 and here at CES 2018 we have the GH5S this is a very exciting new camera right here and and actually right now I'm shooting this video with a GH5S with a 12 millimeter lens so hello so who are you? So I'm Sean I'm one of the product managers here with Panasonic with the imaging group and yeah we just announced the GH5S and right now we're in dark actually it's quite dark right here yes it is how can we describe how dark it is right now so it's it's typical to a conventional center without a majority of the lights on so so there's only some lights over there correct and with the GH5 it wouldn't perform as good right so well with the GH5 if you're using fast lenses if you're working in a you know with with the environment you have around you the GH5 could definitely work in this environment if you're using the right optics with the GH5S allows us to be more concerned with or not us allows the shooter to be more concerned with composition framing you know the the actual content of what you're trying to shoot because you're not having to concern yourself as much with the lighting conditions we one of the things we say about the GH5S is that it's an all-light camera and that's because of that dual native ISO technology that we've built into the system that's like a small EVA one so the concept is from the broadcast camera so the EVA one the vericam LT the vericam pure vericam 35 so the yeah those are 60 $70,000 cameras and then down now with the EVA one when you're talking about you know a cinema-styled camera with super 35 that we offer the core technology of that is something that's unique to Panasonic and the way we implement it so what dual native ISO is is the on the sensor there are two analog circuits on every pixel one designed for like good light bright light you know kind of normal shooting the other is designed for lighting like what we're in right now so what that means is that in traditional camera you've got a single native ISO when we're talking video sense and then the low-range circuit on this camera's native ISO is 400 when you go into the high-range native ISO that's 2,500 this is the first time in a Lumix camera that we're actually stating what the native ISO is but what that affords is the ability to kind of control this camera three separate ways you can either set it to work in auto mode which is what we're doing right now right now it's auto ISO yes and you can check you can you can check me yeah yeah right here so you and we are an auto ISO right now that means it's just gonna stay in a perfect kind of like exposure or what does it mean yeah so what what what being in auto ISO means with the way that the system works is you set your shutter speed you set your aperture we're shooting on the 12 millimeter 1.4 and we're shooting at 1.4 what that means is you set your ISO you set the camera up in this case we have it set up in shutter angle and set at 180 degrees while recording 4k 60p in 8 bit actually recording cinema 4k 60p 8 bit that's a wider 4k that's the full yeah so that's the DCI 4k so it's 4096 by 2160 you got me digital cinema interact international okay so basically this is the camera at you know when you're shooting 60p and you're going for that kind of content and in this case we're shooting in DCI you once you set your your shutter angle up to 180 degree it knows what shutter speed it's got to be at you don't have to worry about your aperture changing and you let the ISO move the way it needs it's a pretty common system across the board but what our camera will do when you have the dual native system set up yeah so what the camera will do when you have it set up in the dual native range so this is a new menu selection when you have it set in auto and you come into your ISO range you're able to come down and say I want auto ISO and then you're allowed to come up on the top here and select your high range so you can go all the way up in this case this one this camera set on log so the lowest that you can shoot is 320 the highest you can shoot with with V log L is 25600 if I take it out of log and I go to say 709 and I do the same thing I can actually up my ISO to 51,200 with a low range of 160 so what this allows you to do is either work at the native ISO which is 400 and 2500 and then gain down for situations where getting cleaner footage at the cost of dynamic range is what you is what you need to do or on the other side of it is going higher ISO but maintaining dynamic range where you're going to be acceptable with some noise pattern not patterning some noise so when you work again with auto ISO it will intelligently switch the circuits for you as you approach into that kind of range to maximize the dynamic range available and what that means is in general with the camera we're saying around two stops better performance in low life some people are saying three and a half stops better on YouTube well see and here's the thing we're fairly conservative with some of the the numbers we give because it's there with with noise and with dynamic range you have some of those some of it is very subjective so you start to look at it and say one person may be fine with 6400 ISO or 12800 or 25600 but then the next person it's unacceptable noise to them so when we are really working with it just like I say before we were very straightforward with what we say the camera does so the two stops in real world it could be different in people's testing because of their threshold of what is acceptable noise what is acceptable highlight roll off so that's really where that comes from if people are seeing greater that's awesome doesn't mean there's some kind of like two chips in there yeah so how did how the system works is on the back of the sensor which in this case is the multi aspect 10.2 megapixel chip at the backside of every pixel there are two analog converters one designed for that 400 ISO range which is the maximum balance in video the balance of keeping the dynamic range and your noise pattern the second circuit is designed at 2500 ISO for the same thing the balance of the native 2500 ISO with the dynamic range and it's a physical analog conversion off the chip where some systems use a digital voltage style version of this where it's still only one amplifier one analog converter so this is a huge deal I mean what I'm looking at right now on the screen one thing that makes me a little bit happy is that it seems to be a little bit in focus I mean it's what happened did you improve it so yeah just like we were saying about how with with the GH5S by taking the stabilization out by lowering the resolution to where we're not down sampling from 20 megapixel into 4k it is it's a lot to work in a processor by doing that it frees up processing power for a number of other things no cinema 4k is like eight point and I know I'm gonna get this wrong it's eight point something it's still down well the way this camera works is that multi-aspect sensor you're using the proper pixels for the actual image it just takes it off the sensor yeah directly because it's this is the one thing that that I actually I think gets lost when we talk about multi-aspect sensor is that a multi-aspect sensor is bigger than a four-third sensor so this is a slightly larger sensor than what's in the GH5 the reason being is because the mount was designed to have stabilization so that means that the circle of coverage that a micro four-thirds lens is designed for is actually larger to accommodate that sensor being able to move around can we see the sensor in yours yes so so it's right there yeah yeah now we're talking slightly bigger but what that means is that by going to the slightly bigger sensor and also lowering the resolution every single photo site is that much bigger and there's more area for us to work with when we when we set this up so between the dual native ISO between the multi-aspect sensor you're able to to keep your field of view in all the different aspects where traditionally when you jump from 4 3 to 3 2 or 16 9 or in 17 by 9 DCI you get a slight field of view crop with the GH5 yeah the GH5 because that's it has to frame it properly within the width this every frame every width is the proper resolution count near 10 megapixel and at 10 megapixel so that your field of view stays the same 26 millimeter is 26 millimeter on all of and now I'm just trying to make it fail it's autofocus but it seems that it's really has more of the CPU on the Venus engine the same Venus engine as GH5 yep but more is dedicated to autofocus right now is that true so the processing power can be diverted for many other things like we said the autofocus we're shooting in 60p the the noise reduction system the overall in cinema 4k it means that the camera doesn't have to worry about the stabilization and powering that so because you're not worrying about the down sampling you're not worrying about the stabilization when it comes to processing power there's more available so I guess in theory you could have had an extra CPU for the stabilization but it actually wouldn't fit right the stabilization cannot fit in this correct with this multi-aspect ratio sensor is nothing to do with the body size well so there's there's two things there's two main reasons why the stabilizer is not in the camera one is that you know yeah there's the multi-aspect sensor which is a larger sensor and trying to get that in with with the stabilization unit the camera would have to get bigger there's just no size there's no space but there's a more important reason why the stabilizer is not included and I know there's a lot out online about you know the camera not having stabilization but the reality is the platforms where the GH5 has been deployed in high-end production and in entry production or you know a everyday production say there are cases where when you're when you're using a sensor stabilized camera on a gimbal or on a car mount where it's it's rigid mount to a car so think there you know and automotive show on online when you have a camera hard mounted onto a car that camera now becomes part of the car's inertia if it hits a bump a the five-axis stabilization is magnetic there is no physical connection to the body there's no way to put in a physical thing to stick it in no stable that's not gonna happen not gonna happen not possible no not gonna asking for that they would they were asking for you there's the market this is asking for you to take it out yes there and it's not just the pro market asking for us to take it out because guys buy many cameras they buy eight cameras they put in the car right they might they buy many actually yeah and and what happened was you know when we start talking to people about you know how can we improve the cameras for the next generations those kinds of things we got this feedback so we started investigating it we started talking to the high-end production and then starting to go into you know the the beginning filmmakers or you know the the season you know professionals that are you know filming parkour you're filming you know BMX or skateboarding where it's the same it's the same situation where with a handheld gimbal and you're running alongside someone or you're on a bike and you're riding alongside alongside someone the camera and the gimbal and the bike where you're running is now one piece connected the stabilization actual sensor in the GH5 is not part of that so the shake will actually move on the camera while the sensor is still saying staying still if there's enough movement there the sent the camera moves and the sensor comes out of the stabilizer and to correct that artifact is a much much harder process to the point where it it makes it not a situation where you don't want to use the setup so as we started listening to the pro market and you know that the pro production market have this this need and then seeing that that there are also everyday users that are having the same situation may not realize it it helps it may it helps us to direct okay well what can we do to to work and make a better product and that is also what helps lead down that path of well if we're not going to put a stabilizer in it let's utilize the space let's go back to the multi-aspect sensor let's do something different and and know that it's it it could be kind of controversial with some some shooters but it's it just it works a little bit yeah we can try to walk we are going to have to end in in one minute one minute okay as they kick us out of the convention center for the people that want to have their external game balls the people that that's that's due to pro stuff they're happy with that but the GH5 was such an amazing stabilizer yes so I guess well but see here's the thing but here's the thing this is not replacing the GH5 this is sitting side to the GH5 the GH5 is still still a flagship camera still one of our our core important cameras and Panasonic has made a transition to where we are three flagships the G9 for photographers that still want some video the GH5 for who any creator who needs stabilization wants these these awesome bit rates wants this production but also wants to take you know higher higher resolution stills and then now the GH5 s which is designed for the higher end the higher demanding situations where you need low light you need a rock solid system and it's just going to perform is like the 7 2 s the Sony the low light performance is maybe as good or maybe even better sure I'm going to let people that that take a look at the camera and work on it I'm going to let them decide