328x2496> 29.97p, 150Mbps (4:2:2 10-bit LongGOP) (LPCM, High-Res Audio) *6/<3328x2496> 29.97p, 100Mbps (4:2:0 8-bit LongGOP) (LPCM, High-Res Audio)/<3328x2496> 23.98p, 400Mbps (4:2:2 10-bit ALL-Intra) (LPCM, High-Res Audio) *7/<3328x2496> 23.98p, 150Mbps (4:2:2 10-bit LongGOP) (LPCM, High-Res Audio) *6/<3328x2496> 23.98p, 100Mbps (4:2:0 8-bit LongGOP) (LPCM, High-Res Audio) This means that rather than using a cropped area of the sensor when shooting 4K as was the case with the GH4, the GH5 uses the entire width of the chip and then downsamples the footage in-camera. This also means that framing won’t be cropped, and you’ll be able to use your lenses as if you’re shooting stills. As a result, the footage doesn't always look quite as sharp as its peers, but should be less susceptible to aliasing, which would be difficult to remove, where it occurs. As before, this is a very sensible, high quality result. Noticeably, the quality of the 60p footage is very similar to that of the 24p capture (with a touch more noise as a result of the faster shutter speed that's needed, meaning less light was captured, per frame). DR and Cinelike differences

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 a wide range of lenses for the Micro Four Thirds format, one option being the Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4 (24-120mm equivalent).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. Then, of course, there's the autofocus. Chris and Jordan's tests show it does well in 60p mode, but that 24p still lags behind the best of the competition, which limits the types of shooting the GH5 II can adapt to. For videographers, the GH5S specs are sensational, though it’s only when you drill down into the technical details that the difference between this and regular cameras that shoot 4K video start to become apparent.

C4K] 4096x2160> 24.00p, 400Mbps (4:2:2 10-bit ALL-Intra) (LPCM) *7/<[C4K] 4096x2160> 24.00p, 150Mbps (4:2:2 10-bit LongGOP) (LPCM) / 100Mbps (4:2:0 8-bit LongGOP) (LPCM)/<[4K] 3840x2160> 24.00p, 400Mbps (4:2:2 10-bit ALL-Intra) (LPCM) *7/<[4K] 3840x2160> 24.00p, 150Mbps (4:2:2 10-bit LongGOP) (LPCM) / 100Mbps (4:2:0 8-bit LongGOP) (LPCM)/<[Full HD] 1920x1080> 24.00p, 200Mbps (4:2:2 10-bit ALL-Intra) (LPCM) *7/<[Full HD] 1920x1080> 24.00p, 100Mbps (4:2:2 10-bit LongGOP) (LPCM) *6/<[Full HD] 1920x1080> 24.00p, 100Mbps (4:2:0 8-bit LongGOP) (LPCM)/<[Full HD] 1920x1080> 24.00p, 24Mbps (4:2:0 8-bit LongGOP) (AAC) The GH5 II also offers Panasonic’s V-Log L log mode pre-installed, which was a paid upgrade for the GH5, and also comes with two updated Cinelike D2 and Cinelike V2 gamma presets (V1 in the GH5), plus two new L.Monochrome S and L.Classic Neo color profiles. We also found the livestreaming options currently available to be unreliable. And, while the Wi-Fi and cellular networks we were using may have contributed to this, it adds too much uncertainty to make the feature truely useful. We're hoping that the promised USB tethering option will improve matters.Where regular cameras place a limit on the maximum video recording time, the GH5S offers unlimited recording. It also records at higher quality levels than those cameras – not in terms of resolution, but colour depth and compression. It does this by recording video at 10bits not 8bits. It might sound like a small difference, but that’s four times the colour data of regular 8-bit video, for smoother gradations in tone and less risk of banding. It also offers higher 4:2:2 colour subsampling, which means less colour interpolation – and all this with internal recording to a memory card. MOV: H.264/MPEG-4 AVC (Audio format: LPCM (2ch 48kHz/16-bit, 48kHz/24-bit*, 96kHz/24-bit*)) *When attaching DMW-XLR1 (sold separately)./MP4: H.264/MPEG-4 AVC, H.265/HEVC*7 (Audio format: LPCM (2ch 48kHz/16-bit), AAC (2ch))/AVCHD Progressive, AVCHD (Audio format: Dolby Audio 2ch)