Panasonic Lumix DMC-FZ2500

In summary
Like previous FZ models, the FZ2500 is designed for photographers who want most of the capabilities of a DSLR camera without the hassle of having to change lenses. While its 12.8 x 9.6 mm sensor is smaller than the chips in most interchangeable-lens cameras, it’s larger than the sensors in many fixed-lens digicams and likely to provide better image quality.
The sensor is designed to support 4K video recording and in this area the FZ2500 is one of the highest-featured models available. Because it can record at the Cinema 4K resolution of 4096 x 2160 pixels as well as UHD 4K at 3840 x 2160 pixels with frame rates of 24fps or 30fps, respectively, in the MOV or MP4 formats, it could serve as a back-up camera in low-budget professional movie shoots.
The 20x zoom lens (24-480mm equivalent in 35mm format) makes it usable for sports and wildlife photography, thanks in part to a maximum shutter speed of 1/4000 second and a 12 fps frame rate for continuous shooting. The lens also covers the ‘ideal’ focal lengths for portrait and landscape photography and, although the camera is on the large side, it’s not too conspicuous to be used for street photography.
Full review
A direct successor to the FZ1000, which we reviewed in June 2014, the new Panasonic Lumix FZ2500 camera has a longer zoom lens and introduces some sophisticated video recording functions to a popular line of SLR-like, fixed-lens digicams. The 20.1-megapixel BSI-CMOS sensor hasn’t changed since the previous model but the Venus Engine processor is now the same as in the latest G-series cameras. And the new camera can match (or better) the video capabilities of the GH4.

Angled view of the new Panasonic Lumix DMC-FZ2500 with the lens in the 24mm position and the flash raised. (Source: Panasonic.)
The FZ1000’s 16x optical zoom lens has been replaced by a Leica DC Vario-Elmarit lens with a focal length range of 8.8 to176mm (24-480mm equivalent in 35mm format) and maximum apertures ranging from f/2.8-4.5. The minimum aperture has shifted from F/8 in the FZ1000 to f/11 in the FZ2500. Some light transmission is sacrificed at the 176mm setting to allow for the longer zoom.
To achieve this extension, Panasonic has modified the optical design adding an element and replacing some to provide five aspheric lenses (with eight aspherical surfaces) and one ultra-high refractive index lens. Two neutral density filters have been added and they can be combined to provide great control over light transmission, with four selectable settings plus an Off position on the left hand side of the lens barrel.
Panasonic has also swapped from a seven-bladed iris diaphragm to one with nine blades, which should deliver more attractive bokeh. More blades produce a more circular aperture.
At the same time, new drive mechanisms have been introduced for controlling the aperture adjustment and the zoom mechanism. For the former, a new galvanometer-based actuator provides stepless aperture control for smooth exposure adjustments while shooting movies.
A switch to moving the lens on rails and cams rather than cams alone has made it easier to minimise image shifting and blurring while zooming by keeping the camera more centered and better balanced. In addition, a new coreless zoom drive motor allows the lens to zoom smoothly at slow speeds, enabling users to zoom in or out smoothly for up to 30 seconds while recording a video clip.
In-lens stabilisation is improved with the new 5-axis HYBRID O.I.S.+ system that can correct the five types of camera shake that commonly affect the more dynamic movements that occur when recording movies while walking, running or shooting from a moving vehicle. It also minimises the appearance of blurring when shooting movies one-handed.
There are now seven programmable functions (Fn) buttons dispersed about the top and rear panels and along the left hand side of the lens barrel. Each can be set to access sub-menus for most of the functions normally contained in the camera’s menu, including the 35 functions listed in our review of the FZ1000.
To complement the FZ2500’s enhanced video capabilities, Panasonic has added a 3.5mm headphone jack to enable users to monitor soundtracks while shooting movies. The 3.5mm microphone jack carries over from the FZ1000.
The FZ2500’s battery is the same as the FZ1000’s and given the longer zoom lens, and the fact that the standard CIPA battery life test requires the lens to be racked across the entire zoom range multiple times, it’s not surprising that its capacity is reduced. Expect to be able to record roughly 350 shots when framing shots with the monitor or 270 shots when using the EVF. It should take about 140 minutes to recharge a depleted battery and a separate charger is supplied with the camera.
Who’s it For?
Like previous FZ models, the FZ2500 is designed for photographers who want most of the capabilities of a DSLR camera without the hassle of having to change lenses. While its 12.8 x 9.6 mm sensor is smaller than the chips in most interchangeable-lens cameras, it’s larger than the sensors in many fixed-lens digicams and likely to provide better image quality.
We felt it could be useful to compare key features of the FZ2500 with the FZ1000, which continues in Panasonic’s line-up (at least for the time being) and is a cheaper option if you don’t need the high-end video functions. You can check out similarities and differences in the table below.
|
Panasonic FZ2500 |
Panasonic FZ1000 |
Sensor size |
13.2 x 8.8 mm |
|
Effective resolution |
20.1 megapixels |
|
Zoom range (35mm equiv.) |
24-480mm |
25-400mm |
Max. aperture range |
f/2.8-4.5 |
f/2.8 to f/4 |
Lens construction |
16 elements in 11 groups (5 aspherical lenses & 1 UHD lens) |
15 elements in 11 groups (5 aspherical lenses & 4 ED lenses) |
Max. still image size |
5480 x 3656 pixels |
5472 x 3648 pixels |
Max. video resolution |
4096 x 2160 pixels |
3840 x 2160 pixels |
Max. continuous shooting speed |
12 fps |
12 fps |
Buffer capacity |
~100JPEGs, >30 frames when there are raw files |
80 JPEG or 9 raw |
Monitor / resolution |
Free-angle 3.0-inch, 1,040,000-dots |
Articulated 3-inch TFT; 920,000 dots |
Viewfinder / resolution |
OLED EVF with 2,360,000 dots |
|
Shutter speed range |
Electronic – 1 to 1/16,000 sec.; mechanical – 60 to 1/4000 sec. |
|
ISO range |
100-12800 (expansion to ISO 80 and ISO 25600) |
125-12800 (expansion to ISO 80 and ISO 25600) |
Connectivity |
USB 2.0, micro HDMI type D (4:2:2 8-bit / 4:2:2 10-bit monitor through); 2.5 mm remote terminal, 3.5 mm microphone and headphone jacks, Wi-Fi (IEEE 802.11b/g/n) |
USB 2.0, micro HDMI Type D, 2.5 mm remote jack, 3.5 mm mic. jack, Wi-Fi (802.11b/g/n with NFC) |
Battery capacity |
350 shots/charge |
360 shots/charge |
Dimensions (wxhxd) |
137.6 x 101.9 x 134.7 mm |
136.8 x 98.5 x 130.7 mm |
Weight with battery & card |
966 grams |
826 grams |
The sensor is designed to support 4K video recording and in this area the FZ2500 is one of the highest-featured models available. Because it can record at the Cinema 4K resolution of 4096 x 2160 pixels as well as UHD 4K at 3840 x 2160 pixels with frame rates of 24fps or 30fps, respectively, in the MOV or MP4 formats, it could serve as a back-up camera in low-budget professional movie shoots.
The 20x zoom lens (24-480mm equivalent in 35mm format) makes it usable for sports and wildlife photography, thanks in part to a maximum shutter speed of 1/4000 second and a 12 fps frame rate for continuous shooting. The lens also covers the ‘ideal’ focal lengths for portrait and landscape photography and, although the camera is on the large side, it’s not too conspicuous to be used for street photography.
Build and Ergonomics
The FZ2500 is similar to the FZ1000 in build quality, being constructed with a metal chassis covered by a polycarbonate cladding that has a textured, rubber-like finish that makes the camera comfortable to hold and operate. The grip is reasonably large and has a moulding for the user’s middle finger and there’s a rubber-clad thumb rest on the back panel.
When the camera is held, the user’s index finger should sit naturally above the shutter button and have easy access to the zoom lever that surrounds it. Like the FZ1000, the FZ2500 works best when both hands are used, with the left hand cradling the lens, where it can adjust the focusing and zoom rings and have easy access to the ND filters and three function (Fn) buttons on the left side of the lens.
The top panel controls are similar to those on the FZ1000, with a drive mode dial to the left of the EVF housing (unchanged since the FZ1000) and the mode dial to the right. A 4K Photo mode has been added to the drive mode settings, while one of the Custom memories on the mode dial has been replaced with a Panorama shooting mode.

The top panel of the FZ2500 with the lens in the wide (24mm) position. (Source: Panasonic.)
Panasonic has added a second control dial to the FZ2500, located just behind the shutter button where it’s easy to reach. The main control dial has been raised to sit on top of the top panel, where it’s also easier to adjust than the semi-inset dial on the FZ1000. the Function and movie buttons have been swapped around on the new camera and the former is now labelled Fn4, a continuation of the numbering of the buttons on the side of the lens.

The lens extends by 50 mm when the camera is switched on, as shown in the illustration above. However, zooming and focusing are handled by moving internal elements so it remains in this position, regardless of the zoom setting selected. As focal length is increased, the maximum aperture contracts, as shown in the table below. Note, the 35mm equivalent focal lengths are shown because these are displayed on the monitor.
Focal length setting |
Max. aperture |
Minimum aperture |
24mm |
f/2.8 |
f/11 |
30mm |
f/3.1 |
|
40mm |
f/3.4 |
|
50mm |
f/3.6 |
|
70mm |
f/3.9 |
|
100mm |
f/4.2 |
|
150mm |
f/4.3 |
|
200mm |
f/4.3 |
|
350mm to 480mm |
f/4.5 |
On the left hand side of the EVF housing are two controls. The upper slider raises the flash, while a rotating knob below it adjusts the dioptric setting for the viewfinder. The EVF’s resolution hasn’t changed since the FZ1000 but its magnification has increased from 0.7x to 0.74x to provide an improved view.

The rear panel of the FZ2500 with the monitor reversed. (Source: Panasonic.)
The layout on the rear panel hasn’t changed much since the FZ1000. The resolution of the monitor has been increased to 1,040,000-dots and it is now touch-screen enabled. The AF/AE lock control, which is also used to set focus modes, has been rotated clockwise through 90 degrees and the function buttons have been re-numbered to allow for the additional buttons.
The memory card retains its own slot in the right hand side panel, while the battery has a dedicated compartment in the grip, accessed via a lift-up cover on the base plate. Also on the base plate is a metal-lined tripod socket, which is positioned centrally and in line with the optical axis of the lens.
Sensor and Image Processing
The 20.1-megapixel, 13.2 x 8.8 mm CMOS image sensor is virtually identical to the chip in the FZ1000 and supports a default ISO range of 100 to 12,800 with readily-accessible expansions to ISO 80 and ISO 25,600 available. Panasonic makes no claims about the image processor but it’s safe to bet that the quad-core Venus Engine processor featured in the FZ1000 has undergone some improvements to support the enhanced video capabilities in the new camera.
We covered the various still picture sizes in our First Look review of the FZ1000, which provides a guide to what the FZ2500 offers. Continuous shooting speeds are largely unchanged and the FZ2500 can record at up to 12 frames/second (fps) with fixed focus or 7 fps with continuous AF. However, the buffer memory has been expanded and can hold up to 100 JPEGs (depending on compression) or 30 raw images, compared with 80 JPEG or 9 raw files for the FZ1000.
Panasonic’s 4K Photo shooting modes are fully supported, among them the 4K Burst mode which records 4K video while the shutter button is held down, the 4K Burst (S/S) mode, which starts recording when the shutter button is pressed stops when this button is pressed a second time, the 4K Pre-Burst mode which starts recording when it is selected and store the last 30 frames captured before the shutter button was pressed.
The various Post Focus functions give photographers the ability to select different points of focus within the same image. Integrated focus stacking allows users to program the focus shifting sequence in order to utilise the highest performing aperture while also increasing the depth of field in the final image.
Video
Panasonic sees the FZ2500 as a fixed-lens version of the flagship Lumix GH4, which has since its release been sought after by photographers who specialise in video shooting. While the sensor in the FZ2500 is smaller than the one in the GH4, it’s more than adequate for capturing 4K movie clips at the DCI 4K resolution of 4,096 x 2,160 pixels, which is larger than the highest resolution available on the GH4. A custom video GUI makes shooting movies much more intuitive.
Three movie recording formats are supported: AVCHD, MP4 and MOV, where the FZ1000 provided only AVCHD and MP4 output. As in the FZ1000, the highest resolution available in AVCHD mode is Full HD (1920 x 1080 pixels), although frame rates of 50 fps are supported.
Both the MP4 and MOV support 4K recording, with a maximum frame rate of 25 fps. To record with DCI 4K resolution you must select the 24.00 Hz (CINEMA) setting in the System Frequency sub-menu, which is located in the set-up (tools) pages. The other items in this sub-menu are NTSC and PAL settings.
Whereas the FZ1000 was limited to 29 minutes and 59 seconds of video per clip, the FZ2500 supports ‘unlimited’ video recording while storage space and battery power remain available, although this can be influenced by the system frequency setting. And while the FZ1000 could only output 8-bit 4:2:2 video via its HDMI port to an external recorder, the FZ2500 supports 10-bit 4:2:2 output via HDMI. It can also support simultaneous 8-bit 4:2:2 recording to its memory card and recording won’t be stopped by disconnecting the HDMI port as it did with the FZ1000.
If you opt for Full HD 1080p resolution in AVCHD format, you can choose between 50p at 28 Mbps and 17 Mbps and 25p at 24 Mbps recording rates. In MOV format, there’s a choice between high-quality 100 Mbps IPB or 200 Mbps All-I capture with 50 fps frame rates.
Other welcome features for movie recording include V-Log/V-Log L support (although you’ll need to invest in a paid software upgrade), new Cinelike D/V, Hue and V LogL photo style settings, a choice of three luminance levels (16-255, 16-235 or 0-255) The 4K Live Cropping mode lets users crop a 4K frame and record the movie in Full HD resolution lets users pan and zoom for either 40 or 20 seconds. Users can move the cropped frame about the monitor by toggling the arrow pad direction buttons.
When recording in the AVHCD format, you can access the variable frame rate settings, which can be used for quick- and slow-motion recording options. Frame rates range from 2 fps for speeding up motion to 120 fps for super slow motion. They play back at half speed or double speed, respectively.
A slow zoom setting enables the camera to rack the zoom for 10, 20 or 30-second periods. The camera also provides a dolly zoom setting that takes advantage of the redesigned lens to keep zooming smooth while the camera is being moved with respect to the subject. The size of the subject remains constant while the angle of view of the background changes.
The zebra pattern and centre marker functions carry over from the FZ100 and the FZ2500 also provides time code support with a choice between Rec Run and Free Run modes. SMPTE, EBU and ARIB colour bars can also be displayed for calibration and an audio test tone is available.
The movie menu also includes a flicker-reduction setting plus filters for reducing wind noise and noises made by the operations of the lens. A display can be accessed for reference when you adjust the microphone level and you can limit the sensitivity of the mic or couple it to the zoom operation to make it easier to pick up distant sounds.
Recording times vary with the mode and settings used. In MP4 mode while recording 4K video clips you can expect a recording time of approximately 100 minutes. This extends to 115 minutes for FHD movies recorded in AVCHD mode. Approximately 300 minutes of playback time is available when viewing shots and movies on the monitor screen.
Still photos can be captured while movie clips are being recorded, although only as JPEGs. The movie mode includes two settings: Video Priority and Photo Priority. Both use a 16:9 aspect ratio. When the former is selected up to 10 still pictures can be captured at 4K size or up to 40 with 1920 x 1080 pixel resolution. In Photo Priority mode, pictures will be captured at the resolution and quality set for still photos. The screen will go dark while the shot is recorded and the number of recordable pictures reduces to five when 4K size is set for the Rec Quality or 10 shots in the Full HD modes.
The FZ2500 includes a Snap Movies mode in which users can specify the recording time in advance and capture ‘snapshot’ movies in Full HD resolution with a frame rate of 50 fps. Focus shifting and fade -n/out effects are available and clips can be edited on a smart device using the Panasonic Image App.
The camera also supports Pull Focus, in which users can specify where the focus starts and ends on the touch screen. You simply touch the start position and drag your fingertip to the end position then release your finger.
Unchanged Features
The 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, and Sunshine.
The FZ2500 includes the same integrated Wi-Fi (802.11n) connectivity as its predecessor, although without Near Field Communication (NFC) technology. It requires the Panasonic Image App, which is available for iOS and Android platforms free of charge, to be installed on the connected smart device.
This app lets users control the camera remotely from a smart device and adjust the shutter speed, aperture and exposure compensation as well as zooming and focusing controls. The shutter release can also be triggered remotely and images can be geotagged using location data from the smart device.
Nothing much has changed in the playback functions and Panasonic continues to offer Silkypix software as its raw file converter. We have repeatedly shown Silkypix produces TIFF files with lower resolution than the JPEGs directly from the camera so we’ve given up trying to use it. Since our preferred raw file converter, Adobe Camera Raw wasn’t supporting the FZ2500 at the time of our review, we converted ARW.RAW files from the camera into editable TIFF files with RawTherapee, a freeware converter when evaluating the results of our Imatest tests.
Performance
Subjective assessment of test shots showed them to be similar to the results we’ve obtained from other Panasonic cameras. Exposures were accurately measured in most situations and JPEGs recorded had a decent dynamic range for a 1-inch type sensor plus good colour fidelity. Saturation was more restrained than in most digicams and close to the levels in the G-series cameras.
Autofocusing was very fast, even in relatively low light levels, although we found a slight loss of precision when shooting with the longest focal length indoors at night. In bright conditions, the camera handled backlit subjects well, focusing quickly and accurately. We encountered no problems with moirø© in still shots or movie clips.
Zooming was very smooth and more controllable than we expected for a digicam. Although the lens barrel isn’t marked with focal length settings as the FZ1000’s is, the on-screen displays can show 35mm equivalent setting while zooming with either the ring on the lens or the lever around the shutter button.
We found slight traces of vignetting at the widest aperture settings across the focal length range ““ but only with close examination of RW2.RAW files. Raw files captured at the 8.8mm focal length showed visible barrel distortion, which segued into slight pincushion distortion by 176mm. These aberrations weren’t visible in JPEGs so we suspect in-camera processing is applied.
The lens suffered from edge and corner softening at all focal lengths from its widest aperture settings to between f/5.6 and f/8, where differences in centre and edge resolution were reduced. The graph below shows the results of our Imatest tests at five focal lengths we were able to measure.

Lateral chromatic aberration remained within the negligible range and no coloured fringing was seen in test shots. In the graph of our Imatest results below, the red line marks the border between ‘negligible’ and ‘low’ CA.

Imatest showed JPEGs from the review camera were capable of meeting expectations for the 20-megapixel sensor at optimal focal length and aperture settings. RW2.RAW files converted into 16-bit TIFF format with Raw Therapee showed slightly higher resolution than JPEGs, although not enough to be hugely significant. Resolution held up relatively well with both file types across the camera’s sensitivity range, as shown in the graph of our Imatest results below.

Long exposures were handled well for a camera with a 1-inch sensor and the camera maintained consistent brightness and contrast levels as the sensitivity was increased. Noise could be seen in long exposures from ISO 3200 and by ISO 25600 it was quite visible as both granularity and overall softening.
Hand-held shots taken at night at ISO 16000 and ISO 3200 showed some softening, although the stabilisation system enabled us to shoot with shutter speeds as low as 1/15 second with a focal length of 48mm, which is equivalent to 131mm in 35mm format. At the 480mm equivalent focal length, shutter speeds between 1/100 and 1/150 second yielded a high percentage of acceptably sharp shots in bright outdoor lighting
Flash performance was also better than average for a digicam. Shots were slightly under-exposed between ISO 80 and ISO 100 but consistent and correct across the remainder of the ISO range. Shots taken at the two highest ISO settings showed the influence of ambient lighting and the softening associated with high sensitivity settings.
White balance performance was similar to other Panasonic cameras we’ve reviewed. In the auto mode, the characteristic warm cast remained under incandescent lighting while shots taken in both fluorescent lighting and with the camera’s built-in flash had close to natural colours. Manual measurement delivered neutral colours under each type of lighting and plenty of in-camera adjustments are available.
The results of our video recording tests were impressive particularly when the two 4K modes were selected. Clips shot in these modes were virtually identical to similar clips recorded with the G85 camera, which has a larger sensor.
Both the MP4 and AVCHD recordings had similar levels of sharpness for FULL HD movie clips ““ and both were excellent. Colours were also accurately recorded, and contrast was a little higher than normal.
The AF system, which defaults to continuous AF in movie mode, performed well and appeared able to lock on quickly and track moving subjects fairly consistently. However, when recording with the 25 fps frame rate, fast-moving subjects were often blurred, although this was only really noticeable in frame grabs and rarely interfered with the perception of movie quality.
The built-in microphones delivered usable soundtracks with no apparent interference from camera noise, although they were somewhat susceptible to wind noise. A wind-reduction filter is available and works as well as can be expected for a basic set-up.
Our timing tests were carried out with a 64GB Lexar Professional SDX C Class 10 UHS-II U3 card, which is designed for 4K movie recording. The review camera powered up in just over a second. Capture lag was effectively negligible, regardless of whether shots were pre-focused.
Shot-to-shot times averaged 0.3 seconds without flash for three frames, after which the camera paused briefly as the captured frames were processed, introducing a lag of about 0.6 seconds before a further three shots could be recorded. With flash the intervals between shots averaged 1.8 seconds.
Going by indicator on the screen that shows files are being processed, we estimate found high-resolution JPEGs were processed almost instantaneously, while RW2.RAW files took just over a second and RAW+JPEG pairs took 1.5 seconds.
With the default Auto shutter setting, the camera tended to use the mechanical shutter when continuous shooting was selected. In the High-speed continuous mode it recorded 101 JPEG frames in 9.8 seconds before the capture rate slowed. This equates to a frame rate of 10.3 fps, which is slower than the specified rate. It took 9.9 seconds to process this burst.
On swapping to recording RW2.RAW frames the review camera recorded 38 frames in 3.7 seconds before pausing, which equates to 10.27 fps. It took 18.4 seconds to process this burst.
With RAW+JPEG pairs, we found the buffer memory filled at the 34th frame which was reached in 3.3 seconds; maintaining the frame rate of 10.3 fps. It took 26.7 seconds to complete the processing of this burst.
When the electronic shutter was selected, the High-speed mode recorded 153 JPEGs in 12.4 seconds. This equates to just over 12.3 fps, which is faster than the specified rate. It took 16.6 seconds to process this burst.
Conclusion
The relatively large size and high price tags of long-zoom digicams puts them in competition with mirrorless APS-C cameras, although the ability to use interchangeable lenses makes the latter more versatile. APS-C cameras also have larger sensors, giving them an advantage in recordable dynamic range and low light performance.
If you’re prepared to work with the 1-inch sensor and want a fixed-lens camera that can cover almost all of your still and movie requirements, the Panasonic FZ2500 is an obvious candidate. As far as video is concerned, it’s a genuine step-up from the previous model and significantly cheaper than its nearest rival, the Sony RX10 Mark III. The graph below shows the similarities and differences between the two cameras.
|
Panasonic FZ2500 |
Sony RX10 Mark III |
Sensor size / effective resolution |
13.2 x 8.8 mm / 20.1 MP |
|
Lens zoom range (35mm equiv.) |
24-480mm |
24-600mm |
Max. aperture range |
f/2.8-4.5 |
f/2.4-4.0 |
Max. still image size |
5480 x 3656 pixels |
5472 x 3648 pixels |
Max. video resolution |
4096 x 2160 pixels |
3840 x 2160 pixels |
Max. continuous shooting speed |
12 fps with mechanical shutter, 50 fps with electronic shutter |
5 fps normal mode, 14 Speed Priority mode |
Buffer capacity |
~100JPEGs, >30 frames when there are raw files |
44 JPEGs, 27 frames when there are raw files |
Monitor size / resolution |
Free-angle 3.0-inch, 1,040,000-dots |
3-inch, 1,228,800 dots |
Touch screen |
Yes |
No |
Viewfinder / resolution |
OLED EVF with 2,360,000 dots |
|
Shutter speed range |
Electronic – 1 to 1/16,000 sec.; mechanical – 60 to 1/4000 sec. |
Electronic – 1 to 1/32,000 sec.; mechanical – 30 to 1/2000 sec. |
ISO range |
100-12800 (expansion to ISO 80 and ISO 25600) |
100-12800 (expansion to ISO 64, ISO 80 and ISO 25600) |
Connectivity |
USB 2.0, micro HDMI type D (4:2:2 8-bit / 4:2:2 10-bit monitor through); 2.5 mm remote terminal, 3.5 mm microphone and headphone jacks, Wi-Fi (IEEE 802.11b/g/n) |
Multi/Micro USB, USB 2.0, micro HDMI,3.5 mm microphone jack, multi-interface shoe, headphones, Wi-Fi (IEEE 802.11b/g/n) with NFC |
Battery capacity with monitor |
350 shots/charge |
420 shots/charge |
Dimensions (wxhxd) |
137.6 x 101.9 x 134.7 mm |
132.5 x 94.0 x 127.4 mm |
Weight with battery & card |
966 grams |
1095 grams |
RRP (MSRP) |
AU$1699 |
AU$2299 |
Panasonic has the FZ2500 listed on its Australian website at an RRP of AU$1699, while the US online store lists it at US$1200 (which was equivalent to roughly AU$1620 when this review was posted. Although some local re-sellers haven’t listed the camera so far, discounting has already begun and local prices are well below the equivalent US prices.
The cheapest online offer we found locally was AU$1444 and there were several websites listing prices below AU$1500, with a few more between AU$1500 and AU$1600. On this basis, we’d recommend shopping locally and you’ll get the extra benefits of Australia’s consumer protection laws.
SPECS
Image sensor: 13.2 x 8.8 mm MOS sensor with 20.9 million photosites (20.1 megapixels effective)
Image processor: Venus Engine
A/D processing: Not specified
Lens: Leica DC Vario-Elmarit 8.8 – 176mm f/2.8-4.5 lens (24-480mm equivalent in 35mm format)
Zoom ratio: 20x optical, 4x digital, 28.1x extra optical zoom, 40x ‘intelligent’ zoom
Image formats: Stills – JPEG (DCF / Exif 2.3) RW2.RAW, RAW+JPEG; Movies – AVCHD progressive, AVCHD, MP4
Image Sizes: Stills – RAW2.RAW – 5480 x 3656; JPEGs 4:3 aspect – 4864 x 3648, 3456 x 2592, 2432 x 1824; 3:2 aspect – 5472 x 3648, 3888 x 2592, 2736 x 1824; 16:9 aspect – 5472 x 3080, 3840 x 2160, 1920×1080; 1:1 aspect – 3648 x 3648, 2592 x 2592, 1824 x 1824; Movies – 4096 x 2160 at 24p; 3840 x 2160 at 30p, 25p,24p; 1920 x 1080 at 50p, 50i, 30p, 25p, 24p; 1280 x 720 at 30p, 25p
Shutter speed range: Mechanical shutter – 60 to 1/4000 seconds; Electronic shutter – 1 to 1/16,000 second; Bulb (max. 2 minutes)
Self-timer: 2 or 10 seconds delay plus 10 sec / 3 images
Image Stabilisation: 5-axis HYBRID O.I.S.+
Exposure Compensation: +/- 5EV (in 1/3 EV steps); +/-3EV for movies
AE bracketing: 3, 5, 7 images in 1/3, 2/3 or 1 EV step, Max. +/-3 EV
Other bracketing options: Aperture, Focus
Focus system/range: 49-area Contrast-detect AF with DFD technology; AF-S, AF-C, DMF and manual modes; range: 30 cm to infinity; macro to 3 cm
Focus area selection: AF Macro / MF / Intelligent Auto / Motion picture; Full area touch AF is available
Focusing modes: One Shot AF, Shutter AF, Half Press Release, Quick AF, AF Sensitivity, Continuous AF (during motion picture recording), Eye Sensor AF, AF+MF, MF Assist, Touch MF Assist, Focus Peaking, Touch AF/AE Function, Touch Pad AF, Touch Shutter, Low Light AF, Starlight AF
Exposure metering/control: Intelligent Multiple, Centre Weighted and Spot modes Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual
Photo Style modes: Standard / Vivid / Natural / Monochrome / Scenery / Portrait / Custom plus Cinelike D, Cinelike V, V-Log L when Creative Video mode is selected
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)
4K Photo modes: 4K Burst and 4K Burst (S/S): 30 frames/sec, max. 15 min; 4K Pre-Burst: 30 frames/sec, approx. 2 sec, Post Focus, Focus Stacking
Other functions: Level Gauge, Real-time Histogram, Guide Lines (3 patterns), Centre Marker (Still image / motion picture), Highlight display (Still image / motion picture), Zebra Pattern (Still image / motion picture)
ISO range: Auto (ISO 125-12800), ISO 100-25600 selectable in 1EV or 1/3EV steps; Expansion to ISO 80, ISO 100 and ISO 25600 available
White balance: Auto, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x4) Colour Temperature, 2-axis WB adjustments available
Flash modes/range (ISO auto): Auto, Forced On, Forced Off, Slow Sync.; Red-eye Reduction and 1st Curtain Sync./ 2nd Curtain Sync are available; range – 0.5-13.2m (Wide / ISO Auto), 1.0-7.9m (Tele / ISO Auto)
Sequence shooting: Max. 12 frames/second
Buffer memory depth (based on tests): >80JPEGs, >30 frames when there are raw files
Storage Media: SD. SDHC, SDXC cards; Compatible with UHS-I UHS Speed Class 3 standard
Viewfinder: OLED Live View Finder with 2,360,000 dots; 100% coverage, 2.18x magnification, 20 mm eyepoint, dioptre adjustment of +/-4.0 dpt, eye sensor
LCD monitor: Free-angle 3.0-inch, 1,040,000-dot, 3:2 aspect ratio TFT LCD monitor with static touch control
Interface terminals/communications: Wi-Fi (IEEE 802.11b/g/n), Micro-B USB 2.0, Micro-HDMI type D (4:2:2 8-bit / 4:2:2 10-bit monitor through) with Viera Link; 2.5 mm remote terminal, 3.5 mm microphone and headphone jacks
Power supply: DMW-BLC12 Li-ion Battery Pack; CIPA rated for 350 shots/charge with monitor or 270 shots/charge with EVF
Dimensions (wxhxd): 137.6 x 101.9 x 134.7 mm
Weight: 915 grams (966 grams with battery and memory card)
Distributor: Panasonic Australia, Ph. 132 600; www.panasonic.com.au
TESTS
Based on JPEG files





Based on RW2.RAW files converted into 16-bit TIFF format with RawTherapee software





SAMPLES

Auto white balance with incandescent lighting.

Auto white balance with fluorescent lighting.

Auto white balance with flash lighting.

Vignetting at 8.8mm f/2.8.

Vignetting at 176mm f/4.5.

Rectilinear distortion at 8.8mm.

Rectilinear distortion at 176mm.

ISO 80, 30-second exposure at f/3.2; 18mm focal length.

ISO 100, 25-second exposure at f/3.2; 18mm focal length.

ISO 1600, 20-second exposure at f/4; 18mm focal length.

ISO 6400, 10-second exposure at f/5.6; 18mm focal length.

ISO 12800, 6-second exposure at f/6.3; 18mm focal length.

ISO 25600, 4-second exposure at f/7.1; 18mm focal length.

Flash exposure at ISO 80; 1/60 second at f/4; 46mm focal length.

Flash exposure at ISO 100; 1/60 second at f/4; 46mm focal length.

Flash exposure at ISO 1600; 1/60 second at f/4; 46mm focal length.

Flash exposure at ISO 6400; 1/60 second at f/4; 46mm focal length.

Flash exposure at ISO 12800; 1/60 second at f/4; 46mm focal length.

Flash exposure at ISO 25600; 1/60 second at f/4; 46mm focal length.

8.8mm focal length, ISO 125, 1/1000 second at f/4.5.

176mm focal length, ISO 125, 1/800 second at f/4.5.

Macro focus mode; 8.8mm focal length, ISO 200, 1/800 second at f/2.8.

Macro focus mode; 176mm focal length, ISO 200, 1/320 second at f/4.5.

176mm focal length, ISO 6400, 1/15 second at f/5.

35mm focal length, ISO 400, 1/80 second at f/5.6.

176mm focal length, ISO 160, 1/125 second at f/4.5.

176mm focal length, ISO 3200, 1/500 second at f/5.6.

12mm focal length, ISO 80, 1/500 second at f/7.1.

Still frame from C4K video clip recorded in MP4 format at 24p / 100Mbps.

Still frame from 4K video clip recorded in MOV format at 25p / 100Mbps.

Still frame from 4K video clip recorded in MP4 format at 25p / 100Mbps.

Still frame from Full HD (1080p) MP4 video clip recorded at 50p / 28Mbps.

Still frame from Full HD MP4 video clip recorded at 25p / 20Mbps.

Still frame from HD (720p) MP4 video clip recorded at 25p / 10Mbps.

Still frame from Full HD (1080p) recorded in MOV format at 50p / 200Mbps with ALL-I compression.

Still frame from Full HD recorded in MOV format at 25p / 100Mbps with ALL-I compression.

Still frame from Full HD recorded in MOV format at 50p / 100Mbps with IPB compression.

Still frame from Full HD recorded in MOV format at 25p / 100Mbps with IPB compression.

Still frame from a Full HD AVCHD video clip recorded at 50p / 28Mbps.

Still frame from a Full HD AVCHD video clip recorded at 50i / 17Mbps.

Still frame from a Full HD AVCHD video clip recorded at 25p / 24Mbps.
Rating
RRP: AU$1699; US$1200
- Build: 8.9
- Ease of use: 9.0
- Autofocusing: 9.0
- Image quality JPEG: 9.0
- Image quality RAW: 9.0
- Video quality: 8.9