Finally the GH5 pre-order has arrived. Made some early test images:

The internal IBIS alone makes me think that sticking to panasonic lenses is not necessary. I've been experimenting with electronic stabilisation as well and it works brilliantly. Handheld shooting has never been so fun!

Spent a morning in misty Edinburgh today with the gh5 and the 12-35 mk1. Shot everything in both standard profile all 0's and vlog -5 for NR and Sharpness. All shot at 10 bit 4K 422 24p. Shot everything twice with both profiles.. will upload later..

Here is my first video from todays filming, Edinburgh in Vlog

2nd video, shot in standard

While I wait for V-Log (its coming tomorrow) - I noticed another extremely flat 'profile'. In the filters tab there is a filter called 'fantasy' which is extremely milky and flat. It has very clean shadows - and when corrected back to normal actually looks really good. I wonder if the filters are 'pre-profile' or are an effect 'down the chain' from the host profile (in my case Cine d). Anyone know any other details on these filters (beyond the fact that most of them are very cheesy)?

@bealbuoy I thought I was bad with my growing collection :), I've got 10mm (slr magic), 15mm, 25mm, 42.4mm 75mm (oly) ;) the 45-175 works well, it's one of the older lenses I really wish they would bring out a fresh power zoom but apparently there is no demand when I asked! It can't to dual and I doubt they will bring out a software update now but in lens + the e stabalize makes it much nicer hand held. I've found it nice and sharp, with the slight bump in low light with the gh5 as well the fact it's a bit slow is not such a big deal. I have seen others post about the lens who don't seem to have the same good experience I have with mine so I don't know if I just got lucky but it's not an expensive lens. The auto focus I was really pleased with in 4k it was pretty much unusable on the GH4 with 4k video but even though it's getting a bit long in the tooth and not the latest high speed focus mechanism with the new lenses it seemed to work just great.

The 10, 15, 25 and 75 mm with the new in camera stabilization are so much better as well.

Imackreath - nice work. I got V-Log today so will be giving it a whirl very soon. Quite impressed with AWB so far. I always avoided it like the plague on the GH4 but it seems to be bang on with this camera. Only thing is whether it will 'drift' during a take. If it locked down the WB once you hit record then it could be a really good option.

@nobbystylus,

I believe I read that the AWBc reduces the "reds" when white balancing.

https://eww.pavc.panasonic.co.jp/dscoi/DC-GH5/EG_EC_EF_EB/DC-GH5_DVQP1121ZA_eng.pdf

page 109

Thanks you very much @AKED, it helped ma a lot! I think I'll keep the 12-35mm f/2,8 and just buy the GH5 body alone.

Best regards!

@Eno Could you tell me, what you read out of the pictures?

So, very first test (& in cinemascope of course) of the GH5: Still searching, discovering & playing with the settings, till I'll find its sweet spots. (this test isn't something to consider as "art"). The (bad) surprise, that with the Helios 44-2 on a 0.64x Speedbooster & then Cinelux ES with Recti DNA, heavily vignettes on the 4:3 anamorphic mode... Even with 16:9 (which I finally used), I had to deal with some vignetting still, so I had to crop the image slightly in post, in order to avoid the black corners. Unfortunately I had no other taking lens with me other than the Helios & I stupidly didn't check before left home. With the GH4 this was not a problem, but the GH4 cropped the image from the sensor when in 4K mode, something no more applicable on the GH5, so, voilà... Which surprise makes the 2x anamorphic mode on 4:3 unusable to my taste and needs, as the 80mm in terms of full-frame (if not longer focal length) is very inconvenient to my personal needs/taste. I'll stick mostly with my 1.33x & 1.5x anamos with this new beast (yes, it's a beast this camera). Shot with the new Lut709 picture mode (which comes in life only when you'll purchase & activate the V-LOG), only sharpness & saturation dialed down to -5, then a LUT applied in post. 4K-UHD, 4:2:2 10bits color space & the image comes out really superb without the need to make lots during post (talking always for simple-quick jobs).