What's the one thing you truly consider when investing money in equipment? While it may include spec, budget, future-proofing, workflow, or ergonomics, more often than not, it boils down to personal preference. Your opinion might have you saying, "I like the look of this lens" or "I like how this image makes me feel," and when you voice that opinion, manufacturers listen and try to create better filmmaking tools
When Panasonic crashed the market with the GH5, a mirrorless 4K camera capable of internal 10-bit 4:2:2 recording, shooters were generally happy. Albeit MFT, recent software updates provide ALL-Intra codec with bit rates of up to 400Mbps, higher resolution anamorphic shooting, HLG recording, and a slew of other features for under $2K. Conveniently, it also fits in the palm of your hand. And to think, it feels like yesterday that we were excited about the Sony DSR-PD150 and its 3-CCD 1/3-inch sensor.
In January, Panasonic confirmed recent rumors by officially releasing the GH5S with a newly designed chip (with half the megapixel count of the GH5) to perform better in low light. Panasonic also added Dual Native ISO to the GH5s, removed the 5-axis mage stabilization found in the GH5, and, though they can both record 4K DCI and UHD, enabled the GH5s to tackle 60p (the GH5 is currently limited to 24p in 4K DCI).
The differences make determining your personal preference quite difficult, that is unless you can get your hands on both cameras. Caleb of DSLR Video Shooter was able to do just that and highlights the sensor functionality of the GH5 and GH5S in a rudimentary but easy way to comprehend. He suggests that each camera is designed for a specific type of filmmaker, with the GH5S being for shooters wanting to control the image stability of the sensor themselves and the GH5 ideal for those wanting a sensor that can control image stabilization, practically ideal for run-and-gun creators.