The GH5 has hardly been out a year and the online community is already abuzz with wild anticipation – how will Panasonic’s next flagship more closely resemble the Red Raven or Alexa Mini? I’m exaggerating of course, and I just might be able to understand all the speculation about the GH6 years ahead of its release if the GH5* wasn’t already an enormously capable filmmaking tool jam-packed with video-centric features like wave form monitor and vector scopes, anamorphic de-squeeze, dual IBIS, dual SD card slots (which, unlike the Sony a7RIII, both record at the same high speed), no overheating issues, sensible menus, unlimited record time, world camera, headphone jack and mic input, decent preamps, internal 10-bit 400Mbps ALL-Intra, class leading battery life, 4K 60p, HLG, the ability to store LUTs and save settings to an SD card – all at the ridiculously low price of $1,800 – making it even more of a bargain than the GX80/G80: but I’ve yet to see any work at all from the moaners that even begins to approach the level of filmmaking displayed in Wex Photographic’s lovely Slovenia video or Bernard Bertrand’s all too brief boxing video, as well as dozens of of others shot with the GH4, GH3 and GH2. If better low light performance, a full frame sensor and PDAF are what they want, those needs have already been amply documented. What exactly is the point of such drivel?

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