In summary
Overall, we consider the G9 the best camera Panasonic has made so far, particularly for enthusiast photographers who are mainly interested in shooting stills but also like to take high-resolution movies occasionally. It’s also the best-equipped M4/3 camera on the current market.
For those whose primary interest is video, the GH5 would be a better buy, particularly if they require the professional features and codecs it supports. Stills photographers will find the 20-megapixel resolution ideal for most applications and quite high enough for producing richly-detailed A2 sized prints, particularly from raw files.
Photographers who want a DSLR-like shooting experience will also find the control layout and excellent EVF on the G9 pleasing to use and the logical menu system puts it slightly ahead of its nearest rivals, Fujifilm’s X-T2 and the Olympus OM-D E-M1 Mark II. All three cameras are flagship models and all feature well-built, weather-resistant bodies and SLR-like styling. They also carry similar RRPs.
Full review
This review continues from where we left off in our First Look overview, which was published in November. We have now been able to spend some time with Panasonic’s DC-G9 camera, which was supplied with the H-ES12060E 12-60mm f/2.8-4.0 lens. This has enabled us to conduct our standard suite of Imatest and shooting tests and provide an evaluation of the handling characteristics and performance of the new camera.
Angled view of the Panasonic DC-G9 camera with the Leica-branded 12-60mm f/2.8-4.0 ASPH. lens that was supplied for our review. (Source: Panasonic.)
Compared with GH5
We thought it would be useful to provide a comparison of the key features of the G9 and the GH5 so readers could decide which camera is better suited to their requirements. Both cameras are relatively expensive, with the G9 priced AU$500 below the flagship GH5 model.
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Lumix DC-G9 |
Lumix DC-GH5 |
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Announced |
November 2017 |
September 2016 |
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Sensor size & type |
17.3 x 13.0 mm Live MOS |
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Image processor |
Venus Engine X (with improved algorithms) |
Venus Engine X (five core) |
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Effective resolution |
20.3 megapixels |
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Max. image size |
5184 x 3888 pixels |
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Max. movie resolution |
3840 x 2160 pixels (50fps) |
4096 x 2160 pixels (30fps) |
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Codecs/ data rates |
4:2:0 8-bit LongGOP / 3840 x 2160 up to 100Mbps |
LongGOP and ALL-Intra / 3840 x 2160 up to 400Mbps |
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Continuous recording time limits (H-ES12060 lens) |
AVCHD: ~130 min (rear monitor), 120 min (LVF) MP4 4K: ~130 min (rear monitor), 120 min (LVF) |
AVCHD: ~150 min with rear monitor or LVF |
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High Resolution photo mode |
Yes (80 megapixels) |
No |
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Special Photo modes |
4K Photo, 6K Photo |
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Image stabilisation |
Integrated 5-axis IS with Dual I.S. support for stabilised lenses and digital IS for video |
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AF system |
Contrast AF with DFD technology, Post Focus & Focus Stacking |
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Focus points |
225 |
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LCD data panel |
Yes |
No |
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Monitor |
Free angle, 3-inch, 1,040,000 dots |
Free angle, 3.2-inch, 1,620,000 dots |
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Touch screen |
Yes |
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Viewfinder resolution |
OLED 3,680,000 dots |
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EVF magnification |
0.83x |
076x |
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Shutter speed range |
Mechanical: 60 to 1/2000 second; Electronic: 1 to 1/32,000 second |
Mechanical: 60 to 1/8000 second; Electronic: 1 to 1/16,000 second |
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Exposure compensation |
+/- 5EV in 1/3EV steps |
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Bracketing |
AE: +/- 3EV; 3,5,7 frames; WB (3 exposures), focus (1-999 images, 5 levels, aperture (3, 5 or all positions in 1 EV step) |
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ISO range |
ISO 100 – ISO 25600 |
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Continuous shooting (max) |
Mechanical shutter: 12 fps with AFS/MF; 9 fps with AFF/AFC Electronic shutter: 60 fps with AFS/MF; 20 fps with AFF/AFC |
12 fps with AFS/MF; 9 fps with AFF/AFC (both shutter types) |
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Buffer capacity |
~ 600 JPEGs, ~ 60 raw files |
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Storage |
Dual slots for SD, SDHC, SDXC cards,UHS-1 & UHS-II compatible; one slot accepts fast V60 class cards |
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Flash |
External flashguns only via hot-shoe |
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Battery |
DMW-BLF19 |
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Battery capacity (CIPA) |
Approx. 400 shots/charge |
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Interface connections |
USB 3.0 High Speed Multi, HDMI, 2.5 mm remote terminal, 3.5 mm mic terminal, 3.5 mm headphone jack |
USB Type-C, Super Speed USB 3.1 GEN1, HDMI, 2.5 mm remote terminal, 3.5 mm mic terminal, 3.5 mm headphone jack |
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Integrated Wi-Fi |
Yes, 802.11b/g/n, WPA/WPA2, WPS, Wi-Fi Direct |
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Integrated Bluetooth |
Yes |
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Dimensions (wxhxd) |
136.9 x 97.3 x 91.6 mm |
138.5 x 98.1 x 87.4 mm |
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Weight (body only) |
Approx. 586 grams |
Approx. 645 grams |
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RRP (body only) |
AU$2499 |
AU$2999 |
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Most people see the G9 as being stills-focused, in contrast with the video-focused GH5 model. To some degree this is true; image processing has been deliberately tuned in that direction. But the G9 is also capable of 4K video recording, but it is limited to the consumer-level 3840 x 2160 pixel resolution and 8-bit colour depth, while the GH5 supports 4096 x 2160 pixels and 10-bit colour depth.
For a stills photographer, the G9 provides some distinct advantages over its more expensive sibling. For starters, the G9’s electronic shutter can sustain continuous shooting at up to 60 fps with focus and exposure locked on the first frame or 20 fps with auto focus and exposure adjustment. In contrast, the GH5 is restricted to 12 fps with AFS/MF or 9 fps with AFF/AFC with both types of shutter.
Only the G9 offers a High-Resolution mode that uses the sensor-shift stabilisation to record eight frames and combine them into an 80-megapixel RW2.RAW file, a technique pioneered by Olympus in the E-M5 Mark II. It requires the camera to be tripod mounted but will appeal to landscape and architectural photographers as well as those who shoot food, products and other still life subjects.
Other shooting modes include an HDR setting that combines three pictures taken at different exposures to create one image with greater dynamic range than a single shot and a multiple-exposure mode that allows users to combine two or three shots to make a composite image. Post Focus and Focus Stacking have been ported across from the GH5 and the G9 includes Panasonic’s standard Intelligent Resolution and Intelligent D-range settings as well as nine Photo Styles and 22 creative filters.
The GH5 lacks the LCD data display on the top panel and the magnification of its viewfinder is significantly lower than the G9’s, although both cameras provide an eye point of 21 mm plus a dioptre adjustment range of -4.0 to +3.0 dioptres. This range should be wide enough to accommodate most potential users.
The G9’s stabilisation system is the same as the GH5’s and combines two-axis O.I.S. from the lens (if available) with five-axis sensor-shift stabilisation in the camera body. This dual image stabilisation system works for both stills and video recording.
However, Panasonic has improved its performance with new algorithms that take account of data from the gyro sensor, accelerometer and image sensor to provide a claimed shake correction of 6.5 stops, even with unstabilised lenses. This is a stop and a half more than the GH5 provides.
Updated algorithms have also improved the performance of the 225-point Contrast AF system, which is otherwise identical to the GH5’s. The claimed improvement is only 0.01 of a second, so you’re unlikely to notice much difference. It also depends upon using lenses that can use Panasonic’s DFD (Depth from Defocus) technology. Suffice it to say we found the G9 focuses remarkably quickly and accurately.
Wi-Fi functionality has been brought up-to-date with added support for the 5GHz IEEE 802.11a/n/ac standard. Low-power Bluetooth communication inherited from the GH5 makes it easy to pair the camera with a smart device to transfer files and operate the camera from the device’s screen.
Handling
The G9 is slightly smaller and lighter than the flagship GH5 model and its control layout is somewhat different, largely because of the inclusion of the LCD data display. This screen lights up when the camera is switched on and displays the current camera settings. It’s similar to the screens on high-end DSLR cameras but a ‘first’ on a M4/3 model.
The drive mode dial (which we reported as missing in our initial review) is still on the left of the viewfinder housing on the new camera but the mode dial has been moved from its position right of the EVF on the GH5 to sit atop the drive dial. This frees up space for the data LCD panel but makes the drive dial much less visible.
Top view of the Lumix DC-G9 with no lens fitted. (Source: Panasonic.)
It’s not necessarily an ideal set-up as you have to adjust both dials with your left hand, which takes it away from supporting the camera. Photographers who already own a GH5 may find the shuffling of these key controls annoying, although we had few problems adapting to the revised set-up on the G9. The locking button on the mode dial makes it unlikely that settings will be changed unintentionally but we found the dial on the review camera was quite stiff and, at times, difficult to turn.
The drive dial is more easily adjusted via a protruding tab and each setting is identifiable by icons and obvious click-stops. It carries seven settings, covering single and burst modes as well as the 6K Photo mode, focus stacking and self-timer modes. Two settings each are provided for the continuous shooting and self-timer modes.
Front view of the Lumix DC-G9 with no lens fitted. (Source: Panasonic.)
The function lever on the lower left corner of the front panel has two positions that can be set up to customise camera settings for different shooting conditions. A simple flick of this switch allows you to swap between them without having to dive into the relatively complex camera menus.
We found the enlarged grip to be suitable for users with average-sized and large hands, although it may not be as pleasant for those with small hands or short fingers. The textured leather-like finish on the grip and surrounding areas was also comfortable to hold for protracted periods and more secure than similar cladding on most other cameras.
The positioning of the combined shutter button-power switch put it right under our index finger and the control dial and WB, ISO and exposure compensation buttons just behind were within easy reach. Reaching the movie button, which is located to the right of the data display, requires more of a stretch but is possible with average-length fingers.
The rear panel of the Lumix DC-G9 with the monitor reversed onto the camera body. (Source: Panasonic.)
The control layout on the rear panel is similar to that on the GH5, although the Display button is now integrated into the Delete/Back button and the Fn2 button has been moved below the arrow pad. We greatly preferred the design of the control dial on the rear right hand corner of the top panel on the G9 to the semi-enclosed dial on the GH5.
The focus mode switch to the right of the EVF housing on the rear panel provides three selectable modes: AFS/AFF, AFC and MF. When manual focus is selected, users can take advantage of focus peaking and/or display a magnified view to assist focusing. Alternatively, you can touch the screen and the camera will focus for you.
The joystick button on the rear panel is the same as the GH5’s and just as easy to use when you want to shift the focus area while viewing the subject through the EVF. The monitor is the same as the G85’s and fully articulating like the larger screen on the GH5, with touch capabilities that make it easy to shoot from different positions and angles.
The 4K/6K Photo function gains a pre-burst capability that enables recording to start just before you fully depress the shutter button. A new night mode switches the display settings for menus, overlays and reviews on the EVF and monitor screens to red to avoid disrupting your night vision when shooting after dark. We found it very effective.
The card slots, interface ports and battery compartment are in the same positions as the GH5, making them all easy to find. There’s a synch port for external flashes on the front panel and a connector for a remote control just above the card slot on the right side panel.
Another feature we were unaware of when we wrote our First Look appraisal was the ability of the G9 to be charged directly via USB cable. This enables you to power the camera with an external battery pack or via a solar recharging panel.
The G9 uses the same DMW-BLF19 battery as the GH5 and the GH4 that preceded it. Provision is made for adding a dedicated battery grip (DMW-BGG9) which holds a single DMW-BLF19 battery and will double the battery life to approximately 800 shots/charge. Alternatively, users can extend battery life to 920 shots/charge with the power saving mode for the EVF.
Performance
We reviewed the DC-G9 with the Leica-branded DG Vario-Elmarit 12-60mm f/2.8-4.0 ASPH. POWER O.I.S. lens (INSERT LINK), which is the same lens as we used for our review of the DC-GH5. This lens is one of the kit options that will be available with the camera and covers an ideal focal length range for general and travel photography.
Our Imatest assessments showed the review camera to be almost capable of meeting expectations for the sensor’s 20.2-megapixel resolution with JPEGs and exceeding expectations comfortably with RW2.RAW files, which we converted into 16-bit TIFF format with Adobe Camera Raw (ACR). Colour accuracy with JPEG files wasn’t quite as good as we found with the GH5 but saturation was conservatively handled and there were few deviations in actual hues. Straight-out-of-the-camera JPEGs had with nicely balanced contrast and saturation with a good dynamic range in most shooting conditions.
Raw file conversion produced the expected loss of saturation that always occurs, with reds, greenish blues and skin hues least affected. The resulting files provided plenty of scope for editing in sophisticated software like Photoshop.
Resolution remained relatively high for raw files throughout most of the camera’s ISO range. With both file types, the highest values were obtained at ISO 100 (‘Low’) before a gradual decline as sensitivity was increased to ISO 6400, after which a drop in resolution occurred. The graph below shows the results of our tests.
Low-light exposures retained their colour accuracy through most of the supported ISO range, with a slight loss of sharpness and vibrancy at the two highest ISO settings. Noise began to be visible at ISO 6400, increasing as sensitivity was raised. Unlike the files from the GH5, we found no colour blotches at the two highest ISO settings and files were usable for small prints and web applications.
Autofocusing was similar to the GH5 in most situations and generally very fast and accurate. In bright conditions, the single AF mode caused the camera to lock-on instantaneously. After dark, focus was usually quickly obtained although we found a few instances where the camera hesitated briefly before finding focus. This only occurred with low-contrast subjects.
Focus tracking was impressive when shooting moving subjects and the camera was able to find focus, lock on and track subjects easily. The Pre-Burst modes worked as well as they did with the GH5.
Auto white balance performance was similar to the GH5’s. The AWBc setting, which prioritises ‘the natural colours of subjects’ proved better able to correct the warm hues of both incandescent and warm-toned LED lighting than the regular auto setting. Fluorescent lighting was well corrected but the incandescent pre-set, the only option we were able to test, slightly over-corrected. Manual measurement produced images with neutral colour rendition and the camera provides plenty of adjustments for tweaking colours as you shoot.
The review camera’s stabilisation system was outstanding. We were able to hand-hold the camera at shutter speeds as slow as one second and obtain a high percentage of sharp images. An example is provided in the Samples section below.
Because it has the same sensor as the GH5 and supports many of the same movie recording modes, it was no surprise to find the G9 delivered excellent video clips, with natural-looking colours and plenty of detail. We found the image stabilisation system enabled us to record clips that were shake-free and very stable, even in variable lighting conditions.
Like the GH5, the G9 records video from a full-pixel readout and then downsamples it to either 3840 x 2160 pixels (4K) or 1920 x 1080 pixels. This means frames are not cropped and the resulting video is sharp with little or no noise and free of most other artefacts. We thought it was every bit as good as equivalent clips from the GH5 we tested.
Both the stabilisation and autofocusing systems worked well when shooting movies and the AF system was relatively quick to find the subject after the lens was de-focused. Once found, focus stuck with the subject. There were a couple of glitches in the soundtracks of the 4K movies we shot but they could easily be edited out or replaced with other audio. Audio recordings were otherwise clear and easily discernible.
The review camera was quick to activate, becoming ready to start shooting in less than a second after being switched on. We measured an average capture lag of 0.14 seconds, which was eliminated by pre-focusing. Shot-to-shot times averaged 0.3 seconds and we found no perceptible blackout in the EVF or monitor between successive shots. It took approximately 0.5 seconds to process each frame, regardless of whether it was a JPEG or RW2.RAW file, which is very fast.
Because the G9’s buffer capacity is so large (around 600 frames for JPEGs) and continuous shooting speeds are so fast, we had difficulties measuring the review camera’s burst speeds with the degree of precision we would have liked. As far as we were able to determine, the camera was able to record both JPEG and RW2.RAW files at (or slightly above) the claimed 12 frames/second rate with the mechanical shutter and 60 frames/second with the electronic shutter, provided focus and exposure were locked on the first frame.
With autofocus and auto exposure enabled, the frame rates dropped to the claimed 9 fps with the mechanical shutter and 20 fps when the electronic shutter was used. The buffer depth in each case was around 50 frames and recorded shots could be viewed immediately after the burst was completed.
Conclusion
Overall, we consider the G9 the best camera Panasonic has made so far, particularly for enthusiast photographers who are mainly interested in shooting stills but also like to take high-resolution movies occasionally. It’s also the best-equipped M4/3 camera on the current market (although with CP+ coming late next month we’re not sure how long it will retain this prime position).
For those whose primary interest is video, the GH5 would be a better buy, particularly if they require the professional features and codecs it supports. Stills photographers will find the 20-megapixel resolution ideal for most applications and quite high enough for producing richly-detailed A2 sized prints, particularly from raw files.
Photographers who want a DSLR-like shooting experience will also find the control layout and excellent EVF on the G9 pleasing to use and the logical menu system puts it slightly ahead of its nearest rivals, Fujifilm’s X-T2 and the Olympus OM-D E-M1 Mark II. All three cameras are flagship models and all feature well-built, weather-resistant bodies and SLR-like styling. They also carry similar RRPs.
The X-T2 has a larger sensor and slightly higher resolution and is marginally cheaper than the others (probably because it’s been available since Q3 2016). The OM-D E-M1 Mark II has been on sale since early 2017 and has a similar price to the G9. It also boasts an M4/3 sensor and 20-megapixel resolution.
The range of lenses available for the Olympus and Panasonic cameras is currently wider than Fujifilm offers and the lenses are usually lighter than Fujifilm’s equivalents. Serious enthusiasts have plenty of choice in lenses, whichever brand they choose.
It’s early days for the G9 but discounting has already began, perhaps as a result of post-Christmas sales. If you shop around you can save between AU$100 and $200 on the Panasonic RRP. It’s not worth shopping off-shore because by the time you’ve paid for shipping and GST the price will be higher than most local re-sellers offer.
SPECS
Image sensor: 17.3 x 13.0 mm Live MOS sensor with 21.77 million photosites (20.33 megapixels effective) with primary colour filter
Image processor: Venus Engine
Lens mount: Micro Four Thirds
Focal length crop factor: 2x
Aspect ratio settings: 4:3, 3:2, 16:9, 1:1
Image formats: Stills: JPEG (DCF, Exif Ver.2.31), RW2.RAW, MP4 H.265/HEVC (for 6K Photo & 4K Photo); Movies: MP4: H.264/MPEG-4 AVC, MOV: H.264/MPEG-4 AVC, AVCHD Progressive, AVCHD (Audio format: Dolby Audio 2ch)
Still Image Sizes: 4:3 aspect: 5184 x 3888, 3712 x 2784, 2624 x 1968, 4992 x 3744 (6K Photo) / 3328 x 2496 (4K Photo); 3:2 aspect: 5184 x 3456, 3712 x 2480, 2624 x 1752, 5184 x 3456 (6K Photo) / 3504 x 2336 (4K Photo); 16:9 aspect: 5184 x 2920, 3840 x 2160, 1920 x 1080, 3840 x 2160 (4K Photo); 1:1 aspect: 3888 x 3888, 2784 x 2784, 1968 x 1968, 2880 x 2880 (4K Photo); High Resolution Mode: 4:3 aspect: 10368 x 7776 (XL), 7296 x 5472 (LL); 3:2 aspect: 10368 x 6912 (XL), 7296 x 4864 (LL); 16:9 aspect-: 10368 x 5832 (XL), 7296 x 4104 (LL); 1:1 aspect: 7776 x 7776 (XL), 5472 x 5472 (LL)
Movie sizes: MP4: [4K] 3840 x 2160 at 50p at 150Mbps (4:2:0 8-bit LongGOP) (LPCM), 25p, 24p at 100Mbps (4:2:0 8-bit LongGOP) (AAC); 50p at 28Mbps, 25p at 20Mbps; AVCHD: [Full HD] 1920 x 1080: 50p at 28Mbps (LongGOP) (Dolby), 50i 24Mbps, 50i 17 Mbps (LongGOP) (Dolby); High-speed video MP4: [4K] 3840 x 2160 at 30p 100Mbps (Sensor output is 60fps / 50fps / 48fps), [Full HD] 1920 x 1080 at 30p 20Mbps, (Sensor output is 180fps / 150fps)
Image Stabilisation: Image sensor shift type (5-axis / 6.5-stop), Dual I.S. 2 compatible; digital stabilisation available for movies
Dust removal: Supersonic wave filter
Shutter (speed range): Focal-plane shutter (1/8,000 – 60 seconds plus Bulb); Electronic first curtain shutter (1/2,000 – 60 seconds plus Bulb); Electronic shutter (1/32,000 – 1 second); Bulb max. 30 minutes; Movies: 1/25 to 1/16,000 sec.; Shutter life approx. 200,000 cycles
Exposure Compensation: +/-5EV in 1/3EV steps (+/-3EV for movies)
Exposure bracketing: 3, 5, 7 images in 1/3, 2/3 or 1 EV step, max. +/-3 EV, single/burs
Other bracketing options: Aperture, Focus, White Balance
Self-timer: 2 or 10 seconds delay plus 10 sec delay, 3 images
Intervalometer: Time-lapse and stop-motion animation supported
Focus system: Contrast AF system with DFD technology, Post Focus & Focus Stacking
Focus modes: AFS (Single), AFF (Flexible), AFC (Continuous), MF; Face/Eye Detection, Tracking, 225-Area, Custom Multi / 1-Area / Pinpoint
Exposure metering: 1,728-zone multi-pattern sensing system with Multiple, Centre-weighted and Spot metering patterns
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual
Photo Style modes: Standard, Vivid, Natural, Monochrome, L. Monochrome, Scenery, Portrait, Custom 1, 2, 3, 4; Movie options: Cinelike D / Cinelike V / Like709 / V-LogL (optional Upgrade Software Key DMW-SFU1 is required)
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* (*For photos only.)
Colour space options: Adobe RGB, sRGB
ISO range: Auto, Intelligent ISO, 100 (Extended), 200, 400, 800, 1600, 3200, 6400, 12800, 25600 (Changeable to 1/3 EV step)
White balance: Auto, AWBc, Daylight, Cloudy, Shade, Incandescent, Flash, White Set 1, 2, 3, 4, Colour temperature setting 1, 2, 3, 4 (2500-10000K in 100K steps); Blue/Amber, Magenta/Green bias adjustments
Flash: optional TTL external flash
Flash modes: Auto*, Auto/Red-eye Reduction*, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off (*For iA, iA+ only); 1st/2nd curtain synch available
Flash exposure adjustment: +/- 3EV in 1/3EV steps
Sequence shooting: AFS/MF 12 fps with mechanical shutter (9 fps with AFF/AFC), Max. 60 frames/sec. with electronic shutter (20 fps with AFF/AFC)
Buffer capacity: 600 JPEG, 60 raw, depending on memory card size, battery power, picture size and compression
Storage Media: Dual slots for SD, SDHC, SDXC cards (Compatible with UHS-I and UHS-II UHS Speed Class 3 standards)
Viewfinder: OLED Live View Finder with 3,680,000 dots, 100% coverage, approx. 1.66x magnification, 21 mm eyepoint, -4.0 – +3.0 dpt dioptre adjustment, eye sensor
LCD monitor: Free-angle 3.0-inch, 3:2 aspect TFT LCD monitor with static touch control, approx 1,040,000 dots, 100% coverage; Brightness, Contrast, Saturation, Red-Green, Blue-Yellow adjustments
Live View modes: 2x, 4x digital zoom, Extra Tele Conversion: max. 2x for stills, 1.6x for 4K Photo, 2.7x for movies (FHD); Level Gauge, Real-time Histogram, Guide Lines (3 patterns), Centre Marker, Highlight display (Still image / motion picture), Zebra pattern (Still image / motion picture)
Playback functions: 30-thumbnail display, 12-thumbnail display, Calendar display, Zoomed playback (Max. 16x), Slideshow (All / Picture Only / Video Only, duration & effect is selectable), Playback Mode (Normal / Picture Only / Video Only), Protect, Rating, Title Edit, Face Recognition Edit, RAW Processing, 6K/4K PHOTO Bulk Saving, 6K/4K PHOTO Noise Reduction, Light Composition, Clear Retouch, Text Stamp, Copy, Resize, Cropping, Rotate, Video Divide, Time Lapse Video, Stop Motion Video, Rotation Display, Picture Sort, Delete Confirmation, Creating Still Pictures from a Motion Picture
Interface terminals: Super Speed USB3.0 GEN1, HDMI (Type A / VIERA Link, Audio: Stereo. monitor through at 4:2:2 8-bit, 4:2:0 8-bit), 2.5mm jack for remote controller, 3.5mm jacks for headphones and external microphone
Wi-Fi function: Wi-Fi 2.4GHz (STA/AP) (IEEE802.11b/g/n); Wi-Fi 5GHz (STA) (IEEE 802.11a/n/ac), Bluetooth v4.2 (Bluetooth Low Energy (BLE), QR Code Connection
Power supply: DMW-BLF19 Li-ion battery pack; CIPA rated for approx. 400 shots/charge (rear monitor), 380 shots/charge EVF (920 shots/charge with Power Save LVF mode)
Dimensions (wxhxd): 136.9 x 97.3 x 91.6 mm (body only)
Weight: Approx. 586 grams (body only); 658 grams with battery and one SD card
Distributor: Panasonic Australia, Ph. 132 600; www.panasonic.com.au
TESTS
Based on JPEG files taken with the Leica-branded DG Vario-Elmarit 12-60mm f/2.8-4.0 lens.
Based on RW2.RAW files converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
Except where indicated, all of the sample images shown below come from JPEG files shot with the Fine setting, which gives an average file size of roughly 8MB.
Auto white balance normal setting; with incandescent lighting.
Auto white balance ‘c’ setting; with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance normal setting; with warm-toned LED lighting.
Auto white balance ‘c’ setting; with warm-toned LED lighting.
50-second exposure at ISO 100, 18mm focal length, f/5.
30-second exposure at ISO 200, 18mm focal length, f/5.
10 second exposure at ISO 1600, 18mm focal length, f/7.1.
4-second exposure at ISO 6400, 18mm focal length, f/9.
2-second exposure at ISO 12800, 18mm focal length, f/9.
1-second exposure at ISO 25600, 18mm focal length, f/9.
19mm focal length, ISO 200, 1/800 second at f/5.6.
Crop from the above image magnified to 100%.
42mm focal length, ISO 200, 1/320 second at f/3.9.
Crop from the above image magnified to 100%.
Wide brightness range lighting with Intelligent D-range on standard strength; 46mm focal length, ISO 200, 1/500 second at f/7.1.
Strong backlighting; 12mm focal length, ISO 200, 1/800 second at f/8. Taken from RW2.RAW file.
60mm focal length, ISO 1250, 1/125 second at f/4.
48mm focal length, ISO 320, 1/125 second at f/4.
191: 27mm focal length, ISO 200, 1/400 second at f/5.6. Taken from RW2.RAW file.
12mm focal length, ISO 200, 1/320 second at f/9.
60mm focal length, ISO 200, 1/500 second at f/9.
38mm focal length, ISO 200, 1/640 second at f/8.
20mm focal length, ISO 1600, 1/60 second at f/7.1.
56mm focal length, ISO 8000, 1/125 second at f/9.
60mm focal length, ISO 1250, 1/60 second at f/5.
36mm focal length, ISO 200, 1/100 second at f/5.6.
12mm focal length, ISO 200, 1/160 second at f/3.2.
48mm focal length, ISO 25600, 1/125 second at f/3.96.
Stabilisation test: 60mm focal length, ISO 200, 1 second at f/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/24Mbps.
Still frame from AVCHD Full HD (1920 x 1080) movie clip recorded at 50i/17Mbps.
Still frame from MP4 4K (3840 x 2160) movie clip recorded at 50p/150Mbps.
Still frame from MP4 4K (3840 x 2160) movie clip recorded at 2p/100Mbps.
Still frame from MP4 Full HD (1920 x 1080) movie clip recorded at 50p/28Mbps.
Still frame from MP4 Full HD (1920 x 1080) movie clip recorded at 25p/20Mbps.
Rating
RRP: AU$2499 (body only); AU$3499 with H-ES12060E or H-HSA12035E lens
- Build: 9.1
- Ease of use: 8.9
- Autofocusing: 9.0
- Still image quality JPEG: 8.8
- Still image quality RAW: 9.0
- Video quality: 9.1
