Panasonic Lumix DC-S5

      Photo Review 9.0

      In summary

      The DC-S5 is ideal for hybrid photo/video shooters who need high performance for both stills and video recording.

      We’ve awarded the S5 an Editor’s Choice rating because it ticks so many boxes, offering a nice balance between stills and video capabilities in a camera body that is small and light enough to be easy to carry. It’s also solidly-built and weather-resistant with a nice control layout that makes it straightforward to operate.


      Full review

      Announced at the beginning of September, Panasonic’s Lumix DC-S5 is a hybrid stills/video camera that slots in below the DC-S1 to provide an entry level model in the company’s full frame line of cameras that use the Leica L-mount. Using the same 24.2-megapixel CMOS chip as the Lumix DC-S1 and S1H cameras, the S5 is targeted at hybrid photo/video shooters, who need high performance for both stills and video recording. Its video capabilities are extensive and include ‘unlimited’ 4K 60p/50p 4:2:2 10-bit HDMI output plus V-Log/V-Gamut with a dynamic range of more than 14 stops.

      Angled view of the DC-S5 camera with the Lumix S 20-60mm f/3.5-5.6 kit lens. (Source: Panasonic.)

      We reviewed the DC-S5 with the Lumix S 20-60mm f/3.5-5.6 kit lens, which is reviewed separately.

      Who’s it For?
      The S5 is essentially a full-frame version of the GH5 with many similar features but with a significantly larger sensor but a slightly smaller and lighter body. Although touted as an ‘entry-level’ model, its main competitors will be the Canon EOS R6, Nikon Z5 and Sony a7 III, which offer similar resolution and many similar features, as shown in the comparison table below.

      Canon EOS R6 Nikon Z5 Panasonic S5 Sony A7 Mark III
      Sensor 35.9 x 24 mm CMOS,  20.1 megapixels 35.9 x 23.9 mm CMOS, 24.5 megapixels 35.6 x 23.8 mm CMOS,  24.2 megapixels 35.8 x 23.9 mm CMOS,  24.3 megapixels
      AA filter Yes Yes No Yes
      IBIS Yes, up to 8 stops with IS lens Yes, up to 5 stops Yes, up to 5 stops Yes, 5 stops with IS lens
      Processor DIGIC X EXPEED 6 Venus Engine BIONZ
      File formats JPEG, CR3.RAW, HEIF; MP4 for movies JPEG, NEF.RAW; MOV for movies JPEG, RAF.RAW (14-bit), HLG; MOV & MPEG4 for movies JPEG, ARW.RAW; XAVC S, AVCHD for movies
      Max. image size 5472 x 3648 pixels,  14-bit raw files 6016 x 4016 pixels,  12 or 14-bit raw files 6000 x 4000 pixels, (12,000 x 8000 pixels in high-res mode) 6000 x 4000 pixels, 14-bit raw
      Max. frame rate 12 fps (20 fps with electronic shutter) 4.5 fps 7 fps with fixed focus (60 fps in 4K PHOTO mode) 10 fps
      Buffer capacity 360 JPEG, 240 raw 100 frames, JPEG or raw 999 JPEG, 24 raw 177 JPEG, 89 raw
      Shutter speeds 30-1/8000 sec 30-1/8000 sec 60-1/8000 sec with electronic shutter 30-1/8000 sec
      Shutter durability Tested to 300,000 cycles n.a. n.a. n.a.
      Focus system Dual Pixel phase detect/contrast detect Hybrid phase-detection/contrast AF Contrast detect with DFD Phase detect/ contrast detect
      AF points 6072 273 255 693
      Native ISO range ISO 100–102400 ISO 100-51200 ISO 100-51200 ISO 100-51200
      ISO extensions ISO 50; ISO 204800 ISO 50; ISO 102400 ISO 50; ISO 102400, ISO 204800 ISO 102400, ISO 204800
      Max. internal video 4K: 60/50/30/25/24p max. 340Mbps (1.05x crop, 10-bit 4:2:2 C-Log) 4K: 30/25/24p, 144 Mbps (1.7x crop) 4K: 25.00p, 150Mbps (4:2:2 10-bit LongGOP) 4K: 30/25/24p (100Mbps, no crop, HDR, S-Log2/3)
      External video 4K 10-bit 4:2:2 output via HDMI n.a. 10-bit 4:2:0 or 8-bit 4:2:2 8-bit 4:2:2 output via HDMI
      EVF 3,690,000-dot OLED, 0.76x, 23mm eyepoint, -4 to +2 dpt 3,690,000-dot OLED, 0.8x, 21mm eyepoint, -4 to +2 dpt 2,360,000-dot OLED, 0.74x, 20mm eyepoint, -4 to +4 dpt 2,360,000-dot OLED, 0.78x, 18.5mm eyepoint, -4 to +3 dpt
      Monitor Fully articulating, 3-inch, 1,620,000-dot touch screen Tilting 3.2-inch, 1,040,000-dot touch screen Articulating 3.2-inch, 1,840,000-dot touch screen Tilting 3-inch, 921,000-dot touch screen
      Media slot(s) 2x SD, both UHS-II Dual SD (UHS-II compatible) 2x SD, one UHS-II, one UHS-I 2x SD/Memory Stick Pro Duo, one UHS-II, one UHS-I
      Battery / CIPA rating LP-E6NH / 380 shots/charge EN-EL15c / 390 shots/charge DMW-BLJ31 / 440-470 shots/charge NP-FZ100 / 710 shots/charge
      Dimensions 138 x 97.5 x 88.4 mm 134 x 100.5 x 69.5 mm 132.6 x 97.1 x 81.9 mm 126.9 x 95.7 x 59.7 mm
      Weight (incl. battery & card) 680 grams 675 grams 714 grams 650 grams
      RRP (AU$) body only $4599 $2499 $3199 $2999
      Current firmware V. 1.1.1 (released Sept 2020) V. C1.02 (released Oct 2020) V. 1.0 V. 3.1 (released Dec. 2019)

      The pricing of these cameras targets them at high-end enthusiast photographers and videographers who need high performance plus high mobility. They would also suit many professional content creators and vloggers, especially those who favour available light shooting and work on location.

      Canon has a cheaper entry-level full frame model, the EOS RP, which has a 26.2-megapixel sensor and DIGIC 8 processor but lacks weatherproofing. It sells for less than AU$2000. Nikon also has a lower-priced model in the Z system; the Z50 has an APS-C sized sensor and a single SD card slot. Although it’s smaller and lighter than the full frame models, with 21-megapixel resolution, its low-light performance won’t be as good.

      While the kit lens offered with the S5 is unstabilised, the built-in sensor-shift stabilisation in the camera is able to deliver up to 6.5 stops of shake correction, including with a 200mm lens. Accessories like the Microphone Adaptor (DMW-XLR1), Remote Shutter (DMW-RS2), DC coupler (DMW-DCC17), Battery Grip (DMW-BGS5) and Tripod Grip (DMW-SHGR1) extend the camera’s basic versatility.

      Build and Ergonomics
      Although smaller in size than other S-series models, as shown in the illustration below, the new camera is heavier than its main rivals. Physically, it is similar existing S-series models, albeit with some minor changes in layout.

      This illustration shows the comparative dimensions of the S5 and S1 camera bodies. (Source: Panasonic.)

      It also boasts a weather-resistant, magnesium alloy body with dual SD card slots. The body design incorporates heat dispersion components to protect electronic components and ensure stable, continuous video recording for extended periods of time.

      The front panel of the Lumix DC-S5 camera with no lens fitted. (Source: Panasonic.)

      As usual, the front panel is dominated by the lens mount, which is based on the Leica L-mount and has an inner diameter of 51.6 mm and a flange depth of 20.0 mm. The grip moulding is quite deep and should suit users with medium to large hands.

      Between the lens mount and the grip are two buttons, the top one doing double duty as a depth of field preview and programmable function (Fn) button. The lower is the lens release button. The remaining controls are on the top and rear panels.

      The top panel of the Lumix DC-S5 camera with the Lumix S 20-60mm f/3.5-5.6 kit lens fitted. (Source: Panasonic.)

      Many key controls are located on the top panel. Left of the EVF housing is the drive dial with settings for single frame, burst shooting (two settings), time-lapse and self-timer modes. The EVF housing has dual microphone holes for stereo audio recording embedded into its top, just in front of a flash hot-shoe.

      A speaker slot is located to the rear on the right hand side of the EVF housing. Further right lies the shooting mode dial, which sits atop the lever-operated on/off power switch. The mode dial carries 10 settings: the regular iA (‘intelligent’ Auto), P, A, S and M modes plus a Movie mode, S&Q (slow & quick) movie recording and three Custom settings for storing frequently-used combinations of settings.

      The shutter release button is positioned well forward on the grip moulding where it sits naturally under the user’s index finger. It is surrounded by the front control dial, which is also easy to access and operate.

      Behind this assembly are three buttons, which provide direct access to the white balance, ISO and exposure compensation settings. The grip moulding ends in a ledge that drops a couple of millimetres down to the main top panel where the red video recording button is located. The rear dial control is located on the rear right hand corner of the panel, completing the top panel controls.

      The rear panel of the Lumix DC-S5 camera with the monitor screen reversed. (Source: Panasonic.)

      The two main features on the rear panel are the EVF and the LCD monitor. The large OLED LVF (Live View Finder) has a magnification ratio of approx. 0.74x, a high resolution of 2,360,000 dots and a minimum time lag of less than 0.005 second. While not as highly-specified as the ‘finder on the S1, it is nonetheless very nice to use

      The fully-articulating 3-inch monitor screen has a 3:2 aspect ratio with a resolution of 1,840,000 dots and touch control support.  Its resolution isn’t quite as high as its older siblings but it can be reversed to face into the camera body when the camera is carried.

      Above the monitor screen on the left side of the EVF housing are the playback and LVF (Live View Finder aka EVF) switch buttons. To the right of the EVF housing is a cluster of focus controls that includes the focus mode lever and area selector.

      The joystick control is located just right of the focus controls with the AF on button above and to its right. Below it lies the Q button for opening the Quick Control menu and further down another control dial with an arrow pad in its centre. A Menu/SET button sits in the middle of the arrow pad. Below the arrow pad/dial are the delete/back and display buttons.

      Both slots in the dual card slot are for SD cards but only one is compatible with UHS-II cards. (Source: Panasonic.)

      On the right hand side of the camera body is the memory card compartment, which has a sliding cover. Both slots accept SD cards, the top slot supporting UHS-II cards, while the lower slot is only UHS-I compatible. Users can select Relay Recording, Backup Recording or Allocation Recording modes. A small LED adjacent to the lower edge of the card compartment glows when a card is in use.

      The S5 uses a new DMW-BLK22 high-capacity battery which is CIPA rated for approximately 440 shots/charge and is backwards compatible with the GH5, GH5S and G9. It is supplied with a very neat, compact charger and AC adapter plus a USB C cable. The S5 can also be powered and recharged directly via the USB-C cable and is compatible with the Lumix Tether applications which enable tethered shooting via USB.

      The left hand side panel is dedicated to the main interface ports and has two compartments, each with a flexible rubber cover. The top compartment holds the socket for the optional wired remote control plus the headphone socket. The lower compartment contains the USB and HDMI ports.

      The base plate of the camera has a metal-lined tripod socket, which is located in line with the lens axis. Beside it is the connector port for the optional battery grip, which has a similar rubber cover to the interface ports. The battery compartment is located in the usual position with its lid opening towards the back of the camera. A rubber cover on this lid protects the DC coupler.

      New Features
      The S5’s new 96MP High Resolution Mode is similar to the High Resolution mode introduced by Olympus in its OM-D E-M5 II camera back in 2015. In this mode, the camera automatically captures eight consecutive frames while shifting the sensor using the Body I.S. (Image Stabiliser) mechanism. The camera must be tripod-mounted to enable the frames to be registered correctly to produce the final image.

      The resulting frames are combined to produce a 96-megapixel equivalent (12,000 x 8000-pixel) file, which can be saved in raw or JPEG format. In the S1, the images was captured as a raw file that had to converted into JPEG format post-capture since it can’t be processed in the camera. The S5 can save the resulting image in RW2.RAW or JPEG format and two processing modes are available: one favouring high resolution and the other suppression of afterimage subject blur.

      Interestingly, the High Resolution Mode can be used with all four aspect ratios the camera offers for JPEG images, although cropping will reduce the image sizes to 10,656 x 8000 pixels for 4:3, 12,000 x 6736 for 16:9 and 8000 x 8000 for 1:1 aspect ratios. RW2.RAW files are always recorded with a 3:2 aspect ratio and 12,000 x 8000 pixels. Users can also opt to record RAW+JPEG pairs simultaneously as well as to record the sequence of images separately so they can combine them later in editing software.

      The S5 also introduces a Live View Composite mode that is similar to the mode in Olympus cameras. It records a sequence of images, compositing only areas that vary in brightness and users can watch the image build up on the camera’s monitor. As with similar modes in other cameras, it’s ideal for photographing light trails (including with stars) and fireworks.

      While the S5 uses the same contrast-detection with DFD technology AF system as other Panasonic cameras, AI-based autofocus algorithms combine with existing subject recognition capabilities to provide greater accuracy in detecting subjects such as people’s faces and fast-moving animals. This has freed up processing power enabling the lens and sensor to communicate at up to 480 fps and deliver increased focusing speed and accuracy.

      In addition to the common face, eye and body detection, the subject’s head is also separately recognised by real-time detection technology to provide more precise focusing. The camera can keep tracking subjects in AFC mode, even when they move quickly, turn away, tilt their head or move far away from the camera.

      The improvements in autofocusing have been most beneficial for stills photography. With video AF processing must operate simultaneously with the processing of the video signal, which takes account of pixel resolution, frame rate and bit depth and shutter speeds. When shooting at the highest video quality settings, a high demand is placed on processing power and AF processing may be reduced as a result.

      Content sharing with smartphones has been streamlined using Bluetooth 4.2 Low Energy connection, Wi-Fi 5-GHz (IEEE802.11ac) and 2.4-GHz (IEEE 802.11b/g/n). With an always-on Bluetooth connection, a smartphone can act as the camera’s remote control via the Lumix Sync app. The settings of an S5 camera can also be copied and transmitted to other S5 cameras when shooting with multiple cameras.

      Sensor and Image Processing
      The 24.2-megapixel sensor in the S5 is the same chip as is used in the Lumix DC-S1 and covered in our review of that camera. It has no low pass filter, which means the sensor delivers its full resolution capabilities.

      The S5 also features Panasonic’s Dual Native ISO technology, which uses a dual-base ISO setting to minimise noise and maximise image quality from low to high sensitivity. The Venus Engine processor supports a native sensitivity range of ISO 100-51200 with extensions to ISO 50 and ISO 102400 and 204800 available. Special processing functions include Multipixel Luminance Generation and Intelligent Detail Processing, Three-Dimensional Colour Control zings and high-precision Multi Process NR.

      Also found in the S1 and supported in the S5 is the HLG (Hybrid Log Gamma) Photo Mode, which can record an image with Full Res (5312 x 3984 pixels) or 4K (2880 x 2160 pixels) resolution to encompass a wide dynamic range that compresses brightness. Recorded pictures can be output via HDMI to devices like TV sets that support the HDR file type.

      Panorama shooting is supported with the 65:24 aspect ratio setting, which is also provided in the S1’s menu. Like the S1, the S5 provides two ‘burst’ settings. By default, Burst Shot 1 is set for high-speed shooting and Burst Shot 2 is for 6K PHOTO. But both are user-configurable.

      The maximum frame rate for the S5 is seven frames/second (fps) with the AF-S and MF modes and focus locked on the first frame. The buffer memory can store up to 999 standard JPEG images or 24 RW2.RAW image files.

      The S5 duplicates most of the video capabilities of the S1H with support for 4K 10-bit video plus unlimited 4K 60p/50p 4:2:2 10-bit HDMI output to an external device (monitor or recorder) via an HDMI cable. In addition, 4K 30p/25p 4:2:0 8-bit internal recording is also unlimited, while 4K 60p/50p 4:2:0 10-bit and 4K 30p/25p 4:2:2 10-bit can be recorded internally for up to 30 minutes.

      V-Log, Like709 and V-Gamut recording modes are supported, spanning a wide dynamic range of 14+ stops (in line with the dynamic range of the Panasonic VariCam) to capture everything from dark to bright areas and reproduce skin tones realistically. Recorded footage is easily matched with V-Log footage recorded by the Lumix S1/S1H or Lumix GH5/GH5S, for an easier post production workflow.

      The Lumix S5 accepts most regular professional video accessories and is easy to use in a rig like the one shown above. (Source: Panasonic.)

      Anamorphic recording is also available with 4K resolution and a 4:3 aspect ratio plus adjustments to accommodate anamorphic lenses with magnifications that include 1.3x, 1.33x, 1.5x, 1.8x, and 2.0x. An Anamorphic Desqueeze Display function enables users to confirm the cinemascope-size image in-camera while shooting.

      Time code support is available, although only for movies recorded in the MOV format. Interval recording is available to producing time-lapse video at up to 4K 60p/50p resolution and quality. A frame marker is available for use when recording vertical movies. Ten patterns are available, including common aspect ratios of 2.39:1 and 2.35:1 for cinema and 1:1 and 4:5 for social media.

      Practical tools like a Luminance Spot Meter, Waveform Monitor and V-Log View Assist are included as well as two zebra pattern displays for luminance levels.. The S5 also provides Slow & Quick recording modes, which are supported with autofocus and can be accessed directly using the mode dial. In 4K the S5 achieves up to 30x quick or 2.5x slow motion at 1-60fps, and in FHD it achieves 60x quick or 7.5x slow motion at 1-180fps.

      Playback and Software
      The S5’s playback functions are similar to the facilities offered by the DC-S1 and S-1R cameras and covered in our review of the DC-S1.

      The software bundle is also much the same, with the addition of Lumix Tether software to the basic suite consisting of the Windows-only PHOTOfunSTUDIO 10.1 PE and Silkypix Developer Studio SE. A 30-day trial licence for the LoiLo Scope video editor (again Windows only) is also provided.

      We don’t recommend using the Silkypix software for processing raw files as past experience has shown it to be a poor performer. Fortunately, most third-party raw file processors – including Adobe Camera Raw, our preferred application – support raw files from the S5 so users can choose their favourite application.

      The Lumix S 20-60mm f/3.5-5.6 lens supplied with the review camera is reviewed separately and rates as an ideal companion to the S5, both physically and with respect to everyday performance. Size-wise, this combination is great for general shooting of stills or video and very pleasant to use.

      Test shots in JPEG format had natural-looking colour rendition and constrained saturation, both factors confirmed in our Imatest tests. Raw files were easily converted into 16-bit TIFF format with Adobe Camera Raw (our preferred converter). Shots captured a comparatively wide dynamic range with very few blown-out highlights and excellent noise suppression in shadows, which meant there was plenty of scope for editing the resulting files.

      The best JPEG images in our tests were capable of slightly exceeding expectations for the camera’s 24-megapixel sensor around the centre of the frame and coming close towards the frame’s edges. Equivalent ARW.RAW files converted with ACR provided resolution that was well above the expected resolution in the centre of the frame and slightly above expectations towards the edges.

      Resolution held up very well across the review camera’s sensitivity range, with fall-off starting from ISO 3200 for JPEGs and ISO 25600 for RW2.RAW files. The graph below shows the results of our tests across the camera’s extended sensitivity range.

      Long exposures at night and in low light levels showed no evidence of noise right up to ISO 25600 and although both noise levels and softening became visible and higher sensitivities, it wasn’t until ISO 51200 that noise first became apparent. Beyond that point, noise became increasingly obvious, although images remained relatively sharp.

      While noise and softening increased with higher sensitivity settings, colour reproduction remained relatively constant throughout the sensitivity range and was generally quite close to the subject’s normal range. However, saturation and contrast were reduced at the highest ISO settings.

      Like its siblings, the S5 provides three auto white balance settings: a standard Auto setting plus AWBc, which ‘reduces the reddish hue of incandescent lighting’ and AWBw setting, which retains it.  In the main, they performed as expected. Under fluorescent lighting their effect was negligible and all three settings delivered neutral colours.

      Under warm-toned LED lighting, the AWBc setting came close to correcting the warm cast while the other two settings retained it. The same was true for incandescent lighting, with the AWBc setting reducing – but not eliminating – the warm cast.

      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.

      The DFD autofocusing system has undergone some tweaking since the S1 cameras, although the updated version in the S5 isn’t quite on a par with other mirrorless cameras that use AF systems based on phase detection. However, when shooting stills the camera performed flawlessly in our low-light tests, focusing almost instantaneously in the AF-S mode. In the AF-C mode with moving subjects, we noticed some hesitation in low light levels and with moving subjects.

      The default settings produced similar autofocusing performance to the S1’s. We found the camera and lens were consistently quick to lock on and generally managed to track moving subjects in all lighting conditions we tested.   The AF system was also quick to pick up on subjects as they entered the frame and equally quick to re-adjust focus when a subject left the frame.

      Most instances of blurring were relatively brief and tended to occur with slower video frame rates and when recording subjects that were moving erratically. Overall we found little to complain about as far as focusing was concerned.

      Our timing tests were carried out with a 32GB Lexar SDHC II U 3 memory card with a speed rating of 300MB/s.  The review camera took less than half a second to power up ready for shooting. We measured an average capture lag of 0.1 seconds with single-area AF, which was eliminated when shots were pre-focused. Shot-to-shot times averaged 0.25 seconds.

      High-resolution JPEGs took 1.8 seconds to process on average, while RW2.RAW files were processed in 2.4 seconds and RAW+JPEG pairs in 2.6 seconds. Because of the high buffer capacity we opted to use a burst of between 50 and 70 frames for measuring continuous shooting times.

      In the high-speed continuous shooting mode the review camera recorded 76 Large/Fine JPEG frames in 10.4 seconds with no signs of hesitation. This is close to the specified rate of seven frames/second. Processing this burst took 9.4 seconds.

      Swapping to raw file capture, the camera recorded 30 RW2.RAW files in four seconds before pausing, which is also close to the specified frame rate but slightly higher than the specified buffer capacity. However it took 25.4 seconds to process this burst. With RAW+JPEG capture, we recorded 25 pairs of shots in 3.6 seconds. It took just over 30 seconds to process this burst.


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      Image sensor: 35.6 x 23.8  mm CMOS sensor with 25.25  million photosites (24.2 megapixels effective); Primary colour filter
      Image processor: Venus Engine
      Lens mount: L-Mount
      Focal length crop factor:  1x
      Digital zoom: Max. 2x with full-frame lenses, stills only
      Image formats: Stills: JPEG (DCF, Exif Ver. 2.31),  RAF.RAW, RAW+JPEG, HLG Photo (CTA-2072), 6K PHOTO: MP4 / 4K PHOTO (H.265/HEVC); Movies: MOV: H.264/MPEG-4 AVC, H.265/HEVC (Audio format: LPCM (2ch 48kHz/16-bit)), MP4: H.264/MPEG-4 AVC, H.265/HEVC (Audio format: AAC (2ch))
      Image Sizes: Stills (3:2 aspect) – 6000 x 4000, 4272 x 2848, 3024 x 2016, 12000 x 8000 (XL)*,/ 8496 x 5664(LL)* *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:  [4K] 3840 x 2160 25.00p, 150Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM); [FHD] 1920 x 1080 50.00p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM); [FHD] 1920 x 1080 25.00p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) [*HLG is selectable]. APS-C crop supported; Slow & Quick recording modes available
      Aspect ratios: 4:3, 3:2, 16:9, 1:1, 65:24, 2:1
      Image Stabilisation: Image sensor shift type (5-axis / 5.0-stops), Dual I.S. (6.5-stops with compatible lenses)
      Dust removal:  Image sensor shift type
      Shutter (speed range): Focal plane shutter (60-1/8000 seconds plus Bulb [max. 30 minutes]; Electronic shutter max. 1/16,000 second (silent mode available); flash synch at 1/250 sec in M or S modes
      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 second delay or 10 seconds delay plus 3 frames
      Interval recording: Yes, for time-lapse
      Focus system: Contrast AF with DFD technology
      AF  selection: Auto Detection (Face, Eye, Body, Animal) / Tracking / 225-Area / Zone (Vertical/Horizontal) / Zone (Square) / Zone (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: AFS (Single) / AFC (Continuous) / MF
      Exposure metering: 1728-zone multi-pattern sensing system with Multiple, Centre-weighted average, Highlight-weighted and Spot metering 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 (HLG), My Photo Style 1-10
      Picture Adjustment modes: Contrast, Highlight, Shadow, Saturation, Colour Tone, Hue, Filter Effect, Grain Effect, Sharpness, Noise Reduction, ISO, WB (will depend on Photo Style mode)
      Filter 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.)
      Movie functions: Luminance level adjustments, Wave form monitor, LUT View Assist (Monitor) / LUT View Assist (HDMI), Time code, Knee control, Level gauge
      Colour space options: sRGB and Adobe RGB
      ISO range: Auto, ISO 100-51200 with extensions to ISO 50 and ISO 102400 and 204800 available; Dual Native ISO: Normal – ISO 100, 640, V-Log – ISO 640, 4000; HLG – ISO 400, 2500; Cinelike D2/V2 – ISO 200,1250
      White balance: AWB, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x 4), Colour temperature setting (x 4); B/A and M/G adjustments, 2500-10000K in 100K steps
      Flash: External flashguns only
      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 only).
      Flash exposure adjustment: +/- 3EV in 1/3EV steps
      Sequence shooting: Max.7 shots/sec. with locked AF ; 5 fps with Live View; 60 frames/sec in 4K PHOTO mode, 30 fps in 6K PHOTO mode
      Buffer capacity: Max. 999 Large/Fine JPEGs, 24 RAW files
      Storage Media: Dual slots for SD, SDHC, SDXC cards (Slot 1 UHS-I / UHS-II UHS Speed Class 3 compatible; Slot 2 UHS-I Speed Class 3 only)
      Viewfinder: OLED Live View Finder with 2,360,000 dots; 20 mm eyepoint, 100% /FOV coverage, approx. 0.74x magnification with 50 mm lens at infinity; +/- 4.0 dpt adjustment, eye sensor, refresh rate 120fps / 60fps, lag time 0.005 sec
      LCD monitor: Free-angle, 3.0-inch TFT LCD with static touch control, approx. 1,840,000 dots, 100%  FOV
      Interface terminals: SuperSpeed USB 3.1 Gen1 Type-C, microHDMI TypeD, 2.5 mm remote input, 3.5 mm mic and headphone jacks
      Wi-Fi function: Built-in 2.4GHz / 5GHz Wi-Fi; Bluetooth v4.2 (Bluetooth Low Energy)
      Power supply: 7.2V, 2200mAh, 16Wh rechargeable Li-ion battery; CIPA rated for approx. 440shots/charge with monitor, 470 shots/charge with EVF
      Dimensions (wxhxd): Approx. 132.6 x 97.1 x 81.9 mm (excluding protrusions)
      Weight: Approx. 714 grams with battery and card

      Distributor: Panasonic Australia; Ph. 132 600



      Based on JPEG files captured with the Lumix S 20-60mm f/3.5-5.6 kit lens.

      Based on RW2.RAW files recorded simultaneously with the JPEGs.



      Auto white balance (AWB setting) with incandescent lighting.

      AWBc setting with incandescent lighting.

      AWBw setting with incandescent lighting.

      Auto white balance with fluorescent lighting.

      AWB setting with warm-toned LED lighting.

      AWBc setting with warm-toned LED lighting.

      AWBw setting with warm-toned LED lighting.

      30-second exposure at ISO 50, f/3.5, 53mm focal length.

      30-second exposure at ISO 100, f/5, 53mm focal length.

      10-second exposure at ISO 1600, f/7.1, 53mm focal length.

      5-second exposure at ISO 6400, f/9, 53mm focal length.

      5-second exposure at ISO 12800, f/13, 53mm focal length.

      2.5-second exposure at ISO 25600, f/13, 53mm focal length.

      1.3-second exposure at ISO 51200, f/16, 53mm focal length.

      1.3-second exposure at ISO 102400, f/22, 53mm focal length.

      1/2-second exposure at ISO 204800, f/22, 53mm focal length.

      20mm focal length, ISO 100, 1/120 second at f/8.

      28mm focal length, ISO 100, 1/250 second at f/8.

      60mm focal length, ISO 100, 1/250 second at f/8.

      60mm focal length, ISO 100, 1/100 second at f/10.

      Dynamic range capabilities; 20mm focal length, ISO 200, 1/125 second at f/8.

      20mm focal length, ISO 100, 1/125 second at f/8.

      60mm focal length, ISO 100, 1/320 second at f/8.

      32mm focal length, ISO 100, 1/400 second at f/11.

      20mm focal length, ISO 500, 1/60 second at f/11.

      4:3 aspect ratio; 20mm focal length, ISO 6400, 1/60 second at f/11.

      16:9 aspect ratio; 20mm focal length, ISO 6400, 1/20 second at f/9.

      1:1 aspect ratio; 30mm focal length, ISO 6400, 1/25 second at f/9.

      65:24 aspect ratio; 20mm focal length, ISO 6400, 1/20 second at f/11.

      320: 38mm focal length, ISO 204800, 1/400 second at f/9.

      Crop from the above image magnified to 100%.

      38mm focal length, ISO 51200, 1/100 second at f/9.

      Crop from the above image magnified to 100%.

      27mm focal length, ISO 640, 1/20 second at f/9.

      21mm focal length, ISO 100, 1/200 second at f/9.

      37mm focal length, ISO 100, 1/250 second at f/9.

      20mm focal length, ISO 100, 1/1000 second at f/7.1.

      60mm focal length, ISO 100, 1/250 second at f/8.

      Still frame from MP4 4K 10-bit 50p video recording at 100Mbps.

      Still frame from MP4 4K 8-bit 25p video recording at 100Mbps.

      Still frame from MP4 4K 10-bit 25p video recording at 72Mbps.

      Still frame from MP4 4K 8-bit 50p video recording at 28Mbps.

      Still frame from MP4 4K 8-bit 50p video recording at 20Mbps

      Still frame from MOV 4K 10-bit 50p video recording at 200Mbps.

      Still frame from MOV 4K 8-bit 50p video recording at 150Mbps.

      Still frame from MOV 4K 10-bit 25p video recording at 150Mbps.

      Still frame from MOV 4K 8-bit 25p video recording at 100Mbps

      Still frame from MOV FHD 10-bit 50p video recording at 100Mbps.

      Still frame from MOV FHD 8-bit 50p video recording at 100Mbps.

      Still frame from MOV FHD10-bit 25p video recording at 100Mbps.

      Still frame from MOV FHD 8-bit 25p video recording at 100Mbps.

      Additional image samples can be found with our review of the Lumix S 20-60mm f/3.5-5.6 kit lens.



      RRP: AU$3199 (body only); $3699 (with 20-60mm kit lens)

      • Build: 9.0
      • Ease of use: 8.9
      • Autofocusing: 8.9
      • Still image quality JPEG: 9.0
      • Still image quality RAW: 9.0
      • Video quality: 9.0