In summary
Like previous TZ models, the TZ70 is designed primarily for travellers and serves as an excellent ‘go-anywhere’ camera.
Raw file support, which was added with the TZ60, is retained in the new model and users can combine raw files with JPEGs and choose Fine or Standard quality for the latter. All raw files are recorded with the maximum resolution for the selected aspect ratio.
The camera can also record stereo pairs for 3D viewing, using a dedicated 3D Photo mode setting, which simultaneously saves 3D still picture data in MPO format plus the stereo pair of images in JPEG format.
Fine and Standard resolution settings are available for the JPEG files.
Faster autofocusing is always welcome, although we didn’t notice a huge improvement over the TZ60’s lock-on speeds, particularly in dimly-lit situations.
For snapshooters, the full auto shooting mode is augmented by easily-selected scene and creative filter options, most of which can be applied to both still and movie capture.
Other handy functions include a Time Lapse Shot mode, which can be used to create video animations in playback mode, and a couple of useful multi-shot modes. These include the iHandheld Night Shot and iHDR (high dynamic range), which record a series of shots and combine them to reduce noise and camera shake or expand the dynamic range in a shot. (Both are highly automated.)
The 30x zoom lens is the same as the lens in the TZ60 and the same digital zoom functions are supported. Integrated Wi-Fi carries over from the TZ60 largely unchanged.
Convenience is the main factor that will influence potential purchasers of this camera.
Full review
Panasonic’s just-released DMC-TZ70 is a relatively minor upgrade to its predecessor, the DMC-TZ60. Although featuring the same Leica-branded, 30x zoom lens and having the same sized (6.17 x 4.55 mm) sensor, the resolution of the sensor has been reduced from 18 megapixels in the TZ60 to just 12 megapixels in the new camera, allowing Panasonic to promote the TZ70 as having a ‘high-sensitivity, large pixel sensor’.
The two colour options for the Lumix DMC-TZ70. (Source: Panasonic.)
The new camera is very slightly larger and marginally heavier than its predecessor but remains relatively light and is slim enough to slip into a largish shirt pocket. It will be offered in silver and black or red and black.
Who’s it For?
Like previous TZ models, the TZ70 is designed primarily for travellers and serves as an excellent ‘go-anywhere’ camera. Raw file support, which was added with the TZ60, is retained in the new model and users can combine raw files with JPEGs and choose Fine or Standard quality for the latter. All raw files are recorded with the maximum resolution for the selected aspect ratio.
The camera can also record stereo pairs for 3D viewing, using a dedicated 3D Photo mode setting, which simultaneously saves 3D still picture data in MPO format plus the stereo pair of images in JPEG format. Fine and Standard resolution settings are available for the JPEG files.
Faster autofocusing is always welcome, although we didn’t notice a huge improvement over the TZ60’s lock-on speeds, particularly in dimly-lit situations. For snapshooters, the full auto shooting mode is augmented by easily-selected scene and creative filter options, most of which can be applied to both still and movie capture.
Other handy functions include a Time Lapse Shot mode, which can be used to create video animations in playback mode, and a couple of useful multi-shot modes. These include the iHandheld Night Shot and iHDR (high dynamic range), which record a series of shots and combine them to reduce noise and camera shake or expand the dynamic range in a shot. (Both are highly automated.)
The 30x zoom lens is the same as the lens in the TZ60 and the same digital zoom functions are supported. Integrated Wi-Fi carries over from the TZ60 largely unchanged.
The slowest shutter speed available in the S shooting mode is four seconds. The only way to access longer exposure times is via the Starry Sky mode, which lets you select from 15-second, 30-second and 60-second exposure times. However, sensitivity defaults to ISO 100 and is not adjustable.
What’s New?
In two words: not much. Aside from the change in sensor resolution (see below), most other features of the camera are either unchanged or tweaked a little. Changes to the body design are largely cosmetic, although the larger grip moulding makes the new camera more comfortable to hold and operate than the TZ60.
Angled view of the Lumix DMC-TZ70 with the zoom lens extended. (Source: Panasonic.)
The EVF has higher resolution, which is welcomed. But it remains small and rather pokey to look through and it’s not particularly glasses friendly.
Rear view of the Lumix DMC-TZ70. (Source: Panasonic.)
There has been a small increase in the monitor’s resolution (although not enough to be glaringly obvious). But it’s still not touch-screen enabled and the monitor no longer tilts downward for above-the-head shooting.
Top view of the Lumix DMC-TZ70 with the zoom lens extended. (Source: Panasonic.)
The new sensor should deliver improvements to image quality in terms of better noise handling at high ISO settings and Panasonic claims the TZ70 has faster autofocusing in dim lighting and enhanced shadow recovery in JPEGs. However, the maximum continuous shooting speed of 10 fps is the same as the TZ60’s and so is the rather limited buffer memory.
Also on the downside, the built-in flash is weaker, flash synch speed is reduced to 1/50 second and there’s no hot-shoe for accessory flashguns. In addition, and Wi-Fi requires an app to be loaded on the connected smart device.
Sensor and Image Processing
Although the new MOS (metal oxide semiconductor) sensor in the TZ70 has the same 1/2.3-inch type (6.17 x 4.55 mm) size as the CMOS chip in the TZ60, its lower resolution means the pixel pitch is about 1.5x larger. This has enabled Panasonic to increase the native sensitivity range in the new camera upwards from ISO 3200 to ISO 6400 and downwards from ISO 100 to ISO 80.
The image processor appears to be the standard Venus Engine chip, which supports continuous shooting at up to 10 frames/second with full resolution or 60 fps for a one-second burst with resolution reduced to 2.5-megapixels.
TZ70 provides the same four aspect ratio settings as its predecessor. Raw file capture is possible for stills at all aspect ratios and for all image size settings. Typical image sizes are shown in the table below.
|
Aspect ratio |
Image Size |
Resolution |
Fine |
Standard |
|
4:3 |
RAW |
4000 x 3000 |
15.5MB |
|
|
L |
4000 x 3000 |
7.3MB |
3.6MB |
|
|
RAW+JPEG |
4000 x 3000 |
23.3MB |
19.7MB |
|
|
M |
2816 x 2112 |
4.0MB |
2.0MB |
|
|
S |
2048 x 1536 |
1.7MB |
0.87MB |
|
|
3:2 |
RAW |
4000 x 2672 |
14.6MB |
|
|
L |
4000 x 2672 |
7.0MB |
3.5MB |
|
|
M |
2816 x 1880 |
4.0MB |
2.0MB |
|
|
S |
2048 x 1360 |
1.5MB |
0.8MB |
|
|
16:9 |
RAW |
4000 x 2248 |
13.5MB |
|
|
L |
4000 x 2248 |
6.8MB |
3.4MB |
|
|
M |
2816 x 1584 |
3.9MB |
2.0MB |
|
|
S |
1920 x 1080 |
1.1MB |
0.6MB |
|
|
1:1 |
RAW |
2992 x 2992 |
12.2MB |
|
|
L |
2992 x 2992 |
5.4MB |
2.7MB |
|
|
M |
2112 x 2112 |
2.4MB |
1.2MB |
|
|
S |
1504 x 1504 |
1.2MB |
0.6MB |
|
Video
Video capabilities are standard for Panasonic cameras, with support for both AVCHD and MP4 format and a top resolution/quality setting of 1920 x 1080 / 50p (50 Hz) with a bit rate of 28 megabits/second using the H.264 codec. Full-time AF is supported in movie mode.
Users can adjust camera settings in the P, A, S and M modes and apply many of the Creative Control filters. Panasonic has made some adjustments to recording formats and frame rates to bring the new camera up to current expectations. The table below shows the settings available.
|
Video format |
Aspect ratio |
Picture size |
Frame Rate |
Bit rate |
Recording capacity/8GB card |
|
AVCHD |
16:9 |
1920 x 1080 |
50p |
28 Mbps |
8 minutes |
|
1920 x 1080 |
50i |
17 Mbps |
14 minutes |
||
|
1280 x 720 |
50p |
17 Mbps |
22 minutes |
||
|
MP4 |
1920 x 1080 |
25p |
20 Mbps |
12 minutes |
|
|
1280 x 720 |
25p |
10 Mbps |
22 minutes |
||
|
4:3 |
640 x 480 |
25p |
4 Mbps |
50 minutes |
The maximum recording time per clip is 29 minutes and 59 seconds ““ or up to 4GB in MP4 mode. The available recording time is continuously updated on the monitor screen.
Playback and Software
Nothing much has changed in either area. All the standard playback functions are supported, including index (12 or 30 thumbnails), calendar and movie playback. Playback zoom is available for still images. You can grab frames from movie clips in playback mode and save them as JPEGs with a 16:9 aspect ratio and resolution of two megapixels.
Files can be ‘filtered’ to play back specified file types, including by date, by scene mode, by file type (JPEG, movie, 3D) or only images tagged as favourites. Auto retouching facilities are also provided, along with the ability to apply Creative filter effects post-capture.
The supplied software disk contains Panasonic’s standard PHOTOfunSTUDIO (Windows only) plus a link to a download of a trial version of LoiLoScope, a video editing program. No raw file processor is included but the user manual (provided in PDF format on the disk) has details of how to download SILKYPIX Developer Studio from Ichikawa Soft Laboratory’s website using PC connected to the Internet.
If, like us, you’re less than enthusiastic about Silkypix, and you don’t want to wait for Adobe to release the next version of Adobe Camera Raw, the freeware converter, Raw Therapee, will do the job competently. (It’s available at http://rawtherapee.com/blog/list/13.)
Performance
Pictures taken with the review camera had the characteristic Panasonic look. Images were slightly soft straight out of the camera; less so with wider angels of view than long focal lengths. In most cases out-of-camera JPEGs were easily corrected with a little unsharp masking. Colours were accurately reproduced and saturation was well controlled for a small-sensor digicam.
Imatest showed resolution to be slightly below expectations for a 12-megapixel camera in converted raw files and a little lower in JPEGs straight from the camera. The expected drop in resolution as sensitivity was increased was more gradual than we found with the TZ60 and resolution for both JPEGs and raw files at the highest ISO settings was significantly higher (as you would expect from the slightly large photosites on the TZ70’s sensor). The graph below shows the results of our tests.
The Imatest performance of the lens was similar to the TZ60’s across the range of focal lengths we were able to test and confirmed our subjective assessments of test shots. The sharpest images were captured at wider apertures. with diffraction taking effect between f/5.6 and f/6.3. The graph below shows the results of our tests.
Lateral chromatic aberration was similar to the results we obtained from previous TZ series cameras and almost entirely within the ‘moderate’ band for JPEGs. In the graph of our JPEG results below, which covers the range of focal lengths and aperture settings we were able to measure, the red line marks the boundary between ‘negligible’ and ‘low’ CA, while the green line separates ‘low’ and ‘moderate’ CA.
Interestingly, we found little evidence of coloured fringing in our test shots so in most situations this aberration could be considered immaterial. Diffraction-related softening at apertures smaller than f/5.6 was a more significant problem.
Restrictions to exposure times for different ISO settings limited our ability to explore the review camera’s low-light shooting capabilities. As outlined above, the longest exposure time in the S (shutter-priority) and M (manual) shooting modes ““ where sensitivity is adjustable ““is four seconds, reducing to less than a second at the two highest ISO settings. Longer exposure times (15, 30 and 60 seconds) are available in the Starry Sky scene mode but ISO isn’t adjustable.
The built-in flash lacked sufficient power to produce correct exposures with ISO settings below ISO 400, even with the widest aperture setting. Flash shots taken at the two highest sensitivity settings (ISO 3200 and ISO 6400) were very soft and noise affected.
White balance performance was similar to the TZ60, an anticipated result, since nothing has changed in this area. The Auto setting failed to correct the inherent orange cast of incandescent lights but came closer with fluorescent lighting and produced colour-accurate images with the built-in flash. Manual measurement delivered natural colours under incandescent and fluorescent lighting.
Video image quality was much as we expected for a small-sensor digicam. Elevated contrast meant blown-out highlights were common and clips recorded with longer focal length settings appeared slightly soft. The AF system was often quite slow to re-focus when subjects changed their distances from the camera and could take two seconds or more to find the subject. Soundtracks were clear enough to be acceptable but had little stereo separation.
Our timing tests were carried out with a 16GB Panasonic SDHC U1 card, which has a Class 10 speed rating. The test camera took roughly 1.5 seconds to power up and extend its lens.
The average capture lag time of 0.25 seconds was eliminated by pre-focusing. Shot-to-shot times averaged 1.2 seconds without flash and 4.8 seconds with.
For single-frame capture of Large/Fine JPEG images, it took 2.1 seconds, on average, to process each image file. Raw files were processed within 2.9 seconds and RAW+JPEG pairs within 3.3 seconds.
The default continuous shooting mode recorded 24 JPEG frames at full resolution in eight seconds, which equates to three frames/second. Frames were processed on-the-fly and processing was completed within 1.3 seconds of the last frame captured.
When the 10 frames/second setting was selected, the camera recorded six JPEG frames at the specified frame rate before stopping. Processing was completed within 1.3 seconds of the last frame captured. Only five RW2.RAW frames were captured when this mode was selected, while the buffer memory only had space for could only hold four RAW+JPEG pairs. Bursts containing raw files took between 15 and 20 seconds to process.
The faster continuous shooting modes only support JPEG capture and frames are recorded in groups with reduced image sizes. With the 40 fps burst rate, the highest resolution supported is 5-megapixels( 2560 x 1920 pixels), while the 60 fps burst rate applies a maximum frame resolution of 2.5 megapixels (1920 1440 pixels). The maximum burst size is 30 frames at 40 fps or 60 frames at 60 fps.
Conclusion
Convenience is the main factor that will influence potential purchasers of this camera. Having a 30x optical zoom lens in a camera you can slip into a shirt pocket will probably be attractive to many snapshooters. But this convenience requires some compromises for serious photo enthusiasts.
The small sensor will always limit imaging performance. Despite the reduction in resolution (and concomitant increase in the surface area of individual photosites), we found only a slight improvement in imaging performance overall ““ with the main improvements being a more gradual fall-off in resolution as sensitivity was increased.
The TZ70 continues to offer the features that have made this series stand-outs for travellers: a pocketable body with plenty of external controls that are straightforward to use. It also provides decent picture quality with a usable ISO range from 100 to 800, where noise won’t be an issue. But it remains a relatively poor performer at its highest ISO settings and its video performance is much the same as that of previous TZ models.
The inclusion of an electronic viewfinder and raw file support may have quantifiable benefits for some potential buyers. But both have limitations when compared with Panasonic’s G-series cameras and the omission of the touch-screen interface will put a lot of people off.
It’s a bit early to expect discount prices to be offered for the TZ70 in the local market and few online re-sellers had even listed the camera when we posted this review. US re-sellers offering the camera had it listed at US$397.99. Allowing for currency conversion and the cost of shipping, you would be better off purchasing the camera locally.
SPECS
Image sensor: 6.17 x 4.55 mm sensor with 12.8 million photosites (12.1 megapixels effective)
Image processor: Venus Engine
Lens: Leica DC Vario-Elmar 4.3-129mm f/3.3-6.4 zoom lens (24-720mm in 35 mm format; 28-840mm for 16:9 video recording)
Zoom ratio: 30x optical, up 4x with digital zoom; 36.7x Extra Optical Zoom with reduced resolution
Image formats: Stills – JPEG (DCF / Exif 2.3), RW2.RAW, RAW+JPEG; Movies – AVCHD, MP4; 3D – MPO
Image sizes: Stills – [4:3] 4000 x 3000, 3264 x 2448, 2560 x 1920, 2048 x 1536, 640 x 480; (0.3M EZ); [3:2] 4000 x 2672, 3264 x 2176, 2560 x 1712, 2048 x 1360, 640 x 424; [16:9] 4000 x 2248, 3840 x 2160, 2560 x 1440, 1920 x 1080, 640 x 360; [1:1] 2992 x 2992, 2448 x 2448, 1920 x 1920,1536 x 1536, 480 x 480; Movies – 1920 x 1080 at 50p/50i/25p, 1280 x 720 at 25p, 640 x 480 at 25p
Shutter speed range: Approx. 4-1/2000 seconds; Starry Sky Mode: 15, 30, 60 seconds
Self-timer: 2 or 10 seconds delay
Image stabilisation: HYBRID O.I.S. with five axis correction
Exposure compensation: +/-2 EV in 1/3 EV steps
Exposure bracketing: AE 1/3-1EV steps, Max. +/-1 EV, 3 frames
Focus system/range: Contrast-based AF with Normal, AF Macro, Macro Zoom and MF modes; range: Wide 50cm – infinity, Tele 200cm – infinity; macro to 3 cm (Wide only)
Focus modes: Normal, AF Macro, Macro Zoom, MF; Quick AF On / Off (on in Intelligent Auto), Continuous AF (only for movies); Face / AF Tracking / 23-area / 1-area (flexible / scalable)
Exposure metering/control: Intelligent Multiple, Centre Weighted, Spot
Shooting modes: Intelligent Auto, P, A, S, M, C1 (Custom), C2 (Custom), Panorama Shot, Scene (Portrait, Soft Skin, Scenery, Sports, Night Portrait, Night Scenery, Handheld Night Shot, Food, Baby1, Baby2, Pet, Sunset, High Sensitivity, Glass Through, HDR, Starry Sky, High Speed Video, 3D Photo), Creative Control
In-camera effects: Creative Control (Expressive, Retro, Old Days, High Key, Low Key, Sepia, Dynamic Monochrome, Impressive Art, High Dynamic, Cross Process, Toy Effect, Miniature Effect, Soft Focus, Star Filter, One Point Colour)
ISO range: Auto, i.ISO, ISO 80, 100, 200, 400, 800, 1600, 3200, 6400
White balance: Auto, Daylight, Cloudy, Shade, Incandescent, White Set
Flash modes/range (ISO auto): Auto, Auto/Red-eye Reduction, Forced On, Slow Sync./Red-eye Reduction, Forced Off; Range: 6-6.4 m (wide), 2.0-3.3 m (Tele)
Sequence shooting: Max. 10 frames/second (approx. 60 fps in high-speed burst mode at 2.5M)
Buffer memory depth (based on tests): 6 JPEGs, raw files, RAW+JPEG
Storage Media: Approx. 86MB of internal memory plus expansion slot for SD/SDHC/SDXC cards
Viewfinder: 0.20-inch LVF (Live View Finder) with 1,166,000 dots; approx. 2.59x magnification
LCD monitor: 3-inch TFT LCD with 1,040,000 dots, AR Coating
Interface terminals: microHDMI, AV Output (PAL / NTSC), USB (AV/USB Multi)
Communications: Wi-Fi (IEEE 802.11b/g/n, Infrastructure Mode / WPS / Wi-Fi Direct), NFC (ISO/IEC 18092 (NFCIP-1) NFC-F)
Power supply: Li-ion Battery Pack (3.6V, 1250mAh, 4.5 Wh); CIPA rated for approx. 300 shots/charge
Dimensions (wxhxd): 110.7 x 64.6 x 34.4 mm
Weight: 217 grams (without battery and memory card)
TESTS
Based on JPEG files:
Based on RW2.RAW files converted with RawTherapee V. 4.2.16:
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with flash lighting.
4.3mm focal length, ISO 80, 1/500 second at f/5.
129mm focal length, ISO 100, 1/500 second at f/6.4.
2x iZoom, 129mm focal length, ISO 80, 1/200 second at f/6.4.
2x digital zoom, 129mm focal length, ISO 80, 1/200 second at f/6.4.
4:3 aspect ratio; 4.3mm focal length, ISO 80, 1/500 second at f/4.5.
3:2 aspect ratio; 4.3mm focal length, ISO 80, 1/500 second at f/4.5.
16:9 aspect ratio; 4.3mm focal length, ISO 80, 1/500 second at f/4.5.
1:1 aspect ratio; 4.3mm focal length, ISO 80, 1/500 second at f/4.5.
15-second exposure at ISO 80, 7mm focal length, f/3.7.
4-second exposure at ISO 200, 7mm focal length, f/4.5.
3.2-second exposure at ISO 400, 7mm focal length, f/5.6.
2-second exposure at ISO 1600, 7mm focal length, f/6.3.
1/4-second exposure at ISO 3200, 7mm focal length, f/3.7.
1/4-second exposure at ISO 6400, 7mm focal length, f/5.
Flash exposure at ISO 80, 27mm focal length, 1/60 second at f/5.4.
Flash exposure at ISO 200, 27mm focal length, 1/60 second at f/5.4.
Flash exposure at ISO 400, 27mm focal length, 1/60 second at f/5.4.
Flash exposure at ISO 1600, 27mm focal length, 1/60 second at f/5.4.
Flash exposure at ISO 3200, 27mm focal length, 1/60 second at f/5.4.
Flash exposure at ISO 6400, 27mm focal length, 1/60 second at f/5.4.
Close-up in Macro focus mode; 4.3mm focal length, ISO 100, 1/60 second at f/3.7.
Close-up in Macro focus mode; 54mm focal length, ISO 160, 1/80 second at f/5.8.
Close-up in normal AF mode; 67mm focal length, ISO 100, 1/100 second at f/6.
129mm focal length, ISO 320, 1/125 second at f/6.4.
83mm focal length, ISO 80, 1/500 second at f/6.
4.3mm focal length, ISO 80, 1/250 second at f/5.
9mm focal length, ISO 80, 1/200 second at f/4.1.
36mm focal length, ISO 125, 1/320 second at f/5.6.
129mm focal length, ISO 100, 1/125 second at f/6.4.
Still frame from AVCHD Full HD (1920 x 1080) movie clip recorded at 50p/28Mbps.
Still frame from AVCHD Full HD (1920 x 1080) movie clip recorded at 50i/17Mbps.
Still frame from AVCHD HD (1280 x 720) movie clip recorded at 50p/17Mbps.
Still frame from MP4 Full HD (1920 x 1080) movie clip recorded at 25p/20Mbps.
Still frame from MP4 HD (1280 x 720) movie clip recorded at 25p/10Mbps.
Still frame from MP4 VGA (640 x 480) movie clip recorded at 25p/4Mbps.
Rating
RRP: AU$549; US$398
- Build: 8.5
- Ease of use: 8.5
- Autofocusing: 8.5
- Image quality: 8.0
- Video quality: 8.0
