Originally teased at Photokina, Panasonic has finally launched the Lumix DC GH5 during CES 2017. The camera has a 20.3MP Live CMOS sensor without an optical low-pass filter and an upgraded Venus Engine processor that claims to cut noise by 2 stops.
The EVF has been upgraded as well. It now has a resolution of 3.68M dots and 0.76x magnification (compared to 2.36M dots and 0.67x on the GH4.) It also has dual UHS-II SD slots, full-sized HDMI port and a fully articulating 3.2″ touchscreen LCD with 1.62M dots. it also has a 5-axis in-body image stabilisation with support for Dual IS 2.
The GH5 can capture 4K 60p and 50p using the full sensor with no cropping at 150Mbps. At 4K30P, you can get 10-bit 4:2:2 colour.
The GH5 will be available at US$2000 at the end of March.
Panasonic has announced the GX850—also known as the GX800 and GF9 in depending on the market (Seriously now, what’s with all these regional namings?) It is the smallest Panasonic camera to boast both 4K/30P video and a 4K Photo mode.
The camera is reminiscent of the super compact GM line and has a 16MP Live MOS sensor with no low-pass filter. This, in Panasonic’s words, delivers “crisp, high-resolution images in fine details with high-contrast, [and] impressive color reproduction.”
The GX850/GF9/GX800 also has a 3″ LCD with 1.04M dots which is able to flip 180º, perfect for selfie/wefie lovers out there. Photos are stored on a microSD card.
The camera will be available from February for US$550 bundled with a Lumix G Vario 12-32mm f/3.5-5.6 lens. It is available in black or silver.
Panasonic Lumix DMC-FZ80
Like the GX850/GF9/GX800, the FZ80 also has multiple names depending on the region, it being called the FZ82 in some markets. The camera does 4K video and features a 60X zoom lens covering 20-1200mm with a variable aperture of f/2.8-5.9.
Other than shooting 4K video at 30fps, you can also shoot 120fps at 1280×720, or 240fps at 640×480. If you shoot 4K, you can shoot up to 15 minutes at any one time.
Panasonic has announced a slew of new cameras at Photokina 2016 at Cologne, Germany. Here are all of them:-
DMC-FZ2500 (also called the FZ2000 in some regions)
First off, I can never understand why camera manufacturers have to adopt different model numbers for the same cameras in different regions… anyway, the FZ2500 is an update to the FZ1000, with a new lens, larger EVF as well as a variable ND filter. This is a video-focussed camera with the ability to capture both DCI and UHD 4K video at 30p / 24p at a bit rate of 100Mbps. In Full HD, the camera can record at up to 60p with a bit rate of 200Mbps.
The camera uses the same 1″ sensor as the FZ1000, matched to a 24-480mm f/2.8-4.5 equivalent lens. After the initial lens extension upon power on, the lens zooms internally. Hence, the lens does not move, much like how a camcorder would work. The aforementioned variable ND filter is adjustable from -2EV to -6EV in 2EV steps. The EVF now has a magnification of 0.74x and a 3″ articulating touch LCD is also available on the rear.
The FZ2500 will be available for US$1199 from November.
DMC-LX10 (LX15 in some regions)
Another camera with a different model number in some regions. The LX10 is a enthusiast compact camera in the LX series lineup with a 20MP 1″ sensor. It features a 24-75mm f/1.4-2.8 equivalent zoom and a 5-axis Hybrid OIS+ which combines both digital and optical image stabilisation. Like other new cameras, the LX10 is able to shoot 4K UHD at up to 30fps. There is no EVF but there is a 180º tiltable touch screen with a resolution of 1,040K dots.
The camera will be available at US$699 from November.
DMC-G85 (G80 in some regions)
The different model numbers continue with the DMC-G85. This is an update to the G7, with a 16MP Four Thirds sensor without an anti-aliasing filter. There is also weather-sealing, an improved EVF with a magnification of 0.74x (0.70x on the G7), and a Dual IS 5-axis image stabilisation system. Another improvement is in the shutter, with a new electromechanical shutter, which together with the magnesium front plate, cuts down the shutter vibrations and sounds.
The G85 will be available from November at US$899 for the body only, or US$999 with the 12-60mm f/3.5-5.6 Power OIS kit lens.
Finally, Panasonic also made a development announcement of the GH5. It will feature 4K/60p capability and will also provide 4:2:2 10-bit 4K video. There is also a 6K photo mode that extracts 18MP stills from burst footage, or 8MP stills from 4K/60p clips. No launch timing or price has been provided at this time.
Panasonic has announced the Lumix DMC-GX85, also known as the GX80 outside of North America. (What’s with naming things differently in different regions anyway?) This is cost-down version of the GX8, featuring a 16MP Live MOS sensor and no AA filter. It also has a redesigned shutter mechanism and 5-axis Dual IS consisting of both In-Body and Optical Image Stabilisation. Panasonic claims that the removal of the anti-aliasing filter supposedly improves fine detail resolution by 10%. The magnetically-driven shutter mechanism reduces the shutter sound as well as the vibration caused by shutter shock.
The GX85/GX80 features a Live View Finder (LVF) with 2764K-dots and 100% colour re-production, covering field of view of 100%. The rear LCD is a large 3.0″ one with approximately 1040K-dots with touch capability. It tilts up by up to 80º and down by 45º.
As with the trend these days, the GX85/GX80 features 4K at 30p or 20p video recording in addition to good old full HD at up to 60fps. There are also 3 different burst modes which allow you to: capture up to 30 still images at 8MP, record 30 frames before and after you capture a shot, and finally, a 4K cropping mode which lets you extract HD video from a 4K recording, adding zoom and pan effects within the camera.
A novel feature on the GX85/80 is Focus Bracketing. This is a Lytro-like “Post Focus” feature which lets you select the focus area after the image is taken. Other features include an ISO range of 100-25,600, WiFi and RAW recording.
The GX85/80 will be available with a 24-64mm f/3.5-5.6 kit lens for US$800 in late May.
Panasonic has made a number of announcements, and the big one is the DMC-GX8. I had thought that the middling success of the GX7 meant that Panasonic might consolidate their lineup, but here is the GX8. Slightly larger than the not-tiny GX7 it replaces, it adds a whole bunch of features, including an all-new 20 megapixel sensor, with speculation that it is likely from Sony, given their release of a 20 megapixel part. Sony has been very good at making noticeable improvements with each new generation of sensors for the past several years, so the GX8 is likely to raise the bar on image quality for Micro Four Thirds cameras. Regardless of the source it’s nice to see a new sensor being introduced!
Other new improvements include 4K video and stills modes, Depth-from-Defocus technology for fast autofocus, a proper XGA EVF, and a fully articulated WVGA OLED touchscreen. There is also improvement to the sensor shift stabilisation, which now boasts four axis (horizontal and vertical shift along with pitch and yaw) and can be combined with Panasonic’s optical stabiliser in the lens. It will be interesting to see how this pans out. Top frame advance is at 8 FPS, similar to the GX7.
A minor improvement that I like: Long exposure is now at up to 30 minutes. Previous Panasonic cameras were limited from two to four minutes, and the only cameras that provided much more than that were the GH cameras at 60 minutes. Good for those long exposures!
A downsize is in the upsizing of the camera, in both size and price. While I liked the GX7’s size, the improvements in the GX8 probably necessitated the size increase, and the need for profitability means the GX8 will debut at US$1200 for just the camera body in August. That has to be at least a 40% increase over the GX7’s debut price!
Also announced were some working developments, aka “we’re letting you know so please don’t go elsewhere with your money” announcements. The 25mm f/1.7 and 100-400mm f/4-6.3 are in the works, so if you are interested in such lenses expect them to be out next year. No other details like weight and price are available.
The last announcement is an interesting one: A post-focus (think Lytro) trick that will be available to Panasonic 4K cameras that uses Depth-from-Defocus and a fast frame rate to take a scene and merge the images together. If anyone has used the Nokia Lumia 1520’s feature, this is probably what it will be like. For static scenes it will be better than a Lytro, since 8 megapixel images are better than just the measly one or four megapixels from a Lytro, and you still have a decent normal camera after that. Panasonic has confirmed just the GX8 as one of the cameras that will receive this feature.
If you liked Panasonic’s GH4 but did not fancy spending all that money for it, Panasonic has the G7 for you. Initially I thought that after poor sales for the G5 and G6 would have killed this line, and Panasonic would consolidate their offerings like Olympus did with the PEN line, but that is not the case.
The G7 is actually pretty tasty: There is that 16 megapixel sensor that is likely to be from the GH4/GX7, fast AF with the GH4’s Depth From Defocus feature, a high-res XGA OLED EVF, a WVGA LCD (720×480), 8 FPS continuous shooting mode, and of course, 4K video. In addition, there is now a 4K Photo mode on the drive mode dial, after it was introduced post-launch in the GH4 via a firmware update. 8 megapixel photos at 30 FPS really is not too shabby.
In some ways, I do prefer the G7’s controles, like the customsiable Fn button behind the shutter button (how I wish all three buttons behind the GH3 and GH4’s shutter button were customisable), and the horizontal command dial around the shutter button.
Not so nice, of course, is the directional pad that has to do double duty. I much prefer having that dedicated to moving the autofocus point.
The G7 will ship in June for US$800 with the 14-42 kit lens. A bit more expensive than the G6 before it, but unlike the G6, the G7 is using parts that are the latest for Micro Four Thirds. Hopefully this time it will do better than the G6 did.
This one is a bit surprising, in the sense that most camera manufacturers are slowly giving up the low-end (Olympus has more or less abandoned the Pen, consolidating what was a three-camera line into a single-camera afterthought). The DMC-GF7 is basically a GM1 with a screen that flips up for selfies, and has a few tweaks to the button layout to cater to beginners. Everything else, including the 16 megapixel sensor and the kit lens seems to be the same.
The USA pricing for it is a bit of a shock for me, since at US$600 it is what the GM1 is here in Singapore. Lately pricing can vary quite a bit between Singapore and USA; while new cameras typically have little differences, the recent cameras have Singapore street prices 25% lower than the USA street prices. Still, for a company trying to push their margins up, I don’t think Panasonic will depress the entry level camera pricing by that much. So perhaps the GF series is no longer a budget camera, but a premium compact camera that is aimed at casual users.
The GF7 will be available in February, in both silver-trimmed black and pink.
Panasonic organised a launch event at the Funan Digitalife Mall over the last weekend to launch their Lumix LX100, GM-5 and GH4 in Singapore. YS and I dropped by to get a hands-on on them, including the highly-anticipated Lumix LX100 (pictured above.)
I have been a long-time user of the old Panasonic LX3. It’s a great little compact camera with good image quality, manual controls and a fast zoom which starts at 24mm (equivalent) at f/2.0. It made for a great travel camera or for social settings when I don’t want to lug a heavy DSLR around.
YS: I myself had the LX2, which was before the LX3 really defined the LX class. It still was a pretty decent camera, at a time when Panasonic cameras had relatively noisy sensors. Remember them?
CK: I skipped the LX5 and LX7 when they came out as I didn’t think the changes are significant enough (more megapixels, slightly longer reach, etc.) But when Panasonic announced the LX100 with a Micro Four Thirds sensor, a fast 24-75mm lens which starts at f/1.7, 4K video recording and even an EVF, I was excited to get my hands on one to test it out. This launch event gave me that opportunity.
Following the previous LX models, the LX100 features knobs and dials for the controls, something of a trend right now with the likes of Fuji adopting it in their cameras. In fact, the top of the camera looks somewhat like a Fuji XE2. The body is bigger than my LX3 to cater for the bigger sensor and lens, but the overall size is still pretty compact. Due to the magnesium alloy body, the LX100 feels very solid in the hands.
YS: I would say it is more of a slow evolution: The LX7 after all added an aperture ring, so the extra dials seemed like the next logical step. Not one I am too fond of, however.
The camera is definitely larger than the LX7 that came before it, and I would even say it is no longer jacket pocketable, unless you like having a large bulge in your jacket. However it is still plenty small, and I would compare it to something like a Canon Powershot G camera.
CK: Like most modern Micro Four Thirds cameras, the LX100 focusses pretty quickly, though I still think the Nikon 1 series is slightly faster on this aspect. Having used to the big and glorious EVF of the Fujifilm X-T1, the LX100’s EVF looks small but refresh rate is pretty decent. It is definitely very usable, more so than the one on the Sony RX100 III, I’d say.
From the LCD, image quality is excellent, and high-ISO performance is pretty decent too. We weren’t able to use our own memory cards on the camera as there is a long queue of people clamouring over it and we didn’t want to hog it for too long. Hope to get a review unit from Panasonic soon, so that we can do a more in-depth review.
The Panasonic Lumix DMC-LX100 will sell for S$1199 here, and there’s a current promotion with an additional 16GB SD card, original case, battery and $50 shopping vouchers.
YS: That’s a pretty decent price. I think for many enthusiasts this could be the one camera for all their photography needs. The wants, however, is a different thing altogether.
CK: The Panasonic Lumix DMC-GH4 was on display at the event, filming a water-drop setup to demonstrate still-image extraction from 4K video. Basically, a video of a drop of ink landing onto a bowl of water is captured as a 4K video, and the desired frame is extracted in-camera to obtain a still image. This might change the way photojournalism is done in future, where the photojournalist simply shoots video and select a frame later.
The Panasonic/Leica CM1 phone was also on display at the event, but unfortunately it’s housed behind a display case and we can’t get our hands on it. It’s less bulky than I thought, though it housed a 1″ sensor for its camera.
YS: I am pretty sure it’s a mockup. As far as I know, it’s still only going on sale in France and Germany, sort of an experiment.
Finally, I also spent some time with the GM5, the followup to the GM1. The camera is actually smaller than the LX100, though once you add proper lenses to it it will no longer be quite as small.
The changes to the GM5 are minor, but they improve the camera handling a lot. Having a proper rear command dial makes settings easier to change, and the slightly larger frame makes it better to hold. The EVF is a real tiny affair, but it is serviceable. I really liked the GM1, so we shall see if I end up getting something silly one day. Christmas is not too far away after all!
That wraps out our coverage of the cameras on show. We will be trying to get a LX100 for review, so stay tuned!
I have never seen Leica release so many cameras at Photokina, Leica is really on a roll. Other than the two rangefinders – the M Edition 60 LCD-less digital rangefinder and M-A film rangefinder camera, Leica has also announced 2 medium format cameras, a couple of compact APS-C cameras and two rebranded Panasonic cameras.
First up, the pair of Leica medium format S-series cameras. The Leica S-E (Typ 006) is an “entry level” model in their lineup, featuring a 30x45mm, 37.5 megapixel CCD sensor with a 12-stop dynamic range. The 2GB buffer lets you shoot up to 32 full-size DNG photos at 1.5 frames per second before slowing down.
The Leica S-E has a dual shutter system, comprising of a conventional focal plane shutter which lets you shoot at up to 1/4000th of a second. Used in conjunction with the electronic shutter of Leica CS lenses however, and you can shoot at up to 1/1000.
The weather-sealed S-E also has a 3″ 922k-dot LCD display made from Corning’s Gorilla Glass to protect from scratches. Yours for just €13,000 or US$16,900.
The next medium format is the top-of-the-line Leica S (Typ 007) featuring a 30x45mm 37.5megapixel CMOS sensor paired with Leica’s Maestro II image processor. It’s capable of shooting up to 3.5fps in stills mode, and 4K, 60fps 4:2:2 video in video mode. The AF system has been improved for faster and more accurate focussing, and the camera also comes with Wifi and GPS.
Like the S-E (Typ 006), the S (Typ 007) also features a 3″, 922k dot LCD display made of Corning’s Gorilla Glass. You can pre-order yours from B&H for just US$25,400.
With the big guns out of the way, let’s talk about the smaller cameras.
The Leica X (Typ 113) is a premium minimalist compact camera with a 16.3 megapixel APS-C CMOS sensor. It also does 1080p video at 30fps like any other modern compact. The lens is a fixed Leica Summilux 23mm f/1.7. Featuring full manual controls, it’s capable of up to ISO 12,500 and shoots at a maximum of 5fps in either JPEG or DNG. No viewfinder though, so you’ll have to compose on the 3″ 920k-dot LCD. Price? US$2,300.
The Leica X-E is basically like the Leica X but without the video capabilities and a slightly slower and longer lens in the form of a 24mm f/2.8 Leica Elmarit. The LCD is also smaller at 2.7″. It’s slightly cheaper, at US$1,800.
Finally, we have a pair of rebadged Panasonic cameras. If you think the recently announced Panasonic LX100 is not classy or expensive enough for you, you can opt to pay US$300 more to get the red dot treatment in the form of the Leica D-LUX (Typ 109). Specs wise, everything is exactly the same as the LX100. It’ll cost US$1,200.
If you want both the red dot treatment AND a long zoom, then the V-LUX is the camera for you. This is essentially a Panasonic FZ1000, but with the Leica price premium. It’ll cost US$1350.
Photokina: Smartphone cameras always had small sensors to keep their overall size down. Even the Samsung Galaxy K Zoom and the Lumia 1020 with 41 megapixels have puny sensors. Panasonic has just announced what’s possibly the smart phone camera to end all smart phone cameras – the Lumix CM1.
This Android smartphone is equipped a 4.7″ screen and a 20 megapixel camera featuring a 1″ sensor. The lens is a Leica DC Elmarit lens offering an equivalent of 28mm f/2.8 in 35mm terms. Settings such as aperture, shutter speed and ISO are controlled via the manual lens ring and there’s a dedicated shutter button at the top of the device.
The phone side of the device has pretty standard features – a 4.7″ Full HD screen, 2.3GHz quad-core Snapdragon processor, 2GB of internal RAM, 16GB of internal memory and a microSD card which supports up to 128GB, as well as a 2,600mAh battery. It runs Android Kitkat out of the box.
All these does not come cheap though. The phone (or camera if you like) will be available in France and Germany only for now, at a cool €900 (US$1165). Don’t think the Leica aficionados are going to spring for this though. Leica has somethingmore “exciting” for them.
YS: Probably US$900 then, Euro pricing and all. Not particularly enticed for some reason. Maybe it’s the price, or the fact that the battery is kinda tiny. After use the Note series I don’t want to go back to a phone with a battery with less than 3,000 mAh.