Panasonic Lumix DMC-G3

In summary

The latest addition to Panasonic’s G-series micro four thirds cameras offers higher resolution, touch screen control and a lower price tag.Panasonic has reduced the price of its latest G-series camera, the Lumix DMC-G3, which is $200 cheaper than the model is replaces was upon initial release. Sensor resolution has been increased to 16 megapixels in the new model and full HD video recording capability is a step up from the G2. The G3 is also marginally smaller and lighter than its predecessor. . . [more]

Full review

Panasonic has reduced the price of its latest G-series camera, the Lumix DMC-G3, which is $200 cheaper than the model is replaces was upon initial release. Sensor resolution has been increased to 16 megapixels in the new model and full HD video recording capability is a step up from the G2. The G3 is also marginally smaller and lighter than its predecessor.

What’s Changed?
As far as looks and handling are concerned, there are some noticeable differences between the G3 and its predecessor. For starters, the new model has more plastic in its body and its grip is shallower, as shown in the illustrations below.

Front view comparisons of the Lumix DMC-G3 (left) and the DMC-G2 (right). (Source: Panasonic.)

Front view of the Lumix DMC-G3 with the 14-42mm kit lens. (Source: Panasonic.)

Front view of the Lumix DMC-G3 with the flash raised. (Source: Panasonic.)

The body is also more rounded and slimmer on the left hand side and a number of logos have been removed. In addition, there’s no model number beside the prominent ‘G’ tag just below the mode dial. The AF-Assist lamp is tucked neatly into the top left hand corner and the lens release button integrates more closely into the lens mount.

Back view comparisons of the Lumix DMC-G3 (left) and the DMC-G2 (right). (Source: Panasonic.)

There have been a few changes on the rear panel, although the LCD monitor itself has the same size, resolution and adjustability as the monitor on the G2. However, its attachment point is smaller and slimmer and it feels less chunky overall, although not necessarily less solid.

Rear view of the Lumix DMC-G3 with the monitor extended. (Source: Panasonic.)

The viewfinder appears to be slightly larger, although its specifications are the same as the G2’s. Dioptre adjustment is very wide – ranging from -4.0 to +4.0 dpt – and the 17.5 mm eyepoint works well if you’re wearing glasses. Unfortunately, there’s no eye sensor to switch automatically between the LCD and viewfinder when you raise the camera to your eye.

Switching is faster in the new finder to minimise colour breakup. Colour rendition is enhanced by a new time-multiplexing system that sequentially displays each pixel in red, green then blue instead of having separate red, green and blue dots for each pixel.

The movie button has been shifted from the top panel to take the place of the G2’s AEL/AFL button just above the LCD screen. The depth-of-field preview button is no more, although this function is one of 17 settings that can be allocated to the Q.Menu, which sits below the arrow pad – and is now accessible via the touch screen.

We’d rate the G3’s touch screen as the best available on current digital cameras for controlling frequently-used functions. Tapping on the live preview image focuses the lens on that area, while soft buttons on the screen allow you to access the Quick Menu settings, engage the Touch Shutter and change the Display settings.

The Touch Shutter function provides a quick and easy way to take a picture with focus on a specific point in the subject. Simply touch the point to focus the lens and take the shot.

Top view comparisons of the Lumix DMC-G3 (left) and the DMC-G2 (right) with the 14-42mm kit lens attached. (Source: Panasonic.)

The top panel of the G3 is slimmed down and radically simplified. The focus control dial is gone from the left side of the top panel and the drive mode selection lever is no longer under the mode dial.

The top panel of the Lumix DMC-G3 with the 14-42mm kit lens fitted. (Source: Panasonic.)

In fact, the only controls are the mode dial, shutter button and on/off lever plus a slider for popping up the flash and an iA button. A pair of stereo microphones is located on top of the viewfinder/flash housing, while a seven-hole speaker grille sits left of the flash opening lever.

The mode dial has also been simplified, with the number of settings reduced from 13 on the G2 to eight on the G3. Most of the deleted settings are in the Scene selections; the Movie mode is now accessed via the Quick Menu and there are two Custom memories in the G3 instead of one in the G2.

There’s no socket for connecting external microphones in the G3, whereas one was provided on the G2. But the other interfaces are unchanged. The smaller grip requires the G3 to use a smaller battery than the G2. It’s the same ID-Security Li-ion pack as in the GF2 and is CIPA rated for 270 shots/charge.

Panasonic claims the new AF system in the G3 is faster and more accurate than the contrast-based systems in previous models and quotes a detection lag of approximately 0.1 second achieved by doubling the drive speed from 60 fps to 120 fps. Full-area focusing makes it possible to set focus on any point in the field of view, even at the edges of the frame.

Four of the focusing modes are unchanged from the G2: AF tracking (which is now supported when shooting video clips), 1-area AF, 1-area AF in Face Detection and Multi-area AF. There’s also a new Pinpoint AF mode that automatically magnifies a square section around focus point approximately five-fold so you can confirm and fine-tune focusing.

When this setting is selected you can focus the lens on a very small area but it’s slightly annoying to use. The magnification takes place when the shutter button is half-pressed and it can interfere with shot composition. You can use the touch shutter in this mode but it’s disabled when shooting movies.

Face detection is supported for up to 15 faces and includes face recognition. The camera can ‘memorise’ up to six faces and users can list them in order of importance so focus is prioritised on the highest-ranked people. Up to three ID shots can be recorded for each person listed.

The MF assist mode has been extended to provide on-demand 1x, 4x, 5x or 10x magnification and is a little less intrusive than the Pinpoint AF setting. The highest magnifications enlarge the selected area to fill the screen, making it easier to focus precisely. You can also drag the selected zone about on the screen. (A tripod is advisable when using this mode.)

The iA (Intelligent Auto) mode is largely unchanged from the G2 and includes auto scene recognition but locks access to many camera functions. A new iA (Intelligent Auto) Plus mode enables users to adjust the defocusing area, exposure compensation and white balance in situations where a slight manual adjustment may bring better result. (The defocus control in the iA mode allows users to adjust the degree of blurring in subject background by moving a slider on the touch screen.)

Panasonic has replaced the My Colour mode from the G2 with a new Creative Control mode in the G3 that supports exposure compensation adjustments. This setting contains five colour modes: Expressive, Retro, High Key, Sepia and High Dynamic (illustrated below).

Creative Control mode: top row from left – Expressive, Retro, High Key; bottom row – Sepia and High Dynamic.

The film simulation settings have also been re-jigged and are now located in the Photo Style sub-menu. Here you’ll find presets dubbed: Standard, Vivid, Natural, Monochrome, Scenery and Portrait. Contrast, sharpness, saturation and noise reduction adjustments are available for each setting and users can customise them and save new settings in the Custom memory.

Sensor and Image Processing
The new 16-megapixel Live MOS sensor in the G3 has a native 4:3 aspect ratio but the camera also supports aspect ratios of 3:2, 16:9, and 1:1 through cropping. Panasonic claims new circuitry in the sensor reduces noise levels by more than 66%, with up to 200% better signal/noise ratio at high ISO settings, compared with the conventional 12.1-megapixel sensor.

The sensor is coupled to the same Venus Engine VI FHD CPU as used in last year’s GH2 model. With three processor cores, it underpins the camera’s photo and video recording, enabling a four frames/second continuous shooting at full resolution (16 megapixels) with the camera’s mechanical shutter.

The lowest sensitivity has been increased from ISO 100 to ISO 160, a fairly trivial change that is probably due to a slight increase in the sensor’s base sensitivity. Wisely, the highest sensitivity setting remains at ISO 6400.

High speed burst shooting at 20 fps with electronic shutter is also selectable, although only at the S image size, which is 2272 pixels wide for 4:3 and 3:2 aspects, 1920 pixels with 16:9 shots and 1712 pixels for 1:1 aspect ratio images. Typical image sizes are shown in the table below.

Aspect ratio	Image Size	Resolution	Fine	Standard
4:3	RAW	4592 x 3448	20.5MB
	L	4592 x 3448	9.5MB	4.7MB
	RAW+JPEG	4592 x 3448	32MB	25.6MB
	M	3232 x 2424	5.0MB	2.5MB
	RAW+JPEG	3232 x 2424	25.6MB	23.3MB
	S	2272 x 1704	2.9MB	1.5MB
	RAW+JPEG	2272 x 1704	24.4MB	22.3MB
3:2	RAW	4576 x 3056	19.9MB
	L	4576 x 3056	8.5MB	4.2MB
	RAW+JPEG	4576 x 3056	22.3MB	18.3MB
	M	3232 x 2160	4.7MB	2.3MB
	RAW+JPEG	3232 x 2160	19.0MB	16.5MB
	S	2272 x 1520	2.8MB	1.4MB
	RAW+JPEG	2272 x 1520	16.0MB	15.5MB
16:9	RAW	4576 x 2576	18.3MB
	L	4576 x 2576	7.4MB	3.7MB
	RAW+JPEG	4576 x 2576	20.5MB	17.1MB
	M	3232 x 1824	4.3MB	2.1MB
	RAW+JPEG	3232 x 1824	17.7MB	15.5MB
	S	1920 x 1080	1.1MB	0.6MB
	RAW+JPEG	1920 x 1080	14.6MB	14.2MB
1:1	RAW	3424 x 3424	16.5MB
	L	3424 x 3424	6.9MB	3.4MB
	RAW+JPEG	3424 x 3424	17.7MB	15.1MB
	M	2416 x 2416	3.7MB	1.9MB
	RAW+JPEG	2416 x 2416	14.6MB	13.5MB
	S	1712 x 1712	2.2MB	1.1MB
	RAW+JPEG	1712 x 1712	13.5MB	12.8MB

Video recording formats are similar to the GH2 with two video recording modes: AVCHD and Motion-JPEG. However, the number of settings is halved with the removal of the 24 Mbps and 13 Mbps frame rates in the AVCHD modes and the WCGA setting for Motion JPEG recording.

You can’t adjust lens aperture or shutter speed settings while recording movies; in fact most functions default to automatic. Our guess is that the widest apertures are favoured for video in low and medium light levels, with stopping down only taking place in very bright conditions.

The maximum clip length for movies is 29 minutes and 59 seconds, although there’s an upper limit of 2GB when recording in the Motion JPEG modes. Typical recording capacities for an 8GB card (which most users are likely to favour) are shown in the table below.

Video format	Aspect ratio	Picture Mode	Picture size (pixels)	Frame Rate	Bit rate	Recording capacity/8GB card
AVCHD	16:9	FSH	1920 x 1080	50i	17 Mbps	1 hour
		SH	1280 x 720	50p	17 Mbps	1 hour
Motion JPEG		HD	1280 x 720	30 fps	n.a.	32 minutes 10 seconds
	4:3	VGA	640 x 480		n.a.	1 hour 23 minutes
		QVGA	320 x 240		n.a.	3 hours 52 minutes

By default, soundtracks are recorded in stereo and Dolby Digital Stereo Creator is built into the camera to ensure high audio quality. Holding down the movie button delays the start of audio recording by half a second.

A wind cut filter is also available to subdue interference from background wind. Users can record a snapshot while shooting a video clip by pressing the shutter button. The Picture Mode in the Motion picture menu lets you choose between movie and still picture priorities.

Selecting the former locks the image size at S (2M) and the aspect ratio is fixed at 16:9. Up to 30 shots can be recorded with a movie clip in this mode. Simultaneous recording is blocked for VGA and QVGA movie settings.

When picture priorities is selected, the still images are recorded with the set picture size and quality and up to eight shots/clip can be recorded. The screen goes dark while the still shot is captured and audio recording pauses briefly during this time.

Playback and Software
Playback settings for still pictures are essentially the same as in the GF2 and GH2 and include the same touch-screen capabilities. The G3 also supports Title Editing that lets you add text to pictures (JPEG stills only) and Text Stamping of shots with date/time, subject name, location, travel date or title being recordable.

Aspect ratio conversion, Video Divide and Face Recognition Editing are also available, along with cropping, resizing, protecting, rotating and tagging (Favourite and DPOF). Standard functions like single and index displays, slideshow playback with/without music, calendar and category playback are also available.

The supplied software is the same as you get with the GF2 and includes the latest versions of PhotoFun Studio and Silkypix Developer Studio plus a 30-day trial version of Super LoiLoScope (a Windows-only video editing program with a game-like GUI).

The Kit Lens
Panasonic supplied two lenses for us to use on the review camera, the standard Lumix G VARIO 14-42mm f/3.5-5.6 ASPH. MEGA O.I.S. (H-FS014042) kit lens and the new Leica DG Summilux 25mm f/1.4 ASPH. (H-X025) lens, which will be reviewed separately. We’ve already reviewed the kit lens in our review of the G2 in June 2010 and found it to be a competent performer.

With the higher-resolution sensor in the G3, we expected (and obtained) improved performance across the board. Our tests showed the kit lens had good flatness of field for its type and only slight barrel distortion at the widest focal length. Highest resolution was found with the 25mm focal length at f/4.5, as shown in the graph below.

Lateral chromatic aberration was negligible at all aperture settings. In the graph below the red line indicates the boundary between ‘negligible’ and ‘low’ CA.

Performance
Overall, we found the G3 very agreeable to use. It provides some worthwhile improvements on its predecessor, while taking on some of the more user-friendly features of other recent additions to the G-Micro stable. The key manual controls required by serious photographers remain reasonably quick and easy to access, not buried deep in menus where they can only be reached with many button presses.
Autofocusing was noticeably faster than we found with the G2, particularly while shooting video clips, where we found the focus tracking kept most subjects sharp while the camera was panned or the lens was zoomed in or out. Traces of the sounds made by the zoom and AF motors could be just detected on soundtracks but they were seldom loud enough to bother about. The wind filter suppressed but didn’t totally eliminate wind noise.

Metering was just as accurate but the new camera’s dynamic range appeared to be wider that other G-series models we’ve reviewed, particularly at ISO settings of 400 and above. There was a noticeable improvement in image quality at high ISO settings.

In theory, the increased sensor resolution should deliver improvements to image quality. And that’s exactly what we found in our Imatest testing as well as with subjective assessments of test shots. Our resolution tests were conducted with the DG Summilux 25mm f/1.4 lens and raw files were converted with the Silkypix software supplied with the camera.

Raw files were well up to expectations for a 16-megapixel camera. JPEGs were slightly below expectations. However, resolution held up very well with both file types across the camera’s sensitivity range, as shown in the graph of our Imatest results below.

Long exposures taken in dim lighting showed little visible noise right up to ISO 1600, even without noise reduction processing. However, colour saturation appeared to be boosted, to an unnatural degree with a few hues, even at low ISO settings.

Stepping up to ISO 3200 made granularity visible in test shots. By ISO 6400, both colour and pattern noise were evident and shots were slightly soft. Switching on noise reduction processing tended to reduce image sharpness further at this setting.

Flash exposures were evenly balanced throughout the camera’s ISO range and colour reproduction was reasonably faithful at settings up to ISO 3200. At ISO 6400 the influence of ambient lighting could be seen and images were a little soft.

Auto white balance performance was similar to the G2’s under incandescent lighting but noticeably better with fluorescent lights. However, both pre-sets over-corrected, the tungsten pre-set pushing colours from orange to purple, while the fluorescent pre-set added a slight purple cast. Manual measurement produced neutral colours under both types of lighting and there’s plenty of scope for fine-tuning colour rendition via the touch screen.

Video quality was noticeably better than we found with the G2 and clips were sharp and clear at all resolution settings in both movie formats. Autofocusing was faster and the continuous AF mode was able to keep pace with pans and moving subjects, provided they weren’t too fast. The AVCHD formats looked and sounded very good when played on a widescreen TV set.

The review camera powered up in less than a second. Shot-to-shot times averaged 1.2 seconds without flash and 4.3 seconds with. Image processing times were a little sluggish, although the same processing time – 3.1 seconds – applied to JPEG, RW2.RAW and RAW+JPEG shots.

The review camera recorded 20 2272 x 1704-pixel JPEG frames in 1.1 seconds in the SH (super-high speed) burst mode. It took 3.8 seconds to process this burst. Using the high-speed mode for high-resolution bursts we were able to record seven frames in 1.5 seconds. It took 3.7 seconds to process the JPEGs, 13.3 seconds for the RW2.RAW files and 20.4 seconds for the RAW+JPEG pairs.

Buy this camera if:
– You’re transitioning from a digicam to a more sophisticated camera and want touch screen controls and logical, easy-to-use menus.
– You’re interested in shooting raw files.
– You want to shoot Full HD (1920 x 1080 pixels) video with good audio quality.

Don’t buy this camera if:
– You plan to leave the camera on full-auto for all shots.
– You need a pocketable camera.
– You only shoot JPEG images.

IMATEST GRAPHS
JPEG image files

Raw image files converted into 16-bit TIFF format with the supplied Silkypix Developer Studio software.

SAMPLE IMAGES

Auto white balance with incandescent lighting.

Auto white balance with fluorescent lighting.

14mm focal length, ISO 160, 1/500 second at f/8.

42mm focal length, ISO 160, 1/640 second at f/11.

2x digital zoom; 42mm focal length, ISO 160, 1/500 second at f/11.

4x digital zoom; 42mm focal length, ISO 160, 1/640 second at f/11.

Close-up; 42mm focal length, ISO 160, 1/250 second at f/7.1.

30-second exposure at ISO 160, 20mm focal length, f/5.

10-second exposure at ISO 800, 20mm focal length, f/6.3.

4-second exposure at ISO 3200, 20mm focal length, f/8.

4-second exposure at ISO 6400, 20mm focal length, f/11.

Flash exposure at ISO 160, 42mm focal length, 1/60 second at f/5.6.

Flash exposure at ISO 800, 42mm focal length, 1/60 second at f/5.6.

Flash exposure at ISO 3200, 42mm focal length, 1/60 second at f/5.6.

Flash exposure at ISO 6400, 42mm focal length, 1/60 second at f/5.6.

Backlighting:42mm focal length, ISO 400, 1/800 second at f/5.6.

The Architecture mode; 14mm focal length, ISO 160, 1/500 second at f/7.1.

42mm focal length, ISO 160, 1/100 second at f/5.6.

42mm focal length, ISO 160, 1/125 second at f/5.6.

42mm focal length, ISO 800, 1/30 second at f/5.6.

Still frame from AVCHD Full HD video clip.

Still frame from AVCHD 720p HD video clip.

Still frame from Motion JPEG movie shot with 1280 x 720 pixel resolution.

Still frame from VGA video clip.

Still frame from QVGA video clip.

(Additional images taken with the G3 body can be found with our review of the Panasonic Leica DG Summilux 25mm f1.4 ASPH. [H-X025] lens.)

 

Specifications

Image sensor: 17.3 x 13.0 mm Live MOS Sensor with 16.68 million photosites (16.0 megapixels effective)
Image processor:Venus Engine VI FHD
Lens mount: Micro Four Thirds mount
Focal length crop factor:
Image formats: Stills -.RAW, JPEG (Exif 2.3), RAW+JPEG; Movies – AVCHD / QuickTime Motion JPEG; 3D – MPO (when attaching 3D lens)
Image Sizes: Stills – 4:3 aspect: 4592 x 3448, 3232 x 2424, 2272 x 1704; 3:2 aspect: 4576 x 3056, 3232 x 2160, 2272 x 1520; 16:9 aspect: 4576 x 2576, 3232 x 1824, 1920 x 1080; 1:1 aspect: 3424 x 3424, 2416 x 2416, 1712 x 1712; Movies – AVCHD: 1920 x 1080, 50i (sensor output is 25p) (FSH:17Mbps); [HD] 1280 x 720, 50p (sensor output is 25p) (SH:17Mbps); Motion JPEG: 1280 x 720, 640 x 480, 320 x 240, all at 30 fps
Image Stabilisation: Lens-based
Dust removal: Supersonic wave filter
Shutter speed range: 60 to 1/4000 second plus Bulb (up to approx. 2 minutes); For movies: 1/16000 ~ 1/25 sec.
Exposure Compensation: +/- 5 EV in 1/3 EV steps
Exposure bracketing: 3,5,7 frames in 1/3, 2/3 or 1 EV Step, +/-3 EV
Self-timer: 2 or 10 seconds delay plus 10 sec, 3 images
Focus system: Contrast AF system with AFS, AFC, MF and AF-assist lamp
Focus modes: Face detection, AF Tracking, 23-area-focusing, 1-area-focusing , Pinpoint
Touch (1-area-focusing in Face detection, AF Tracking, Multi-area-focusing, 1-area-focusing ), Pinpoint
Exposure metering: 144-zone multi-pattern sensing system with Intelligent Multiple, Centre Weighted, Spot modes
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual; Scene (Portrait, Soft Skin, Scenery, Architecture, Sports, Peripheral Defocus, Flower, Food, Objects, Night Portrait, Night Scenery, Illuminations, Baby 1/2, Pet, Party, Sunset
Picture Style/Control settings: Expressive, Retro, High Key, Sepia, High Dynamic
Colour space options: sRGB, Adobe RGB
Custom functions: Film modes: Standard, Vivid, Natural, Monochrome, Scenery, Portrait, Custom
ISO range: Auto, Intelligent , ISO 160, 200, 400, 800, 1600, 3200, 6400 (Changeable to 1/3 EV step)
White balance: Auto, Daylight, Cloudy, Shade, Incandescent, Flash, White Set 1, 2, Colour temperature setting (Touch operation is possible); Blue/amber and magenta/green adjustments
Flash: TTL Built-in pop-up Flash, GN10.5 equivalent (ISO 160/m); Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off modes
Flash exposure adjustment: +/- 2EV in 1/3 EV steps
Sequence shooting: 20 frames/sec (4M), H: 4 frames/sec, M: 3 frames/sec (with Live View),
L: 2 frames/sec (with Live View); Max. 7 images for RAW files; ‘unlimited’ JPEGs
Storage Media: SD/SDHC/SDXC memory cards
Viewfinder: Live View Finder (1,440,000 dots equivalent) ; approx 100% FOV, approx 17.5 mm eyepoint, 1.4x magnification with 50mm lens at infinity; -4.0 to +4.0 dioptre adjustment
LCD monitor: Free-angle, 3.0 inch, 460K-dot, 3:2 aspect ratio TFT LCD with Touch panel
Playback functions: Normal playback, 30-thumbnail display, 12-thumbnail display, Calendar display, Zoomed playback (16x Max.), Slideshow (duration & effect is selectable), Playback Mode (Normal / Picture / AVCHD / Motion JPEG / 3D Play / Category / Favourite), Title Edit, Text Stamp, Video Divide, Resize, Cropping, Aspect Conversion, Rotate, Rotate Display, Favourite, Print Set, Protect, Face Rec Edit
Interface terminals: USO 2.0, HDMI (Type C Mini), Mic. terminal, remote controller, VIERA Link
Power supply: ID-Security Li-ion Battery Pack (7.2 V, 1010 mAh); CIPA rated for approx. 270 shots (when using the LCD / LVF) with H-FS014042
Dimensions (wxhxd): 115.2 x 83.6 x 46.7 mm
Weight: Approx. 336 grams (body only)

 

Retailers

 

CamBuy

 

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Camera Pro

 

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Australian owned and run company based in Brisbane.

Camerasdirect

 

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Retailer of digital camera equipment and more.
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Camerastore.com.au

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Camera-Warehouse

 

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Comprehensive range of digital cameras and accessories online (www.camera-warehouse.com.au) and an online print service (www.royalexpress.com.au).

Digital Camera Warehouse

 

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174 Canterbury Road 367 High Street
Canterbury Northcote
NSW 2193 VIC 3070
Ph: 1300 365 220

Electronics Warehouse

 

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1300 801 885
Australian retailer of Vapex rechargeable batteries offering factory direct prices and fast, free shipping Australia wide.

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Photographic Equipment & Supplies – Retail & Repairs. Click here for list of stores.

Ted’s Cameras

 

www.teds.com.au

1800 186 895
Big range of cameras and photographic products with stores in most states and online.

Rating

 

RRP: $899 (body only); $1099 (as reviewed with the 14-42mm kit lens)

Rating (out of 10):

• Build: 8.5
• Ease of use: 9.0
• Autofocusing: 8.8
• Still Image quality: JPEG – 8.5; Raw – 9.0
• Video Quality: 9.0
• OVERALL: 9.0

Buy