In summary
Following its success in manufacturing mirrorless cameras with serious video capabilities for the M4/3 format, Panasonic has added this capability to its ‘full-frame’ camera line-up with the S1H. Consequently, the main target market for this camera is professional multimedia content creators. And it’s priced accordingly at the highest level in the S1 camera range.
The S1H provides an unmatched suite of stills and video recording functions. There’s nothing on the market so far that offers the same capabilities.
Full review
Panasonic’s latest full-frame mirrorless camera, the DC-S1H, is the most video orientated stills camera on the market today, providing the flexibility required for multimedia applications as well as impressive stills capabilities. While its sensor resolution is only 24.2 megapixels, the S1H boasts a wide, 14-stop dynamic range plus ISO settings ranging from ISO 100-51200. In addition it can record 10-bit 6K (5952 x 3968) video at 24 fps drawing data from almost the entire 3:2 aspect ratio frame as well as 10-bit 4K at 50 fps with ‘unlimited’ recording time.
Angled view of the Panasonic S1H with the Lumix S PRO 24-70mm f/2.8 lens used for our review. (Source: Panasonic.)
The S1H is also the first model in the S1 series to introduce Panasonic’s Dual Native ISO technology, which was pioneered in the flagship VariCam lineup. Developed to provide minimised noise plus superior image quality, this feature enables the camera to switch automatically between native ISO settings of 640 and 4000 in varying light levels without raising noise levels.
We received the review camera with three Lumix S PRO lenses: the 16-35mm f/4, 24-70mm f/2.8 and 70-200mm f/2.8, all of which have been released relatively recently and are reviewed separately.
Who’s it For?
Following its success in manufacturing mirrorless cameras with serious video capabilities for the M4/3 format, Panasonic has added this capability to its ‘full-frame’ camera line-up with the S1H. Consequently, the main target market for this camera is professional multimedia content creators. And it’s priced accordingly at the highest level in the S1 camera range.
Key Features
Panasonic highlights the following as the key capabilities of the S1H:
- 6K full-frame capture in 10-bit internally, delivering new flexibility to filmmakers, while enabling higher quality 6K output and greater scope to crop, pan or further stabilise in post-production while maintaining the detail of 4K resolution
- Cinema 4K/4K 60p/50p recording in 10-bit internally to satisfy the most discerning purist
- Dual Native ISO which utilises a dual-base ISO setting to deliver superior low-light performance with minimised noise.
- Dual I.S. (Image Stabilisation) for more powerful stabilisation correction
- V-Log/V-Gamut with 14+ stops of dynamic range, delivering rich gradation and a wide colour space.
To these you can add HDR (High Dynamic Range) recording in HLG (Hybrid Log Gamma) mode and Anamorphic 4:3 capabilities as well as practical videography tools like tally lights, a waveform monitor and a V-Log View Assist function. The camera offers a wide range of resolutions, frame rates, and data rates to choose from and has dual SD card slots that support the fastest cards currently available with ‘unlimited’ recording times.
An internal fan is built into the camera body to prevent over-heating, while the joystick has been improved and its responsiveness is adjustable. Like its siblings, the S1H has three displays: an EVF, monitor and top panel status screen. A new Night Mode puts a red cast over the viewfinder and/or the LCD display, so the photographer’s vision is not affected when shooting night scenes.
The 225-area contrast detection DFD AF system is also carried over from the S1/S1R and relies on ‘deep learning’ object detection and recognition algorithms to achieve focus while enabling lens parameters to be taken into account to minimise hunting. The lens and sensor communicate at a maximum 480 fps, while built-in facial recognition and eye-AF can pick whether subjects are humans or fast-moving animals and keep tracking them even when they aren’t facing the camera.
The mechanical shutter mechanism supports a maximum 1/8000 second, with the electronic shutter extending the range to 1/16,000. Flash synchronisation claims the industry’s fastest shutter speed of a maximum 1/320 second. Exposure metering includes a Highlight Weighted metering mode that prioritises highlighted areas in scenes and adjusts exposures to prevent them washing out.
Also for stills photographers, the S1H includes High Resolution mode and HLG Photo modes for producing more detailed images. The High Resolution mode combines eight consecutive images in-camera to produce 96-megapixel equivalent (12,000 x 8,000-pixel) RAW and/or JPEG images.
HLG Photo delivers a wider dynamic range with more natural contrast for images that will be played back on HDR displays, preserving the brightest highlights and deepest shadows. They can be saved as an HSP file with compressed high-brightness signals at full resolution (5888 x 3312 in 16:9 aspect ratio) and played back on the latest Panasonic HLG-compliant 4KTV via HDMI cable connection or on other HLG-compliant devices.
Unfortunately, no software has been supplied to convert the HSP files into editable formats and an internet search failed to find any software that could open the files produced by the S1H. Nevertheless, they looked very impressive on the camera’s monitor screen with a much wider dynamic range than the JPEG files recorded simultaneously. But we’re unable to show them in our sample images section.
Build and Ergonomics
Both are similar to the S1 and S1R cameras, although the S1H is larger and considerably heavier than its siblings. It’s also thicker to allow for the larger status LCD, which has been changed from black-on-green display to white-on-black. Backlight illumination is available for this display.
Front view of the Lumix DC-S1H camera with no lens fitted. (Source: Panasonic.)
As usual, the front panel is dominated by the lens mount and grip moulding. Between the lens mount and the grip are three buttons, the top two being programmable function (Fn) buttons, with the lower one the lens release button.
Top and rear views of the Lumix S1H camera with no lens fitted. (Source: Panasonic.)
The layouts of the top and rear panels are the same as in the S1 and S1R cameras and the 5,760,000 dot OLED LVF, 3.2-inch 2,100,000-dot monitor and LCD status screen on the top panel are almost identical. However, the rear monitor has roughly 150% higher luminance for better outdoor visibility and the 1.8-inch status screen is slightly larger.
The customisable control on the S1H camera body. (Source: Panasonic.)
The S1H provides plenty of options for customising external controls, with 16 customisable buttons and dials, shown above. Different functions can be set to operate in recording and playback modes. The default settings for each button shown in the diagrams above are indicated in the table below.
| Fn buttons | Setting in REC mode | Setting in PLAY mode | |
| 1. | Sub video rec | Video recording | Video recording |
| 2. | Fn1 | Status LCD display (Video) | No setting |
| 3. | Fn2 | Preview | |
| 4. | WB | White Balance | |
| 5. | ISO | Sensitivity | |
| 6. | +/- | Exposure compensation | |
| 7. | Video record | Video recording | Video recording |
| 8. | LVF | LVF/Monitor switch | LVF/Monitor switch |
| 9. | V.MODE | LVF magnification | No setting |
| 10. | AF selector | AF mode | Card slot change |
| 11. | AF-On | AF-On | Star rating |
| 12. | Q | Quick menu | Send image to smartphone |
| 13. | Delete | Level gauge | Can’t be used as function buttons during playback |
| 14. | Fn3 | Wi-Fi | |
| Fn4 | Histogram | ||
| Fn5 | Boost I.S. (Video) | ||
| Fn6 | No setting | ||
| Fn7 | No setting | ||
| 15. | Fn8 to Fn12 | No setting | |
| 16. | Fn13 to Fn16 | No setting | |
The user manual for the S1H has four pages listing the functions that can be assigned to the customisable buttons. The list begins on page 371 of the downloadable PDF version.
The S1H is supplied with a large, 7.4 Volt rechargeable lithium ion battery pack plus a separate battery charger. Charging is done via a USB-C port on the charger and the battery can be charged in the camera by connecting it to a power source via a standard USB-C cable.
The battery is CIPA rated for approximately 400 shots/charge with the monitor or 380 shots/charge with the EVF. Using the Power Save LVF mode, extends the shooting capacity to roughly 1,150 images. Fitting the optional DMW-BGS1 battery grip allows a second battery to be used, doubling the effective capacity.
Sensor and Image Processing
The 24.2-megapixel full-frame (35.6 mm x 23.8mm) CMOS sensor offers the same resolution as the S1 but includes a low-pass filter to minimise moiré patterns. Its circuitry has been redesigned to include the Dual Native ISO technology first introduced in the flagship VariCam lineup.
The S1H’s regular ISO range extends from 50 to 51200 with extensions to ISO 102400 and ISO 204800 available. Settings are adjustable in 1/3 or 1 EV steps. Dual Native ISO values for recording movies are based on ISO 640 and ISO 4000 but sensitivity can be extended by the Venus Engine processor to cover maximum sensitivities of ISO 51200 and ISO 204800 when recording in V-Log mode.
The HLG (Hybrid Log Gamma) Photo and Video modes are also essentially the same as in the S1 and deliver the same recording options and resolutions. The table below shows the options available in HLG Photo mode.
| Settings | Aspect Ratio | |||
| 4:3 | 3:2 | 16:9 | 1:1 | |
| Full resolution | 5312 x 3984 | 5984 x 4000 | 5888 x 3312 | 4000 x 4000 |
| 4K resolution | 2880 x 2160 | 3232 x 2160 | 3840 x 2160 | 2144 x 2144 |
Both JPEG and RW2.RAW images can be recorded and raw images can be converted into HLG format using in-camera processing. Continuous shooting rates and buffer capacities are also the same as in the S1.
The camera can ‘read’ the lens data from any L-Mount lens that is fitted and match the image area and resolution to Super 35mm and APS-C lenses, which have smaller fields of view. For lenses without electronic contacts, users can ‘register’ the lens information in the camera’s Image Stabiliser and Lens Information menus.
Video
As they did with the revolutionary GH4 in 2014 (and the GH5 that succeeded it) Panasonic has developed the S1H as a video-orientated sibling to its stills cameras. Currently, it’s the most feature-packed and complex ‘hybrid’ camera on the market with three selectable recording formats plus an enormous range of resolutions, frame rates and data rates to choose from. Variable frame rate recording is also available.
The 35.6 x 23.8 mm, 3:2 aspect ratio CMOS sensor has been optimised for video recording, including shooting with anamorphic lenses. The camera’s EVF works equally well for shooting video and stills, as does the in-body stabilisation system, which does a great job of keeping the field of view rock-steady when used with stabilised lenses. Shooting with the camera hand-held is not only possible, but easy and rewarding.
A built-in fan keeps internal temperatures down, enabling fast data capture and processing without overheating. Recording times are also longer than average, with up to 80 minutes of continuous recording in AVCHD format and around an hour in the MOV and MP4 formats.
The table below, taken from the camera’s published specifications, indicates what’s available for PAL format users.
| MOV format | |
| 50.00VideoHz Full-frame | [5.4K] 5376×3584 (3:2) 25.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM, High-Res Audio) [5.9K] 5888×3312 25.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM, High-Res Audio). [C4K] 4096×2160 25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [4K] 3840×2160 25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [FHD] 1920×1080 100.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM, High-Res Audio) [FHD] 1920×1080 50.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [FHD] 1920×1080 50.00i, 100Mbps (4:2:2 10-bit ALL-Intra) / 50Mbps (4:2:2 10-bit LongGOP), (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [FHD] 1920×1080 25.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) |
| 50.00Hz Super 35mm / Pixel by Pixel | [C4K] 4096×2160 50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM, High-Res Audio) [C4K] 4096×2160 50.00p, 150Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [C4K] 4096×2160 25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [4K] 3840×2160 50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM, High-Res Audio) [4K] 3840×2160 50.00p, 150Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [4K] 3840×2160 25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [Anamorphic 4K] 3328×2496 (4:3) 50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM, High-Res Audio) [Anamorphic 4K] 3328×2496 (4:3) 50.00p, 150Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [Anamorphic 4K] 3328×2496 (4:3) 25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [FHD] 1920×1080 100.00p, 150Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, LPCM, High-Res Audio) [FHD] 1920×1080 50.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio). [FHD] 1920×1080 50.00i, 100Mbps (4:2:2 10-bit ALL-Intra) / 50Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) [FHD] 1920×1080 25.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM, High-Res Audio) |
| MP4 format | |
| 50.00Hz Full-frame | [4K] 3840×2160 25.00p, 72Mbps (4:2:0 10-bit LongGOP)(H.265/HEVC, AAC) [4K] 3840×2160 25.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) [FHD] 1920×1080 50.00p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) [FHD] 1920×1080 25.00p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) |
| 50.00Hz Super 35mm / Pixel by Pixel | [4K] 3840×2160 50.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC) [4K] 3840×2160 25.00p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC) [4K] 3840×2160 25.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) [FHD] 1920×1080 50.00p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) [FHD] 1920×1080 25.00p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) |
| AVCHD format | |
| 50.00Hz Full-frame / Super 35mm / Pixel by Pixel | [FHD] 1920×1080 50.00p (Sensor output is 50.00fps), 28Mbps (4:2:0 8-bit LongGOP) (Dolby)
[FHD] 1920×1080 50.00i (Sensor output is 50.00fps), 17Mbps (4:2:0 8-bit LongGOP) (Dolby) [FHD] 1920×1080 50.00i (Sensor output is 25.00fps), 24Mbps (4:2:0 8-bit LongGOP) (Dolby) |
Soundtracks are recorded in stereo and levels are adjustable across a range from -12dB to +6dB. A limiter is available to minimise crackling noises in recordings. A wind filter is also provided.
The 6K/4K PHOTO function in the S1H is virtually the same as in the S1 and uses video recording to record stills frames. Each frame in the 6K mode is equivalent to approximately 18 megapixels, while each 4K frame is roughly eight megapixels. In each case, recording is terminated after one to 1.5 seconds.
Video recordings can be output to an external device (monitor or recorder) via an HDMI cable. In most cases, recording parameters (format, quality, etc.) are controlled by the camera, although the bit rate will be determined by what the output device supports.
Being primarily stills-orientated, Photo Review is not fully equipped to run comprehensive tests on the video capabilities of high-end, specialised cameras like the S1H. For such tests you should go to a specialist reviewing site like News Shooter, Cinema5D or CNet.
Communications
The S1H has similar Wi-Fi and Bluetooth facilities to its siblings, offering both 2.4GHz STA/AP (IEEE 802.11b/g/n) and 5GHz STA (IEEE 802.11ac) for the former, along with a Bluetooth 4.2 Low Energy interface. Together they support fast data sharing with other devices as well as remote control of key camera functions via the Lumix Sync app for iOS and Android devices. Note: video clips, 6K/4K PHOTO and Post Focus images and images recorded in the HLG modes cannot be transferred and Android users will require Android 7.0 or higher to save raw files on their devices..
Playback and Software
The S1H provides the same suite of playback functions as its siblings, with the ability to display all recording formats, convert raw files into JPEG format and extract still frames from video footage and same them as JPEGs. Some data won’t be displayed when AVCHD clips are played back.
Up to 16x magnification for JPEGs is available via the Playback Zoom function, with adjustments provided via the rear dial. Raw files are limited to 8x magnification. Touch functions can be used to enlarge/reduce an move displays about the screen.
Images recorded in Time Lapse Shot or Stop Motion Shooting modes are handled as group images and can be viewed, edited or deleted on a group basis. If two memory cards are loaded you can select the card you want to playback.
As is common in the latest crop of digital cameras, all software must be downloaded. So must the user’s manual, which is available in PDF format. Panasonic’s software offerings include PHOTOfunSTUDIO, which is a basic, Windows-based image management application and a Silkypix-based raw file converter. Fortunately, the camera is supported in Adobe Camera Raw (our preferred file converter) so you needn’t use the inferior software.
Performance
We received three lenses with the review camera, the Lumix S PRO 16-35mm f/4, Lumix S PRO 24-70mm f/2.8 and the Lumix S PRO 70-200mm f/2.8 O.I.S. We chose to base our Imatest testing on the 24-70mm f/2.8 lens since it’s the most likely to be paired with the camera for general-purpose work. All three lenses are reviewed separately.
Unfortunately, during the time we had the camera and lenses, Sydney was frequently blanketed by smoke from surrounding bushfires, which affected colour balance in test shots, even when we chose relatively clear days to shoot on and used the auto white balance setting. Consequently, many of our test shots show a slightly orange colour bias, which was difficult to remove from both JPEG and raw files without affecting other colours.
Otherwise, the camera performed very well as a stills camera. Test shots in JPEG format showed a natural-looking tonal balance and a relatively wide dynamic range, which may have been aided by the atmospheric conditions. Raw files were easily converted into 16-bit TIFF format with Adobe Camera Raw which provided plenty of scope for editing the resulting files.
The camera’s contrast-based DFD autofocusing system works as well as it did with the S1, which isn’t surprising since both cameras use the same technology. The few instances of hesitation we encountered were when shooting close-ups of low-contrast subjects with the 70-200mm lens.
With the other lenses, the AF-S mode was quick to focus and generally accurate in both bright and low-light conditions. In the AF-C mode the camera was able to track subjects accurately when shooting stills and video and also kept moving subjects in focus while panning.
Our Imatest tests showed the review camera and 24-70mm lens to be capable of exceeding expectations for the camera’s 24-megapixel sensor with JPEGs, both around the centre of the frame and close towards the frame’s edges. Equivalent ARW.RAW files converted with ACR provided resolution that was well above the expected resolution across the frame.
Resolution held up very well across the review camera’s sensitivity range, with fall-off starting from ISO 12800 for both JPEGs and RW2.RAW files. The graph below shows the results of our tests across the camera’s default sensitivity range.
Long exposures at night showed no evidence of noise right up to ISO 12800 and although both noise levels and softening became visible and higher sensitivities, it wasn’t until ISO 51200 that noise became apparent. By ISO 104800 noise was obvious, even without enlarging the image but images remained fairly sharp. Both noise and softening increased with higher sensitivity settings but colour reproduction remained constant throughout the sensitivity range and was generally quite close to the subject’s normal range.
Auto white balance performance was as good as the best of the cameras we’ve tested, particularly under fluorescent and warm-toned LED lighting, where images were rendered virtually cast-free. The camera provides three auto white balance settings, one of the additional ones skewed to a cool tonal rendition and the other to a warm tone.
Interestingly, the camera seemed able to deliver the correct colour balance for fluorescent and warm-toned LED lighting, regardless of which auto setting was selected. Under incandescent lighting, most of the warm cast was corrected with all three settings, although the AWBc setting had a slightly greater suppression effect. With all three settings, only traces of the cast remained and these would be easily corrected either in the camera or in post-production with even the most basic editor.
Panasonic doesn’t provide pre-sets for correcting fluorescent or LED lighting but we observed the normal slight over-correction with the incandescent lighting preset. Manual measurement delivered a neutral colour balance with all three types of lighting and there are plenty of in-camera adjustments for tweaking image colours on-the-fly. White balance bracketing across three frames is available.
Our timing tests were carried out with a 64GB Panasonic SDXC U 3 memory card, the same type as we used for the S1, so it’s no surprise to discover the response times for both cameras was almost identical. The review camera took just over a second to power up ready for shooting.
We measured an average capture lag of 0.15 seconds, which was eliminated when shots were pre-focused. Shot-to-shot times averaged 0.35 seconds. High-resolution JPEGs took 2.2 seconds to process on average, while RW2.RAW files were processed in 2.3 seconds and RAW+JPEG pairs in 2.5 seconds.
In the high-speed continuous shooting mode the review camera recorded 100 Large/Fine JPEG frames in 10.9 seconds, which represents a little less than nine frames/second. It took one second to clear the buffer memory.
There was no change in burst speed when swapping to raw file capture, where the camera recorded 120 RW2.RAW files in 13.2 seconds. It took 12.1 seconds to complete processing this burst. With RAW+JPEG capture, we recorded 74 pairs of shots in 8.2 seconds. It took just over 18 seconds to process this burst.
Conclusion
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SPECS
Image sensor: 35.6 x 23.8 mm CMOS sensor with 25.28 million photosites (24.2 megapixels effective), primary colour filter
Image processor: Venus Engine
A/D processing: 14-bit (10-bit video)
Lens mount: L-Mount
Focal length crop factor: 1x
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.31), ARW.RAW, RAW+JPEG, HLG Photo (CTA-2072), 4K/6K PHOTO – MP4; Movies: MOV: H.264/MPEG-4 AVC, H.265/HEVC, MP4: H.264/MPEG-4 AVC, H.265/HEVC, AVCHD Progressive with stereo audio
Image Sizes: Stills – For 3:2 aspect ratio stills – 6000 x 4000, 4272 x 2848, 3024 x 2016, 12000 x 8000 (XL High Resolution mode), 5184 x 3456 (6K PHOTO), 3504 x 2336 (4K PHOTO), 5984 x 4000 (HLG PHOTO Full-Res), 3232 x 2160 (HLG PHOTO 4K-Res); Movies: [5.4K] 5376 x 3584 (3:2) 25.00p, 200Mbps (4:2:0 10-bit LongGOP); [5.9K] 5888 x 3312 25.00p, 200Mbps (4:2:0 10-bit LongGOP); [C4K] 4096 x 2160 25.00p, 400Mbps (4:2:2 10-bit ALL-Intra) / 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP); [4K] 3840 x 2160 25.00p, 400Mbps (4:2:2 10-bit ALL-Intra)/ 150Mbps (4:2:2 10-bit LongGOP)/ 100Mbps (4:2:0 8-bit LongGOP); [FHD] 1920 x 1080 100.00p, 150Mbps (4:2:0 10-bit LongGOP); 1920 x 1080 50.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP); 1920 x 1080 50.00i, 100Mbps (4:2:2 10-bit ALL-Intra) / 50Mbps (4:2:2 10-bit LongGOP); 1920 x 1080 25.00p, 200Mbps (4:2:2 10-bit ALL-Intra) / 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) Aspect ratios: 3:2, 4:3, 16:9, 1:1, 65:24, 2:1
Image Stabilisation: Image sensor shift type (5-axis / 6.0-stops); Dual I.S. (6.5-stops Dual I.S. 2 compatible)
Dust removal: Supersonic wave filter
Shutter (speed range): Focal-plane shutter (mechanical and electronic shutter speeds60 to 1/8000 sec. Plus Bulb to 30 minutes); max. 1/16,000 – 1/25 for movies when using Synchro Scan; shutter rated for approx. 400,000 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/burst
Other bracketing options: Aperture, focus, white balance
Self-timer: 2 or 10 seconds delay plus 10 sec., 3 images
Focus system: Contrast AF system with DFD technology
AF points & selection: 225-Area with auto detection (Face, Eye, Body, Animal), Tracking, Zone (Vertical/Horizontal/Square/Oval), 1-Area+ / 1-Area / Pinpoint / Custom 1, 2, 3 (Full area touch is available) (Scalable AF frame size and flexible AF position)
Focus modes: Single AF (S-AF) / Continuous AF (C-AF) / Manual Focus (MF)
Exposure metering: 1,728-zone multi-pattern sensing system with Multiple, Centre-weighted, Spot and Highlight Weighted patterns
Shooting modes: Program AE / Aperture Priority AE / Shutter Priority AE / Manual Exposure
Photo Style modes: Standard / Vivid / Natural / Flat / Landscape / Portrait / Monochrome / L. Monochrome / L. Monochrome D / Cinelike D2 / Cinelike V2 / Like709 / V-Log / Standard (HLG) / Monochrome (HLG) / Like2100 / My Photo Style 1-10
Picture adjustments: Contrast / Highlight / Shadow / Saturation / Colour Tone / Hue / Filter Effect / Grain Effect / Sharpness / Noise Reduction / Dual Native ISO Setting / ISO / WB *Adjustable settings vary depending on the Photo Style mode.
Colour space options: sRGB and Adobe RGB
ISO range: Auto (50-51200 ) with extension to ISO 102400 and ISO 204800 available; adjustable in 1/3 or 1 EV steps; Dual Native ISO – ISO 100/640; Auto: Auto / 50* / 100-51200 / 102400* / 204800*; Low: Auto / 50* / 100-800; High: Auto / 320* / 640-51200 / 102400* / 204800* (* = Extended ISO)
White balance: AWB / AWBc / AWBw / Daylight / Cloudy / Shade / Incandescent / Flash / White Set 1, 2, 3, 4 / Colour temperature setting 2500-10000K in 100K 1, 2, 3, 4; Blue/Amber and Magenta/Green adjustments
Flash: TTL External Flash (sold separately)
Flash modes: Auto* / Forced On / Slow Sync. / Forced Off *For iA only; Red-eye Reduction is available; flash sync at 1/320 second or lower
Flash exposure adjustment: +/- 3EV in 1/3EV steps
Sequence shooting: Max. 9 frames/sec. with locked AF; 60 frames/sec. in 4K PHOTO mode, 30 frames/sec. in 6K PHOTO mode
Buffer capacity: Max. >999 Large/Fine JPEGs, 60 RAW files or RAW+JPEG pairs
Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-I, II, UHS Speed Class 3 and UHS-II Video Speed Class 90 standard compatible)
Viewfinder: 5,760,000-dot OLED EVF with 100% frame coverage, 21mm eyepoint, 0.78x magnification, -4 to +2 dpt adjustment
LCD monitor: Free-angle tilting TFT LCD with 2,330,000 dots, static touch screen, 100% field of view
Playback functions: Magnify from AF Point, HLG View Assist(Monitor), RAW Processing, 6K/4K PHOTO Bulk Saving, Delete Single, Protect, Rating 1, 2, 3, 4, 5, Copy, Rec/Playback Switch, LVF/Monitor Switch, Video Record, Night Mode, Card Slot Change, Wi-Fi, Send Image (Smartphone), HLG View Assist (HDMI), 6K/4K Photo Play, No Setting,/ Restore to Default
Interface terminals: USB Type-C SuperSpeed USB 3.1 Gen1 Type-C, HDMI Type A / VIERA Link, 2.5mm remote control jack, 3.5 mm stereo mini jack (microphone), 3.5 mm stereo mini jack (headphone), Super Speed (USB3.0) PC interface
Wi-Fi function: Built-in 2.4GHz STA/AP (IEEE 802.11b/g/n) plus 5GHz STA (IEEE 802.11ac) and Bluetooth 4.2 Low Energy
Power supply: DMW-BLJ31 rechargeable Li-ion batteryl base pack; CIPA rated for approx. 400 shots/charge with the monitor, 380 shots/charge with the EVF
Dimensions (wxhxd): Approx. 151.0 x 114.2 x 110.4 mm (excluding protrusions)
Weight: Approx. 1,052 grams (body only); 1,164 grams with battery and card
Distributor: Panasonic Australia, Ph. 132 600; www.panasonic.com.au
TESTS
Based on JPEG files recorded with the Lumix S PRO 24-70mm f/2.8 lens.
Based on RW2.RAW files recorded simultaneously and converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
All shots taken with the Lumix S PRO 24-70mm f/2.8 lens.
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with warm-toned LED lighting.
60-second exposure at ISO 50, f/2.8, 50mm focal length.
30-second exposure at ISO 100, f/2.8, 50mm focal length.
10-second exposure at ISO 800, f/4.5, 50mm focal length.
4-second exposure at ISO 6400, f/8, 50mm focal length.
4-second exposure at ISO 12800, f/11, 50mm focal length.
2-second exposure at ISO 25600, f/11, 50mm focal length.
1.3-second exposure at ISO 51200, f/18, 50mm focal length.
0.62-second exposure at ISO 102400, f/18, 50mm focal length.
1/2-second exposure at ISO 204800, f/22, 50mm focal length.
70mm focal length, ISO 100, 1/4 second at f/8.
25mm focal length, ISO 100, 1/100 second at f/8.
Backlit subject; 24mm focal length, ISO 100, 1/640 second at f/8.
27mm focal length, ISO 100, 1/500 second at f/9.
31mm focal length, ISO 100, 1/400 second at f/5.6.
70mm focal length, ISO 100, 1/500 second at f/5.
24mm focal length, ISO 400, 1/60 second at f/4.5.
65mm focal length, ISO 400, 1/80 second at f/5.6.
65mm focal length, ISO 200, 1/60 second at f/5.6.
24mm focal length, ISO 800, 1/60 second at f/5.6.
70mm focal length, ISO 1250, 1/80 second at f/5.6.
26mm focal length, ISO 1250, 1/60 second at f/8.
70mm focal length, ISO 2000, 1/80 second at f/8.
70mm focal length, ISO 3200, 1/125 second at f/7.1.
24mm focal length, ISO 51200, 1/15 second at f/8.
32mm focal length, ISO 51100, 1/20 second at f/8.
Still frame from MP4 4K/50p video recording at 150Mbps.
Still frame from MP4 4K/25p video recording at 100Mbps.
Still frame from MP4 4K/25p video recording at 60Mbps.
Still frame from MOV FDH/50p video recording at 28Mbps.
Still frame from MOV FHD/25p video recording at 20Mbps.
Still frame from MOV FHD/50p video recording at 100Mbps.
Still frame from MOV FHD/25p video recording at 50Mbps.
Still frame from MOV FHD/25p video recording at 100Mbps.
Still frame from AVCHD FHD/50p video recording at 28Mbps.
Still frame from AVCHD FHD/50i video recording at 17Mbps.
Still frame from AVCHD FHD/25p video recording at 24Mbps.
Additional image samples can be found with our reviews of the Lumix S PRO 16-35mm f/4, Lumix S PRO 24-70mm f/2.8 and the Lumix S PRO 70-200mm f/2.8 O.I.S lenses.
Rating
RRP: AU$5999; US$ 3998
- Build: 9.0
- Ease of use: 8.8
- Autofocusing: 8.8
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.0
- Video quality: 9.0
BUY
