In summary
The low pixel count of the GH5S has paid dividends in both still image and video quality, particularly in difficult lighting conditions, although the lack of sensor-based image stabilisation means you’ll need a steady base.
When shooting in bright conditions, we found the stabilisation in the lens to be adequate for both stills and video clips, and good shooting techniques made it possible to record steady footage with the camera hand-held in quite low light levels.
Full review
Panasonic’s Lumix DC-GH5S, which was announced in January, has been developed to provide a more video-centric alternative to the flagship GH5 model, which we reviewed in May 2017. Physically, the two cameras are almost identical but the GH5S introduces a new 10.2-megapixel High Sensitivity MOS sensor, which together with the latest Venus Engine 10 processor enables the addition of Dual Native ISO technology, along with a raft of functions found in Panasonic’s Varicam professional camcorders.
Angled view of the Lumix DC-GH5S with the Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 ASPH. POWER O.I.S. lens. (Source: Panasonic.)
The review camera was supplied with the Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 ASPH. POWER O.I.S. lens, which we reviewed in May2017 and which was released at the same time as the GH5. The ability of this lens to be used for both photo and video recording makes it an ideal partner for the new camera, thanks to its integrated stabilisation.
The sensor in the new camera is a little larger than the regular M4/3 chip, measuring 19.2 x 13.0 mm, instead of the normal 17.3 x 13.0 mm dimensions. The allows the camera to use the entire chip area when recording Cinema 4K video movies, which have a frame size of 4096 x 2160 pixels. It also enables the camera to retain the same angle of view in the 4:3,17:9,16:9 and 3:2 aspect ratios.
One downside of the new sensor is that installing the normal in-body image stabilisation mechanism is impossible. Panasonic would have had to develop a new body design that provided enough space behind the lens for correction adjustments without introducing vignetting. Panasonic is probably correct in assuming most potential users of this camera will have already invested (or be prepared to invest) in a gimbal, rather than relying only on the lens IS to ensure steady shooting.
Panasonic has also changed the battery charger supplied with the GH5S to one that has a Micro-USB input. This means users can charge the battery from the mains via the adapter or directly from another USB power source. It takes roughly 190 minutes to reach a full charge using the supplied power adaptor.
Who’s it For?
The main target for the GH5S is professional video shooters, whether they be shooting weddings and other events, news and/or sports footage, nature documentaries or other genres. The array of features on offer (see below) should meet the needs of potential buyers.
The ‘splashproof’ camera body, which can tolerate a small amount of moisture, water or dust exposure should enable photographers to continue shooting for a short while in such environments. Although the camera is not actually waterproof, it should be able to withstand a brief shower of rain.
Roughly halving the resolution of the sensor means the GH5S should perform better in low light levels since the photosites in the new camera are roughly 1.96x larger than those in the GH5. This should also translate into a 1.5-stop improvement in signal-to-noise ratio, producing images that are cleaner with lower noise levels.
Moreover, ten megapixels is more than enough for 4K video, where each frame has a resolution of 8.3 megapixels. Aside from the video features, which are covered in detail below, the main differences between the GH5 and the GH5S are laid out in the table below.
|
|
DC-GH5 |
DC-GH5S |
|
Sensor size |
17.3 x 13.0 mm |
19.2 x 13.0 mm |
|
Effective resolution |
20.3 megapixels |
10.28 megapixels |
|
Max. stills resolution 4:3 |
5184 x 3888 pixels |
3680 x 2760 pixels |
|
Max. video resolution |
3840 x 2160 pixels |
4096 x 2160 pixels |
|
Stabilisation |
5-axis sensor shift, Dual I.S. 2 compatible |
Lens-based only |
|
Native ISO range |
ISO 200 to 25600 |
ISO 160 to 51200 |
|
ISO extensions |
ISO 100 |
ISO 80, ISO 100 and ISO 102400, ISO 204800 |
|
Storage |
Dual slots for SD, SDHC, SDXC cards, one slot accepts fast V60 class cards |
Dual slots for SD, SDHC, SDXC cards, both compatible with UHS-II and Video Speed Class 90 standards |
|
Battery / rating |
DMW-BLF19 / 410 shots/charge with monitor, 400 shots/charge with EVF |
DMW-BLF19 / 440 shots/charge with monitor, 410 shots/charge with EVF |
|
Dimensions (wxhxd) |
138.5 x 98.1 x 87.4 mm |
138.5 x 98.1 x 87.4 mm |
|
Weight (body only) |
Approx. 645grams |
Approx. 580 grams |
|
Body RRP ($AU) |
$2999 |
$3499 |
The lower resolution and extensions to the ISO settings would also make the GH5S a good choice for astrophotography. In addition, the camera’s multi-aspect ratio capability, which crops the sensor within the image circle so cropped images have the same diagonal field of view, could be beneficial to many stills photographers (see below).
The maximum sensitivity of ISO 204800 is a stop lower than that of the Sony a7S II, which we reviewed in January 2016. But that camera has a 35.6 x 23.8 mm sensor that is almost double the size of the GH5S’s chip. It supports a resolution of 12.2 megapixels and its photosites have almost double the surface area of those in the GH5S.
Sensor and Image Processing
The sensor in the new camera is a little larger than the regular M4/3 chip, measuring 19.2 x 13.0 mm, instead of the normal 17.3 x 13.0 mm dimensions. The allows the camera to use the entire chip area when recording Cinema 4K video movies, which have a frame size of 4096 x 2160 pixels.
It also enables the camera to retain the same basic pixel count and angle of view in 4:3,17:9,16:9 and 3:2 aspect ratios. This means users can swap between different aspect ratios and still enjoy the same diagonal field of view between them and makes it easier to match clips when editing in post-production.
Output from the sensor is processed by the latest Venus Engine 10 processor which has enabled the highest ISO setting to be increased from ISO 25,600 on the GH5 to ISO 51,200, with extension available to ISO 204,800. Continuous shooting speeds are the same as in the GH5, with a maximum of 12 fps when the mechanical shutter is used and 60 fps in 4K Photo mode. As in the GH5, the buffer depth is up to 600 JPEG frames or 80 RAF.RAW frames when using a UHS-II U3 compliant flash card.
Raw files are recorded in Panasonic’s proprietary RW2.RAW file format. RAW+JPEG capture is supported and users can choose between fine and standard quality settings for the latter. Four aspect ratio settings are available: 4:3 (the default), 3:2, 16:9 and 1:1. The table below shows typical resolutions.
|
Aspect ratio |
Image Size |
Resolution |
No. of frames on a 16GB card |
|
4:3 |
RAW |
3680 x 2760 |
630 |
|
L |
3680 x 2760 |
2670 |
|
|
M |
2592 x 1944 |
4680 |
|
|
S |
1824 x 1368 |
11890 |
|
|
3:2 |
L |
3840 x 2560 |
2583 |
|
M |
2736 x 1824 |
4633 |
|
|
S |
1920 x 1280 |
11700 |
|
|
16:9 |
L |
4016 x 2256 |
2380 |
|
M |
2816 x 1584 |
4680 |
|
|
S |
1920 x 1080 |
10520 |
|
|
1:1 |
L |
2752 x 2752 |
1990 |
|
M |
1936 x 1936 |
3470 |
|
|
S |
1360 x 1360 |
8560 |
Raw files are typically around 25 megapixels in size, while Large/Fine JPEGs with a 4:3 aspect ratio are between 5.8 and 6.2 megapixels, depending on the amount of detail in the scene.
An interesting feature derived from the new sensor and processor is Panasonic’s Dual Native ISO technology, which was originally introduced via the company’s professional camcorders. It’s based on providing two separate read-out circuits, each with different amplification.
One circuit carries the standard, highly-amplified signal, while the signal from the other circuit has lower amplification to pick up data that is clipped by the first circuit. The camera can switch between them without significantly increasing noise and other artefacts and users can direct the camera to use one of these modes.
The rationale behind this technology is to enable high frame rate capture in lower ambient light. But, because exposures are mostly targeted at recording highlights (normally a weakness with much video footage) it also delivers more highlight detail by taking information at the top of the sensor’s detection range.
The ISO range depends on which setting is selected from the three options available:
Dual Native ISO AUTO ““ ISO 160 to ISO 51,200
Dual Native ISO LOW ““ ISO 160 to ISO 800
Dual Native ISO HIGH ““ ISO 800 to ISO 51,200
The increase in dynamic range delivered by this technology is up to 12 stops for both native ISO speeds. This would give it one more stop of dynamic range than the Sony A7SII at similar ISO settings.
The improved imaging pipeline should also reduce the potential for rolling shutter effects during panning shots. In addition, GH5S users will be able to shoot stills in 14-bit RAW format, providing greater flexibility in raw workflows for professional and enthusiast photographers. In contrast, the GH5 was limited to 12-bit raw files.
Video
Video is the area in which most of the changes have been implemented ““ and there are plenty of them. The camera can record 4K video clips in the MP4 or MOV formats but is limited to Full HD 1920 x 1080 with the AVCHD mode. Soundtracks are recorded in stereo in all three modes.
Three data formats are available for MP4 recordings: the regular MP4 format for playing back on a computer, MP4 HEVC for recording HDR movies that will be played back on a HDR (HLG format compatible) TV set or recorder and MP4 LPCM for video clips that will be edited. Clips recorded in MOV format are also ideal for editing.
PAL users can choose from the following settings when shooting video with the GH5S:
|
Format |
Frame size/rate |
Bit rate |
YUV/bit |
Compression |
|
MP4 |
3840 x 2160 / 25p |
100Mbps |
4:2:0 / 8 bit |
Long GOP |
|
1920 x 1080 / 50p |
28Mbps |
4:2:0 / 8 bit |
Long GOP |
|
|
1920 x 1080 /25p |
20Mbps |
4:2:0 / 8 bit |
Long GOP |
|
|
1920 x 1080 /24p |
24Mbps |
4:2:0 / 8 bit |
Long GOP |
|
|
MP4 HEVC |
3840 x 2160 / 25p |
72Mbps |
4:2:0 / 10 bit |
Long GOP |
|
MP4 (LPCM) and MOV |
4096 x 2160 / 50p |
150Mbps |
4:2:0 / 8 bit |
Long GOP |
|
4096 x 2160 / 25p |
150Mbps |
4:2:2 / 10 bit |
Long GOP |
|
|
4096 x 2160 / 50p |
100Mbps |
4:2:0 / 8 bit |
Long GOP |
|
|
3840 x 2160 / 25p |
400Mbps |
4:2:2 / 10 bit |
All-Intra |
|
|
3840 x 2160 / 25p |
150Mbps |
4:2:2 / 10 bit |
Long GOP |
|
|
3840 x 2160 / 25p |
100Mbps |
4:2:0 / 8 bit |
Long GOP |
|
|
1920 x 1080 / 50p |
200Mbps |
4:2:2 / 10 bit |
All-Intra |
|
|
1920 x 1080 / 50p |
100Mbps |
4:2:2 / 10 bit |
Long GOP |
|
|
1920 x 1080 / 50p |
100Mbps |
4:2:0 / 8 bit |
Long GOP |
|
|
1920 x 1080 / 25p |
100Mbps |
4:2:2 / 10 bit |
All-Intra |
|
|
1920 x 1080 / 25p |
100Mbps |
4:2:2 / 10 bit |
Long GOP |
|
|
1920 x 1080 / 25p |
100Mbps |
4:2:0 / 8 bit |
Long GOP |
|
|
4096 x 2160 / 24p |
400Mbps |
4:2:2 / 10 bit |
All-Intra |
|
|
4096 x 2160 / 24p |
150Mbps |
4:2:2 / 10 bit |
Long GOP |
|
|
4096 x 2160 / 24p |
100Mbps |
4:2:2 / 10 bit |
Long GOP |
|
|
3840 x 2160 / 24p |
400Mbps |
4:2:2 / 10 bit |
All-Intra |
|
|
3840 x 2160 / 24p |
150Mbps |
4:2:2 / 10 bit |
Long GOP |
|
|
3840 x 2160 / 24p |
100Mbps |
4:2:0 / 8 bit |
Long GOP |
|
|
1920 x 1080 / 24p |
200Mbps |
4:2:2 / 10 bit |
All-Intra |
|
|
1920 x 1080 / 24p |
100Mbps |
4:2:2 / 10 bit |
Long GOP |
|
|
1920 x 1080 / 24p |
100Mbps |
4:2:0 / 8 bit |
Long GOP |
|
|
AVCHD |
1920 x 1080 / 50p |
28Mbps |
4:2:0 / 8 bit |
Long GOP |
|
1920 x 1080 / 50i |
17Mbps |
4:2:0 / 8 bit |
Long GOP |
|
|
1920 x 1080 / 50i |
24Mbps |
4:2:0 / 8 bit |
Long GOP |
As you can see from the table above, most clips are recorded with Long GOP (Group of Pictures) compression. This causes certain frames ( intra-frames or I-frames) to be encoded individually, while in the intervening frames the codec only records the changes in the image from one frame to the next. This allows the codec to squeeze the video into a much smaller bit-rate than an All-I codec could handle, without much degradation in quality.
The downside to the Long GOP codec is that it requires much more processor capacity than All-Intra, which encodes each frame individually, like a series of JPEG images. This makes it ideal for videographers who work at the pixel level and those who work with tight frame-by-frame editing.
The GH5S also includes Variable Frame Rate recording, which lets users record over-cranked time-lapse and under-cranked slow-motion video. With the C4K and 4K resolution, the maximum recording rate is 60 fps, which will yield clips that playback 2.5x slower than normal. With Full HD resolution, the maximum rate is 240 fps (up from 180 fps in the GH5), providing clips that play back 10x slower.
Whereas the V-LogL profile was only available to GH5 users through the purchase of the DMW-SFU1 Upgrade Software Key, it comes pre-installed in the GH5S. So is the Rec.709 LUT (Look Up Table), which means users can playback videos recorded in V-LogL directly. Four additional LUTs can be installed using the Panasonic Varicam (.VLT) file format.
Support for time coding is provided via the same Time Code IN and OUT functions as found in professional camcorders. Time coding is easy to set using the flash sync terminal and bundled conversion cable for a standard BNC terminal and can play a vital role when synchronising footage from multiple cameras. The GH5S can also be used as Time Code generator for other GH5S cameras and professional camcorders.
There’s no raw video mode and video remains at 10-bit but colour reproduction has been improved and the audio circuitry has been tweaked to give better performance. Like the GH5, the new camera puts no time limit on both Full-HD and 4K video recording.
The GH5S also includes support for anamorphic capture, which means you can set the camera to ‘squeeze’ or ‘un-squeeze’ the display, depending on the end result you want. However, it doesn’t seem to include native support for phantom power for condenser microphones, although it can be added via the DMW-XLR1 XLR microphone adapter.
The 4K Photo modes cover the standard options: K4 Burst, 4K Burst (S/S) and 4K Pre-Burst. Users can also record 4K bursts with focus automatically incremented between two selected parts of the scene to allow them to select the shot where optimal sharpness is on the desired subject as well as for focus stacking. The 6K option provided in the GH5 appears not to be available.
Autofocusing Improvements
The Contrast AF system with DFD technology carries over largely unchanged since the GH5, based on a 225-area array. In addition to the total of 225 focus areas, the GH5S provides options for Face/Eye Recognition, Tracking AF, 1-area AF and Pinpoint AF to assist with precise focusing.
Panasonic claims a response time of approximately 0.07 second, enabling autofocusing to keep pace with the cameras high burst rates, along with luminance detection down to -5EV with the Low Light AF setting, due to the higher sensitivity and optimised tuning of the sensor. Live Boost is another practical feature enables users to check shot composition even in total darkness, by boosting the sensitivity for the Live View.
The magnification ratio in MF assist has increased from 10x in the GH5 to 20x in the GH5S, to assist photographers involved in astronomical photography. Night Mode, another aid to night vision, will apply a red cast to the viewfinder and/or the monitor.
AF Point Scope, a function first introduced in the Lumix G9, enables users to zoom in on the LVF or LCD screen and check the desired focus point in detail. It’s designed for use when shooting with a long telephoto lens with a shallow depth of field, where confirming the correct focus point is crucial.
Build and Ergonomics
The body of the GH5S is similar to that of the GH5, with both cameras based upon die-cast magnesium alloy front, rear and top frames. Like its sibling, it is splashproof and dustproof as well as freeze-proof down to -10 degrees Celsius.
Front view of the GH5S body with no lens attached. (Source: Panasonic.)
The physical dimensions are identical in both cameras, although the GH5S is 55 grams lighter, probably as a result of the removal of the sensor-shift shake-reduction mechanism. As noted above, a gimbal will be required for steady shooting when the camera is hand-held.
Rear and top views of the GH5S body with no lens attached. (Source: Panasonic.)
The monitor screen and OLED EVF are unchanged, which means the GH5S didn’t gain the larger EVF from the G9. The top and rear controls are in the same places on both cameras, with only minor cosmetic differences (such as the totally red movie REC button on the GH5S) distinguishing them
Like the GH5, the GH5S is equipped with dual SD card slots. However, both slots in the new camera are compatible with the high-speed, high-capacity UHS-II and Video Speed Class 90 standards, whereas only one slot in the GH5 supported V60 class cards. Users can choose separate recording methods for each card with Relay Recording, Backup Recording and Allocation Recording (different file types for each card) available.
The same DMW-BLF19 battery is used in both the GH5 and GH5S but the GH5S offers slightly higher battery capacity, presumably because no power is needed to drive the sensor-shift IS system. For those who require higher battery capacity, the optional DMW-BGGH5 battery grip (sold separately) is available for both cameras.
It holds an extra battery, effectively doubling shooting capacity. It also provides a vertical position shutter release button plus standard control buttons to make operation smoother in portrait orientation and matches the camera’s weather-resistant properties.
Interface terminals are the same as in the GH5 and include USB Type-C, SuperSpeed USB 3.1 Gen1, HDMITypeA / VIERA Link, 2.5mm remote jack plus 3.5mm jacks for an external microphone or audio device and headphones for monitoring audio quality. The optional XLR Microphone Adaptor DMW-XLR1 ) supports high-resolution sound recording with an external XLR microphone.
Like other recent Panasonic cameras, the GH5S includes Wi-Fi along with integrated Bluetooth 4.2, which enables the camera to maintain constant connection with a smart device with minimum power consumption. Both 5 GHz (IEEE802.11ac) and the conventional 2.4 GHz (IEEE 802.11b/g/n) are available, the latter providing a more secure and stable connection.
Performance
It was impossible not to be impressed with the quality of the files we obtained from the review camera ““ both still pictures and movie clips. The 10.28-megapixel sensor exceeded our expectations, producing images with accurate colours and a wide dynamic range. Low light performance was as good as we expected.
Our Imatest assessments showed the review camera exceeded expectations for the sensor’s resolution with JPEG files both near the centre and towards the periphery of the frame. JPEGs showed minimal sharpening was applied through in-camera processing further confirming the strength of the files. Results from RAF.RAW files processed with Adobe Camera Raw were well above expectations.
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 the native setting of ISO 160 after which there was a very gradual decline as sensitivity was increased. From ISO 6400 on, a the decline became a little steeper but even at ISO 204800 (the highest extension value), raw files had more than 2000 line-widths/picture height, which is outstanding for a 10-megapixel M4/3 camera. The graph below shows the results of our tests.
Low-light exposures retained their colour accuracy through most of the supported ISO range and noise was barely visible up to ISO 12800, where some granularity became obvious and shadow details became compressed. From ISO 25600, the dynamic range in shots was progressively reduced; interestingly without much loss of highlight detail, although shadows became somewhat blocked up.
Shadow details were increasingly lost as sensitivity was raised and by ISO 102400, the effects of noise were very obvious as granularity, although highlights retained a surprising amount of detail. Both colour and contrast were compromised at ISO 204800 and images appeared flat and very granular. We wouldn’t recommend this setting if alternatives were available since shots would not be printable or usable online.
At the other end of the sensitivity scale, straight-out-of-the-camera JPEGs had with nicely balanced contrast and saturation, with the expected saturation boost in red and orange hues. Saturation was also boosted slightly in the blue-purple part of the spectrum as well as with darker skin tones.
Raw file conversion almost always involves a loss of saturation and that occurred with the raw files from the GH5S, although reds, mid blues and skin hues were very close to the ideal values. The resulting files provide plenty of scope for editing in sophisticated software like Photoshop.
Autofocusing was similar to the GH5’s, which isn’t surprising since the system is essentially the same in both cameras. In single AF mode the review camera and lens were able to lock onto subjects instantaneously, even after dark.
In the continuous AF mode, focus tracking worked reasonably well for both high-speed bursts of still shots and during movie recording. Unfortunately, the lack of in-built stabilisation made it difficult to maintain focus while walking, even though a stabilised lens was being used. Mounting the camera on a gimbal should make a significant difference here.
Like virtually all cameras we have tested, the review camera’s Auto white balance setting was unable to completely correct the warm bias of incandescent lighting or that of warm-toned LED lights. The AWBc setting, which prioritises ‘the natural colours of subjects’ reduced the warm bias very slightly but didn’t remove it.
Fluorescent lighting was well corrected but the incandescent pre-set, the only option we were able to test, slightly over-corrected, adding a purplish bias. Manual measurement produced images with neutral colour rendition and the camera provides plenty of adjustments for tweaking colours as you shoot.
While we tried out the GH5s’s full range of video settings, the results of some settings were so similar we don’t think it’s worth providing frame grabs from all of them and have instead offered a representative selection covering the broad range of options available. Suffice it to say that, regardless of the file format, frame rate and resolution used, clips from the review camera were as good as any we have recorded with any camera we have reviewed.
The 10-megapixel sensor and Dual ISO system delivered images with a wider-than-average dynamic range, which meant highlights were seldom clipped, even in contrasty lighting.
We carried out our timing tests with the same two Panasonic cards as we used when testing the GH5, one a SDXC UHS-II U3 Class 10 card with a capacity of 128GB. Both cards are fast enough to support 4K movie recording and high-speed continuous shooting and both were used in our timing tests, with RW2.RAW files being recorded on the faster card in Slot 1 and JPEGs being recorded on the card in Slot 2.
The review camera took less than a second to power-up for the first shot. Autofocus lag averaged 0.2 seconds and was eliminated by pre-focusing the lens. Shot-to-shot times averaged 0.75seconds.
Processing of JPEGs was completed within 1.5 seconds of the shutter being pressed; RAF.RAW files averaged 1.75 seconds. Having dual card slots enabled JPEGs to be recorded to one card and raw files to the other, so the latter time also applies to raw files and RAW+JPEG pairs. When we removed one card and measured the processing times for JPEGs and raw files separately, the measured times were unchanged.
In the high-speed sequential shooting mode, with the mechanical shutter, the review camera was able to record 127 Large/Superfine JPEGs in 12 seconds without showing any sign of slowing, which works out at a frame rate of roughly 10.6 fps. It took 7.4 seconds to process this burst. With the electronic shutter, 132 frames were recorded in 12.3 seconds, representing a frame rate of approximately 10.7 fps. It took 9.1 seconds to process this burst.
On changing to RW2.RAW format, the camera was able to record 98 frames in 9.3 seconds with the mechanical shutter before pausing, which represented a frame rate of 10.5 fps. Processing the burst took just over 30 seconds.
Conclusion
The low pixel count of the GH5S has paid dividends in both still image and video quality, particularly in difficult lighting conditions. However, the lack of sensor-based image stabilisation will force potential purchasers to consider whether ““ and how much ““ steadying they will need in the conditions in which they normally shoot.
Using a gimbal should provide adequate stabilisation for most videographers, although acquiring one will add a few hundred dollars (or more) to the total investment cost of an already relatively pricey camera. When shooting in bright conditions, we found the stabilisation in the lens to be adequate for both stills and video clips and good shooting techniques made it possible to record steady footage with the camera hand-held in quite low light levels.
Currently there are only two camera manufacturers who cater for photographers who shoot video in low light levels: Panasonic and Sony (with its α7S series). As with the Sony cameras, there’s a price penalty for the lower-resolution cameras; not because they cost more to build but because they cater for a more specialised market.
The main buyer of the GH5S is likely to be a professional (or very serious enthusiast) video shooter and the camera will meet the needs of many potential purchasers. It has the advantage over the Sony equivalent in being more compact and significantly lighter. And its smaller sensor is cheaper to manufacture.
Whether it can match the output quality of the third generation α7S model (which has yet to be released and is likely to be significantly more expensive) will need to be tested. In the interim, the GH5s is a very impressive camera for both stills and video and, as such, will be a better choice than the GH5 for anyone who prioritises video over stills.
Buyers of the GH5S can expect to save at least AU$100 to $150 on Panasonic’s listed price by shopping at their favourite camera store. And they may find some attractive ‘bonus’ items included. Off-shore prices may be marginally lower but you will need to add at least AU$50 for shipping as well as the 10% GST that will be charged when it is imported. So you’d be better off shopping locally.
SPECS
Image sensor: 19.2 x 13.0 mm Live MOS sensor with 11.93 million photosites (10.28 megapixels effective)
Image processor: Venus Engine 10
A/D processing: 14-bit / 12-bit
Lens mount: Micro Four Thirds
Focal length crop factor: 1.86x
Image formats: Stills: JPEG (Exif 2.31), RAF.RAW, RAW+JPEG; Movies: MOV, MP4 (H.264/MPEG-4 AVC with AAC (2ch) audio, AVCHD Progressive with Dolby Audio 2ch
Image Sizes: Stills ““ 4:3 aspect – 3680 x 2760, 2592 x 1944, 1824 x 1368, 3328 x 2496 (4K PHOTO); 3:2 aspect – 3840 x 2560, 2736 x 1824, 1920 x 1280, 3504 x 2336 (4K PHOTO); 16:9 aspect – 4016 x 2256, 2816 x 1584, 1920 x 1080, 3840 x 2160 (4K PHOTO); 1:1 aspect – 2752 x 2752, 1936 x 1936, 1360 x 1360, 2880 x 2880 (4K PHOTO); Movies: MOV format – [C4K] 4096 x 2160 at 50p/25p, 150Mbps, [4K] 3840 x 2160 at 50p, 150Mbps, 3840 x 2160 at 25.00p, 400Mbps/150Mbps, [Full HD] 1920 x 1080 at 50p/25p 200Mbps, 25p, 100Mbps 24p 400Mbps/150Mbps; MP4 format – [C4K] 4096 x 2160 at 50p/25p 150Mbps, [C4K] 4096 x 2160 at 25p 150Mbps/400Mbps, [4K] 3840 x 2160 at 50p/25p 150Mbps, 25p 150Mbps/400Mbps, 25p 72Mbps, [Full HD] 1920 x 1080 at 50p/25p 200Mbps/100Mbps, 50p 28Mbps, 25p 20Mbps; AVCHD format – [Full HD] 1920 x 1080 at 50p 28Mbps, 50i 24Mbps/17Mbps
Image Stabilisation: Lens-based
Dust removal: Supersonic wave filter
Shutter (speed range): Focal-plane shutter (1/8,000 to 60 seconds plus Bulb to 30 minutes), Electronic shutter (1/16,000 to 1 second); mechanical shutter rated for 200,000 cycles
Exposure Compensation: +/-5 EV 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/burst
Other bracketing options: Aperture, Focus, White balance
Self-timer: 2 or 10 seconds delay plus 10sec, 3 images
Intervalometer: Yes, start time, shooting interval, image count selectable
Focus system: Contrast AF system with DFD technology
Focus modes: AFS (Single), AFF (Flexible), AFC (Continuous), MF modes plus Face/Eye Detection, Tracking, 225-Area, Custom Multi, 1-Area, Pinpoint AF
Exposure metering: 1,728-zone multi-pattern sensing system with Multiple, Centre-weighted and Spot metering patterns
Shooting modes: Intelligent Auto/iAuto Plus, Program AE, Aperture Priority AE, Shutter Priority AE, Manual, Movie, Creative Control, Custom (x3)
Photo Style modes: Standard, Vivid, Natural, Monochrome, L. Monochrome, Scenery, Portrait, Custom 1, 2, 3, 4, Cinelike D, Cinelike V, Like709, Hybrid Log Gamma (when Creative Video Mode is selected), V-LogL
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, ISO 160 to 51200 with extensions to ISO 80, ISO 100 and ISO 102400, ISO 204800 available; Dual Native ISO: 400, 2500, V-LogL Native ISO: 800, 5000, HLG Native ISO: 800, 5000
White balance: AWB, AWBc , Daylight , Cloudy, Shade, Incandescent, Flash, White Set 1, 2, 3, 4; Colour temperature setting 1, 2, 3, 4 (2500-10000K in 100K), Adjustments across B/A and M/G
Flash: TTL External Flash (sold separately)
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.
Flash exposure adjustment: +/-3EV in 1/3EV steps
Sequence shooting: Mechanical shutter: Max. 12 frames/sec. (12-bit) or 10 frames/sec. (14-bit) with AFS/MF; 60 frames/sec. in 4K Photo mode
Buffer capacity: Approx. 600 images with JPEGs, Approx. 60 images with Raw files
Storage Media: Dual slots for SD, SDHC, SDXC cards (both compatible with UHS-I and UHS-II standards)
Viewfinder: OLED Live View Finder with 3,680,000 dots, 100% FOV, Approx. 1.52x magnification, 21 mm eye point, dioptre adjustment of -4.0 to +3.0 dpt, eye sensor, display speed 120fps / 60fps
LCD monitor: Free-angle 3.2-inch TFT LCD with static touch control, 1,620,000 dots
Live View modes: 2x, 4x digital zoom plus 2x Extra Tele Conversion, Level Gauge, Real-time Histogram, Guide Lines (3 patterns), Video Guide Line, Centre Marker, Highlight display (Still image / motion picture), Zebra pattern (Still image / motion picture)
Playback functions: Wi-Fi, LVF/Monitor Switch, Rec/Playback Switch, Slot Change, 4K PHOTO Play, Delete Single, Protect, Rating 1, 2, 3, 4, 5, RAW Processing, 4K PHOTO Bulk Saving, Copy, Anamorphic Desqueeze Display, HLG View Assist, HLG View Assist (HDMI), LUT Monitor Display, LUT HDMI Display, Night Mode, Off, Restore to Default
Interface terminals: USB Type-C, SuperSpeed USB 3.1 Gen1, HDMITypeA / VIERA Link, 2.5mm remote jack, 3.5mm jack for external microphone / external audio device, 3.5mm headphone jack
Wi-Fi function: Yes, IEEE802.11b/g/n with Bluetooth Low Energy v4.2 & QR code connection
Power supply: DMW-BLF19 Rechargeable Li-ion battery pack; CIPA rated for approx. 440 shots/charge with monitor, 410 shots/charge with EVF
Dimensions (wxhxd): 138.5 x 98.1 x 87.4 mm (excluding protrusions)
Weight: Approx. 580 grams (body only), 660 grams with battery and one card
Distributor: Panasonic Australia, Ph 132 600; www.panasonic.com.au
TESTS
Based on JPEG files taken with the 12-60mm f/2.8-4.0 ASPH. POWER O.I.S. lens
Based on RW2.RAW files converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting.
AWBc setting with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting.
AWBc setting with warm-toned LED lighting.
ISO 80, 28mm focal length, 40 seconds at f/4.
ISO 160, 28mm focal length, 30 seconds at f/4.5.
ISO 1600, 28mm focal length, 25 seconds at f/5.6.
ISO 6400, 28mm focal length, 8 seconds at f/7.1.
ISO 12800, 28mm focal length, 5 seconds at f/8.
ISO 25600, 28mm focal length, 4 seconds at f/9.
ISO 51200, 28mm focal length, 2 seconds at f/11.
ISO 102400, 28mm focal length, 2 seconds at f/11.
ISO 204800, 28mm focal length, 2 seconds at f/11.
12mm focal length, ISO 160, 1/640 second at f/10.
60mm focal length, ISO 160, 1/500 second at f/10.
Backlit scene; 12mm focal length, ISO 160, 1/800 second at f/8.
Backlit scene; 16mm focal length, ISO 160, 1/320 second at f/8.
Strong backlighting; 14mm focal length, ISO 160, 1/2000 second at f/5.6.
22mm focal length, ISO 160, 1/125 second at f/8.
40mm focal length, ISO 200, 1/200 second at f/8.
38mm focal length, ISO 400, 1/160 second at f/5.
54mm focal length, ISO 200, 1/160 second at f/5.6.
23mm focal length, ISO 160, 1/640 second at f/5.
60mm focal length, ISO 160, 1/400 second at f/5.6.
25mm focal length, ISO 200, 1/320 second at f/5.6.
12mm focal length, ISO 160, 1/160 second at f/5.6.
ISO 6400, 12mm focal length, 1/15 second at f/6.3.
ISO 51200, 12mm focal length, 1/125 second at f/6.3.
ISO 204800, 12mm focal length, 1/320 second at f/9.
Still frame from MP4 (LPCM) video clip recorded at 4096 x 2160 pixels, Long GOP, 50p, 8-bit, 150Mbps.
Still frame from MP4 (LPCM) video clip recorded at 4096 x 2160 pixels, Long GOP, 25p, 10-bit, 150Mbps.
Still frame from MP4 video clip recorded at 3840 x 2160 pixels, Long GOP, 25p, 8-bit 100Mbps.
Still frame from MP4 (LPCM) video clip recorded at 1920 x 1080 pixels, Long GOP, 10-bit, 25p, 28Mbps.
Still frame from MP4 (LPCM) video clip recorded at 1920 x 1080 pixels, All-Intra, 10-bit, 25p, 400Mbps.
Still frame from MOV (LPCM) video clip recorded in dim and contrasty lighting at 4096 x 2160 pixels, 50p, Long GOP, 8-bit, 150Mbps.
Still frame from MOV (LPCM) video clip recorded at 3840 x 2160 pixels, 25p, 8-bit, Long GOP, 100Mbps.
Still frame from MOV (LPCM) video clip recorded at 1920 x 1080 pixels, 50p, 10-bit, All-Intra, 200Mbps.
Still frame from MOV (LPCM) video clip recorded at 1920 x 1080 pixels, 25p, 10-bit, Long GOP, 100Mbps.
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 Full HD (1920 x 1080) movie clip recorded at 50i/24Mbps.
Rating
RRP: AU$3499; US$2499 (body only)
- Build: 9.0
- Ease of use: 8.5
- Autofocusing: 8.9
- Still image quality JPEG: 8.9
- Still image quality RAW: 9.0
- Video quality: 9.0
