Camera Shootout: BMPCC 4K vs Panasonic S1 vs Panasonic GH5 vs Sony a7 III vs Sony a7S II vs Nikon Z6

Ready for an epic real-world camera shootout and comparison between seven different cameras? The contenders:

  1. Blackmagic Design Pocket Camera 4K (Amazon, B&H)
  2. Panasonic S1 (AmazonB&H)
  3. Panasonic GH5 (Amazon, B&H)
  4. Sony a7 III (Amazon, B&H)
  5. Sony a7S II (Amazon, B&H)
  6. Nikon Z6 (AmazonB&H)
  7. iPhone 8 Plus (why not?)

Why isn’t there a Canon EOS R, GH5S or Fuji X-T3?

Simple. I’ve tried several times with Canon to get demo units, and I’ve given up. I would have loved to have the Canon EOS R (AmazonB&H) in this comparison. The X-T3 is not available to rent. Both companies can reach me if they want.

The GH5S was never attractive to me. For just low light performance I miss out on all the other goodies the Panasonic GH5 (Amazon, B&H) has. I really don’t see the value. I can get the job done with the GH5.

Disclaimer: I was given the Panasonic S1 as a loaner from Panasonic India. Unfortunately they didn’t update it with V-log (same old story). The BMPCC 4K and a7 III were rented with my own money. I own the rest.

Quick menu

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Watch the video

Watch my video comparison shootout first:

https://www.youtube.com/watch?v=uPs13LN8Jbk

Image quality test #1: Still life

Note: The following images are low res stills. If you want full quality TIFF files please join Wolfcrow Membership Perks. If you are already a member, please login to see the download links.

Test methodology

Every camera performs best at its native ISO. I made sure to honor that by sticking to the native ISOs for each camera (log or raw mode, see below). These are:

CameraNative ISO
BMPCC 4K400
a7 III800
Panasonic S1400
Nikon Z6800
Panasonic GH5400
a7S II1600
iPhone 8200

Why is the native ISO important? Here’s a video explainer:

The next was the lens and aperture. I used a 50mm Nikon lens with a dumb adapter on all cameras except the Panasonic S1. For the S1, I used the 24-105mm f/4 at 50mm, f/4. This was to ensure the lens didn’t “color” the results.

On top of that, I also custom white balanced each camera. Why is this important? Here’s a starter video:

As for exposure, I used a DSC Labs OneShot chart to expose for middle grey values based on the codec, gamma and color space chosen. Here are the details:

CameraMiddle Grey IREProfileColor
BMPCC 4K38.4Film3:1 RAW
a7 III41S-Log3, SGamut3.Cine8-bit 4:2:2
Panasonic S145Cinelike D, Lowest Contrast8-bit 4:2:2
Nikon Z635N-Log10-bit 4:2:2
Panasonic GH542V-Log10-bit 4:2:2
a7S II41S-Log3, SGamut3.Cine8-bit 4:2:2
iPhone 845Standard, Mavis at 100 Mbps8-bit 4:2:0

Except for the BMPCC 4K (and iPhone), all other cameras were exported via HDMI to an Atomos Shogun for best image quality. I used the DNxHR HQX codec for maximum color fidelity.

Exposure was verified with a waveform monitor and false color tool for best accuracy.

The objective was to compare each camera at their best image quality. Any deviation in ISO or codec can only worsen image quality. None of the cameras in this test have cause to complain. The exposure was manipulated using just the shutter speed. The lighting was not changed.

This is as fair a fight as you’ll ever get.

Highlight recovery test

Results:

  1. Winner: BMPCC 4K
  2. Best: Sony a7 III
  3. Best: Sony a7S II
  4. Good: Nikon Z6
  5. Acceptable: Panasonic GH5
  6. Unacceptable: Panasonic S1 (shot in Cinelike D, so is to be expected)
  7. Unacceptable: iPhone 8 Plus

Takeaway: The BMPCC 4K has the best highlights, but just by a whisker (probably 1/3rd stop at best). It was surprising to see how well the Sonys performed. The Z6 wasn’t far behind, maybe by just a 1/3rd of a stop.

Overexposure and colors

Results:

  1. Winner: BMPCC 4K
  2. Excellent: Sony a7 III
  3. Excellent: Sony a7S II
  4. Excellent: Panasonic S1
  5. Unacceptable: Panasonic GH5
  6. Unacceptable: iPhone 8 Plus
  7. Unacceptable: Nikon Z6

Takeaway: This is where the Blackmagic Pocket Cinema Camera 4K (AmazonB&H) really shines. When you overexpose skin tones the effects are really important, because it contributes a great deal to the ‘video’ look. I was horrified to see the Z6 perform so poorly. The transition to yellow is just unacceptable.

Shadow recovery test

Results:

  1. Best: Sony a7 III
  2. Best: Sony a7S II
  3. Excellent: Nikon Z6
  4. Acceptable: Panasonic GH5
  5. Acceptable: iPhone 8 Plus
  6. Acceptable: BMPCC 4K
  7. Unacceptable: Panasonic S1 (shooting in Cinelike D)

Takeaway: This was as expected. The Sonys can’t be beat, and the Nikon Z6 (with a Sony sensor) is not far behind when it comes to low light. What is really surprising is how poorly the BMPCC 4K performs. Don’t underexpose that camera!

Also, I was disappointed with the S1. How can the iPhone do better? I don’t know. I had cranked down the contrast in Cinelike D and there is no reason for this performance. Unacceptable.

Here’s a low light test comparing the BMPCC 4K to the GH5:

Color torture test

This is what it looked like, after all the tearing and ripping apart of the image in every which way:

I did many tests, and kept it the same for each camera.

Results:

  1. Best: Panasonic S1 (wow, even without V-log!)
  2. Best: Panasonic GH5
  3. Acceptable: Sony a7 III
  4. Acceptable: Sony a7S II
  5. Acceptable: BMPCC 4K
  6. Acceptable: Nikon Z6
  7. Unacceptable: iPhone 8 Plus

Takeaway: This is where I was completely surprised to see the BMPCC 4K so down the list. After all, isn’t RAW supposed to provide the greatest color fidelity? But you have to remember color is directly proportional to the quality of the sensor and its color response. The BMPCC 4K also had home advantage, being debayered and processed in Resolve, so there’s really no excuse. The reality is, the RAW from the BMPCC 4K isn’t as malleable as RAW from more expensive cameras. 8-bit 4:2:2 cameras did better.

Color accuracy test

I can see the scene in front of me, so you’ll have to trust my judgement for this test. The colors were monitored on an FSI DM240 and compared to the scene in front of me. No escape here!

Results:

  1. Best: Panasonic S1
  2. Best: Nikon Z6
  3. Excellent: Panasonic GH5
  4. Excellent: BMPCC 4K
  5. Borderline: iPhone 8 Plus (pretty clear when you study the clip in full resolution)
  6. Inaccurate: Sony a7S II
  7. Inaccurate: Sony a7 III

Here’s a video comparing the color of the BMPCC 4K to the Panasonic GH5 and an Arri Alexa XT:

Most pleasing image straight out of camera

What do you think? Here are all the images with a standard official LUT applied (except for the Z6):

This is highly subjective, but here’s what I think:

  1. Best: Panasonic GH5
  2. Best: Nikon Z6
  3. Best: Panasonic S1
  4. Acceptable: BMPCC 4K
  5. Acceptable: Sony a7S II
  6. Acceptable: Sony a7 III
  7. Unacceptable: iPhone 8 Plus

Texture and aliasing

I also looked over every part of the image for textures, tonality, aliasing, artifacts, moire, etc.

Here are the results:

  1. Best: Panasonic S1
  2. Best: Panasonic GH5
  3. Acceptable: Sony a7 III
  4. Acceptable: Sony a7S II
  5. Acceptable: BMPCC 4K
  6. Acceptable: Nikon Z6
  7. Unacceptable: iPhone 8 Plus

Takeaway: The iPhone falls apart on the slightest push, and sometimes all by itself. The Panasonics have amazing texture and tonal response over a multitude of tests. Feel free to do your own on the footage and see for yourself.

Exclusive Bonus: Download my camera settings and 7 cinematic custom picture controls for the Nikon Z6. Setup your camera for cinematography, ready to shoot.

And, get bonus videos - How to expose and grade N-log, and How I have tweaked my favorite picture control for video - delivered to your inbox!

Image quality test #2: Fashion film

I shot a fashion film to update the Blackmagic Pocket Cinema Camera 4K Guide, so the primary camera was the BMPCC 4K. The codec was 3:1 Blackmagic RAW.

The other cameras were:

CameraLensesProfileColor
BMPCC 4KNikon 50mm f/1.2 and
Panasonic Leica 25mm f/1.4
Film3:1 RAW
Sony a7 IIISigma Art (35, 50, 85)S-Log3, SGamut3.Cine8-bit 4:2:2
Panasonic S1Panasonic 24-105mm f/4Portrait Mode, Slightly Low Contrast8-bit 4:2:2
Nikon Z6Sigma Art (35, 50, 85)N-Log (one clip) and Portrait Mode8-bit 4:2:0

I asked Shyam, my assistant and BTS shooter to try to expose close to what I was doing (by manipulating the aperture). He recorded mostly via HDMI to an Atomos Shogun Inferno in log. Except for the Z6 in most shots. It’s not a totally accurate test, but it gives you a great idea of the real world color responses of each camera. The lenses for the other cameras were Sigma Art lenses (Amazon, B&H). The ISOs were kept at the native ISOs. In a couple of clips you can see Shyam had also manipulated the shutter speeds to get equivalent exposure. This causes some jerky motion.

Important: This is not an accurate test like the still life above, but you can still see how close things get in the real world.

Also, the images were color graded (sort of one-light, not spending too much time) to achieve a quick turnaround time. This reflects the real world, where people think they will color grade to perfection but their skills dictate otherwise. A good colorist will be able to get great results with any of these cameras.

There were four major changes, and here are the comparisons for each look (results at the end):

Look #1

Look #2

Look #3

Look #4

When the fashion film is edited and ready I’ll publish it here so you can take a look. Here’s the final fashion film:

Here are the results:

  • Look 1: Camera A: Sony a7 III | Camera B: Panasonic S1 | Camera C: Nikon Z6 | Camera D: BMPCC 4K
  • Look 2: Camera A: Sony a7 III | Camera B: Nikon Z6 | Camera C: Panasonic S1 | Camera D: BMPCC 4K
  • Look 3: Camera A: Sony a7 III | Camera B: Panasonic S1 | Camera C: Nikon Z6 | Camera D: BMPCC 4K
  • Look 4: Camera A: Sony a7 III | Camera B: Panasonic S1 | Camera C: Nikon Z6 | Camera D: BMPCC 4K

Surprised? Or as expected?

The bottom line as far as image quality is concerned is these cameras are really close in the real world, and it’s the skill of the cinematographer that takes precedence. A good cinematographer can make any of these cameras shine.

If you’re not that skilled, then don’t buy the latest shiniest object. It’s not going to do you much good.

Having said that, my favorite two cameras purely on image quality would be:

  1. Winner, overall: Blackmagic Design Pocket Camera 4K (AmazonB&H)
  2. Winner, color fidelity: Panasonic S1 (AmazonB&H)

Contrary to what many armchair filmmakers believe, image quality isn’t everything. Let’s look at some other important features.

Comparison of sensors and video features

Here’s how the camera sensors compare:

CameraResolutionISO Range for VideoSensor Size
Panasonic GH54992 x 3744200-1280017.3 x 13 mm
Panasonic S14096 x 2160100-1280036 x 24 mm
BMPCC 4K4096 x 2160100-2560018.96 x 10 mm
Sony a7 III3840 x 2160100-5120036 x 24 mm
Sony a7S II3840 x 2160100-5120036 x 24 mm
Nikon Z63840 x 2160100-5120036 x 24 mm

With the GH5, you can almost shoot in 5K in 4:3 mode, which is a great advantage. However, that is only in H.265.

With the Z6, there is a 1.1x crop via HDMI in 4K. The S1 crops at higher frame rates, but is full frame at 24/25p.

I have included total ISO ranges, though for some cameras the lower ISO range is a lot higher in log mode.

What about frame rates?

CameraMax fps at 4KMax fps at 1080p
Panasonic GH560 fps180 fps
Panasonic S160 fps120 fps
BMPCC 4K60 fps120 fps
Sony a7 III30 fps120 fps
Sony a7S II30 fps120 fps
Nikon Z630 fps120 fps

The GH5 is king here, with 180 fps.

Next, the codecs and color information:

CameraBest codec InternallyColor Information
Panasonic GH5H.264/H.265 ALL-I10:bit 4:2:2
Panasonic S1H.264/H.265 ALL-I10:bit 4:2:2^
BMPCC 4KBlackmagic RAWRAW
Sony a7 IIIH.2648-bit 4:2:0
Sony a7S IIH.2648-bit 4:2:0
Nikon Z6H.2648-bit 4:2:0

*At 3:1 constant, Blackmagic RAW. I have a comprehensive comparison of RAW codecs and options in my BMPCC 4K Guide.

^With the optional V-log upgrade. Otherwise 8-bit 4:2:0. More info here.

The Blackmagic Design Pocket Camera 4K (Amazon, B&H) definitely has the most versatile codecs – both RAW (compressed and uncompressed), and Prores. However, as you’ve seen in the tests, 10-bit 4:2:2 isn’t a slouch. Ultimately the quality of the sensor matters as well, not just the numbers.

But, if you want the best quality, you need HDMI externally:

CameraBest external resolution and fpsColor Information
Panasonic GH54096 x 216010:bit 4:2:2
Panasonic S14096 x 216010:bit 4:2:2^
BMPCC 4K1920 x 108010-bit 4:2:2
Sony a7 III3840 x 21608-bit 4:2:2
Sony a7S II3840 x 21608-bit 4:2:2
Nikon Z63840 x 216010-bit 4:2:2

^With the optional V-log upgrade. Otherwise 8-bit 4:2:2. More info here.

Regarding audio features, all of them have okay-ish audio. The only note here is BMPCC 4K has Min XLR, though you need an adapter for XLR. I’m not sure that’s even an advantage.

Usability, focus and exposure aids, and ergonomics

The little things make all the difference. In addition to the little things, there are the ‘littler’ things – the stuff you only learn about after having used a camera for a while.

  • Weight and ergonomics
  • Viewfinder and monitor
  • Focus and Exposure tools

Here’s how these cameras compare on ergonomics:

CameraErgonomics
Panasonic GH5As perfect as I have ever seen.
Panasonic S1Grip is painful, not the most pleasurable to hold. This is a DSLR-sized camera.
BMPCC 4KFan, not a pocket camera, simplest camera to use, not weather sealed.
Sony a7 IIIExcellent ergonomics, worst menu.
Sony a7S IIExcellent ergonomics, worst menu.
Nikon Z6Great ergonomics, nice to hold, complicated menu.

The Pocket Camera 4K is large but isn’t heavy. The S1 is too heavy for its own good. I found the hand grip quite painful due to the weight, and I had only held it for an hour or so.

The GH5 fits like a glove in my hand, and the buttons are all in the perfect place. I’m sure if your hands are larger/smaller you might feel differently. No way to tell without actually working with these cameras for a while.

CameraEVFMonitorHDMI
Panasonic GH5YesTouch, Full tilt and swivelType A
Panasonic S1YesTouch, Slight tilt and weird swivel to the non-operator sideType A
BMPCC 4KNoTouch, FixedType A
Sony a7 IIIYesTouch, Slight tiltType D
Sony a7S IIYesSlight tilt Type D
Nikon Z6YesTouch, Slight tiltType C

The GH5 has a full swivel screen. I can’t begin to tell you how important that is. The BMPCC 4K has a nice screen, but because it’s fixed it’s frustrating when you have to go high/low or are backed up against a wall.

The S1 has the weirdest screen. The swivel to the right is not very useful. For video shooting, the operator usually stands on the left. I don’t know why this is so. If you know why, please let me know.

CameraFocus AidsContinuous AutofocusExposure
Panasonic GH5Peaking, ZoomYesHistogram, 3D LUTs, Waveform, Vectorscope, Zebras
Panasonic S1Peaking, ZoomYesHistogram, 3D LUTs, Waveform, Vectorscope, Zebras^
BMPCC 4KPeaking, ZoomNoFalse color, Histogram, 3D LUTs, Zebras
Sony a7 IIIPeaking, ZoomYes, bestHistogram, Zebras
Sony a7S IIPeaking, ZoomYes, bestHistogram, Zebras
Nikon Z6Peaking, ZoomYesHistogram, Zebras

^With the optional V-log upgrade. More info here.

The GH5 and BMPCC4K has all the important focus and exposure tools. However, with an external recorder like the Shogun, every camera is on an even playing field.

Internally, though, the Z6 is the worst. There isn’t even an exposure meter in video mode! I hope they update that soon.

What about apps?

CameraVideo Control via App
Panasonic GH5Yes
Panasonic S1Yes
BMPCC 4KiPad only
Sony a7 IIIYes
Sony a7S IIYes
Nikon Z6No

Most cameras have apps. Some are useless. The advantage for the GH5 and S1 is the app is for both iOS and Android. The Pocket Camera 4K needs an iPad, which isn’t very practical.

The app for the Z6 can’t be used for video. The Sony apps are fine, though not as good as Panasonic’s.

If you have a bright mobile phone, an app will allow you to see the image without having to cart around a monitor.

Bottom line? Ergonomics-wise, you can’t beat the GH5. Period.

Batteries and media cards

CameraDual card slotsPrice per hour of 4K*Price per GB^
Panasonic GH5Yes, SDXC$128$0.42
Panasonic S1Yes, SDXC + XQD$128$0.42
BMPCC 4KYes, SDXC + CFast 2.0 + SSD/USB-C$80$0.18
Sony a7 IIIYes, SDXC$128$0.42
Sony a7S IINo, SDXC$128$0.42
Nikon Z6Yes, SDXC + XQD$128$0.42

*Best image quality, 25 fps, UHD. This means we are using the HDMI port to record DNxHR HQ for all cameras except the BMPCC 4K. DNxHR HQX for UHDp25 is about 87 MB/s.

^Based on a Sandisk Extreme Pro SSD 240 GB. For the BMPCC 4K, we are using the Samsung T5 500 GB (Amazon, B&H).

CFast 2.0 is not a lot more expensive than SDXC UHS-II. But, with larger data rates you have to spend a whole lot more for the same hours of footage.

The Pocket Camera 4K can record directly on to an SSD via USB-C and is easily half the price per GB. However, since the max data rate is higher (127 MB/s for UHD), the difference is lower. Still, the BMPCC 4K is the cheapest media consumer.

All the features in the world are useless if you have to hire a donkey to carry your batteries:

CameraBattery lifeCost one one battery*Cost of 6 hours of operation
Panasonic GH5120 minutes$60$180
Panasonic S145 minutes$88$704
BMPCC 4K30 minutes$45$540
Sony a7 III60 minutes$78$468
Sony a7S II45 minutes$54$432
Nikon Z690 minutes$60$240

*As of this writing. Original batteries only, from B&H.

Things are mostly even here, except for the low battery life of the Pocket Camera 4K. You’ll be carrying more batteries or larger brick batteries via a 12V adapter. The latter is more expensive, the former is more impractical for longer shoots.

I had 6 batteries and even then it was down to the wire. On a 12-hour shoot you might need 8 batteries. That means 4 chargers if you plan on charging them overnight without losing sleep. More details in this comparison article.

The GH5 is easily the champ here.

Which is cheaper to own?

CameraPrice of bodyNotes
Panasonic GH5$1,498V-log and 10-bit 4:2:2 is a separate purchase (+$97).
Panasonic S1$2,498V-log and 10-bit 4:2:2 is a separate purchase (+$199).
BMPCC 4K$1,295You get DaVinci Resolve Studio (Value: $299)
Sony a7 III$1,998None
Sony a7S II$2,398None
Nikon Z6$2,397None

Let’s just add up the basics: Initial price (plus log updates), Atomos Ninja V, media cost per hour of footage and battery costs:

CameraPrice of bodyMediaBatteriesNinja VTotal
Panasonic GH5$1,595$128$180n/a$1,903
Panasonic S1$2,697$128$704n/a$3,529
BMPCC 4K$1,295$80$540n/a$1,915
Sony a7 III$1,998$128$468$695$3,289
Sony a7S II$2,398$128$432$695$3,653
Nikon Z6$2,397$128$240$695$3,460

Important: We also have to factor in the price of a recorder like an Atomos Ninja V or better. The GH5, S1 and BMPCC 4K doesn’t need it.

When you factor in the cost of an external recorder (and batteries, rig, cable, etc.), the differences are stark. The price of the S1 begins to make sense.

But, the value of the GH5 and BMPCC 4K is clear.

Click here to stay updated about new information, workflows and tips about the Panasonic S1.

Verdict

You can (and should) judge for yourselves based on the tests and data.

However, if you really want to know what I honestly think (I’ve made guides for most of these cameras and I really don’t have a bias), then read on.

First, a recap:

FeatureWinner
Still life: Highlight RecoveryBMPCC 4K
Still life: OverexposureBMPCC 4K
Still life: Shadow RecoverySony a7 III
Still life: Color AccuracyPanasonic S1
Still life: Color Torture TestPanasonic S1
Still life: Texture and AliasingPanasonic S1
Still life: Most Pleasing ImagePanasonic GH5
Sensor and ISOSony a7 III
Video featuresPanasonic GH5
Codecs and ColorBMPCC 4K
MediaBMPCC 4K
ErgonomicsPanasonic GH5
Ports and MonitoringTie
PowerPanasonic GH5
Most value for moneyPanasonic GH5

Before we take our final decision, we’ll let the cameras tell us what they offer that the others don’t:

CameraUSPMajor Cons
Panasonic GH5Internal 10-bit, 5K, Swivel LCD, AnamorphicHighlight clipping
Panasonic S1Internal 10-bit, Colors, AnamorphicSize and Cost, the S1H
BMPCC 4KRAW, Colors, Resolve, XLRShadows, Battery life, No IBIS or Continuous AF, Fixed LCD
Sony a7 IIILow Light, Dynamic RangeColors, only 8-bit 4:2:2 via HDMI
Sony a7S IILow Light, Dynamic RangeColors, Battery life, only 8-bit 4:2:2 via HDMI
Nikon Z6Low Light, Colors1.1 crop in N-log, No exposure tools internally

Let’s take it one by one.

Panasonic GH5

Here’s by comprehensive review:

This camera is a joy to use, and the images I’ve produced show me quite clearly it is second to none.

Panasonic S1

More info: Important Quirks and Features of the Panasonic S1 for Cinematography

It’s big, heavy and expensive. But it has color accuracy on-par with cameras over $5,000. I have never seen such colors in a mirrorless or DSLR-class camera before.

The biggest issue for me, though, is the arrival of the Panasonic S1H. I’m going to be waiting for that.

BMPCC 4K

Here’s by comprehensive review:

The best and most pleasing image quality overall. But this camera has so many glitches and quirks it’s not really fun. The low light performance is poor but on the whole the simplicity is refreshing.

Sony a7 III

I didn’t buy or review the a7 III because to me it doesn’t offer too much value above the a7S II. The tests are quite clear on that front.

It has improvements though, like better batteries, dual SD card slots, etc. On the whole, I still prefer the a7S II, and am eagerly awaiting the a7S III.

Sony a7S II

Here’s by comprehensive review:

An amazing camera, a ground-breaking camera. But as of now, too old to recommend. Wait for the a7S III.

Nikon Z6

Here’s by comprehensive review:

I love the skin tones and colors from this camera. But it has its drawbacks. The big feature hasn’t been released as of this writing, and that’s Prores RAW. Let it come, we’ll see!

iPhone

I’ve already given my thoughts in these videos and articles:

  1. What is the Best Camera for Filmmaking on a Budget?
  2. Welles vs Soderbergh: Masters of Modern Low Budget Filmmaking

Too many dumb clickbait videos on YouTube, but reality bites!

Exclusive Bonus: Download 4 cinematic LUTs for the Blackmagic Pocket Cinema Camera 6K and 4K, for free.

What do I think?

Brace yourselves.

The Blackmagic Design Pocket Camera 4K (Amazon, B&H) is a great camera on paper. And it has unbeatable image quality.

However, if cameras are race horses, they might look good on paper, but the horse still needs to race. You still need to go through the grind of shooting over many days with the camera, and usability matters a lot. The Panasonic GH5 (Amazon, B&H) clearly has the better tools and is more equipped for actual production work:

  • Flip screen
  • Viewfinder and LCD
  • 4:3 mode, 5K anamorphic shooting if you want
  • All the important exposure tools
  • IBIS!
  • Autofocus in video
  • 400 Mbps 10-bit 4:2:2 codec which can be graded
  • Great stills camera

This video is pretty clear:

Bottom line

If you asked me to pick one and only one camera for real-world shoots that I can totally rely on, where my career is on the line, I’ll pick the Panasonic GH5 (Amazon, B&H).

The Panasonic GH5 Guide is now available! Click here to learn how to make cinematic videos with the Panasonic GH5.

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