This is the Panasonic LUMIX S5 II,
a camera which in my opinion is the best value option
available on the market today
and possibly of all time.
Let's get undone.
(lively music)
♪ Gerald undone ♪
♪ He's crazy ♪
What's happening everybody?
I'm Gerald Undone and this is what happens, Larry!
So as usual, some disclosure.
Panasonic lent me this S5 II body
and a couple of lenses to make this review.
I don't get to keep them,
no money changed hands,
and Panasonic does not get to preview this video
before I post it.
Also, I was not involved in the press trip to Japan
and am not on any long-term loaner program with Panasonic
for any of their gear.
So I'm as neutral as I can be in making this review.
This video does have an actual sponsor though,
and that's Storyblocks.
And I'd also like to give a thank you to Camera Canada
for lending me the original S5 for comparison
and a couple of other lenses to help with the testing.
I'm a big fan of their store
and always appreciate them helping with these reviews.
Now I'm a big fan of the full frame Panasonic bodies.
In fact, I've gone so far as to say that
they're only a Sony autofocus system away
from being perfect cameras.
So, obviously I was very excited to test out this new camera
since they've essentially done that,
added a competent phase detect autofocus system
to an already fantastic camera line.
They've also done a few other things
to improve the original S5,
so let's discuss those now.
First, they've done away with the recording limits.
Well, mostly.
The only modes that you'll find any recording limits
are the 5.9K30 and the 6K30,
which by default are limited to 30 minutes of recording.
But 6K24, 4K60 and so on have no limits.
However, they've also added a thermal management function
that lets you increase the temperature threshold to high,
which will remove the 30-minute limit from even the 6K30,
but will increase the temperature of the body.
However, something I really like about Panasonic
is how they market their cameras regarding overheating.
They test and rate their cameras
for up to 40 degrees Celsius or 104 Fahrenheit.
I don't know of any other hybrid manufacturer doing that.
This provides a lot of confidence
knowing that you'll get similar results in studio
as you would out on a hot summer day.
They've also installed a clever little fan
inside this area of the camera
that draws cool air in from the front
and exhausts it out the side.
And you have control over the fan modes in the menu.
I've been running it on the Auto2 mode
and even during long 6K recordings,
I've never heard it once.
Now when it comes to runtimes,
in 4K24, I got 2 hours and 15 minutes
before the battery died;
in 4K60, I got 1 hour and 45 minutes,
again, before the battery died;
and in 6K open gate, I also got 1 hour and 45 minutes
before the battery died.
No overheating in any mode,
and no issues with extended recording.
And this camera is using the same BLK22 battery
that you'd find on the S5 and GH6.
So the only recording limitation is battery life.
But thankfully, since they've upgraded
to USB-C power delivery on this camera,
you can run it indefinitely that way.
On the previous S5, by my testing,
it would charge at 7.5 watts,
but then drop to 3 watts when using the camera.
On this S5 II, you charge at 10 watts
and keep that 10 watts when the camera is running.
Now with those recording modes,
there's some things to mention.
First, it's impressive that this camera can do 6K30
when even the S1H doesn't do that.
That camera caps at 6K24.
And I love that they've added more frame rate options
over the original S5, like 4K 48p,
and they've bumped the 4K60 to 10-bit 422
instead of 420 on the original.
And at 1080p, you can now record high frame rates in 10-bit
up to 180 frames per second instead of just 8-bit
like on the previous model.
However, be aware that the 4K48 and 4K60
are still an APS-C crop.
So no full frame 4K60.
This is a bit of a bummer,
but considering the price, I'm willing to accept it.
Also, there's no All-Intra options on this camera,
but there wasn't on the original S5 either.
But this brings us to another camera
that Panasonic is announcing
but that won't be coming out for a few more months,
the S5 IIX.
Now those aren't available for review yet,
but I wanted to make you aware
that there will be an edition of this camera
that does have All-Intra recording,
ProRes options, external RAW,
and even the ability to write to a USB-SSD.
It'll also be a blackout design
with almost none of the white text.
Now I'm told this camera will be $200 more
than the base S5 II
and will carry all of the same photo
and video functionality,
but just add those extra recording modes.
But if you don't need those extra features,
you can safely order this S5 II and save 200 bucks.
Also, speaking of the design,
when it comes to the build and ergonomics of this S5 II,
it's almost identical to the original S5,
save for a few improvements.
First, the joystick is now a bit bigger
and moves in 8 directions instead of just 4.
They've removed the jangly strap triangles
of the previous model and replaced them
with these rectangular eyelets that don't move.
I appreciate this.
And they've upgraded the micro HDMI port
to a full size Type-A.
They've also thickened the grip a bit
and improved the angle of the shutter button,
which does feel nicer, but it's a minor change.
Oh, and they moved the viewfinder sensor
from the bottom to the top
to reduce the unintentional detections
that cause a switch to the EVF
when your hand is in that area pushing buttons.
This is actually pretty clever.
Other than that, you'll feel right at home here
if you've used any of the modern LUMIX bodies.
I really like the layout and ergonomics of these cameras,
but if I was able to make one change,
it would be to add a button to the top
of this rear dial to lock it.
I find I rotate this thing accidentally way too often.
Now you can use a function button in the menu
to lock all the dials with software,
but not any one dial individually.
My workaround was to turn on Synchro Scan
so that even if I do accidentally change it,
it's only by a single degree and not by a whole stop.
Plus Synchro Scan is just good in general
for reducing the flicker of LEDs in your shot.
Also, be aware that this camera does not have a tally lamp,
but it does have a flip out screen
with an option to put a big red box on that screen
to show you that it's recording.
Now speaking of that upgraded HDMI port,
I have some praise and some complaints.
First off, I love how well HDMI works on Panasonic cameras.
I like that you can display your on-screen information
on your external monitor even in 4K.
I like how neither screen blacks out when you do that.
And best of all, you don't lose touch tracking
on the camera LCD when doing this.
Something I wish Sony would fix on their cameras.
However, I do find it strange
that you lose the on-screen information
and display options on the camera LCD
when doing that external OSD monitoring.
It basically shows a clean feed only on the camera
during this output type.
It would be nice to have more flexibility here,
like maybe the ability to show the big
six-button display on the LCD,
while showing the rest of the OSD info
on the external monitor.
Or even just a mirror mode would be useful.
Also, because of the bigger HDMI port,
you can't rotate the LCD screen as much as you could before
or as much as you can with some other brands,
which I did find annoying at times.
It almost makes me wish they put that multi-way
flippy screen from the GH6 or S1H on this camera,
that might have solved my issue.
But again, these are minor gripes.
Also, I really appreciate the separate controls
for the V-Log View Assist in deciding whether to show it
on the camera screen or HDMI,
neither, or both.
This is great.
But they've also added user LUTs to this camera
that you can upload and then either use them to monitor
or actually bake them in with this new picture profile
called Real Time LUT.
This allows you to do quick delivery of files
right out of camera if you know ahead of time
a certain look that you plan to apply.
And you can use this for both video and photo.
But another fun application could be color space transforms.
Let's say you were mixing cameras.
You could load a V-Log to S-Log3 LUT onto your S5 II,
select Real Time LUT,
and then effectively shoot alongside some Sony cameras
and have them all be recording the same gamma and gamut.
This is a really cool feature.
However, despite all this praise I have for the HDMI output,
I do have one complaint
and I've already passed this on to Panasonic,
the audio when recorded externally
is consistently one frame behind.
I would love if they could fix this.
It's not the end of the world,
but it's annoying if you're a perfectionist,
and it requires extra work in post.
In fact, there's quite a bit of lag in general
coming out of that HDMI port.
Any movement on screen is echoed
about half a second later it seems over HDMI.
This is an area that could use some work.
Now while we're on the topic of log recordings,
this camera has full vlog,
which is a gamma I'm personally very fond of,
and it has dual native ISOs of 640 and 4000.
So as usual, I busted out the Xyla 21
and tested the dynamic range.
Panasonic rates this camera at 14+ stops,
and I can confirm that's what Imatest was able to detect.
At ISO 640 in 4K24,
we read a total of 14.2 stops.
So that's good.
But I also like to look
at how many clean stops we're getting.
So if we look at the score here next to medium,
which has a signal noise ratio of two,
we get 12.3 stops,
which is a great score and right in line
with other full frame Panasonic cameras.
So basically, we aren't losing anything
by switching to phase detect autofocus
when it comes to dynamic range, which is great.
And if we jump up to ISO 4000, the second native ISO,
we mostly maintain our results.
Not a perfect second native, but solid performance.
But there's a couple things to factor in here,
oversampling and noise reduction.
So first off, I love that this camera
gives us control over the noise reduction.
So for these tests I put it all the way down to 0.
But this noise reduction slider is actually kinda weird.
More on that in a minute.
Secondly, this camera oversamples from 6K
in the full frame 4K modes.
So I also wanted to test the 6K open gate
for dynamic range as well.
And interestingly, we maintained our 12.3 stops
when testing the 6K on a 6K timeline.
Usually we see a slight decrease here
because we're no longer oversampling.
But my suspicion is that the changing codec
is responsible for this.
In 6K, the camera uses H.265
versus the 4K's H.264.
I've found when testing other cameras in the past
that H.265 seems to perform better for noise than H.264,
so that must be the equalizer here.
But it's actually kinda gratifying to know
that you'll get similar performance
whether you record in 4K or 6K.
Now, because these were all without any noise reduction,
I figured I'd run some noise reduction in post
to see how many of those stops we could dig
out of the noise with low effort.
Since some camera companies don't allow you
to turn their noise reduction off,
which might be inflating their scores,
I thought I'd balance that out by putting a minor
amount of noise reduction on a node in DaVinci Resolve
and test it again.
And when I did that,
it jumped from 12.3 stops to 13.4,
which is a fantastic result.
However, I would not recommend
doing this noise reduction step in-camera.
First off, at lower ISOs,
the noise reduction doesn't appear to do anything.
Regardless of where I set it,
even all the way at +10,
the Imatest results were identical.
So at ISO 640, it doesn't seem to engage.
But then at high ISOs, when it actually does kick in,
the results are not good.
It's a blotchy mess and I actually prefer
the look of the noise image.
So leave that noise reduction at 0.
And if you need to clean up your image, do it in post.
But overall, the noise is handled well on this camera.
Moving through the ISO range,
I was impressed by the results all the way up to ISO 25,600,
which is surprisingly usable.
And you can push it all the way to 51,200 in a pinch.
Now obviously, I'd recommend skipping ISO 3200
and jumping right to 4000
to activate that second native ISO,
but then you can cruise on up to 12,800
with hardly any color shifting.
And on the topic of color,
I'm of two minds.
When it comes to using the official 709 LUT from Panasonic,
there's the subjective side of me that likes the result
and finds the look pleasing.
But objectively, it's not the most color-accurate
conversion on the market.
It definitely leans harder into the reds and magentas
than it does the other colors,
and the greens and cyans
can often be significantly underrepresented.
And if you push up your saturation broadly to compensate,
your reds become overpowering.
The Color Space Transform in Resolve
gives a better result though,
and it's important to note that
this isn't an issue with the camera
and more an issue with the official LUT.
But I'm pretty sure this is by design
because when it comes to skin tones and sunsets,
this LUT is great.
So it just comes down to taste.
But I do think it would be cool
if manufacturers started providing two LUTs;
a technical LUT that's color perfect,
and then a more creative LUT
that gives you the Panasonic look, for example.
That being said, you can safely isolate
and boost your greens and cyans
without the image falling apart
as these recordings are robust and grade very nicely.
And this camera matches the original S5
almost perfectly for color.
And for a more personal test,
I put the S5 II next to my main angle
to see how it looks in here
and I was very pleased with the result.
I was also impressed with the audio functionality.
You've got 3.5 millimeter headphone and microphone jacks
or you can install the XLR module
from the previous cameras into the hot shoe.
It now features 4-channel audio.
And when you plug a microphone in,
it lets you increase the sound quality
up to 96kHz at 24-bit if you want to.
I do wish I could choose between 4-channel
and 2-channel though,
because it's annoying seeing 2 empty tracks
in my NLE all the time when I don't need them.
I also find it hard to tell which jack is which
in a dark environment.
I'd suggest making the labels white
or making the mic jack red.
But it does have excellent gain adjustment, clean preamps,
and best of all, the ability to change
the mic input to line level,
which lets me record directly
from something like the Zoom F6,
which only has a line level output
and is often too hot for most mirrorless cameras.
But on the S5 II, it sounds great.
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and then recorded internally on the S5 II,
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I also tested the rolling shutter performance.
I'd say second to autofocus,
rolling shutter was probably the weakest aspect
of Panasonic full frames.
Not as bad as some of the competition,
but not in a place that I'd call good either.
And I'd say that's also true for this new camera.
It's not exactly good.
For full-frame, oversampled 4K at 24 frames per second,
I measured it at 21.5 milliseconds.
Now my benchmark for calling the rolling shutter good
is 15 milliseconds or lower.
But to be fair, this camera is much better
than the Sony a7 IV which reads at 26.9 milliseconds.
I did come across an anomaly here though.
I also tested the original S5
and it measured 26.1 milliseconds.
But I thought I remembered it being faster than that.
So I looked it up on CineD's database,
and, sure enough, they measured it
in the 21 to 22 milliseconds zone
back when they tested it originally.
So I retested it and still got 26 milliseconds.
Then I tried changing frame rates to 25p and 30p,
trying it in 422, 420,
turning random things on and off.
And no matter what I did,
the original S5 consistently measured 26 milliseconds.
So maybe a firmware update changed something
along the way on the original S5?
I'm not sure.
So I'd like to say that the S5 II
is faster than the original,
but when compared side-by-side, they look about the same.
What I can say for sure is that it's not any worse
despite adding a new autofocus engine.
So that's good.
It's also faster than the S1H at the 6K modes.
The S1H read at 29.6 milliseconds in open gate,
well this camera can do that at 25.3 milliseconds.
And the S1H's 5.9K mode was 25.1 milliseconds,
while the S5 II can do that at 21.2 milliseconds.
They had similar performance
in their APS-C 4K60 modes though
of around 14 milliseconds.
So like I said, overall, decent.
Not the worst,
but not quite good,
but acceptable for the money.
But the stabilization on this camera goes a long way
to alleviate any pains that rolling shutter might bring.
The IBIS on this camera is incredible.
The best I've ever seen.
Other cameras can match it for locked-off handheld shots,
but I've never seen a camera be this good at movement.
You have similar modes to before,
the regular IBIS,
and then the electronic, or EIS,
which adds a small crop.
I've got some observations, but first watch this clip.
This is me jogging after Lindsey
with a 16 millimeter lens with EIS enabled.
This is the closest to a gimbal
I've ever seen a handheld camera get.
There is some warpy-wobbly stuff in the corners,
but this is kind of an ultimate stress test for that.
I'm using a very wide lens
and I'm in this parking structure
to emphasize those wobbles.
But compared to other cameras,
Panasonic has done well to minimize that warpy stuff,
and they pretty much disappear
once you increase the focal length.
But 24 millimeters, I didn't see them at all.
Okay, hold that thought
because I actually have an update
regarding that stabilization issue.
But I wanted to film this in sort of a vlog test
so that we could test that as well
at this point in the video.
So I'm using the S5 II with autofocus,
auto white balance, and auto ISO,
so we can see how this camera just works
if you let it do everything, and you vlog with it.
And I have the stabilization set to just basic IBIS, no EIS.
And I'm using the 20 to 60 millimeter kit lens
at 20 millimeters at f/3.5.
And I'm gonna walk through some different
lighting scenarios here so we can see how it adjusts
when it's brightly exposed and when it gets dark
to see how smoothly it adjusts and how well it does
for both autofocus and auto exposure.
I would prefer to do this test outside,
but it has been raining like crazy all week.
Okay, so I spoke to Panasonic
about the warpy-wobbles I was experiencing,
and apparently they noticed them too
and so they had some engineers work on an update
and they released that as like
another pre-production firmware update
that I have now installed in this camera
and that you guys will get all of these updates
by the time the camera ships.
And apparently they were able to fix the warpiness
up to as wide as 20 millimeters,
which of course is in line with my observations
that the wobbles tend to disappear around 24 millimeter.
Apparently it's even better than that.
Apparently it's corrected all the way up to 20 millimeters.
So I'm gonna go back down to the parking garage now
and do another one of those jogging tests.
And I will turn EIS on to see
how it handles the warpiness at 20 mil.
With some brands, you don't get many wobbles,
but you don't get very strong stabilization.
With other brands, the warpiness overpowers the benefits
of even using stabilization.
But with the S5 II,
I feel like they struck a nice balance
that makes it very much worth using
even in extreme situations like I've shown here.
But if they're able to improve this warpiness problem
a little bit more in firmware,
that would be stellar.
I'd personally recommend disabling EIS
for anything less intense.
You just don't need it.
So you can reduce your issues and remove the crop
and still get fantastic stabilization
for more basic movements.
Here's a sample of me doing a brisk heavy-footed walk
at 35 millimeters on the S5 II with only basic IBIS.
And compared to the original S5,
you can see a huge improvement.
It also just feels so smooth and satisfying
for doing handheld pans.
Truly the best stabilization I've ever used.
Now something else worth noting
about that stabilization test
is how extreme it is for autofocus.
We've got Lindsey wearing a black coat in a grey environment
walking into bright lights that are visible in the frame.
And the rest of the scene is low contrast
and I purposefully underexposed it.
And the autofocus performed brilliantly.
I was using the human detection mode,
and it had no problems putting a box
around Lindsey's head or back or full body,
depending on my distance to her,
and it kept her in focus like 99% of the time.
I've done extensive tests on this new autofocus system
and I might even make a whole dedicated video about it,
but the big question is,
have they done it?
Has Panasonic added an AF system to their cameras
that gives me enough confidence to rely on it?
Absolutely!
It's early days and there are some quirks,
but it is shockingly good.
It might honestly be the second-best system out there now,
leap-frogging Fuji, Nikon, and even Canon,
and rubbing shoulders with Sony.
There's still a couple of things that Sony does better,
but they're minor for my use,
and more apparent in photography.
The fact is, you can stick this camera on a tripod,
point it at your face,
and it'll keep you in focus for however long you need
to yell at the camera
without anything weird going on
like pulsing on out-of-focus objects.
There are some caveats and best practices though,
so like I said,
I'm gonna make a whole video about that
closer to shipping date
so that anyone getting the camera
will be able to get excellent autofocus out of it
by just watching my guide.
And in the meantime, I'm gonna keep reporting
the little quirks that I find to Panasonic
as they seem eager to fix them.
But honestly, this is a huge win for Panasonic,
and I would feel completely comfortable
shooting all my YouTube videos
with this camera on autofocus.
Some things you should be aware of right now though,
it does track animals like cats, for example,
but it doesn't have animal eye AF.
It just puts a box around the whole cat.
It does a solid job,
but Sony does this better.
And over and underexposure isn't the best in the game.
Overexposure is pretty good actually.
I had great results up to about 5 stops over.
And you can even do 6 stops, but it gets a little shaky.
But underexposure was a bit less impressive.
I only felt confident at about 2, 2 and a 1/2 stops under.
3 stops under was mostly good,
but I wouldn't do anything mission critical with it.
And then 4 stops under was pretty wonky.
So if your main mission in life is autofocusing
in very dim environments,
I'd probably still get the Sony.
But for anything less extreme,
this camera has you covered.
Now when it comes to photo,
I never really had that big of an issue
with Panasonic's autofocus for stills,
but I did notice an improvement here.
It just feels peppier and more responsive.
And there's less of that flickering
from the contrast AF,
and the blackout is reduced too.
Basically, it's more pleasant looking through the EVF
when burst shooting.
And now that they've added a 30 fps burst mode,
this new phase detect system
is gonna be much more important.
But if you're like me and we're mostly happy
with the photo capabilities of the S5,
you're getting the same comforts
but now with some quality of life upgrades.
To be honest though, it does feel a bit sluggish
compared to the latest Sony cameras in stills mode.
I haven't done any intensive testing
with action or sports photography,
but it just feels likes it takes an extra beat
to change subjects
and there's a slight delay when racking long distances.
The JPEGs look great though,
but I'll reserve any image quality assessments
until I've processed some RAWs.
And I'd recommend you check out
some action photographers' opinions
if you're considering buying this camera for that purpose.
What I can say, however,
is that if you're a video-first shooter
who just needs to grab some nice-looking stills
as a secondary
where the highest-speed photo tracking isn't a necessity,
this camera will suit you perfectly fine.
And it might even be better than that,
I just don't wanna make those claims
without more thorough testing.
Oh, and if you wanted the specs
on that new autofocus engine,
it's a 779-point hybrid phase detect system.
So you're getting a best of both worlds scenario,
like Sony, where phase can do the heavy-lifting
and contrast detection can refine and assist.
It has face and eye tracking,
human body tracking,
touch area and touch tracking,
and that animal tracking that I mentioned earlier.
The only limitation I found
that you might want to know about before buying
is that if you have the camera set to 5.9 or 6K,
and you have HDMI connected,
you lose your subject detection capabilities.
You're fine if you shoot at 4K60 or lower though.
I could see this presenting an issue for people
who want to use face tracking autofocus
while recording 6K internally,
and monitor on a bigger screen externally.
If that's your use case,
you're gonna want to record in 4K internally instead,
which is still oversampled and a great image,
but you lose the open gate flexibility.
But aside from that quirk,
the recording options are terrific.
This camera has two SD card slots,
both UHS-II now,
and you have relay and backup recording modes
to those slots.
You can also record externally
while recording to both slots internally
for double redundancy if needed.
And as you'd expect from a Panasonic camera,
it's loaded with a bunch of cool functions
like focus transitions, live cropping,
and a full suite of anamorphic features
including a dedicated 3.3K 4:3 anamorphic mode
up to 48 frames per second with stabilization.
But anamorphic isn't really something
I play around with too much,
so if you want to know more about that,
I recommend you watch Josh's video over at Make Art Now
for a full breakdown on his anamorphic experience
with this camera.
It also has a ton of useful exposure tools
like adjustable waveforms, vectorscopes,
two simultaneous levels of Zebras,
a Luminance Spot Meter for dialing in middle grey,
and an excellent white balance tool.
Although, to be fair, even though Panasonic
was one of the first mirrorless cameras
to have a great white balance target,
it's actually a bit dated now.
I would love the ability to reposition and resize it
like I can on the newer Sony cameras.
And I'd like if it told me the reading after I acquired it.
But it's still accurate and fast, so that's good.
And, of course, this camera has shutter angle.
Honestly, if there's a feature
that can make me switch systems,
it's shutter angle.
Why can't other manufacturers just put that
in their hybrid cameras?
And it's for these reasons
that in the beginning of this video I said
that this might be the best value camera of all time.
Cameras in this price bracket
are usually all about compromises.
Sony's offerings, for example,
have great dynamic range and autofocus,
but terrible rolling shutter
and a lack of professional video features.
Canon on the other hand,
sacrifices dynamic range to achieve their other strengths.
And then Panasonic offered all those great video features
with excellent menus and ergonomics,
but had the worst autofocus.
As a consumer, the only way you could truly have it all
was by spending thousands of dollars more.
So it came down to which compromises were right for you.
I don't feel that way anymore.
Sure, this camera isn't perfect.
It doesn't have much in the way of time code support,
the 4K60 is cropped,
and the rolling shutter is still a bit slower than I'd like.
But they did a great job of putting a reliable
autofocus system into an already stellar camera.
And they're launching it at US$2,000!
That's cheaper than the a7 IV,
the GH6, the Fuji X-H2S, and the Canon R6 II.
And in most of those cases,
you'd be saving up to $500 by choosing this camera
while also conceding fewer compromises.
I feel like to truly beat this camera,
you gotta spend at least $1,500 more.
And from a value perspective, that's very impressive.
The last camera that came out at US$2,000
that had me this excited,
was the original Sony a7 III back in 2018.
In fact, I called that camera
the best value camera of all time.
And while we should expect technology
to improve over the years,
I wasn't expecting this S5 II to be so much better
than that previous value champion
at the same price that camera
launched at nearly 5 years ago!
So here we are, the Panasonic S5 II,
the best bang for your buck in a camera today,
and in my opinion,
the most feature-rich camera for the money ever released.
(lively music)
Alright...
I'm done.
(lively music)
(lively music continues)