I'm a Sony fanboy. I own multiple Sony cameras, a drawer full of Sony lenses, and I've built my entire workflow around the Sony ecosystem. So why did I just buy a secondhand Panasonic Lumix S5 IIX?
One feature changed everything: 3:2 open gate recording for anamorphic lenses. Let me explain why this single capability made me step outside my comfort zone—and why it might matter to you too.
The Ecosystem Problem We All Face
Here's the reality of camera ownership: once you invest in a system, you're somewhat locked in. I can't just grab a new Canon RF lens because I don't have Canon bodies. Nikon's Z-mount? Same story. Every purchase has to make sense within the ecosystem you've already built.
But sometimes—just sometimes—a feature comes along that's so specific to what you need that you have to make an exception. For me, that feature was proper anamorphic support.
The 3:2 Open Gate Revelation
I'm shooting with 2x anamorphic squeeze lenses, and this is where the S5 IIX becomes irreplaceable. Let me break down the problem:
Traditional 16:9 sensor recording with 2x anamorphic:
- You capture the squeezed image
- When you de-squeeze it, you're chopping off significant portions of the left and right sides
- You lose composition opportunities, lighting setups, and environmental context
3:2 open gate recording:
- Uses the full sensor height and width
- Captures everything the anamorphic lens sees
- Gives you the full anamorphic experience without compromising your frame
Here's a practical example: In my current setup, I have a motivated light source coming from a window on the right side of frame. With 16:9 recording, I'd have to set up crop guidelines and potentially lose that window entirely, or move the entire camera setup backwards.
With 3:2 open gate, that window stays in frame perfectly. The composition works. The lighting motivation makes sense. I'm not fighting against the sensor format—I'm working with it.
Beyond Just Resolution: Why This Matters
The S5 IIX records 6K in open gate mode. That extra resolution isn't just about sharpness (though the image does look noticeably sharper). It's about flexibility:
- Vertical cropping: You can reframe vertically in post without losing as much from the top of your frame
- Social media formats: You have enough resolution to crop for different aspect ratios
- Post stabilization: More pixels mean more room for digital stabilization without quality loss
For creators producing content across multiple platforms, this flexibility is invaluable.
Anamorphic De-Squeeze Support
The S5 IIX includes proper anamorphic de-squeeze built into the camera:
- 1.3x, 1.5x, 1.8x, and 2x squeeze ratios
- Real-time preview on the LCD
- Anamorphic-specific IBIS algorithms
That last point is crucial. Anamorphic lenses create heavily stretched images, especially in the corners. When you de-squeeze, those corners have a lot of information packed in. Standard IBIS algorithms can struggle with this.
Panasonic developed specific stabilization algorithms for different anamorphic squeeze ratios. The corners look fantastic—no weird warping or distortion from the stabilization system fighting the optics.
The Rolling Shutter Reality Check
Let's be honest: the S5 IIX sensor has slower readout than Sony's latest offerings. You will get rolling shutter artifacts if you whip the camera around quickly.
For static or carefully moved shots, this isn't an issue. For sports or fast action? You'll need to be more deliberate with your camera movements.
I'm planning to test this extensively with sports shooting (which I do regularly), so we'll see how it holds up in dynamic scenarios. The good news is that for narrative work and carefully controlled movements, rolling shutter hasn't been a problem.
APS-C Mode for Additional Flexibility
The S5 IIX also offers 4:3 recording in APS-C crop mode. This creates an even taller, more square format that's nearly perfect for YouTube when de-squeezed from 2x anamorphic.
With my 1.5x anamorphic lenses in APS-C 4:3 mode, the de-squeezed result is almost exactly 1.85:1—essentially perfect 16:9 for YouTube without any additional cropping.
The limitation is that you're cropping your full-frame lenses. My widest full-frame anamorphic works, but you're not getting the full benefit of the glass. Still, having this option expands your creative toolkit significantly.
Direct SSD Recording: A Workflow Revelation
The S5 IIX can record directly to external SSDs via USB-C. This is a massive workflow improvement.
What I'm using:
- Crucial X10 Pro 2TB SSD (not officially on Panasonic's approved list, but works flawlessly)
- Tilta cage with USB-C clamp
- SSD holder with secondary USB-C clamp
The setup: The cable runs from the camera to the cage clamp, then from the SSD holder clamp to the drive itself. Unless something catastrophic happens, that cable isn't coming loose.
The concern: You cannot simultaneously record to SD cards when recording to SSD. There's no redundancy. If that SSD fails or gets disconnected, you lose your footage.
The dual clamp system mitigates this risk significantly, but it's something to be aware of for critical shoots where backup recording is non-negotiable.
The Small Features That Matter
Shutter Angle
Sony finally added shutter angle to the FX30 and FX3, but Panasonic has included it in their cameras forever. For anyone coming from a cinema background or working with variable frame rates regularly, shutter angle is how you think about motion blur.
Having this in a $2,000 camera body isn't revolutionary, but it's table-stakes functionality that makes the camera feel more professional.
Waveform Monitors
The S5 IIX displays waveforms on the LCD screen. This might seem minor, but it's transformative for proper exposure.
My Sony Alpha cameras have histograms (which are okay) or zebras (which I've used forever). Zebras show you clipping points, but waveforms show you the entire tonal distribution of your image.
For controlled lighting scenarios—like the setup I'm using right now with a key light mimicking moonlight through a window—waveforms make exposure precise and consistent.
My FX6 has waveforms, and I've gotten used to that workflow. The S5 IIX brings that same capability to a much smaller and more affordable body.
V-Log: Different But Familiar
This was my first time working extensively with V-Log after years of shooting S-Log. The color science is different, and the gamma curve requires slightly different treatment in post.
But once you apply a Rec.709 conversion LUT, V-Log footage looks great right out of the gate. The color response is pleasing, and it grades well alongside Sony footage (which was a concern).
I also briefly worked with ARRI Log C on the GH7, and having that option in Panasonic's lineup is impressive. V-Log might not be quite at that level, but it's a professional codec that delivers excellent results.
The Ecosystem vs. Tool Mindset
Here's my philosophy shift: cameras are tools for specific jobs, not tribal affiliations.
I'm still a Sony shooter for 90% of my work. My ecosystem investment means new Sony releases benefit me immediately. But for anamorphic work, the S5 IIX is the right tool—even if it means stepping outside my comfort zone.
This isn't about one brand being "better" than another. It's about matching tools to tasks:
- Need mirrorless autofocus and general hybrid shooting? Sony excels.
- Need proper anamorphic support with open gate? Panasonic wins.
- Need internal RAW and cinema features? RED, Blackmagic, or Canon might be your answer.
Who Should Consider the S5 IIX?
Perfect For:
- Anamorphic shooters who need proper sensor format support
- Narrative filmmakers prioritizing cinematic tools over autofocus
- Creators producing multi-platform content who need flexible formats
- Anyone wanting professional features (shutter angle, waveforms, direct SSD recording) in a compact body
Stick With Your Current System If:
- You're primarily a stills photographer
- You need cutting-edge autofocus for fast action
- You already have extensive glass investment in another system
- You don't shoot anamorphic or need open gate formats
The Reality Check
I bought this camera secondhand because I only need it for specific projects. I'm not switching ecosystems—I'm expanding my toolkit for specialized work.
Will there be quirks and limitations? Absolutely. Every camera has them. The rolling shutter is real. The autofocus isn't Sony-level. The menu system is different from what I'm used to.
But for shooting with 2x anamorphic lenses, nothing else in this price range comes close. That's worth the trade-offs.
Looking Forward
I'll be putting this camera through extensive testing over the coming months—sports shooting, narrative work, different anamorphic lenses, and various lighting scenarios.
The early results are promising. The image quality is excellent, the anamorphic support actually works as advertised, and the form factor makes it practical for real production work.
I'm also excited to broaden my perspective beyond Sony. Testing different manufacturers helps me give better advice to a wider range of creators, and it keeps me from getting complacent with familiar tools.
The Bottom Line
The Lumix S5 IIX isn't perfect, and it's not trying to be everything to everyone. It's a specialized tool that excels at specific tasks—particularly anamorphic cinematography.
If you shoot anamorphic or need open gate recording, this camera deserves serious consideration regardless of your current ecosystem. If you don't need those features, there are probably better options within the system you already own.
For me, it fills a specific gap that my Sony cameras couldn't address. That makes it worth every penny.
Do you shoot anamorphic? What's your go-to camera for specialized work? Let me know in the comments!