In summary
Like the original S5, the Panasonic DC-S5M2 ticks a lot of boxes for serious photo/video enthusiasts and professional videographers who also shoot stills. It provides a nice balance between stills and video capabilities in a camera body that is small and light enough to be easy to carry and also weather-resistant with a control layout and menu structure that makes it straightforward to operate.
The DC-S5M2’s autofocusing system is a welcome improvement on the previous model and a good reason to preference the new camera over its predecessor, which is still available in both body-only and kit configurations, at a slightly (around $200) lower price. The upgrades to the sensor and processor are further points in favour of the latest model.
Full review
Two and a half years after the original Panasonic DC-S5 camera was released, the company has launched a second-generation DC-S5M2 model that created a flurry of excitement among the imaging press. The reason: Panasonic finally brought on-sensor PDAF (Phase Detection Auto-Focus) capabilities with improved subject recognition to its full-frame mirrorless camera line, the last of the major manufacturers to adopt the hybrid technology. The new camera also has better image stabilisation and a built-in cooling fan that extends video recording times. We received the review camera with the Lumix S 20-60mm f/3.5-5.6 kit lens.
Angled front view of the new Lumix S5II camera with the S-R2060GC 20-60mm f/3.5-5.6 kit lens. (Source: Panasonic.)
The DC-S5M2 is the‘base’ model of a pair of cameras announced in early January. Its ‘sibling’, the S5M2IX (which costs AU$300 more) comes with a range of pro-level video features pre-installed, including HDMI RAW video data output to an external recorder, USB-SSD, ALL-Intra and ProRes recording as well as wireless and wired IP streaming.
It is also the first full-frame mirrorless camera to record directly to an external SSD (solid-state drive) via USB-C, offering workflow and cost advantages. The S5M2X is expected to be available in late May 2023.
Who’s it For?
As well as being a capable stills camera, the DC-S5M2 has extensive video capabilities, many of them at a professional level. This makes it ideal for You Tube content creators and videographers who work for professional broadcast networks and entertainment productions.
Its compact, weather-resistant construction could also suit photojournalists and wildlife photographers as well as wedding and event photographers who are required to shoot stills and video with a single camera. A wide range of compatible lenses is available for the S-series cameras with a choice from Panasonic or Leica branded lenses plus on-going support from third-party manufacturer, Sigma and some potentially ‘interesting’ manual focus lenses from manufacturers like Venus Optics (Laowa brand).
The table below compares key features of the S5 and S5M2 cameras.
| Panasonic S5M2 | Panasonic S5 | |
| Sensor | 35.9 x 23.9 mm CMOS, 24.2 megapixels | 35.6 x 23.8 mm CMOS, 24.2 megapixels |
| Sensor filters | Primary colour filter, Anti-reflection coating | AA filter |
| IBIS | Yes, up to 5 stops (6.5 stops with Dual I.S. 2 ) | Yes, up to 5 stops |
| Processor | New processor co-developed with Leica in the L2 Technology alliance | Venus Engine |
| File formats | JPEG, RAF.RAW (14-bit), HLG; MOV & MPEG4 for movies | |
| Max. image size | 6000 x 4000 pixels, (12,000 x 8000 pixels in high-res mode) | |
| Max. frame rate | 9 fps with AFS/MF and mechanical shutter; 30fps with electronic shutter | 7 fps with fixed focus (60 fps in 4K PHOTO mode) |
| Buffer capacity | >300 frames JPEG or >200 frames raw | 999 JPEG, 24 raw |
| Shutter speeds | 60-1/8000 sec., Movies – 1/25 to 1/16,000 sec | 60-1/8000 sec with electronic shutter |
| Shutter durability | n.a. | n.a. |
| Focus system | Hybrid phase-detection/contrast with DFD AF | Contrast detect with DFD |
| AF points | 779 | 255 |
| Native ISO range | ISO 100-51200 | |
| ISO extensions | ISO 50; ISO 102400, ISO 204800 | |
| Max. internal video | 6K (5952 x 3968 pixels): 30/25p, 200 Mbps (HEVC compression) | 4K: 25.00p, 150Mbps |
| External video | 10-bit 4:2:2 or 8-bit 4:2:2 | 10-bit 4:2:0 or 8-bit 4:2:2 |
| Anamorphic recording | Yes with selectable crop area | Yes with cropped 4:3 3328 x 2496 pixel area) |
| EVF | 3,680,000-dot OLED, 0.78x, 21mm eyepoint, -4 to +2 dpt | 2,360,000-dot OLED, 0.74x, 20mm eyepoint, -4 to +4 dpt |
| Monitor | Vari-angle 3-inch, 1,840,000-dot touch screen | |
| Media slot(s) | Dual SD, both UHS-II/V90 compatible | Dual SD, one UHS-II, one UHS-I |
| Battery / CIPA rating | DMW-BLK22/ 370 shots/charge | DMW-BLK22 / 440-470 shots/charge |
| Dimensions | 134.3 x 102.3 x 90.1 mm | 132.6 x 97.1 x 81.9 mm |
| Weight (incl. battery & one card) | 740 grams | 714 grams |
| RRP (AU$) body only | $3199 | $3199 |
Build and Ergonomics
The body of the DC-S5M2 is almost identical to its predecessor, although it’s slightly larger and heavier, especially around the viewfinder housing, which has been enlarged to house the cooling fan. Aside from that, the key external controls retain their original positions.
The resolution of the EVF has been increased from 2,360,000 dots to 3,680,000 dots and both magnification and eye relief distance have increased marginally. Its size has also been increased to incorporate the new built-in cooling fan.
It has been designed to pass cooling air through the camera to enable it to record video for ‘unlimited’ periods in most video modes. The mechanism is located outside the sealed sections that protect the internal electronics of both the fan and EVF screen and has vents along the sides and under the front of the EVF hump where they don’t compromise the weather sealing’s integrity. Fins on the vents direct the air stream forwards so it’s not noticed by the camera users.
Panasonic claims the system can operate successfully at temperatures up to 40 degrees Celsius, which is significantly better than most rivals. Recording stops when continuous high-resolution (6K or 5.9K) recording times exceed 30 minutes in the standard Thermal Management mode.
Another welcome change is swapping to a full-sized HDMI input. No changes have been made to the battery and media compartments since the S5M2 uses the same battery as the S5 (but has a slightly lower shots/charge capacity). However, its SD media slots are both UHS-II compatible, instead of one being UHS-II and the other USH-1.
Like the original S5, the new camera is offered in kit format with the Lumix S 20-60mm f/3.5-5.6 kit lens (S-R2060), which adds $500 to the overall price. Unlike many kit lenses, this lens has a metal mounting plate and is supplied with a lens hood.
Sensor and Image Processing
While the sensor in the Mark 2 provides the same effective resolution as the S5’s chip, it’s actually a new design with integrated phase-detection pixels. This means autofocusing is now a hybrid system that also uses Panasonic’s DFD (Depth from Defocus) contrast-based AF technology.
Also new is the image processor, which was co-developed with Leica. Together, the new sensor and processor claim to boost the colour depth and detail in image and video recordings and also support up to 14 stops of dynamic range.
Panasonic has also improved the in-body image stabilisation (IBIS) system in the DC-S5M2 to promise twice the performance of the system in the S5. Improvements have been achieved through revised algorithms that enable the camera to evaluate camera motion more precisely in order to support longer exposures for stills when the camera is hand-held as well as smoother video footage.
The updated image processor also underpins a new Active I.S. function that is based upon algorithms that can detect and predict camera motion, including when the camera operator is also moving. The system can work with the existing 5-axis IS function to detect and suppress camera movements that could affect overall stability.
Otherwise, the image quality options appear to be inherited from the original S5, so you get three photo resolutions for JPEG files, at 24, 12 or 6 Megapixels, and the choice of two JPEG compression levels. Panasonic’s RW2.RAW format is also supported, at 14-bit depth for most settings but reducing to 12 bits during burst recording.
Unlike its latest rivals, the S5M2 doesn’t provide any RAW compression options and there’s no option to swap JPEG for HEIF. We found typical RAW files varied between around 30MB and 40MB in size, depending on how much detail was in the scene, so presumably any compression taking place would be lossless.
The S5M2 inherits the six aspect ratios of its predecessor, so along with the native 3:2, you can choose from 4:3, 16:9 or 1:1, as well as panoramic 65:24 or 2:1 options for JPEGs. The frame is cropped to fit the selected aspect ratio that differs from the default 3:2 ratio. RW2.RAW files are always recorded with a 3:2 aspect ratio and 12,000 x 8000 pixels.
Also carried across to the new camera is the 92-megapixel High Resolution Mode which can be used for all the aspect ratios the camera offers for JPEG images as well as for recording 3:2 aspect ratio RW2.RAW files. The process typically takes less than ten seconds and the camera must be tripod mounted to ensure accurate frame registration.
Another carry-over feature is Dual Native ISO, which extends the dynamic range in shots by reading two native sensitivity levels – ISO 640 and ISO 4000. Originally developed for Panasonic’s cinema cameras, it allows the camera to achieve a much higher sensitivity without increasing noise and is particularly useful for video recording.
Video
The S5M2 extends the video capabilities of the original S5 by adding a new Real-Time LUT function to the Photo Styles sub-menu. This setting lets you apply a look-up table (LUT) file that was registered in the LUT Library to the V-Log Photo style to save time when colour grading recorded footage. It can be a quick way to achieve a desired ‘look’ and can be useful when working in teams for synchronising the appearance of recordings from different cameras. Settings can be saved for future use in My Photo Style.
Like the original S5, the new camera supports 10-bit recording for most of its extensive range of settings, including 4:2:2 10-bit C4K/4K 50p video. It can also record 4:2:0 10-bit 6K/25p LongGOP video in the H.265 codec, using the sensor’s full readout to produce 5952 x 3968 pixel frames. Such large frames can be cropped in post production to produce content for multiple applications, right down to social media.
During video recording, you can use the Boost I.S. (Video) function to provide additional (electronic) correction, if required. A dedicated [Anamorphic (Video)] setting is available for use when anamorphic lenses are fitted to the camera for recording wider angles of vide with video recordings.
An optional DMW-XLR1 adapter enables the camera to record two channels of 48 kHz/24-bit or 96 kHz/24-bit and audio or four channels of 48 kHz/24-bit or 96 kHz/24 bit when a a compatible external microphone is attached. This feature is inherited from the GH6, along with that camera’s audio interface. Like the GH6, it supports 10-bit video recording with a V-log setting to boost dynamic range when recording in the MOV format and the ability to choose the standard Rec.709 output or create custom look up tables (LUTs), which can be saved for future use.
Professional videographers will probably notice the lack of a tally light to let subjects know when the camera is actually recording. They could also miss the fitting in the base plate for an anti-rotation pin, which keeps the camera locked in place when it’s mounted on a professional tripod plate.
Panasonic included these features on the S1H and GH6 so it’s odd to see them omitted on an otherwise professionally-orientated camera. Like those cameras, the S5M2 can be linked to a compatible smartphone or tablet via Panasonic’s LUMIX Sync app, which enables the camera to be controlled via Wi-Fi or Bluetooth.
Autofocusing
The introduction of image-plane phase-hybrid AF is the highlight feature of the DC-S5M2 since it brings the Panasonic camera into line with its main rivals, all of which have used this kind of technology over several generations. While Panasonic has tweaked the performance of its contrast AF system with DFD (Depth from Defocus) technology over many years it has always been slower than PDAF.
DFD AF works by constantly searching for the focus position while fine-tuning the focus position of the lens. Its speed and accuracy depend on having performance parameters for each lens available to the AF processor, which means it works best with Panasonic-branded lenses.
The new hybrid AF system in the DC-S5M2 enables the focusing elements in the lens to be adjusted much faster, without sacrificing precision. In the subject detection modes the camera will create a dynamic box around the detected subject(S), which follows them as they move.
Users can set the speed and sensitivity of focus detection to fine-tune the types of subjects that are picked up. This means funting is reduced and high-speed AF tracking is possible at previously unachievable speeds.
Panasonic claims the new system improves performance in the following areas:
1. Scenes where the subject is directly approaching the camera,
2. Scenes with very small light sources, including night illuminations,
3. Backlit scenes, including twilight, where the main subject is in total shadow,
4. Low light levels, including darkness,
5. Product photography, and scenes involving multiple subjects.
AI-based subject recognition has also been improved with a new processing engine that is faster and more accurate, thanks to an algorithm that can identify subjects using distance information even in scenes with many potential subjects. The system can identify and track human faces, eyes, heads and bodies as well as animals (and animal+human) – but not vehicles and there is no setting for vehicles, unlike similar cameras from Canon, Fujifilm, Nikon and Sony and nothing like the specific settings for birds, motor vehicles, airplanes and trains provided in the OM-D E-M1X.
Fortunately, the number of AF points has also been increased from 225 in the S5 to 779 in the new camera and users can select Pinpoint AF when they want to use a single AF point for high precision focusing. Other modes include zone AF (with horizontal/vertical orientation), one-area AF (with variable area sizes) and full area AF. Automatic subject detection can be enables in all but the Pinpoint SAF mode to toggle through Human/ Face/Eye/ Animal+Human detection modes.
Another welcome improvement is the ability of the S5M2 to record long ( more than 100 frames) bursts of shots at nine fps with the mechanical shutter in AF-S mode or seven fps with the electronic mode with continuous focusing (AF-C). We weren’t able to test these capabilities as we didn’t have a suitable lens.
Playback and Software
The playback functions provided in the S5M2 are virtually the same as in the previous model and accessed through the same control buttons and menu pages. Both stills and video clips are easy to review on the camera’s touchscreen monitor.
Nothing much has changed in the software bundle, which still has to be downloaded from Panasonic’s website, as does the Operating Instructions / Owner’s Manual, which is available in PDF format. The software bundle is also much the same, with Silkypix Developer Studio SE, which is available for Windows and Mac OS operating systems, offered as the raw file converter and LUMIX Tether for controlling the camera via a remote device.
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 S5M2 so users can choose their favourite application.
Performance
Reviewing the second-generation model with the same Lumix S 20-60mm f/3.5-5.6 kit lens as we used for our review of the original S5 has enabled us to compare the two cameras more closely. Unfortunately, during the time we had the camera for evaluation Sydney experienced an extended period of cloudy skies with intermittent rain, which was good for testing the camera’s weatherproofing but terrible for assessing dynamic ranges in stills and video clips.
Despite these problems, as before we found JPEG test shots were natural-looking with acceptably accurate colour rendition and constrained saturation, both factors confirmed in our Imatest tests. Raw files were analysed after conversion into 16-bit TIFF format with Adobe Camera Raw (our preferred converter).
The best JPEG images in our tests slightly exceeded expectations for the camera’s 24-megapixel sensor around the centre of the frame and fell just below expectations towards the frame’s edges. Equivalent ARW.RAW files converted with ACR provided resolution that was significantly higher than expectations resolution in the centre of the frame and well above expectations towards the edges.
Resolution held up very well across the review camera’s sensitivity range, with a gradual fall-off as sensitivity was increased. However, it was only after ISO 25600 that the loss of resolution increased perceptibly in image 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, a similar result to the S5. Contrast and saturation declined and noise levels and softening became increasingly evident at higher sensitivities, with noise becoming visible at ISO 51200 as slight granularity and softening. Both became increasingly obvious as sensitivity was increased and we’d recommend reserving the Hi2 setting for emergencies where possible.
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 predecessor (and other Panasonic S-series cameras), the S5M2 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 AWB and AWBc setting effectively corrected the warm cast while the AWBw setting retained a trace of warmth. Under incandescent lighting, all three settings retained a slight warm cast, with the AWBw setting being a little more orange.
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, whereas this preset removed most of the warm cast and came as close to neutral colour rendition as the AWBc setting.
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 also available, as it was on the original S5.
We noticed a general improvement in autofocusing performance in normal light levels, which was expected and probably results from the integration of PDAF into the existing contrast-based DFD system. However, when shooting stills in very low light levels, the camera took a couple of seconds to find focus on dark, low-contrast subjects.
In the AF-C mode with moving subjects, we noticed some hesitation in low light levels but it was usually quick to identify humans, animals and vehicles when the relevant subject recognition mode was set, even when they were in motion. It could also 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 two 64GB Lexar SDXC II U 3 memory card with speed ratings of 250MB/s. In contrast to the S5 we reviewed, the S5M2 took a couple of seconds to power up ready for shooting, probably due to activation of the cooling fan. From that point, it was a little more sprightly than its predecessor, probably as a result of the new processor and improved focusing system.
Capture lag was effectively negligible with single-area AF unless the lens was very out-of-focus. In such cases we measured an average lag of 0.1 seconds, which was eliminated when shots were pre-focused. Shot-to-shot times averaged 0.2 seconds.
High-resolution JPEGs took roughly a second to process, while RW2.RAW files and RAW+JPEG pairs were processed in just under two seconds.
In the super-high-speed continuous shooting mode, which uses the electronic shutter, the review camera recorded 200 Large/Fine JPEG frames in six seconds before hesitating. This is close to the specified rate of 30 frames/second. We estimate the processing took between 25 and 30 seconds.
With raw file capture, the camera also recorded 200 RW2.RAW files but took 6.6 seconds before pausing, which is also close to the specified frame rate. However it took a couple of minutes to process this burst. Similar results were obtained with RAW+JPEG capture, but the burst took a little longer to process.
The maximum burst rate with the mechanical shutter is nine frames/second and the buffer capacity is more than 300 frames for JPEGs. In our tests, the review camera recorded 84 frames in 10.1 seconds, which is close to the specified frame rate. Processing took 15 seconds.
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, anti-reflection coating
Image processor: New processor co-developed with Leica in the L2 Technology alliance
Lens mount: L-mount
Focal length crop factor: 1x
Image formats: Stills: JPEG (DCF, Exif Ver. 2.31), RW2.RAW, RAW+JPEG; Movies: MOV and MP4 (H.264/MPEG-4 AVC, H.265/HEVC)
Audio: MOV: LPCM (2ch 48kHz/24-bit, 96kHz/24-bit) (4ch 48kHz/24-bit, 96kHz/24-bit) MP4: AAC (2ch 48kHz/16-bit)
Image Sizes: Stills 3:2 aspect – 6000 x 4000, 4272 x 2848; 3024 x 2016; 12000 x 8000*, 8496 x 5664* (*High Resolution mode); Movies: [6K] 5952 x 3968 (3:2, 17:9 ratios) & [5.9K] 5888 x 3312 (16:9) at 25p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM), [C4K] 4096 x 2160 & 4K] 3840 x 2160 at ~ 25p/150Mbps. [FHD] 1920 x 1080 at ~ 100p, 50p, 25p; APS-C / PIXEL/PIXEL crops available for C4K, 4K, [3.3K] 3328 x 2496 (4:3) and FHD; Slow & Quick recording modes also available
Aspect ratios: 4:3, 3:2, 16:9, 1:1
Image Stabilisation: 5-asix, 5-stop body-integrated system plus Dual I.S. 2 (6.5 stops)
Dust removal: Image sensor shift type
Weather resistance: Yes
Shutter (speed range): Mechanical shutter (60-1/4000 seconds plus Bulb (Max. 30 minutes); Electronic shutter: Bulb (Max. 60 sec), 60-1/8,000 sec.; Movies – 1/25 to 1/16,000 sec (to ½ sec. in M mode); flash synch at up to 1/250 sec.
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 10sec, 3 images
Interval recording: Yes, for time-lapse
Focus system: Hybrid Phase Detection / Contrast AF system with DFD technology
AF selection: Tracking / Full Area AF / Zone (Horizontal/Vertical) / Zone / 1-Area+ / 1-Area / Pinpoint *Automatic Detection can be turned ON to switch between Human/ Face/Eye/ Animal+Human. Except when Pinpoint is set.
Focus modes: AFS (Single) / AFC (Continuous) / MF
Exposure metering: 1728-zone multi-pattern sensing system with Multiple, Centre-weighted average and spot metering patterns; range – 0-18 EV
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure, Creative Video (P/A/S/M) / Slow&Quick / Custom 1, 2, 3 / Intelligent Auto
Photo Style modes: Standard / Vivid / Natural / L. Classic Neo / Flat / Landscape / Portrait / Monochrome / L. Monochrome / L. Monochrome D / L. Monochrome S / Cinelike D2 / Cinelike V2 / Like709 / V-Log / REAL TIME LUT / Like2100 (HLG) / Like2100 (HLG) Full Range* / My Photo Style 1-4 (5-10)
Filter modes: Expressive / Retro / Old Days / High Key / Low Key / Sepia / Cross Process / Bleach Bypass
Colour space options: sRGB and Adobe RGB
ISO range: Normal: Auto ISO 100-51200 with extensions to ISO 50 and ISO 204800 in 1/3 or 1 EV steps; V-Log mode: Auto ISO 640-51200 with extension to ISO 320; HLG mode: ISO 400-51200 with extensions to ISO 102400 and ISO 204800
White balance: AWB, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x 4), Colour temperature setting (x 4); Blue/Amber & Magenta/Green adjustments
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. 9 shots/sec. with AFS/MF and mechanical shutter, 30 frames/sec (AFS/AFC/MF) with electronic shutter
Buffer capacity: Max. more than 300 Large/Fine JPEGs, more than 200 RAW files
Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-I / UHS-II UHS Speed Class 3 V-90 standards compatible)
Viewfinder: OLED Live View Finder with approx. 3.68 million dots, 100% FOV, 21mm eyepoint, -4 to +2 dpt adjustment, 120 fps display speed, eye sensor
LCD monitor: Free-angle, 3.0-inch TFT LCD monitor with static touch control, approx. 1m840,000 dots, 100% FOV
Interface terminals: USB Type-C (SuperSpeed USB 3.2 Gen2), HDMI TypeA, 3.5 mm jacks for microphone and headphones, 2.5mm remote control connector
Wi-Fi function: Built-in Wi-Fi; Bluetooth v5.0 (Bluetooth Low Energy)
Power supply: DMW-BLK22E rechargeable Li-ion battery; CIPA rated for approx. 370 shots/charge (1250 frames in Power Save LVF mode), up to 130 minutes of MP4 FHD/50p recording:
Dimensions (wxhxd): Approx. 134.3 x 102.3 x 90.1 mm (excluding protrusions)
Weight: Approx. 740 grams with battery and one SD card
Distributor: Panasonic Australia, Ph. 132 600
TESTS
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.
SAMPLES
All images and videos recorded with the Lumix S 20-60mm f/3.5-5.6 kit lens.
Auto white balance (AWB setting) with incandescent lighting.
AWBc setting with incandescent lighting.
AWBw setting with incandescent lighting.
AWB setting with fluorescent lighting.
AWB setting with warm-toned LED lighting.
AWBc setting with warm-toned LED lighting.
AWBw setting with warm-toned LED lighting.
60-second exposure at ISO 50, f/5.5, 53mm focal length.
60-second exposure at ISO 100, f/5.5, 53mm focal length.
15-second exposure at ISO 1600, f/5.5, 53mm focal length.
5-second exposure at ISO 6400, f/9, 53mm focal length.
4-second exposure at ISO 12800, f/13, 53mm focal length.
1.5-second exposure at ISO 25600, f/13, 53mm focal length.
1-second exposure at ISO 51200, f/11, 53mm focal length.
1/2-second exposure at ISO 102400, f/13, 53mm focal length.
1/2-second exposure at ISO 204800, f/18, 53mm focal length.
20mm focal length, ISO 200, 1/120 second at f/8.
60mm focal length, ISO 200, 1/80 second at f/6.3.
60mm focal length, ISO 200, 1/25 second at f/7.1.
Close-up at 20mm focal length, ISO 200, 1/200 second at f/5.6.
Close-up at 60mm focal length, ISO 200, 1/320 second at f/5.0.
Close-up at 53mm focal length, ISO 200, 1/200 second at f/8.
34mm focal length, ISO 1250, 1/25 second at f/11.
20mm focal length, ISO 6400, 1/25 second at f/10.
20mm focal length, ISO 51200, 1/30 second at f/11.
20mm focal length, ISO 102400, 1/60 second at f/11.
20mm focal length, ISO 204800, 1/120 second at f/11.
60mm focal length, ISO 200, 1/50 second at f/11.
26mm focal length, ISO 100, 1/800 second at f/8.
30mm focal length, ISO 640, 1/60 second at f/9.
44mm focal length, ISO 3200, 1/50 second at f/11.
Still frame from MOV 4K 10-bit 50p video recording at 200Mbps.
Still frame from MOV 4K 10-bit 25p video recording at 100Mbps.
Still frame from MOV 4K 10-bit 100p video recording at 150Mbps.
Still frame from MOV FHD 10-bit 100p video recording at 150Mbps.
Still frame from MOV FHD 10-bit 50p video recording at 100Mbps.
Still frame from MOV FHD10-bit 25p video recording at 100Mbps.
Still frame from MOV FHD APS-C crop, 8-bit 25p video recording at 90Mbps.
Still frame from MOV 4K 10-bit 25p video recording Flat profile.
Still frame from MOV 4K 10-bit 25p video recording Cinelike D2 profile.
Still frame from MOV 4K 10-bit 25p video recording Cinelike V2 profile.
Still frame from MOV 4K 10-bit 25p video recording Like709 profile.
Still frame from MOV 4K 10-bit 25p video recording V-Log profile.
Additional image samples can be found with our review of the Lumix S 14-28mm f/4-5.6 lens, which was tested with the S5M2 camera.
Rating
RRP: AU$3199 (body only); $3699 (with 20-60mm f/3.5-5.6 kit lens)
- Build: 9.0
- Features: 9.0
- Ease of use: 8.9
- Autofocusing: 9.0
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.1
- Video quality: 9.0
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