Panasonic Lumix S5 II Review

Ease of Use

The Lumix S5 II is the primary ever Panasonic digicam to assist Section Detection Auto-Focus. For a lot of Panasonic followers, that will likely be each an infinite aid and purpose sufficient to purchase the S5 II.

For individuals not invested both emotionally or financially within the Lumix system, it removes one of many foremost technological and advertising and marketing limitations for not doing so.

It is maybe not an understatement to say that the Lumix S5 II is the primary Panasonic digicam to have the ability to compete on a stage enjoying area with its foremost rivals, who’ve all provided hybrid distinction and phase-detect auto-focus methods for a few years now.

Merely put, section detection is a really massive deal for the S5 II and extra typically Panasonic cameras, which can presumably all assist this characteristic in future releases (Panasonic officers have already strongly hinted that their Micro 4 Thirds vary can even incorporate it).

Providing quick and reliable 779-area metering, the brand new system is ready to detect goal topics in troublesome circumstances equivalent to low mild and backlighting and, as soon as locked on, will stay monitoring them even with different transferring objects within the body.

There isn’t any signal of the S5’s attribute “pulsing” impact within the steady AF-C mode because the DFD system scans forwards and backwards.

If efficient steady auto-focusing is high of your necessities listing, then it is positively value selecting the newer S5 II mannequin with its superior AF system.

The brand new Lumix S5 II introduces phase-detection auto-focus for the primary time on any Panasonic digicam – for many individuals, that would be the solely purpose that they should significantly take into account this digicam.

Measuring 134.3 x 102.3 x 90.1 mm and weighing 740g physique solely, it is barely bigger and heavier than its predecessor, the S5 II, which compared measures 132.6 x 97.1 x 81.9 mm and weighs 630g. That is predominantly due to the brand new low-profile warmth administration system which permits for limitless video recording occasions.

Remarkably, the brand new Panasonic S5 II is definitely smaller than the favored Lumix GH5, a Micro 4 Thirds mannequin which measures 138.4mm x 100.3 x 99.6mm and weighs 823g.

In case you have been contemplating the Lumix S-series however had been delay by the comparatively giant measurement of the flagship S1 our bodies, then the S5 II is unquestionably small and lightweight sufficient to warrant a second have a look at the vary.

The Lumix S5 II continues to be a remarkably small and compact full-frame digicam, and one which fortunately does not sacrifice the general dealing with expertise to attain that discount.

The brand new S5 II is nearly an identical to its predecessor, however there are a couple of key variations to the unique model, together with the a brand new 8-way joystick, expanded drive dial, 3.0-inch free-angle touch-control monitor and enormous, 3,680K-dot OLED Reside View Finder.

Certainly, evaluating the S5 side-by-side with the older S5, the 2 cameras so comparable at first look that you simply’d be hard-pressed to inform them aside.

They each utilise a well-recognized DSLR model with the viewfinder within the centre, a big tactile hand grip, and a wholesome array of logically positioned controls.

The brand new Panasonic S5 II has the identical tank-like construct high quality and weather-proof exterior shared by all the different Lumix S-series cameras. Its magnesium alloy full die-cast mud and splash-proof physique has all of its foremost seams tightly sealed towards moisture ingress.

Panasonic actually have not lower any corners when it comes to the S5 II’s construct high quality so as to meet the extra aggressive value level. This is likely one of the finest mid-range mirrorless cameras available on the market on this regard.

Equally, the S5 II continues to supply the identical twin picture stabilisation system (in-body IS and lens IS) that is employed by the S1 sequence for simpler, shake-free capturing when dealt with in decrease lighting circumstances. This supplies a whopping 6.5-stops of Twin IS compensation for stills, or 5 stops of in-body IS, placing the S5 proper on the high of its specific class.

The brand new S5 II moreover has an Lively I.S. mode which supplies extremely steady video recording by optimising horizontal, vertical and rotational correction. That is particularly efficient in historically difficult circumstances for handheld capturing, equivalent to utilizing telephoto lenses or filming whereas strolling.

The Panasonic S-series adopted Leica’s L lens mount when it was initially launched – one thing that noticed the corporate enter a collaborative partnership, often called the ‘L-Mount Alliance’, with each Leica and Sigma – and as you’d anticipate, the brand new Panasonic S5 II isn’t any completely different on this regard.

Panasonic despatched us the S5 II with the S 20-60mm f/3.5-5.6 equipment lens for evaluation. After we examined this lens a couple of years in the past, we commented that it “is a welcome addition to the L-Mount vary. It is versatile, compact and lightweight, handles like a dream and enhances a Lumix S1 physique properly in all areas.”

All of these issues maintain true when utilizing the 20-60mm on the S5 II – certainly much more so, because the compact nature of this zoom completely matches the extra compact S5 II.

Whereas photographers might bemoan the slight lack of telephoto attain out there, videographers and particularly vloggers will likely be delighted by the 20mm wide-angle focal size, which makes it doable to hand-hold the digicam at arm’s size and nonetheless get your self comfortably within the body with out having to resort to having to utilizing a selfie stick or another type of extension (or a special lens fully).

Certainly, we stated that “With silent focusing, minimal focus respiratory, glorious autofocus and a focal vary of 20-60mm, this lens in clearly positioned within the hybrid realm, virtually serving photographers and videographers in a variety of situations.” And that actually applies to this lens when used on the Lumix S5 II, making the additional £200 / $300 for the digicam and lens equipment one thing of a veritable discount.

Turning to the entrance of the Lumix S5 II, the large L lens mount dominates proceedings, together with a hand grip that, whereas narrower than these usually discovered on a semi professional DSLR, nonetheless feels good for the S5 II’s personal form and construct, enabling the digicam to be operated with only one hand.

With the decrease three fingers of your proper hand curled across the S5 II’s grip, your forefinger is free to alternate between rotating the entrance management dial that sits barely happy with the grip at its topper-most edge, and the marginally raised and angled shutter launch button simply atop it, which is responsively springy.

Sitting simply behind these controls are three small raised buttons, similar to on the S1 and S1R. From left to proper, these are for manually adjusting white steadiness, mild sensitivity and publicity settings. The Panasonic S5 II’s format feels ergonomic and its operation – notably of such key and commonly used options – properly thought by way of.

Not like the larger S1-series, there is not any top-plate LCD display on the brand new Lumix S5 II. As an alternative the massive capturing mode dial has been moved from top-left on the S1 to top-right on the S5 II, and there is a Burst/Bracketing Taking pictures dial in its former place.

This smaller however nonetheless chunky, roughly ridged and raised dial over on the left hand fringe of the digicam has 6 completely different settings, which variously present fast entry to the self-timer, time-lapse, excessive decision, burst capturing (2 modes) and regular single capturing modes.

Beneath the dial is a shiny purple ring, similar to on the S1-series cameras, which has maybe been deployed to lend the cameras a extra skilled air.

Stereo microphones and a vacant hotshoe for an adjunct flash are slotted instantly on high of the EVF. Apparently there’s no built-in pop up flash on the Panasonic S5 II, which is perhaps a barely stunning omission for a mid-range digicam.

The chunky, roughly ridged and raised capturing mode dial over on the top-right makes it straightforward to regulate settings starting from Clever Auto focus to program, shutter precedence, aperture precedence or guide fairly shortly.

On the identical dial we additionally get a guide video mode setting, an S&Q setting, and no fewer than three customized modes. Within the S(low)&Q(fast) capturing mode, the S5 II can seize Full HD video at as much as 180fps after which play again the movies at 24p, 30p, or 60p.

The on/of swap is extra of an precise lever which sits adjoining to the capturing mode dial. That is fairly stiff in operation – you nearly should pressure it – which, to offer it a constructive spin, means this can be a digicam that’s nearly not possible to by accident activate or deactivate.

Flick this lever to on and the digicam is able to take the primary shot simply as shortly as your finger can transfer from it to the shutter launch button simply in entrance. There’s no ready round with the S5 II – it’s prepared if you find yourself.

The management dial on the entrance of the handgrip is, by the way, mirrored by one the scale of a 5 pence piece that sits recessed into the highest plate on the again. Right here it readily (and once more, ergonomically) falls beneath the thumb of the precise hand; thereby persevering with to offer the impression that the format has been properly thought by way of.

Finishing the S5 II’s top-plate is a one-touch film file button, completed in the identical metallic darkish purple because the ring which sits beneath the drive mode dial. Similar to the shutter launch button, once more this has a pleasant springy really feel to it that makes it simpler to find and activate.

When it was launched, the unique S5 was the one sub-£$2000 digicam available on the market to supply UHD 4K 60p 4:2:0 10-bit inside video recording, 4:2:2 10-bit internally in any decision or body price, 4K at as much as 60p internally, and an anamorphic mode.

Now the brand new S5 II ups the ante even additional by providing excessive bit-rate video efficiency that Panasonic declare is on a par with the Lumix S1H.

It now helps inside 4:2:0 10-bit 6K (3:2) and 5.9K (16:9) recording at 30fps and 4:2:2 C4K and 4K at as much as 60fps, whereas the newly developed low-profile warmth administration system permits for limitless recording occasions with out having to considerably improve the scale of the digicam physique.

The S5 II additionally helps HFR (Excessive Body Price) recording at as much as 120fps and Gradual & Fast seize at as much as 180fps and it even has a full-size HDMI Kind A terminal, somewhat than a micro model as on the S5.

Twin Native ISO is borrowed instantly from the S1H and Panasonic’s broadcast line of video cameras. This robotically switches between native ISO settings of 640 and 4000 with out rising noise by altering the best way the digicam reads out the picture sensor.

The one disadvantage on the S5 is that you simply could not manually swap between the LOW and HIGH settings, as an alternative counting on the digicam to take action at numerous ISO ranges.

This has been addressed on the S5 II with the supply of recent LOW and HIGH settings along with AUTO.

As well as, capabilities equivalent to Waveform Monitor, Vector Scope and Zebra Sample have been added, in addition to options equivalent to System Frequency (24.00Hz) and Synchro Scan.

The Lumix S5 was already a really succesful video digicam, however the brand new S5 II takes issues to a different stage and is clearly the one to decide on if you happen to’re a eager videographer.

With lugs for attaching the shoulder strap offered out of the field to be discovered left and proper of the digicam, the right-hand flank supplies a port protected by a sliding swap that permits for the insertion of two SD-XC playing cards.

The S5 II has twin reminiscence card slots, however fortunately in contrast to the S5 it has two UHS-II SD card slots, somewhat than only one UHS-II SD slot and one slower UHS-I slot.

The 2 ports on the left-hand flank present a method of connecting an adjunct microphone and headphones, plus USB-C and full-size HDMI leads, the latter a notable improve from the unique S5.

The rubberized flaps defending these really feel a little bit flimsier than the remainder of the digicam, and time will inform whether or not these turn into worn and cease adhering so exactly over time.

Shifting to the rear of the Panasonic S5 II, once more that is button festooned with out being over-bearingly so.

The digicam’s 3-inch LCD display with 1.84m-dot decision can also be a contact display, which means you could drag the main target space across the display along with your finger or thumb. Alternatively, if you happen to desire bodily controls, you should utilize the small thumb-operated joystick to the upper-right of the LCD to do the identical.

As an alternative of the intelligent however somewhat convoluted three-axis tilting LCD that is featured on the S1 cameras, the brand new Lumix S5 has a somewhat extra typical free-angle display that is hinged on the left-hand facet.

This may be tilted all the best way out to the facet of the digicam, turned forwards for selfies and vlogging, and turned in direction of the again of the digicam to assist defend it when the digicam is not getting used. It is very helpful as an support to capturing video in addition to extra uncommon compositions when you may’t at all times get a watch flush to the viewfinder.

The highest-left of the again of the digicam is the place we discover the playback button for reviewing stills and video. There’s additionally a devoted LVF button alongside it for manually switching between the rear LCD display and the EVF, which maybe feels a little bit redundant provided that the digicam robotically switches to the EVF once you maintain the digicam as much as your eye (this setting will be turned on and off as desired).

The earlier Lumix S5 had a reasonably respectable 2,360k 0.74x OLED viewfinder, which the brand new S5 II improves on by incorporating a 3,680k 0.78x OLED viewfinder, surrounded by a big, distinguished and comfy eye piece.

On to the precise of the EVF is a tactile round swap for altering the auto-focus mode from single to steady to guide focus, into which is about the AF space button for choosing one of many seven out there AF modes. You possibly can select from Monitoring, Full Space, Zone (Horizontal/Vertical), Zone, 1-Space+, 1-Space and Pinpoint.

Together with the afore-mentioned AF joystick, the small AF On which can be utilized for back-focusing completes the S5 II’s very handily-placed assortment of focusing controls.

This being a Panasonic digicam, we’re supplied with the very helpful Fast menu quick lower button – situated through the button marked with an enigmatic ‘Q’ located to the precise of the LCD – which provides fully customizable fast entry to 12 of the digicam’s key settings.

Menu/Set, Show and a shared delete/again button are additionally to be discovered on the rear of the S5 II, together with a well-recognized multi-directional management pad, encircled by a scroll wheel for optimum fluidity of operation.

The menu screens are, as anticipated, comprehensively featured however pleasingly legible and intuitively navigated. That stated it was additionally good to have the Fast menu characteristic so as to circumnavigate them once we knew what we wished and wished to get to the related setting swiftly.

On the base of the digicam we discover a single screw thread, situated instantly in keeping with the central level of the lens mount, for attaching the S5 II to a tripod.

Additionally discovered right here, nestled inside the base of the S5 II’s handgrip is the rechargeable 2,200mAh DMW-BLK22 lithium-ion battery.

On the S5 this offered 440 pictures (rear monitor), 470 pictures (LVF), 1,500 pictures (Energy Save LVF mode), as measured utilizing stringent CIPA business requirements.

Maybe unsurprisingly on the extra power-hungry S5 II, battery life drops considerably to 370 photographs when utilizing the LCD or LVF.

A ‘correct’ charger with its personal mains plug can also be offered out of the field – or a minimum of was with our totally working evaluation pattern – and you too can cost the digicam while you are out and about by attaching a power-bank to the USB-C port. Notice that the S5 II helps the newest USB 3.2 normal whereas the S5 solely supported USB 3.1.

Picture High quality

All the pattern pictures on this evaluation had been taken utilizing the 24 megapixel High-quality JPEG setting, which provides a mean picture measurement of round 12Mb.

The Panasonic Lumix S5 II produced nonetheless pictures of fantastic high quality throughout the evaluation interval.

This digicam produces noise-free JPEG pictures from ISO 50 all the best way as much as ISO 6400, with important noise first showing at ISO 12800. The quicker settings of 25600 and 51200 show various noise, however they’re nonetheless tremendous to make use of for making smaller prints and internet pictures. You need to keep away from utilizing the expanded ISO 102400 and 204800 settings if doable.

The Excessive Decision Mode is able to creating 96 megapixel pictures, whereas the assorted Photograph Types and Filters mean you can shortly and simply customise the look of the digicam’s JPEG and Uncooked pictures earlier than you are taking them.

The evening {photograph} was glorious, with the utmost shutter pace of 60 seconds and Bulb mode of as much as half-hour permitting you to seize loads of mild.

Noise

ISO sensitivity will be set between ISO 50 and ISO 204800 in full-stop increments. Listed here are some 100% crops which present the noise ranges for every ISO setting, with JPEG on the left and RAW on the precise.

JPEG
RAW

ISO 50 (100% Crop)

ISO 50 (100% Crop)

ISO 100 (100% Crop)

ISO 100 (100% Crop)

ISO 200 (100% Crop)

ISO 200 (100% Crop)

ISO 400 (100% Crop)

ISO 400 (100% Crop)

ISO 800 (100% Crop)

ISO 800 (100% Crop)

ISO 1600 (100% Crop)

ISO 1600 (100% Crop)

ISO 3200 (100% Crop)

ISO 3200 (100% Crop)

ISO 6400 (100% Crop)

ISO 6400 (100% Crop)

ISO 12800 (100% Crop)

ISO 12800 (100% Crop)

ISO 25600 (100% Crop)

ISO 25600 (100% Crop)

ISO 51200 (100% Crop)

ISO 51200 (100% Crop)

ISO 102400 (100% Crop)

ISO 102400 (100% Crop)

ISO 204800 (100% Crop)

ISO 204800 (100% Crop)

File High quality

The Panasonic Lumix S5 II has 2 completely different JPEG picture high quality settings out there, with High-quality being the best high quality possibility. Listed here are some 100% crops which present the standard of the assorted choices, with the file measurement proven in brackets.

High-quality (10.9Mb) (100% Crop)
Customary (4.3Mb) (100% Crop)

RAW (29.6Mb) (100% Crop)

Evening

The Panasonic Lumix S5 II’s most shutter pace is 60 seconds and there is additionally a Bulb possibility for exposures as much as half-hour lengthy, which is good news if you happen to’re significantly serious about evening images.

The shot under was taken utilizing a shutter pace of 30 seconds at ISO 100. The digicam takes the identical period of time once more to use noise discount, so for instance on the 30 second setting the precise publicity takes 60 seconds.

Excessive Decision Mode

The Panasonic Lumix S5 II’s Excessive Decision Mode combines 8 photographs right into a 96 megapixel picture to create a 12000×8000 pixel tremendous high-resolution picture. The ensuing Uncooked information are 165Mb in measurement! We discovered throughout testing that choosing Mode 2 within the Movement Blur Processing sub-menu produced the sharpest pictures.

Off (100% Crop)

On (100% Crop)

Photograph Types

Panasonic’s Photograph Types are preset combos of various sharpness, distinction, saturation and noise discount settings. The 15 out there Photograph Types are proven under within the following sequence, which demonstrates the variations. There are additionally 4 Customized choices in an effort to create your individual seems.

Customary

Vivid

Pure

L.ClassicNeo

Flat

Panorama

Portrait

Monochrome

L.Monochrome

L.Monochrome D

L.Monochrome S

Cinelike D2

Cinelike V2

Like709

V-Log

Filter Results

The Panasonic Lumix GH6 gives a spread of digital filter results that may be utilized to each JPEG and Uncooked information, with 8 completely different choices out there in the principle menu.

Expressive

Retro

Previous Days

Excessive Key

Low Key

Sepia

Cross Course of

Bleach Bypass

Pattern Pictures

This can be a number of pattern pictures from the Panasonic Lumix S5 II digicam, which had been all taken utilizing the 24 megapixel High-quality setting. The thumbnails under hyperlink to the full-sized variations, which haven’t been altered in any means.

Pattern RAW Pictures

The Panasonic Lumix S5 II allows customers to seize RAW and JPEG format information. We have offered some Panasonic RAW (RW2) samples so that you can obtain (thumbnail pictures proven under will not be 100% consultant).

Pattern Films & Video

This can be a pattern 4K video taken with the Panasonic Lumix S5 II.

This can be a pattern 4K video taken with the Panasonic Lumix S5 II.

This can be a pattern 4K video taken with the Panasonic Lumix S5 II.

This can be a pattern 4K video taken with the Panasonic Lumix S5 II.

This can be a pattern 4K video taken with the Panasonic Lumix S5 II.

This can be a pattern 4K video taken with the Panasonic Lumix S5 II.

This can be a pattern 1080p video taken with the Panasonic Lumix S5 II.

This can be a pattern 4K timelapse video taken with the Panasonic Lumix S5 II.

This can be a pattern 1080p timelapse video taken with the Panasonic Lumix S5 II.

Product Pictures

Conclusion

The brand new Lumix S5 II introduces phase-detection auto-focus for the primary time on any Panasonic digicam – for many individuals, that would be the solely purpose that they should significantly take into account it, whereas beforehand they could have chosen a rival mannequin simply due to the auto-focus system.

The distracting pulsing impact that plagued video recording particularly has now gone, changed by a really competent hybrid AF system that belies its first-generation standing – if solely Panasonic had applied it on the launch of the L-mount system, they will surely have loved bigger market share. let’s hope that they roll it out on all future cameras, Micro 4 Thirds fashions included.

Panasonic have not simply rested on their focusing laurels, although, as there are additionally a major variety of further upgrades that assist flip the already very succesful S5 into an excellent higher Mark II version for 2023.

These embrace quicker burst capturing speeds, the next decision and magnification viewfinder, and a full measurement HDMI port, all issues that we discovered missing within the unique S5 mannequin.

Video efficiency has additionally been considerably upgraded, with 6K recording and limitless recording occasions particularly catching the attention. The Lumix S5 was already a really succesful video digicam, however the brand new S5 II takes issues to a different stage and is clearly the one to decide on if you happen to’re a eager videographer.

Notice that the older S5 will nonetheless proceed to be offered alongside the newer Mark II mannequin as a extra reasonably priced possibility, so if you happen to principally shoot stills and might stay with its contrast-based AF system, it is now the most affordable means into Panasonic’s full-frame system.

Finally we might in all probability splash the additional money and purchase the brand new S5 II, although, merely due to the break-through phase-detection auto-focus. It might not be a brand new characteristic inside the wider market, however for Panasonic it is an important improvement certainly, and one which helps to make the brand new Lumix S5 II probably the greatest all-rounder hybrid picture and video cameras available on the market.

Scores (out of 5)

Design
4.5

Options
5

Ease-of-use
4.5

Picture high quality
4.5

Worth for cash
5

Principal Rivals

Listed under are a number of the rivals of the Panasonic Lumix S5 II.

Review Roundup

Reviews of the Panasonic Lumix S5 II from around the web.

Specs

TYPE

• Kind

  • Digital Single Lens Mirrorless digicam

• Lens mount

IMAGE SENSOR

• Kind

  • 35mm full-frame (35.6mm x 23.8mm) CMOS sensor

• Digicam efficient pixels / Complete pixels

  • 24.20 megapixels / 25.28 megapixels

• AR (Anti Reflection) coating

• Side ratio / Coloration filter

  • 3:2 / Main shade filter

• Mud discount system

LATITUDE

STILL IMAGE

• Recording file format

  • JPEG (DCF, Exif 2.31), RAW

• Side ratio

  • 4:3 / 3:2 / 16:9 / 1:1 / 65:24 / 2:1

• File measurement (pixels) when utilizing full-frame lenses

  • 3:2

    • 6000×4000(L) / 4272×2848(M) / 3024×2016(S) / 12000×8000(XL)* / 8496×5664(LL)* *Excessive Decision mode.

  • 4:3

    • 5328×4000(L) / 3792×2848(M) / 2688×2016(S) / 10656×8000(XL)* / 7552×5664(LL)* *Excessive Decision mode.

  • 16:9

    • 6000×3368(L) / 4272×2400(M) / 3024×1704(S) / 12000×6736(XL)* / 8496×4784(LL)* *Excessive Decision mode.

  • 1:1

    • 4000×4000(L) / 2848×2848(M) / 2016×2016(S) / 8000×8000(XL)* / 5664×5664(LL)* *Excessive Decision mode.

  • 65:24

  • 2:1

• File measurement (pixels) when utilizing APS-C/Tremendous 35mm lenses

  • 3:2

    • 3984×2656(L) / 2880×1920(M) / 2064×1376(S)

  • 4:3

    • 3536×2656(L) / 2560×1920(M) / 1840×1376(S)

  • 16:9

    • 3984×2240(L) / 2880×1624(M) / 1920×1080(S)

  • 1:1

    • 2656×2656(L) / 1920×1920(M) / 1376×1376(S)

• Picture high quality

  • RAW / RAW+High-quality / RAW+Customary / High-quality / Customary (Excessive Decision mode: Mixed / RAW / RAW+High-quality / High-quality)

• Coloration area

MOTION PICTURE

• Recording file format

  • MOV: H.264/MPEG-4 AVC, H.265/HEVC
    MP4: H.264/MPEG-4 AVC, H.265/HEVC

• Audio format

  • MOV: LPCM (2ch 48kHz/24-bit, 96kHz/24-bit*) (4ch 48kHz/24-bit**, 96kHz/24-bit**)
    MP4: AAC (2ch 48kHz/16-bit)
    *When attaching Φ3.5mm microphone or DMW-XLR1 (offered individually). **When attaching DMW-XLR1 (offered individually).

• System frequency

  • 59.94Hz / 50.00Hz / 24.00Hz

• Picture space of video

  • Full / APS-C / PIXEL/PIXEL

• MOV / 59.94Hz / FULL (*HLG is selectable.) (*¹) (*²)

  • [6K] 5952×3968 (3:2)

    • 29.97p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [6K] 5952×3136 (17:9)

    • 29.97p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [5.9K] 5888×3312 (16:9)

    • 29.97p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [C4K] 4096×2160

    • 29.97p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [4K] 3840×2160

    • 29.97p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [FHD] 1920×1080

    • 119.88p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      119.88p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      59.94p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      59.94p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      47.95p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      47.95p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      29.97p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      29.97p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      23.98p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

• MOV / 59.94Hz / APS-C / PIXEL/PIXEL (*HLG is selectable.) (*¹) (*²)

  • [C4K] 4096×2160

    • 59.94p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      59.94p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      47.95p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      47.95p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      29.97p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [4K] 3840×2160

    • 59.94p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      59.94p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      47.95p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      47.95p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      29.97p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [3.3K] 3328×2496 (4:3)

    • 47.95p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      47.95p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      29.97p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [FHD] 1920×1080

    • 119.88p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)*
      119.88p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
      59.94p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      59.94p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      47.95p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      47.95p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      29.97p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      29.97p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      23.98p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      *When Picture Space of Video is about to APS-C.

• MOV / 50.00Hz / FULL (*HLG is selectable.) (*¹) (*²)

  • [6K] 5952×3968 (3:2)

    • 25.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [6K] 5952×3136 (17:9)

    • 25.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [5.9K] 5888×3312 (16:9)

    • 25.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [C4K] 4096×2160

    • 25.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      25.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [4K] 3840×2160

    • 25.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      25.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [FHD] 1920×1080

    • 100.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      100.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      50.00p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      50.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      25.00p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      25.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

• MOV / 50.00Hz / APS-C / PIXEL/PIXEL (*HLG is selectable.) (*¹) (*²)

  • [C4K] 4096×2160

    • 50.00p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      25.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      25.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [4K] 3840×2160

    • 50.00p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      25.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      25.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [3.3K] 3328×2496 (4:3)

    • 50.00p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      25.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      25.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [FHD] 1920×1080

    • 100.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)*
      100.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)*
      50.00p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      50.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      25.00p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      25.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      *When Picture Space of Video is about to APS-C.

• MOV / 24.00Hz / FULL (*HLG is selectable.) (*¹) (*²)

  • [6K] 5952×3968 (3:2)

    • 24.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [6K] 5952×3136 (17:9)

    • 24.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [5.9K] 5888×3312 (16:9)

    • 24.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [C4K] 4096×2160

    • 24.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [4K] 3840×2160

    • 24.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [FHD] 1920×1080

    • 48.00p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      48.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      24.00p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      24.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

• MOV / 24.00Hz / APS-C / PIXEL/PIXEL (*HLG is selectable.) (*¹) (*²)

  • [C4K] 4096×2160

    • 48.00p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      48.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      24.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [4K] 3840×2160

    • 48.00p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      48.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      24.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [3.3K] 3328×2496 (4:3)

    • 48.00p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      48.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      24.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [FHD] 1920×1080

    • 48.00p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      48.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      24.00p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
      24.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

• MP4 / 59.94Hz / FULL (*¹)

  • [4K] 3840×2160

    • 29.97p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
      23.98p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
      29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
      23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

  • [FHD] 1920×1080

    • 59.94p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
      29.97p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
      23.98p, 24Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

• MP4 / 59.94Hz / APS-C / PIXEL/PIXEL (*¹)

  • [4K] 3840×2160

    • 59.94p, 100Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
      29.97p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
      23.98p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
      29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
      23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

  • [FHD] 1920×1080

    • 59.94p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
      29.97p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
      23.98p, 24Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

• MP4 / 50.00Hz / FULL (*¹)

  • [4K] 3840×2160

    • 25.00p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
      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)
      25.00p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

• MP4 / 50.00Hz / APS-C / PIXEL/PIXEL (*¹)

  • [4K] 3840×2160

    • 50.00p, 100Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
      25.00p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
      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)
      25.00p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

• MP4 / 24.00Hz / FULL

• MP4 / 24.00Hz / APS-C / PIXEL/PIXEL

SLOW & QUICK

• MOV / 59.94Hz / FULL (*¹)

  • [FHD] 1920×1080

    • 59.94p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      29.97p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      *Angle of view narrows if you choose a body price with a lot of frames 151 or extra.

• MOV / 59.94Hz / APS-C (*¹)

  • [C4K] 4096×2160

    • 29.97p (Most output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p (Most output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [4K] 3840×2160

    • 29.97p (Most output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p (Most output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [FHD] 1920×1080

    • 59.94p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      29.97p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      23.98p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      *Angle of view narrows if you choose a body price with a lot of frames 151 or extra.

• MOV / 50.00Hz / FULL (*¹)

  • [FHD] 1920×1080

    • 50.00p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      25.00p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      *Angle of view narrows if you choose a body price with a lot of frames 151 or extra.

• MOV / 50.00Hz / APS-C (*¹)

  • [C4K] 4096×2160

    • 25.00p (Most output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [4K] 3840×2160

    • 25.00p (Most output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [FHD] 1920×1080

    • 50.00p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      25.00p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      *Angle of view narrows if you choose a body price with a lot of frames 151 or extra.

• MOV / 24.00Hz / FULL (*¹)

  • [FHD] 1920×1080

    • 24.00p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      *Angle of view narrows if you choose a body price with a lot of frames 151 or extra.

• MOV / 24.00Hz / APS-C (*¹)

  • [C4K] 4096×2160

    • 24.00p (Most output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [4K] 3840×2160

    • 24.00p (Most output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

  • [FHD] 1920×1080

    • 24.00p (Most output of sensor is 180fps)*, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)
      *Angle of view narrows if you choose a body price with a lot of frames 151 or extra.

VIEWFINDER

• Kind

• Pixels

  • Approx. 3.68 million dots

• Subject of view / Magnification

  • Approx. 100% / Approx. 0.78x with 50 mm lens at infinity; -1.0 m-1, when the facet ratio is about to three:2

• Eye level / Diopter adjustment

  • Approx. 21 mm at infinity; -1.0 m-1 / -4.0 – +2.0 (dpt)

• Eye sensor

• Show pace

REAR MONITOR

• Kind

  • TFT LCD monitor with static contact management

• Monitor measurement

  • Free-angle, 3.0-inch (7.6cm), 3:2 facet

• Pixels

  • Approx. 1.84 million dots

• Subject of view

STATUS LCD

FOCUS (*³)

• Kind

  • Section Detection AF system / Distinction AF system

• DFD expertise

• Focus mode

  • AFS (Single) / AFC (Steady) / MF

• AF mode

  • Monitoring / Full Space AF / Zone (Horizontal/Vertical) / Zone / 1-Space+ / 1-Space / Pinpoint
    *Computerized Detection will be turned ON to change between Human/ Face/Eye/ Animal+Human. Besides when Pinpoint is about.

• AF detective vary

  • EV -6 – 18 (F1.4, ISO100 equal, AFS)

• AF customized setting

  • AF Sensitivity, AF Space Switching Sensitivity, Shifting Object Prediction

• AF help mild

• AF lock

  • Set the Fn button in customized menu to AF lock

• Focus ring management

  • Nonlinear / Linear (90°/ 120°/ 150°/ 180°/ 210°/ 240°/ 270°/ 300°/ 330°/ 360°/ 720°/ 1080°/ Most)

• Others

  • AF-ON, AF-ON: Close to Shift, AF-ON: Far Shift, Focus Limiter, Focus Peaking, 1-Space AF Shifting Pace, AF Micro Adjustment, Steady AF (throughout movement image recording), Focus/Shutter Precedence, Focus Switching for Vert/Hor, AF/AE Lock Maintain, AF+MF, MF Help, MF Information, Focus Ring Lock, Present/Cover AF Mode, Shutter AF, Half Press Shutter, Fast AF, Eye Sensor AF, Loop Focus Body, Enlarged Reside Show (Video), Contact Shutter, Contact AF/AE Perform, Contact Pad AF, Lens Focus Resum

EXPOSURE CONTROL

• Gentle metering system

  • 1,728-zone multi-pattern sensing system

• Gentle metering mode

  • A number of / Heart Weighted / Spot / Spotlight Weighted

• Metering vary

  • EV0-18 (F2.0 lens, ISO100 equal)

• Mode dial

  • Program AE (P) / Aperture Precedence AE (A) / Shutter Precedence AE (S) / Handbook Publicity (M) / Inventive Video (P/A/S/M)* / Gradual&Fast / Customized 1, 2, 3 / Clever Auto
    *The identical publicity operations as P/A/S/M mode is offered.

• Publicity compensation

  • 1/3 EV step ±5EV (±3EV for movement image)

• ISO sensitivity (Customary output sensitivity)

• Twin Native ISO

  • [Normal]
    Native ISO: 100, 640
    Auto: Auto / 50* / 100-51200 / 102400* / 204800* *Prolonged ISO
    Low: Auto / 50* / 100-800 *Prolonged ISO
    Excessive: Auto / 320* / 640-51200 / 102400* / 204800* *Prolonged ISO

    [V-Log]
    Native ISO: 640, 4000
    Auto: Auto / 320* / 640-51200 *Prolonged ISO
    Low: Auto / 320* / 640-5000 *Prolonged ISO
    Excessive: Auto / 2000* / 4000-51200 *Prolonged ISO

    [HLG]
    Native ISO: 400, 2500
    Auto: Auto / 400-51200 / 102400* / 204800* *Prolonged ISO
    Low: Auto / 400-3200
    Excessive: Auto / 2500-51200 / 102400* / 204800* *Prolonged ISO

    [Cinelike D2 / Cinelike V2]
    Native ISO: 200, 1250
    Auto: Auto / 100* / 200-51200 / 102400* / 204800* *Prolonged ISO
    Low: Auto /100* / 200-1600 *Prolonged ISO
    Excessive: Auto / 640* / 1250-51200 / 102400* / 204800* *Prolonged ISO

• AE lock

  • Set the Fn button in customized menu to AE lock

IMAGE STABILIZATION SYSTEM

• B.I.S. (5-axis / 5-stop*) *Primarily based on the CIPA normal [Yaw/Pitch direction: focusing distance f=60mm when S-R2060 is used.]
  Twin I.S. 2 (6.5-stop*) *Primarily based on the CIPA normal [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used.]

WHITE BALANCE

• White steadiness

  • AWB / AWBc / AWBw / Daylight / Cloudy / Shade / Incandescent / Flash / White Set 1, 2, 3, 4 / Coloration temperature setting 1, 2, 3, 4

• White steadiness adjustment

  • Blue/Amber bias, Magenta/Inexperienced bias

• Coloration temperature setting

SHUTTER

• Kind

• Shutter pace

  • Nonetheless picture: Bulb (Max. half-hour), 1/8,000 – 60
    Digital entrance curtain shutter: Bulb (Max. half-hour), 1/2,000 – 60
    Digital shutter: Bulb (Max. 60 sec), 1/8,000 – 60
    Movement image: 1/16,000 – 1/25
    Inventive Video M mode / MF mode: 1/16,000 – 1/2

• Self timer

  • 10sec, 3 pictures / 2sec / 10sec / Customized Time

• Distant management

  • Distant management by DMW-RS2 (offered individually)

• Silent mode / Shutter kind

  • Sure / Sure (Auto / Mechanical / Digital entrance curtain / Digital / Digital+NR)

BRACKET

• AE bracket

  • 3, 5, 7 pictures in 1/3, 2/3 or 1 EV step, max. ±3 EV, single/burst

• Aperture bracket

• Focus bracket

  • 1 to 999 pictures, focus steps will be set in 10 ranges

• White steadiness bracket

  • 3 pictures in blue/amber axis or in magenta/inexperienced axis, shade temperature setting

BURST SHOOTING

• Burst pace

  • Mechanical shutter / Digital entrance curtain shutter

    • H: 9 frames/sec (AFS/MF), 7 frames/sec (AFC) (with Reside View)
      M: 5 frames/sec (AFS/MF) (with Reside View), 5 frames/sec (AFC) (with Reside View)
      L: 2 frames/sec (AFS/AFC/MF) (with Reside View)

  • Digital shutter

    • SH30: 30 frames/sec (AFS/AFC/MF)
      H: 9 frames/sec (AFS/MF), 8 frames/sec (AFC) (with Reside View)
      M: 5 frames/sec (AFS/MF) (with Reside View), 5 frames/sec (AFC) (with Reside View)
      L: 2 frames/sec (AFS/AFC/MF) (with Reside View)

• Variety of recordable pictures

FLASH

• Flash kind

  • TTL Exterior Flash (offered individually)

• Synchronization pace

  • Lower than 1/250 second *The information quantity decreases at 1/250 second. Solely when set to M mode or S mode.

• Flash mode

  • Auto* / Auto/Pink-eye Discount* / Pressured On / Pressured On/Pink-eye Discount / Gradual Sync. / Gradual Sync./Pink-eye Discount / Pressured Off *For iA solely.

• Flash synchronization

  • 1st Curtain Sync, 2nd Curtain Sync.

• Flash output adjustment

• Wi-fi management

  • Sure (When utilizing DMW-FL200L / FL360L / FL580L (offered individually)), Wi-fi Channel: 1ch/2ch/3ch/4ch

EXTRA TELE CONVERSION

• 2.0x (EX S) (When utilizing full-frame lenses), 1.9x (EX S) (When utilizing APS-C / Tremendous 35mm lenses), 1.4x (EX M) *Just for nonetheless picture recording.

COLOR SETTINGS

• Photograph Model

  • Photograph Model

    • Customary / Vivid / Pure / L. Traditional Neo / Flat / Panorama / 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 Vary* / My Photograph Model 1-4 (5-10)*
      *Set to ON from Present/Cover Photograph Model to pick.

  • Image adjustment

    • Distinction / Spotlight / Shadow / Saturation / Coloration Tone / Hue / Filter Impact / Grain Impact / Coloration Noise / Sharpness / Noise Discount / ISO / WB / LUT
      *Adjustable settings differ relying on the Photograph Model mode.

• Filter

  • Expressive / Retro / Previous Days / Excessive Key / Low Key / Sepia / Cross Course of / Bleach Bypass

• LUT Library

  • Vlog_709 / Set 1-10
    *REAL TIME LUT in Photograph Model, Apply LUT in Fn button, Apply LUT in RAW Processing, LUT View Help in V-Log View Help, LUT will be utilized from these settings.

MOTION PICTURE FUNCTION

• Time lapse shot

• Cease movement animation

• Reside cropping

  • Sure (Helps cropping from 5.9K (FULL) 30p/25p/24p video to 4K/FHD sizes)

• SS/Achieve operation

  • Shutter Period/ISO / Angle/ISO / Shutter Period/dB

• Luminance stage

  • 8-bit: 0-255 / 16-235 / 16-255
    10-bit: 0‒1023 / 64‒940 / 64‒1023

• Synchro scan

• Grasp pedestal stage

• Coloration bars / 1kHz take a look at tone

  • Sure (SMPTE / EBU / ARIB) / Sure

• LUT view help

  • Supported file sorts: .vlt, .dice
    Monitor / HDMI

• HLG view help

  • Monitor (MODE1 / MODE2 / OFF) / HDMI (AUTO / MODE1 / MODE2 / OFF)

• Anamorphic desqueeze show

  • 2.0x / 1.8x / 1.5x / 1.33x / 1.30x / OFF

• Wave kind monitor / Vectorscope

• Knee management

• Pink REC body indicator

VERTICAL POSITION INFORMATION

• Nonetheless picture / Movement image (ON/OFF)

LEVEL GAUGE

FUNCTION BUTTON

• REC

  • Publicity Comp. / Twin Native ISO / Sensitivity / White Steadiness / Photograph Model / Apply LUT / Metering Mode / Side Ratio / Image High quality / Image Measurement / 1 Shot Spot Metering / Lengthy Publicity NR / Min. Shutter Pace / 1 Shot RAW+JPG / i.Dynamic Vary / Coloration Shading Compensation / Filter Impact / One Push AE / Contact AE / AWB Lock / Publicity Mode / Synchro Scan / AF Mode / AF Detection Setting / Detecting Topic / AF Customized Setting(Photograph) / AF Customized Setting(Video) / Focus Limiter / Focus Limiter Vary Set / Focus Peaking / Focus Peaking Sensitivity / 1-Space AF Shifting Pace / Focus Ring Lock / AE LOCK / AF LOCK / AF/AE LOCK / AF-ON / AF-ON: Close to Shift / AF-ON: Far Shift / Focus Space Set / Enlarged Reside Show (Video) / Flash Mode / Flash Modify. / Wi-fi Flash Setup / Drive Mode Setting / Bracketing / Silent Mode / Picture Stabilizer / Shutter Kind / Ex. Tele Conv. / Rec. File Format / Rec High quality / Rec High quality (My Listing) / Gradual & Fast Setting / Time Code Show / Audio Info / Sound Rec Stage Disp. / Mute Sound Enter / Sound Rec Stage Adj. / Sound Rec High quality / Sound Rec Stage Limiter / 4ch Mic Enter / XLR Mic Adaptor Setting / Sound Monitoring Channel / Picture Stabilizer / E-Stabilization (Video) / Increase I.S. (Video) / Picture Space of Video / Focus Transition / Reside Cropping / Q.MENU / Rec/Playback Swap / Video Report / Video Report (Inventive Video) / LVF/Monitor Swap / Operation Lock / Dial Operation Swap / Preview / Preview Aperture Impact / Fixed Preview / Stage Gauge / Histogram / Luminance Spot Meter / Body Marker / Photograph Grid Line / Reside View Increase / Monochrome Reside View / Evening Mode / LVF/Monitor Disp. Set / Video-Precedence Show / Zebra Sample / LUT View Help (Monitor) / LUT View Help (HDMI) / LUT Choose / HLG View Help(Monitor) / HLG View Help (HDMI) / Sheer Overlay / I.S. Standing Scope / WFM/Vector Scope / Anamorphic Desqueeze Show / Coloration Bars / Focus Ring Management / AF Micro Adjustment / Lens Info / Vacation spot Card Slot / Wi-Fi / Fan Mode / Save to Customized Mode / No Setting / Off (Disable Press and Maintain) / Restore to Default

• PLAY

  • Enlarge from AF Level / LUT View Help (Monitor) / HLG View Help (Monitor) / Anamorphic Desqueeze Show / RAW Processing / Delete Single / Defend / Ranking 1, 2, 3, 4, 5 / Copy / Rec/Playback Swap / LVF/Monitor Swap / Video Report / Video Report (Inventive Video) / Evening Mode / Card Slot Change / Sound Monitoring Channel(Play) / Wi-Fi / Fan Mode / Ship Picture (Smartphone) / LUT View Help (HDMI) / HLG View Help (HDMI) / No Setting / Off (Disable Press and Maintain) / Restore to Default

INTERFACE

• USB

  • USB Kind-C (SuperSpeed USB 10Gbps (USB 3.2 Gen2))

• HDMI (*⁴)

  • HDMI

    • HDMI TypeA
      Audio: ON / OFF, MP4: 2ch, MOV: 2ch (When [4ch Mic Input] is about to OFF.), 4ch (When [4ch Mic Input] is about to ON.)

  • Monitor-through

    • 4:2:2 10bit (When [Rec Quality] is about to [4:2:2 10bit] or [4:2:0 10bit].)
      4:2:2 8bit (When [Rec Quality] is about to [4:2:0 8bit].)

  • Playback

    • 59.94Hz: C4K/60p / C4K/30p / 4K/60p / 4K/30p / 1080/120p / 1080p / 1080i / 720p* / 480p*
      50.00Hz: C4K/50p / C4K/25p / 4K/50p / 4K/25p / 1080/100p / 1080p / 1080i / 720p* / 576p*
      24.00Hz: C4K/24p / 4K/24p / 1080p
      *Just for playback.

• Distant enter

• Audio

  • Construct-in microphone

    • Stereo
      Wind Noise Canceller: OFF / Customary / Excessive

  • Exterior microphone / Exterior audio machine enter

    • φ3.5mm for exterior microphone / exterior audio machine
      MIC (Plug-in Energy) / MIC / LINE
      Wind Reduce: OFF / Low / Customary / Excessive *When attaching 3.5mm microphone (offered individually).
      Particular Mic: Stereo / Shotgun *When attaching DMW-MS2 (offered individually).

  • XLR microphone

    • Sure with DMW-XLR1 (offered individually)

  • 4ch mic enter

    • Sure with DMW-XLR1 (offered individually)

  • Speaker

  • Headphone output

• SD card slot

  • Slot 1, Slot 2
    SD Reminiscence Card / SDHC Reminiscence Card* / SDXC Reminiscence Card*
    *Appropriate with UHS-I/UHS-II UHS Pace Class 3 normal SDHC/SDXC Reminiscence Playing cards and UHS-II Video Pace Class 90 normal SDXC Reminiscence Playing cards.

TC IN/OUT

• Depend up

• Time code mode

  • Drop Body / Non-Drop Body (When system frequency [59.94Hz] is chosen.)

• HDMI time code output

FAN

• Auto1 / Auto2 / Quick / Regular / Gradual* / OFF**
  *Not selectable when the decision is increased than C4K, or the body price is increased than 60p.
  **OFF will be set when in iA/P/A/S/M mode.

WIRELESS

• Wi-Fi

  • 2.4GHz bands (STA/AP) (IEEE802.11b/g/n)
    5GHz bands (STA) (IEEE 802.11a/n/ac)
    Safety: WPA/WPA2/WPA3

• Bluetooth

  • Bluetooth® v5.0 (Bluetooth Low Power (BLE))

DUST AND SPLASH RESISTANT*

• Sure.
  *Mud and Splash Resistant doesn’t assure that injury is not going to happen if this digicam is subjected to direct contact with mud and water.

POWER

• Battery

  • Li-ion Battery Pack (7.2V, 2200mAh, 16Wh) (bundled)
    USB energy provide, USB energy charging, USB energy supply

• Battery life (CIPA normal)

  • Approx. 370 pictures, 1,250 pictures (Energy Save LVF mode*) with S-R2060
    Approx. 370 pictures, 1,200 pictures (Energy Save LVF mode*) with S-S50
    *Underneath the take a look at circumstances specified by Panasonic primarily based on CIPA normal. When the time to get within the sleep mode is about to 1 sec.

• Steady recordable time (Movement image) (*¹)

  • MP4 [4K/60p]: Approx. 90 min (APS-C), MP4 [FHD/60p]: Approx. 130 min (FULL) *When utilizing S-R2060 / S-S50. When the battery is totally charged.

• Precise recordable time (Movement image) (*¹)

  • MP4 [4K/60p]: Approx. 45 min (APS-C), MP4 [FHD/60p]: Approx. 65 min (FULL) *When utilizing S-R2060 / S-S50. When the battery is totally charged.

• Battery grip

  • DMW-BGS5 (offered individually)

DIMENSIONS / WEIGHT

• Dimensions (W x H x D)

  • Approx. 134.3 x 102.3 x 90.1 mm / 5.29 x 4.03 x 3.55 inch (Physique solely, excluding protrusions)
    Approx. 134.3 x 102.3 x 157.0 mm / 5.29 x 4.03 x 6.19 inch (with S-R2060, excluding protrusions)
    Approx. 134.3 x 102.3 x 151.8 mm / 5.29 x 4.03 x 5.98 inch (with S-S50, excluding protrusions)

• Weight

  • Approx. 740g / 1.64 lb (Physique, Scorching Shoe Cowl, Battery, SD Reminiscence Card x 1) (excluding physique cap)
    Approx. 657g / 1.45 lb (Physique, Scorching Shoe Cowl) (excluding physique cap)

OPERATING ENVIRONMENT

• Working temperature

  • 0℃ to 40℃ (32℉ to 104℉)

• Working humidity

STANDARD ACCESSORIES

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