Panasonic Lumix DC-TZ220
If you’re looking for a pocketable camera with a long zoom range and decent performance for shooting both stills and video, the TZ220 is well worth considering.
TZ series cameras are designed primarily for travellers but they’re equally suitable for anyone looking for a versatile ‘go-anywhere’ camera that offers more picture-taking functions and better image quality than a typical smartphone.
It’s worth noting that the TZ220’s longer 15x zoom lens is roughly 1/3 of a stop slower than the lens in the TZ110. Nevertheless, in an area not short of competition, the new TZ220’s updates enable it to equal or better similar cameras from other manufacturers.
Although it’s a relatively minor update, Panasonic has improved its latest travel zoom camera, the TZ220, which is being released this month. There’s a new, Leica-branded lens with a longer zoom range (albeit with a reduction in lens speed), a higher-resolution EVF and a sizeable (70-shot) increase in battery capacity to tempt potential buyers. The TZ220 also supports USB charging. All this, and the camera remains jacket-pocketable.
Angled view of the Lumix DMC-TZ110, silver version. (Source: Panasonic.)
Since its introduction in February 2006, the TZ series has been popular as a traveller’s camera because of its small size, light weight and long zoom lenses. The latest model has the longest reach so far in a pocketable camera with a 1-inch type sensor.
Like the TZ110 that precedes it, the new camera is being offered in black or silver plus black and is supplied with a DMW-BLG10E battery pack, an AC Adaptor, USB Cable, Hand Strap and Strap Adaptor for attaching an optional neck strap.
A basic printed manual is provided but the main manual must be downloaded from the Panasonic Lumix Customer Support Site. No software disk is included so any software needed must also be downloaded from Panasonic’s website.
Who’s it For?
TZ series cameras are designed primarily for travellers but they’re equally suitable for anyone looking for a versatile ‘go-anywhere’ camera that offers more picture-taking functions and better image quality than a typical smartphone. In an area not short of competition, the new TZ220’s updates enable it to equal or better similar cameras from other manufacturers.
Some caution is advised before you hand over your hard-earned cash: the longer zoom lens is roughly 1/3 of a stop slower than the lens in the TZ110. Since cameras in this category generally select the widest lens aperture in any of the auto modes (including P), it may influence depth of field and low-light performance.
Build and Ergonomics
Save for the new lens, the body of the new camera is almost identical to the TZ110 and made from metal and composite plastic. A new rubber grip, which has been added to the front of the camera and makes it much easier to handle. A companion is provided in the form of a small thumb grip just below the rear dial.
Front view of the TZ220. (Source: Panasonic.)
The top panel control layout is unchanged from the previous model. However the longer lens protrudes further forward when fully extended, as shown in the illustration below.
Top views of the TZ220 with the lens in the tele (left) and wide positions. (Source: Panasonic.)
The control layout on the rear panel is also identical to the previous model’s with some very minor cosmetic adjustments.
The rear panel of the TZ220. (Source: Panasonic.)
As in previous TZ-series cameras, the TZ220’s battery and memory card slot share a compartment in the base of the camera, next to the metal-lined tripod socket. A tiny speaker grille is also located on this panel. The battery is charged via a USB cable, which plugs into a port on the right hand side panel.
The lens is the big story here – and it has been achieved without significantly increasing the size of the camera’s body. It’s a Leica-branded DC Vario-Elmar with a zoom range from 8.8mm to 132mm, equivalent to 24-360mm in 35mm format with the sensor’s native 3:2 aspect ratio.
The effective focal length at the wide position is slightly wider in the TZ220 than in the TZ110 and its Multistage Iris Diaphragm covers a maximum aperture range from f/3.3 to f/6.4, compared with f/2.8-5.9 on the TZ110. Both cameras have a fixed minimum aperture of f/8 (a normal situation for this type of lens).
The lens retracts into the camera body and extends to provide up to 15x optical zoom. Digital zoom can be combined with ‘Intelligent’ zoom to provide up to 4x magnification.
The optical design contains 13 elements in 11 groups and includes 11 aspherical surfaces, provided via one aspherical ED element, five aspherical elements and three ED (Extra-low Dispersion) lenses. Panasonic’s 5-Axis HYBRID O.I.S.+ stabilisation minimises the effects of camera shake.
The longer lens has meant an extension of the close focusing limit from 70 cm with the TZ110’s lens fully extended to one metre with maximum zoon in the TZ220. Like the TZ110, the TZ220’s zoom lens takes a second or two to extend when the camera is switched on and, even though Panasonic’s Depth from Defocus technology is used to minimise autofocusing times, we found focusing to be slow at full zoom extension.
The maximum flash range has been trimmed from 8.0 metres on the TZ110 at the widest angle to 6.8 metres on the TZ220. At full zoom extension, the maximum coverage goes from 0.7 – 3.8 metres in the TZ110 to 1.0 – 3.9 metres with ISO Auto in the new camera.
Next in line is the improvement to the EVF’s resolution, which increase from 1,700,000 dots in the TZ110 to 2,330,000 dots in the TZ220. It also gains a boost in magnification from 0.46x to 0.53x (35 mm camera equivalent) which is useful on a camera of this size.
The technology used in the EVF is unchanged and the field sequential cycling between red, green and blue make it susceptible to colour tearing. This can be distracting while panning, particularly when the refresh rate is too slow to keep up. (Panasonic provides no information on the refresh rate of the EVF.)
Low-power Bluetooth has been added to the Wi-Fi capabilities and the camera has a new High Speed Video mode that records MP4 clips with a sensor output of 100 fps with 1920 x 1080 pixel resolution.
The menu design has been undated to the current style used in the latest Panasonic cameras and Panasonic’s L. Monochrome Photo Style and focus peaking have also been added. The new camera also provides easier access to frequently-used settings such as aperture, shutter speed, focus, filter effect and scene mode.
Auto white balance options now include a new AWBc setting, which gives higher priority to the original colour in the subject over the ambient lighting. It is most effective with warm-toned lighting, such as tungsten and LED and produces a just-visible reduction in the red casts of the light. Examples are shown in the Samples section below.
A new in-camera Sequence Composition function, which relies on 4K recording, enables a sequence of shots of a moving subject to be recorded and combined into a single frame. It’s ideal form motion analysis and should attract sports photographers.
Bracketing modes include focus, aperture, exposure and white balance bracketing, with focus bracketing able to capture up to 999 shots at different focus points with the press of the shutter button and aperture bracketing enabling multiple shots with varying depth of field. Bursts of shots taken with these settings enable users to stack focus and/or shots taken with different apertures to achieve maximum depth of field.
The metal body of the TZ220 still lacks weather-resistant sealing. The 1-inch (12.8 x 9.6 mm) MOS sensor also has the same specifications as the chip used in the previous model ““ as well as in the FZ1000 and CM1 cameras.
Like its predecessor, the TZ220’s maximum continuous shooting speed remains at 10 fps with focus and exposure locked in on the first frame or 6 fps with continuous autofocusing. Both cameras support 4K video recording and include current 4K PHOTO modes (covered in our review of the Panasonic G7), which extend the continuous frame rate to 30 frames/sec for up to 15 minutes. Post-Focus functions are also included and, by default, accessed via the Fn2 button on the rear panel.
As in the TZ110, the new camera’s button and dial controls provide easy access to settings like shooting mode selection, aperture, shutter speed, ISO and white balance adjustments as well as focus and drive modes and zooming. Most buttons are customisable.
Both cameras include an eye sensor near the eyepiece that triggers autofocusing when the camera is raised to the photographer’s eye. Embedded in the right hand side panel is a compartment containing the HDMI and USB ports. The latter is used for charging the battery, although an optional charger is available.
Like other TZ-series cameras, the TZ110’s battery and memory card slot share a compartment in the base of the camera, next to the metal-lined tripod socket. A tiny speaker grille is also located on the left hand side of this panel.
Playback and Software
Like its predecessor, the TZ220 provides all the regular playback functions. Pressing the playback button displays the last frame captured. Holding the button down cycles through the images on the card. This can also be achieved by rotating the rear dial or dragging across the screen horizontally.
To playback movies, simply touch the arrow in the centre of the screen and use the icons displayed to select stop, forward and rewind functions with the rear dial adjusting audio volume. Individual frames can be grabbed from movie clips by pausing and pressing the Menu/Set button. The picture will have a 16:9 aspect ratio and its size and quality will depens on the movie resolution.
Options available in playback mode include single-and multiple displays (12 or 30 thumbnails), calendar playback and display of individual frames shot with the Burst, Focus Bracket, Time Lapse or Stop Motion Animation modes. Slideshow playback is also available. Playback zoom provides four levels of magnification: 2x, 4x ,8x and 16x. Raw files can be converted into JPEGs and saved separately; text stamps and titles can be applied to shots and images can be cropped or resized.
You can bulk save five seconds on footage from a 4K burst file and choose multiple frames from it to combine with the Light Composition function, which evens out exposure levels by combining brighter parts of the images. Multiple 4K burst frames can also be combined to create a sequence composition for motion analysis. Location data can be imported via Bluetooth and added to image files.
The downloadable raw file converter is based upon Silkypix software, which we don’t recommend. Fortunately, Adobe Camera Raw (our preferred raw file converter) added support for the latest Panasonic cameras just before we completed our testing so we were able to use it for our Imatest tests.
Our expectations weren’t particularly high for the review camera, partly because of the results of our tests on the TZ110 but also because the lens in the TZ220 covers a 15x zoom range, whereas the TZ110’s lens is a 10x zoom. There’s also a significant loss of lens speed, with the new lens being half a stop slower at the wide position and a little more at the longest focal length.
Subjective assessments of still frames from the review camera showed they had good colour accuracy but contrast and saturation were somewhat constrained, when compared with shots from the TZ110. JPEG shots benefited from tweaking in Photoshop and unsharp masking was needed to overcome the slight loss of sharpness we found, although it couldn’t address the deterioration in sharpness produced by the digital zoom function.
Fortunately (and slightly to our surprise), Imatest showed both JPEG and converted raw files were able to meet expectations for a 20-megapixel camera with optimal lens and ISO settings. Resolution held up well with both file types across the camera’s sensitivity range, with converted RW2.RAW files delivering the expected higher resolution across more focal length and aperture settings as well as ISO settings, as shown in the graph of our results below.
The highest resolution was recorded at around 17.6mm with the lens stopped down to f/5. Edge and corner softening were present across the zoom range. The graph of our Imatest results for JPEG files is shown below.
Lateral chromatic aberration remained entirely within the negligible band. In the graph of our Imatest results below, the red line marks the border between negligible and low CA.
Long exposures taken in dim lighting showed little visible noise up to ISO 3200, but a progressive increase in noise thereafter. By ISO 12800 softening was apparent in test shots and at ISO 25600 both granularity and colour noise had become noticeable and images were visibly softened.
Flash exposures were roughly three stops under-exposed at ISO 125 at a mid-range focal length of 39mm, but correctly exposed from about ISO 800 on. Colour reproduction was faithful at settings up to ISO 3200 but the influence of ambient lighting could be seen from then on. Images became soft-looking at ISO 6400 and softening increased progressively to ISO 25600.
The normal auto white balance setting delivered similar results to other Panasonic cameras we’ve tested. The AWBc setting produced the anticipated reduction in the warm casts of incandescent and warm-toned LED lighting but had little or no effect on fluorescent or flash lighting.
Even with the AWBc setting, an obvious warm cast remained in shots taken under incandescent and warm-toned LED lighting, while shots taken under fluorescent lights and flash shots remained relatively free of colour casts. The incandescent pre-set introduced a slightly purplish cast, while the flash preset remained colour neutral.
No preset is provided for fluorescent or LED lighting. Manual measurement produced neutral colours with all three lighting types and there’s plenty of scope for fine-tuning colour rendition via the touch screen.
We noticed a slight improvement in autofocusing speeds and accuracy at shorter focal lengths, probably thanks to the contrast-based AF system benefits from DFD (Depth From Defocus) technology, which wasn’t available in the TZ110. At full zoom extension focusing was similar to the TZ100. We also noticed a slight slowing when shooting stills in low light levels and even more with low-contrast subjects.
DFD works by comparing two images taken with the focus at different distances and analysing their sharpness so the camera can decide which way and how far to adjust the lens to make the subject sharp. The system benefits from fast readout times from the sensor in most situations, provided light levels were high enough for the system to find an edge to focus upon.
Metering was usually accurate as long as the appropriate mode was selected. Touch metering provided accurate exposures for backlit subjects and where there was a wide brightness range. The default Auto setting in the iDynamic mode delivered well-balanced highlight and shadow detail, even in quite contrasty situations, although only for still shots.
Video clips were similar to those from the FZ300 we reviewed recently, although not quite as sharp and detailed looking. Both cameras provide the same range of resolution and quality settings and include 4K movie recording. Not unexpectedly, 4K movie clips were visibly clearer than Full HD clips and covered scenes with a wide brightness range more effectively.
Contrast and saturation were slightly boosted in movie mode, particularly with lower resolutions (FH, HD and VGA), leading to clipping at either end of the brightness range. The quality of the soundtracks was similar to those from the FZ300 movies.
Our timing tests were carried out with a 32GB Panasonic Micro SDHC Class 10 UHS-1 card, which claims read/write speeds of 95MB/second and 90MB/second, respectively. With this card, it took approximately 1.5 seconds to power up the review camera and extend its lens and marginally longer to retract the lens when power is switched off.
We measured an average capture lag of 0.1 seconds, which was eliminated when shots were pre-focused. Shot-to-shot times averaged 0.4 seconds without flash and 2.3 seconds with. It took approximately 1.9 seconds to process each JPEG file and 2.2 seconds for a RW2.RAW file.
In the high-speed continuous shooting mode, the review camera recorded 124 JPEG frames in 13.1 seconds before pausing, which equates to approximately 9.5 frames/second and is close to specifications. Processing of the final frame was completed within 18.5 seconds of its capture.
With RW2.RAW files, the camera paused after 34 frames, which were captured in 3.4 seconds, a frame rate of exactly 10 frames/second. It took 18.5 seconds to process this burst. Changing to RAW+JPEG capture, we found the buffer memory filled by 29 frames which were recorded in 3.1 seconds, reducing the frame rate marginally. However, it took 26 seconds to process this burst.
The middle and low speed settings record at six and two frames/second respectively with continuous AF and live view supported during capture. Both settings are available for bursts containing RW2.RAW files, where the buffer limit is 28 frames. Frames are processed on-the-fly and processing was completed within one to two seconds of the last frame captured.
There’s plenty to like about the TZ220 and its overall performance is better than that of the TZ110 we reviewed. If you’re looking for a pocketable camera with a long zoom range and decent performance for shooting both stills and video, the TZ220 is well worth considering.
Undoubtedly, access to a decent raw file processor made a difference in the quality of the raw files we analysed. However, the improvement in JPEG performance is also worth noting. Video performance was also somewhat better in the review camera than we found in the TZ110 we reviewed, notably with respect to autofocusing and image dynamic range.
We remained concerned about the significant loss of lens speed and image sharpness occasioned by the increase in the zoom range from 10x in the TZ110 to 15x in the TZ220. While some might see ‘more’ zoom as a desirable feature, we would prefer a shorter zoom range (say, 8x) with greater exposure flexibility and optimal sharpness across more of the focal length range.
Snapshooters who stick with the Auto or P shooting modes may not feel the same way as these modes tend to select the maximum aperture by default. The same is true when Macro AF is selected.
The TZ220 has barely gone on sale but already discounting has begun. While some re-sellers are sticking with the recommended retail price (RRP), if you shop around you can expect to save at least AU$100 even in places that are only offering it on pre-order. Meanwhile, the TZ110 is still on sale and generally priced at less than AU$900, with some online re-sellers offering it between $100 and $150 less.
B&H, which promotes aggressively into the local market has the TZ220 (known in the USA as ZS200) listed at US$797.99, which converted to AU$1039.38 when we check shortly before publishing this review. Shipping costs estimated at AU$31, plus ‘Duties and Tax’ $82.13) would raise the cost well above the best local offers and you’d have to wait about a week for the camera to arrive.
Image sensor: 12.8 x 9.6 mm High Sensitivity MOS sensor with 20.9 million photosites (20.1 megapixels effective)
Image processor: Venus Engine
Lens: Leica DC Vario-Elmar 8.8 – 132mm f/3.3-6.4 lens (24-360mm equivalent in 35mm format)
Zoom ratio: 15x optical, Max. 4x (Digital Zoom and Intelligent Zoom combine for a maximum of 4x.)
Image formats: Stills – JPEG (DCF / Exif 2.31) RAF.RAW, RAW+JPEG; Movies – AVCHD, MP4
Image Sizes: Stills – 4:3 aspect: 4864 x 3648, 3456 x 2592, 2432×1824; 3:2 aspect: 5472 x 3648, 3888 x 2592, 2736 x 1824; 16:9 aspect: 5472 x 3080,3840 x 2160, 1920 x 1080; 1:1 aspect: 3648 x 3648, 2592 x 2592, 1824×1824; MP4 Movies – 3840 x 2160 (4K) at 30p/25p/24p: 100Mbps; 1920 x 1080 at 50p: 28Mbps, 25p: 20Mbps; 28Mbps, 1280 x 720 at 25p: 10Mbps; AVCHD Movies – 1920 x 1080 at 50p: 28Mbps, 50i, 17Mbps, 50i, 24Mbps, 24p, 24Mbps
Shutter speed range: Mechanical shutter – 60 to 1/2000 seconds, electronic shutter – 1 – 1/16,000 sec plus Time (approx. 120 sec); 1/25 – 1/16,000 sec for video
Self-timer: 2 or 10 seconds delay plus 10 sec (3 images)
Image Stabilisation: 5-Axis HYBRID O.I.S. + (except for 4K video or high-speed video recording)
Exposure Compensation: +/- 5EV (in 1/3 EV steps), with exposure compensation dial: +/-3EV for movies
Bracketing: AE – 3, 5, 7 images in 1/3, 2/3 or 1 EV step, Max. +/-3 EV, Aperture – 3 or all positions in 1 EV step, Focus – 1 to 999 frames, focus steps can be set in 10 levels, White Balance – 3 images in blue/amber or magenta/green axis
Focus system/range: Contrast AF with AF, AF Macro and Macro Zoom modes plus AFS (Single) / AFF (Flexible) / AFC (Continuous) Quick AF, Continuous AF (during motion picture recording); range: 50 cm to infinity (wide), 100 cm to infinity (tele); macro to 3 cm
Focus area selection: Face/Eye Detection / Tracking / 49-area / Custom Multi / 1-area / Pinpoint; Touch AF/AE Function
Exposure metering/control: Evaluative metering with Multi Pattern, Centre Weighted and Spot modes
Shooting modes: Intelligent Auto, P, A, S, M, Creative Video, C (Custom), Panorama Shot, Scene Guide, Creative Control
Scene Guide presets: Clear Portrait, Silky Skin, Backlit Softness, Clear in Backlight, Relaxing Tone, Sweet Child’s Face, Distinct Scenery, Bright Blue Sky, Romantic Sunset Glow, Vivid Sunset Glow, Glistening Water*, Clear Nightscape, Cool Night Sky, Warm Glowing Nightscape, Artistic Nightscape, Glittering Illuminations*, Handheld Night Shot, Clear Night Portrait, Soft Image of a Flower*, Appetizing Food, Cute Dessert, Freeze Animal Motion, Clear Sports Shot, Monochrome *For photos only.
Creative Control modes: Expressive, Retro, Old Days, High Key, Low Key, Sepia, Monochrome, Dynamic Monochrome, Rough Monochrome*, Silky Monochrome*, Impressive Art, High Dynamic, Cross Process, Toy Effect, Toy Pop, Bleach Bypass, Miniature Effect, Soft Focus*, Fantasy, Star Filter*, One Point Colour, Sunshine* (22 filters) *For photos only.
Photo Style modes: Standard, Vivid, Natural, L. Monochrome, Monochrome, Scenery, Portrait, Custom
Picture Adjustment: Contrast, Sharpness, Noise Reduction, Saturation*, Colour Tone**, Filter Effect** (*Except for Monochrome mode. **For Monochrome mode only.)
ISO range: Auto, ISO 125-12800 in 1/3 EV steps; Expansion to ISO 80, ISO 100 and ISO 25600 available
White balance: Auto, AWBc, Daylight, Shade, Cloudy, Incandescent, Flash, White Set (x4), Colour Temperature; 2-axis WB adjustments
Flash modes/range (ISO auto): Auto*, Auto/Red-eye Reduction*, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off (*For iA, iA+ mode only); range 0.6 – 6.8m (Wide / ISO Auto), 1.0 – 3.9m (Tele / ISO Auto)
Sequence shooting: Max. 10 frames/second; 4K Burst: 30 frames/sec, max. 15 min
Buffer memory depth (based on tests): JPEGs, raw files, RAW+JPEG
Storage Media: Single slot for SD, SDHC, SDXC cards; Compatible with UHS-I UHS Speed Class 3 standard
Viewfinder: 0.21-inch LVF (Live View Finder) with 2,330,000 dots, 100% FOV, 1.45x magnification, dioptre adjustment of -4.0 to +3.0 dpt
LCD monitor: 3-inch TFT LCD with 1,240,000 dots, Static Touch Control, 100% FOV, AF Coating
Wi-Fi: IEEE 802.11b/g/n, 2412 MHz – 2462 MHz (1-11 ch), WPA / WPA2, Infrastructure Mode / WPS, Bluetooth Low Energy (BLE) v4.2
Interface terminals/communications: USB2.0 Micro-B, microHDMI typeD
Power supply: DMW-BLG10E Li-ion Battery Pack (7.2V, 1025mAh, 7.4 Wh); CIPA rated for Approx. 370 images (rear monitor), 250 images (LVF), 350 images (LVF eco30fps setting)
Dimensions (wxhxd): 111.2 x 66.4 x 45.2 mm
Weight: 298 grams (without battery and memory card)
Distributor:Panasonic Australia, Ph. 132 600; www.panasonic.com.au
Based on JPEG files:
Based on RW2.RAW files converted into 16-bit TIFF format with Adobe Camera Raw.
Auto white balance with incandescent lighting. The upper frame shows the AWB setting and the lower frame the AWBc setting.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting. The upper frame shows the AWB setting and the lower frame the AWBc setting.
Auto white balance with flash lighting.
8.8mm focal length, ISO 125, 1/1000 second at f/4.5.
132mm focal length, ISO 160, 1/125 second at f/6.4.
4x digital zoom, 132mm focal length, ISO 125, 1/125 second at f/6.4.
30-second exposure at ISO 125, 18mm focal length, f/5.6.
20-second exposure at ISO 400, 18mm focal length, f/6.3.
8-second exposure at ISO 1600, 18mm focal length, f/11.
5-second exposure at ISO 6400, 18mm focal length, f/13.
2-second exposure at ISO 12800, 18mm focal length, f/13.
2-second exposure at ISO 25600, 18mm focal length, f/16.
Flash exposure at ISO 125, 32mm focal length, 1/50 second at f/5.6.
Flash exposure at ISO 400, 32mm focal length, 1/50 second at f/5.6.
Flash exposure at ISO 1600, 32mm focal length, 1/50 second at f/5.6.
Flash exposure at ISO 6400, 32mm focal length, 1/50 second at f/5.6.
Flash exposure at ISO 12800, 32mm focal length, 1/50 second at f/5.6.
Flash exposure at ISO 25600, 32mm focal length, 1/50 second at f/6.3.
Close-up with Macro AF; 132mm focal length, ISO 125, 1/640 second at f/6.4.
Macro focus mode; 8.8mm focal length, ISO 125, 1/1000 second at f/5.
Macro focus mode; 83mm focal length, ISO 125, 1/400 second at f/6.2.
Backlit subject; 8.8mm focal length, ISO 125, 1/8060 second at f/3.3.
132mm focal length, ISO 500, 1/125 second at f/6.4.
8.8mm focal length, ISO 125, 1/250 second at f/5.6.
96mm focal length, ISO 125, 1/640 second at f/6.3.
15mm focal length, ISO 125, 1/320 second at f/4.5.
19mm focal length, ISO 200, 1/100 second at f/4.5.
8.8mm focal length, ISO 200, 1/160 second at f/3.3.
8.8mm focal length, ISO 125, 1/80 second at f/3.3.
8.8mm focal length, ISO 200, 1/80 second at f/3.3.
8.8mm focal length, ISO 125, 1/400 second at f/4.5.
49mm focal length, ISO 125, 1/160 second at f/5.6
Still frame from a 4K MP4 video clip recorded at 25p.
Still frame from a 4K MP4 video clip recorded at 24p.
Still frame from FHD MP4 video clip recorded at 50p.
Still frame from FHD MP4 video clip recorded at 25p.
Still frame from HD 720p MP4 video clip recorded at 25 fps.
Still frame from a FHD AVCHD video clip recorded at 50p, 50fps.
Still frame from a FHD AVCHD video clip recorded at 50i, 50fps.
Still frame from a FHD AVCHD video clip recorded at 50i, 25 fps.
Still frame from FHD AVCHD video clip recorded at 24p, 24 fps.
RRP: AU$1199; US$799.99
- Build: 8.8
- Ease of use: 8.7
- Autofocusing: 8.8
- Image quality JPEG: 8.9
- Image quality RAW: 9.0
- Video quality: 8.8