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Fashion photography with Ulysses Curry and the Zeiss Batis 85mm F1.8

09 Sep

The Zeiss Batis 85mm F1.8 is a short telephoto prime lens for the Sony E-mount, compatible with both full-frame and APS-C format cameras. 85mm is a classic focal length for portraiture, while on an APS-C body, the lens becomes a 128mm equivalent, making it a useful general-purpose telephoto.

In this video, photographer Ulysses Curry takes the Zeiss Batis 85mm F1.8 to a fashion shoot in downtown Seattle, working with stylist Margo Jones to create unique looks.

Zeiss Batis 85mm F1.8 sample images by Ulysses Curry

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Articles: Digital Photography Review (dpreview.com)

 
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New DAIN algorithm generates near-perfect slow-motion videos from ordinary footage

09 Sep

Researchers with Google, UC Merced and Shanghai Jiao Tong University have detailed the development of DAIN, a depth-aware video frame interpolation algorithm that can seamlessly generate slow-motion videos from existing content without introducing excessive noise and unwanted artifacts. The algorithm has been demonstrated in a number of videos, including historical footage boosted to 4K/60fps.

Rapidly advancing technologies have paved the way for high-resolution displays and videos; the result is a mass of lower-resolution content made for older display and video technologies that look increasingly poor on modern hardware. Remastering this content to a higher resolution and frame rate will improve the viewing experience, but would typically be a costly undertaking reserved only for the most popular media.

Artificial intelligence is a promising solution for updating older video content as evidenced by the growing number of fan-remastered movies and TV shows. Key to these efforts are algorithms trained to upscale and, when necessary, repair the individual frames of videos, which are recompiled into a higher-resolution ‘remaster.’

The newly detailed DAIN algorithm is different — rather than upscaling and repairing the individual frames in a video, this AI tool works by generating new frames and slotting them between the original frames, increasing the video’s FPS for smoother and, depending on how many frames are generated, slower-motion content.

This is a process called motion (video frame) interpolation, and it typically causes a drop in quality by adding unwanted noise and artifacts to the final videos. The DAIN algorithm presents a solution to this problem, offering motion interpolation to boost frames-per-second up to 480fps without introducing any readily noticeable artifacts.

The resulting content is high-quality and nearly visually identical to the source footage, but with the added smoothness that comes with increasing the frames-per-second to 60fps. In addition, DAIN has been demonstrated as capable of transforming ordinary 30/60fps footage into smooth slow-motion videos without choppiness or decreased quality.

According to the researchers, DAIN is ‘compact, efficient, and fully differentiable,’ offering results that perform ‘favorably against state-of-the-art frame interpolation methods on a wide variety of datasets.’ The technology has many potential uses, including recovering lost frames, improving content to be more visually appealing for viewers, generating slow-motion from regular footage and more.

Such technology is arguably necessary for preserving aging media in a useful way, making it possible for new generations of people to experience historical footage, old TV shows and movies, home videos and similar content using modern high-resolution displays. As well, the technology could be useful for content creators of all sorts, enabling them to salvage the footage they already have, improve the quality of old clips for use in documentaries and similar things.

The researchers explain on their project website:

Starting from the birth of photographing in the 18-th centuries, videos became important media to keep vivid memories of their age being captured. And it’s shown in varying forms including movies, animations, and vlogs. However, due to the limit of video technologies including sensor density, storage and compression, quite a lot of video contents in the past centuries remain at low quality.

Among those important metrics for video quality, the most important one is the temporal resolution measured in frame-per-second or fps for short. Higher-frame-rate videos bring about more immersive visual experience to users so that the reality of the captured content is perceived. Therefore, the demand to improve the low-frame-rate videos, particularly the 12fps old films, 5~12fps animations, pixel-arts and stop motions, 25~30 fps movies, 30fps video games, becomes more and more urgent.

The public can view more examples of videos updated using the DAIN algorithm by checking out the related collection playlist on YouTube. As well, the full study is available in PDF form on the Arxiv website here.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down the Canon EOS R5 and finds interesting sealing and thermal flow

09 Sep
Image credits: Photos published with kind permission from Lensrentals.

Since Canon announced the 8K-capable EOS R5 mirrorless camera, there has been heated discourse online about the thermal flow inside the camera and its propensity to overheat. Curious photographers have been wondering what the inside of the EOS R5 looks like and what sort of design features Canon has implemented into its latest high-resolution full frame camera. Wonder no more as Roger Cicala and Aaron Closz at Lensrentals have disassembled a Canon R5 to see what’s going on inside.

In terms of thermal design, when tearing down the R5, the duo found multiple heat sinks and thermal pads. For a photo camera, there is a lot of heat sink inside the EOS R5. However, compared to a video camera, the R5 features ‘not even a fraction of what’ is seen in a video camera.

Cicala speculates that it’s possible the camera has been designed to allow heat to exit through the top panel of the camera, as the connection of the top panel to the main body does not feature the same level of sealing found in the connections between the body and the bottom and side plates.

You can see some of the sealing along the edges where the side plate attaches to the main body. Image credit: Lensrentals

Speaking of sealing, after having removed the camera’s grip, battery door, bottom plate and side plates, Cicala and Closz found an impressive level of sealing throughout the camera. The battery door has weather resistant gaskets around the edge and the bottom of the battery door compartment itself is a soft gasket material.

Along the bottom plate, Canon placed a ‘soft rubber gasket along the entire mating edge of the pieces.’ This provides a ‘greater seal area’ than what is usually seen in disassembled cameras at Lensrentals headquarters. The same sealing gaskets found here are also present where other body parts are sealed together, such as along the sides of the camera.

Of the weather sealing in the EOS R5, Cicala writes, ‘When we took these pieces apart, you feel the suction when they disengage. That’s not something we’ve seen in other cameras. The thing about weather sealing is it only takes one weak place to leak, but this sealing seems to be a step up from anything we’ve seen before.’ This is certainly a promising find for prospective R5 owners.

While there are gaskets around the I/O ports on the R5, Cicala notes that the HDMI and digital out ports are part of the main printed circuit board (PCB). This means that users should be careful to not damage these ports, as it will result in an expensive repair. On the other hand, the tripod plate and tripod mount itself are both replaceable parts and not soldered anywhere. This is great news for the team at Lensrentals, as they regularly must take apart cameras to make repairs like this before sending them out to new customers.

Moving to the back of the camera, the R5 has more dials than the EOS R but maintains an identical wiring arrangement. There’s a new flex design on the LCD side and you can even see a mark made by a Canon tech in the image below.

On the back of the circuit boards, there is a notable difference between the EOS R5 and the EOS R. The new camera has ‘immensely more intense and dense circuitry.’ In the image below, the green sub-board ‘appears to be about DC power conversion.’ On the left black board, the large white chip is a Wi-Fi chip.

Located beneath the green sub-board is either an aluminum heat sink or an electronic shield. Cicala notes that ‘electronic shields tend to be quite thin, but this is a manly piece of aluminum, 0.98mm thick. I speculate it’s more about heat than electronics. Notice I said ‘speculate.”

When removing the main PCB, Cicala and Closz found a large aluminum heat sink on the underside of the board. There is a layer of insulating tape over the sensor as well. There is also a thermal pad located underneath the CPU, which Cicala speculates means that Canon is directing heat from the four SDRAM chips located around the CPU to one heat sink and the heat from the CPU itself to a different area.

After removing the circuitry, the Lensrentals team was able to inspect the image stabilization system and image sensor arrangement. The sensor assembly is held in place by three screws. To ensure that the image sensor stays perfectly parallel to the lens mount, Canon uses shims to make tiny adjustments. The EOS R used spring tension screws instead. Cicala assumes that ‘the vibration of an IBIS unit could loosen them over time’ and notes that ‘every IBIS camera we’ve opened uses shims.’

Once the circuitry and image sensor/IBIS unit has been removed from the R5’s body, there’s not much left besides the shutter assembly. Lensrentals don’t take apart shutter assemblies as they are incredibly labor-intensive to rebuild and if anything is not lined up perfectly, the shutter timing will be off and only factory software can be used for recalibration.

The sensor is mounted directly to the IBIS plate. Some cameras use screws and plastic tabs to support the sensor, which Lensrentals has seen result in fractures. ‘On all the edges of the Canon unit, the sensor is mounted directly to the IBIS plate; no tabs. That doesn’t mean it can’t break, of course, or glue comes loose. But this seems sturdier to me,’ says Cicala.

Summing up the findings, Cicala writes that the R5 is ‘pretty thoroughly filled up, there are lots of parts and not much air.’ The new weather sealing method found in the lower two-thirds of the camera ‘seems to give a really, really tight seal.’ The IBIS unit ‘is very compact but well-engineered.’

With respect to thermal flow, Cicala believes there are a pair of separate heat sinks. One of them is located under the voltage board and the other between the main PCB and sensor assembly. Both heat sinks include thermal pads to direct heat. There may also be a heat sink in the tripod plate, although it’s unclear. Cicala says, ‘In a small photo camera, there’s not a lot of ventilation/convection current to let the heat out. This camera is better sealed than most; I doubt there’s very much ventilation at all. Somebody should look into that.’

For many more images and details, head to Lensrentals’ full teardown.

Articles: Digital Photography Review (dpreview.com)

 
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Sony countdown timer teases a ‘new concept’ set to be announced next week

08 Sep

Prepare your calendars (and your wallets), because Sony has unveiled a countdown for its next product, a ‘new concept’ that’s due to be announced within the next week.

While a still image of the countdown was first shared on the Sony Japan website, the official Sony Camera YouTube channel has since created a countdown video, embedded below, that points to an announcement being made at 9pm EDT / 6pm PDT on September 14.

No further information is being shared at this time about what exactly is being announced, but you can set a reminder on the Youtube countdown to be notified in advance of the virtual event.

Articles: Digital Photography Review (dpreview.com)

 
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Jakumei Optics announces the $735 Dulens APO 85mm F2 for Canon EF, Nikon F mounts

08 Sep

Chinese lens manufacturer Jakumei Optics has announced (translated) the release of the Dulens APO 85mm F2 manual lens for Canon EF- and Nikon F-mount camera systems.

According to the manufacturer, the lens’ apochromatic (APO) design is inspired by ‘Sonnar-style’ lenses, the first of which was created by Dr. Ludwig Bertele in 1929.

The lens is constructed of seven elements in six groups, including two extra-low dispersion elements and one high-refractive index lens. Other features include an aperture range of F2-F16, a nine-blade aperture diaphragm, a 90cm (3ft) minimum focusing distance and a 55mm front filter thread.

The lens is available in black, grey and silver, and is available to purchase on the Shoten Kobo website (translated) for approximately $ 735 (76,950 JPY).

Articles: Digital Photography Review (dpreview.com)

 
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Hasselblad 907X and CFV II 50C sample gallery and impressions

08 Sep

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It has been a while since the Hasselblad 907X was launched. It didn’t go on general release at first as the company made a limited edition all-black kit to commemorate the moon landing, but now the chrome-edged production version is finally available to purchase.

The concept is a tiny, slim body that acts as an interface between the CFV ll 50C digital back and Hasselblad’s XCD lens series, to create a very small lightweight kit that is highly portable, fun to use and, most importantly, beautiful to look at. As the sensor in the CFV ll 50C is the same as that used in the X1D ll and the lenses are the same, in theory we should expect the same image quality, so really choosing this camera over the more conventional X1D ll is a matter of the handling experience.

Hasselblad CFV II 50C digital back and 907X

The kit is very small for a medium format setup, though certainly not tiny by general camera standards. It is, however, very comfortable to hold and pretty simple to use. Most operations are conducted via the rear screen as there are few control points on the actual body. The shutter release is surrounded by a dial for changing exposure values and a single press button that accesses exposure compensation or shutter speed in manual exposure mode. In landscape orientation this is all very comfortable and easy, but working in portrait orientation takes a bit of getting used to.

The rear screen flips up to make shooting from low angles easy, but doesn’t twist for low angles when the camera is flipped over. A small flap opens below the screen to access flash, headphone and mic sockets and iOS users will be able to use an app for remote control and image previews.

It’s a very fun camera to use and a kit does (just) fit in a coat pocket or a small bag

The shape and style of the 907X is reminiscent of the V series film cameras, and the experience of using it is strangely similar too. It’s a very fun camera to use and a kit does (just) fit in a coat pocket or a small bag, and returns first class results. There is a big difference in image rendering between Adobe Camera Raw and Hasselblad’s Phocus software, so as awkward as Phocus is to use I recommend processing these files in that rather than the application most people will automatically reach for.

There is an accessory optical viewfinder coming soon as well as a grip, but neither were available at the time of shooting. The optical finder looks cool, but it won’t necessarily be essential since the rear screen is clear and bright even in sunny conditions. The grip though will make it easier to hold the camera still when shooting video.

Articles: Digital Photography Review (dpreview.com)

 
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Coming into focus: how Panasonic’s DFD gamble may yet pay off

08 Sep
Panasonic’s DFD autofocus system tries to determine distance information without masking pixels as most on-sensor phase detection systems do.

We’ve been impressed by what we’ve seen so far of the autofocus changes Panasonic introduced with its new S5. The latest version doesn’t iron-out all the quirks but continuous AF for stills, in particular, appears much improved. But beyond this, the details we were given about how these improvements had been achieved are interesting. They help to highlight both the benefits and the continued challenges of the company’s Depth-from-Defocus system.

It’s a system with a poor reputation in some quarters but one that’s continued to improve significantly in recent years. The S5 shows both how far DFD has come as well as hinting at what’s still needed.

What is depth-from-defocus?

Fundamentally, focus is a a question of distance: adjusting the lens optics until the light rays from a subject at a particular distance converge on the sensor plane.

The alternative: phase detection

Most manufacturers have settled on phase-detection as the heart of their AF systems: this views the target from two different perspectives then works out how much the focus needs to be moved in order to bring those two perspectives into phase with one another (the point at which that subject is in focus).

In mirrorless cameras, this is usually done by having partial pixels that only receive light from one or other half of the lens, to provide two differing perspectives. The downsides of these systems tend to be that these partial pixels either receive less light than a full pixel or that the complexity of the electronics (and the noise they produce) increases, in systems that combine pairs of half pixels. The performance can be excellent, but to a degree you’re trading away some light capture or noise performance to attain that AF performance.

There are two broad approaches used by cameras to conduct autofocus: ones that hunt until they find the point that’s in focus and those that try to interpret the depth in the scene, so that they can drive the focus without the same need to hunt.

DFD is Panasonic’s system for interpreting depth. It works by making a tiny focus adjustment and analyzing how the image has changed as a result. With an understanding of the out-of-focus characteristics of the lens being used, the camera can interpret these changes and build a depth map of the scene.

This challenge is made more difficult if elements in the scene are moving: the camera’s depth map needs to be constantly updated, because the distances are changing. This is where subject-recognition and algorithms designed to anticipate subject movement come into play, since they allow the camera to understand which bits of the scene are moving and what’s likely to happen next.

What’s new with the S5

Panasonic told us that the S5’s autofocus has been improved by a number of fundamental changes. Part of it comes from improved subject recognition. This is based on deep learning (an algorithm trained to recognize specific types of subject) which helps the camera know what to focus on and to not refocus away from it. For instance, teaching the algorithms to recognize human heads when they’re looking away means the camera understands it doesn’t need to find a new subject or refocus when the face it had recognized suddenly ‘disappears.’

Another part comes from re-writing the AF code to make better use of the available processing power. During the development of the S5, Panasonic’s engineers discovered they didn’t have to lean on the machine-learning trained algorithms for both subject recognition and movement tracking: they could combine the machine-learned recognition with their existing, faster, distance and movement algorithms, which freed-up processing power to run the process much more frequently.

This video shows the view though the viewfinders of the S5 (left) and older S1 (right). Note that even when the S1 is in focus, there’s still some very obvious pulsing and fluttering, this is much less noticeable in the S5.

Finally, other software improvements allowed the entire AF system to be run faster: providing more up-to-date information to the processor. The combined result of these changes, for stills shooters at least, is much improved autofocus with less reliance on the trial-and-error hunting of contrast detection AF. This, in turn, reduces the focus flutter in the viewfinder, making it easier for a photographer to follow the action they’re trying to capture, so you get an improved experience as well as improved focus accuracy.

Video is a greater challenge

But this approach is primarily a benefit for stills photography. Video is a more difficult challenge, partly because the focusing process is visible in the resulting video but on a technical level, because you have to read out the sensor in a manner that’s similar to the video you’re trying to produce. In stills mode you can reduce the resolution of the sensor feed (in terms of spatial resolution or bit-depth), to increase the readout rate, which increases how often the AF system receives new information about what’s happening. This low-res feed during focus doesn’t have any impact on the final image.

For video you need to run the sensor in a mode that’s tied to that of the footage you’re trying to capture

In high res video modes you need to run the sensor at a bit depth, pixel resolution and frame rate tied much more closely to those of the footage you’re trying to capture. At best, you get to read the sensor at double the output frame rate. Video is typically shot using shutter speeds at least twice as fast as the frame rate, meaning you can read the sensor out at 60 fps for 30p output, because each frame of video is usually made up from 1/60th second chunk of time or less, leaving you time to conduct another readout for the AF system before you have to expose your next frame.

The problem is that full frame sensors are big and slow to read out. The sensor in the S5 is very similar to the ones used in the likes of the Sony a7 III, which typically take over 21ms to read-out in 12-bit mode: not quite fast enough to run at 48 fps for double-speed capture of 24p footage. This has the unfortunate side-effect of meaning the camera’s worst AF performance comes in the mode most likely to be used by the most demanding video shooters.

Unfortunately for a brand so associated with video, the S5’s full-frame 4K/24p is the mode that delivers its weakest AF performance.

Despite this challenge, Panasonic has re-worked the AF response even in this weakest mode, to be less prone to unnecessary refocusing.

A bright new tomorrow

The updates in the S5 show us a couple of things. Firstly, that Panasonic is well aware of the criticisms being leveled at its cameras and is continuing to fine-tune its software to squeeze everything it can out of the current hardware.

DFD is not there yet but, in principle, staying committed to an AF method that gets better as hardware gets faster may prove a good choice

But, more significantly, the improvements we’re seeing when shooting stills and when using AF-C during bursts of stills in particular suggest that some of the downsides we’ve seen in the past aren’t necessarily inherent flaws of the DFD concept. Instead they’re aspects that can improve as sensor readout and processing power improve. You don’t need to be a semiconductor physicist to recognize that improvements in those areas are always coming.

In principle, in the long run, staying committed to an AF method that gets better as hardware gets faster may prove to be a better choice than an approach that trades-off light capture for AF performance. But the S5’s performance, particularly in video, shows DFD is not there yet. The risk for Panasonic is whether these fast-readout sensors and powerful processors arrive before the majority of full frame buyers have already committed themselves to other camera systems.

Articles: Digital Photography Review (dpreview.com)

 
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Farm to table with Becca Skinner and the Canon EOS R6

07 Sep

In this video we travel to Montana to meet photographer Becca Skinner. Using the Canon EOS R6 Becca documents her permaculture garden and teaches us about homesteading alongside her husband and professional chef Eduardo Garcia.

The Canon EOS R6 features a 20MP full-frame sensor and the latest version of Canon’s Dual Pixel CMOS autofocus, with human and animal face and eye detection. It also offers in-body stabilization up to eight stops with some lenses, the option for silent shooting at up to 20 fps, and a fully articulated touchscreen. The EOS R6 also has a lot to offer video shooters, including 4K/60p capture and HD up to 120 fps.

Canon EOS R6 sample images by Becca Skinner

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Video: How to choose your focal length for landscape photography

06 Sep

Every landscape scene offers a collection of compositions just waiting to be framed by the proper focal length, but how do you choose what one to go with? While the answer will always be subjective, photographer Nigel Danson has shared a video showing how he goes about choosing the best focal length for certain scenes.

The video is a longer watch, coming in at just under 27-minutes, but through it, Danson explains how he chooses a specific focal length and shares example photos captured at different focal lengths to show what tends to work best with different lenses, from a 14mm ultra-wide-angle lens to a 200mm telephoto lens.

It’s a fantastic deep dive into the selection process for landscape photos and even Danson was surprised when he looked through what his most-used focal length was — 24mm. He notes this focal length is likely the most used due to it being difficult to capture portfolio-worthy shots at ultra-wide-angle focal lengths, leaving him ‘more disappointed than pleased,’ upon returning home to cull and edit the captured frames.

Despite his most-used focal length, Danson says his favorite focal lengths to shoot with are at either extreme — either ultra-wide or telephoto — due to the ability to ‘create something more dramatic […] and creative,’ despite it ‘not being easier.’

You can find more videos from Danson on his Youtube channel, follow him on Instagram and visit his website to view his portfolio of work and purchase his new 2021 calendar.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic introduces Lumix DC-S5 stills/video hybrid camera

05 Sep

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Panasonic has announced the Lumix DC-S5, a compact full-frame mirrorless camera for creators who want good still and video capabilities, without having to haul around the S1 or S1H.

The S5 features a 24MP BSI CMOS sensor, also found in the S1, which has a standard ISO range of 100-51,200. Its 5-axis image stabilizer can reduce shake by up to 6.5 stops when paired with a compatible lens, and the sensor-shift system allows for the creation of 96MP high-res JPEGs or Raws. The autofocus system has been revamped, with less ‘wobble’ when focusing and faster and a new ‘head detection’ function.

A firmware update later this year will add Cinema 4K, Raw video output, vector scope display and more.

The S5 is loaded with video features, with more to come later this year. It can capture 10-bit 4:2:0 4K/60p video with an APS-C crop, or 10-bit 4:2:2 using the full width of the sensor at 30p or 24p. There’s a 30 minute time limit when shooting 10-bit and no limit with 8-bit. The S5 offers V-Log / V-Gamut and HLG, and also has anamorphic and Slow&Quick modes. Headphone and mic sockets are onboard, and the camera supports the company’s XLR adapter. A firmware update later this year will add DCI ‘Cinema’ 4K, Raw video output, vector scope display and more.

GH5, S5, S1H

Design-wise, the S5 is considerably more compact than the other S-series models, and a bit smaller and lighter than the GH5. It has a magnesium alloy chassis and is sealed against dust and moisture. Its fully articulating touchscreen has 1.84M dots, while its electronic viewfinder has 2.36M dots. The camera has dual SD card slots, though only one supports UHS-II speeds. Dual-band Wi-Fi and Bluetooth are available for transferring images to your smartphone. The S5 uses the new DMW-BLK22 battery, which can crank out 440 shots per charge using the LCD and 470 with the EVF, according to CIPA ratings. A battery grip is optional.

The Lumix DC-S5 will be available in mid-September at a price of $ 1999 for the body and $ 2299 when kitted with the 20-60mm F3.5-5.6 lens. If you’re in the U.S. and preorder by the end of September, Panasonic will send you a Sigma 45mm F2.8 DG DN lens at no charge.

Read our Panasonic S5 initial review

Press Release

New Hybrid Full-Frame Mirrorless Camera, the LUMIX S5

Featuring Exceptional Image Quality in High Sensitivity Photo/Video And Stunning Mobility

Newark, NJ – (September 2, 2020) Panasonic is delighted to announce the new LUMIX S5, a new hybrid full-frame mirrorless camera that achieves both excellent performance in photo/video and stunning mobility for serious photographers and videographers.

At the heart of the camera, the LUMIX S5 contains a 24.2-megapixel 35mm full-frame CMOS sensor that boasts a wide dynamic range and high sensitivity performance. The LUMIX S5 further realizes recording maximum ISO 51,200 crystal-clear high sensitivity video with the adoption of the Dual Native ISO technology.

As a pioneer of photo/video hybrid mirrorless cameras, LUMIX has the largest lineup of cameras that record 4K 10-bit video[*1]. As the latest member of the family, the LUMIX S5 is capable of 4K 60p/50p4:2:0 10-bit, and 4K 30p/25p 4:2:2 10-bit internal recording. It is also capable of 4K 60p/50p 4:2:2 10-bit HDMI output. For 4K 30p 4:2:0 8-bit internal recording, there is no time limit. Panasonic’s exceptional heat dispersion technology delivers stable, long-time video recording. The LUMIX S5 provides 14+ stops of dynamic range, which is as wide as those of cinema cameras, and V-Log / V-Gamut compatibility with popular colorimetry called “VariCam Look.” A variety of recording formats and modes including 4:3 Anamorphic mode, Slow & Quick Motion, 4K/60p interval shooting and 4K HDR are also provided.

The LUMIX S5 boasts high-speed, high-precision AF (Auto Focus) in both photo shooting and video recording that are made possible with advanced deep-learning technology featuring real-time detection of the subject’s type and features such as human eye, face, head and body.

Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lens, the 5-axis Dual I.S.2 prevents blurred images with the use of a 6.5-stop[*2] slower shutter speed. The splash/dust-resistant rugged design provides professional photographers with high reliability.

To enhance the photographic experience, the 96-megapixel High Resolution Mode (JPEG/RAW), Live View Composite function and HLG Photo mode are available.

Thanks to the high energy efficiency and a new 2,200mAh high-capacity battery, it can capture approximately 470 pictures (using the LVF) / 1,500 pictures (in Power Save LVF mode). Power and charging are possible via the USB-C port. Double SD Card slot (UHS-IIx1 and UHS-I x1), 5GHz/2.4GHz Wi-Fi and Bluetooth 4.2 connectivity are also supported. The LUMIX S Series full-frame mirrorless camera system adopts the L-Mount system to provide users with a diverse and future-proof range of products from Panasonic, Leica Camera and Sigma. Panasonic now offers four innovative models in the LUMIX S Series of full-frame Digital Single Lens Mirrorless cameras – the S1R, the S1, the S1H, and the new S5. The LUMIX S1R is ideal for taking high-resolution images, the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed and developed specifically for film production. The LUMIX S5 packs the essence of these conventional S Series cameras in a compact, lightweight body. With this lineup, Panasonic is committed to meeting the demands of all creators by challenging the constant evolution of the photo/video culture in today’s new digital era.

*1 *Of mirrorless interchangeable lens cameras, as of September 2, 2020.

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used. Firmware must be updated to the latest version.

  1. High image quality even in high sensitivity photo/video and Dual I.S. to suppress virtually any type of blurring

The LUMIX S5 contains a 24.2-megapixel 35mm full-frame CMOS sensor (35.6 mm x 23.8mm). The LUMIX S5 boasts a wide dynamic range and reproduces sharp images with exceptional clarity. Noise is minimized even when shot at maximum ISO 51,200 high sensitivity. It is an ideal camera to use especially in low-light situations.

The LUMIX S5 features Dual Native ISO sensitivity, the technology that was first introduced in the Panasonic professional cinema camera VariCam line-up. Normally, noise increases as sensitivity rises with a single native ISO image sensor. However, the image sensor with Dual Native ISO in the S5 minimizes noise generation by choosing an optimal circuit to use according to the sensitivity before gain processing. As a result, it allows a maximum ISO 51,200 high sensitivity recording. Dual Native ISO gives film creators a greater variety of artistic choices as well as the ability to use less light on the set, saving time. The LUMIX S5’s Dual Native ISOs are 640 and 4000[*1].

Taking full advantage of its high-resolution sensor, the LUMIX S5 provides a High Resolution mode that faithfully reproduces precise details to be saved as beautiful, highly realistic images not only RAW but also in JPEG. Eight consecutive images are automatically shot while shifting the sensor using the Body I.S. (Image Stabilizer) mechanism and synthesized into a 96-megapixel equivalent (12,000 x 8,000-pixel) image by the Venus Engine, which boasts high-speed signal processing. This high-resolution photo is ideal for landscape photography of stationary subjects or artwork with delicate details using a tripod. However, it can also be used in situations where moving subjects are included in the scene, by switching the sub mode.

The LUMIX S5 integrates the Body I.S. (Image Stabilizer) for powerful handshake correction. Panasonic developed an algorithm that precisely calculates shaky movements sensed by the gyro sensor, image sensor and accelerometer sensor. This enables more accurate shake detection and compensation, making it possible to use a 5-stop slower shutter speed[*2]. Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lens, the 5-axis Dual I.S. 2 the correction power is maximized to allow 6.5-stop slower shutter speed[*3]. It is highly beneficial in telephoto shots and in adverse situations, such as in low-light or with one-handed shooting. The 5-axis Dual I.S. 2 works for both photo and video recording, including 4K. The Body I.S. compensates for camera movement even when other L-Mount lenses without O.I.S. are used.

With the new Live View Composite function, the camera releases the shutter at designated intervals of exposure time and synthesizes the parts with high luminosity to produce a single picture. While the total brightness of each consecutive image is accumulated in bulb shooting, only the target subject, the bright parts of an image, are detected and the user can synthesize them carefully while seeing it in live view. This is useful for capturing shots of fireworks or stars in the night sky where the background needs no gain-increase.

*1 When recording mode is set to V-Log. The sensitivity varies depending on the recording mode.

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=60mm when S-R2060 is used.

*3 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used

  1. Exceptional video recording performance for cinema-quality film creation

As a pioneer of photo/video hybrid mirrorless cameras, LUMIX has the largest lineup[*1] of cameras that record 4K 10-bit video. As the latest member of the family, the LUMIX S5 is capable of 4K 60p 4:2:0 10-bit, and 4K 30p 4:2:2 10-bit internal recording up to 30 minutes. It is also capable of 4K 60p4:2:2 10-bit HDMI output. For 4K 30p 4:2:0 8-bit internal recording, there is no time limit. It will comply with RAW video output to ATOMOS NINJA V over HDMI as well as C4K video recording with the future firmware update (which will be detailed in Chapter 6).

Dynamic range measures the luminance range that a digital camera can capture. The LUMIX S5 delivers 14+ stops of Dynamic Range, which are virtually the same as those of the Panasonic cinema cameras, to precisely reproduce everything from dark to bright areas. The ability to capture accurate colors and rich skin tones is a must for any filmmaker. The LUMIX S5 imports the renowned colorimetry of the VariCam lineup of cinema cameras. The LUMIX S5 contains V-Log/V-Gamut capture to deliver a high dynamic range and broad colors. V-Log renders a very flat image while maintaining all of the color information within the image. This means that there is a greater level of play when the images are put through post-production processes. The CMOS sensor of the LUMIX S5 achieves a wide color gamut known as V-Gamut, which is the S5’s optimum color space and achieves a color space that is wider than BT.2020. V-Log has log curve characteristics that are somewhat reminiscent of negative film and V-Gamut delivers a color space even larger than film. 35 conversion LUTs for VariCam cinema cameras can be downloaded free of charge for use in the LUMIX S5. It is easy to match the color tone with the footage recorded in V-Log of S1H/S1 and V-Log L of GH5/GH5S. Practical tools like a Waveform Monitor and V-Log View Assist are also available.

With Slow & Quick mode, impressive video slow and quick motion video in 4K(1-60fps, 30x quick to 2.5x slow) or in FHD (1-180fps, 60x quick to 7.5x slow) is available. It is possible to use AF[*2] to capture the subject in sharp focus in this mode, too. It can also be accessed directly using the mode dial.

The HDR (High Dynamic Range) video recording in 4K is also available, which reproduces both the bright parts and dark parts of an image, making it appear as if seen in person. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and the user can now choose Hybrid Log Gamma (HLG) in Photo Style. The HLG[*3] Photo mode provides a wider dynamic range to reproduce light and shadow with more natural contrast. The HLG Photos can also be produced as an HSP file[*4] with compressed high-brightness signals in its full resolution (5,888 x 3,312, in 16:9) in addition to JPEG/RAW files. The user can playback these vibrant images on the latest Panasonic HLG-compliant 4KTV via HDMI cable connection or other HLG-compliant devices.

For more continuous burst shooting, 6K PHOTO[*5] makes it possible to capture unmissable moments at 30 fps by extracting the frame with the best timing out of a 6K burst file (in 4:3 or 3:2 aspect ratio) to save as an approximate 18-megapixel equivalent high-resolution photo.

*1 Of mirrorless interchangeable lens cameras, as of September 2, 2020

*2 The AF mode switches to MF when the frame rate is set to of 150 fps or more. The angle of view is reduced when the frame rate is set to 180 fps. Recording stops when the continuous recording time exceeds 30 minutes.

*3 “HLG (Hybrid Log Gamma)” is an international standard (ITU-R BT.2100) HDR format.

*4 “HSP” is an HDR picture format using HLG format video technology.

*5 6K PHOTO’ is a high speed burst shooting function that cuts a still image out of a 4:3 or 3:2 video footage with approx.18-megapixel (approx. 6000 x 3000 effective pixel count) that the 6K image manages.

  1. High-speed, high-precision AF achieved supported by real-time detection technology

The LUMIX S5 boasts high-speed, high-precision AF in both photo shooting and video recording. Combining the Contrast AF with DFD (Depth From Defocus) technology, it focuses on the target in approximately 0.08 sec[*1]. As a camera that excels in low-light shooting, the LUMIX S5 boasts -6EV[*2] luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. Allowing maximum 480 fps communication speed between the sensor and the lens, users can take full advantage of this high-speed, high-precision AF when LUMIX S Series lens is used.

The LUMIX S5 also incorporates an advanced deep learning technology that detects specific subjects like humans and fast-moving animals. Notably for humans, the head is separately recognized from the eye, face and body by real-time detection technology to provide even more precise focusing. The camera continually tracks an individual even if they move quickly, turn their back to the camera, tilt their head or move far away from the camera. On the other hand, improvements to the DFD technology has enhanced AFC, which also enables users to keep tracking small or fast-moving subjects to capture them in crisp focus.

*1 11EV, at wide-end with S-R24105 (CIPA) in LVF120 fps setting.

*2 At ISO100, F1.4, AFS

  1. Reliable basic performance and expandability for creative freedom

The LUMIX S5 boasts outstanding mobility yet excels in basic performance and expandability. To withstand heavy field use, the LUMIX S5 is composed of a magnesium alloy full die-cast body and is splash/dust-resistant[*1]. With an optimum layout of heat dispersion components, heat is effectively transferred outside which results in stable, continuous video recording for a long time.

The LUMIX S5 has a large LVF (Live View Finder) with a high magnification ratio of approx. 0.74x. High-precision, high-speed OLED (Organic Light-Emitting Diode) display features 2,360K-dot high resolution. Adoption of OLED for the LVF achieves high speed response with minimum time lag of less than 0.005 sec. With an eyepoint of approximately 20 mm, it offers high visibility with comfort for users wearing glasses.

A 3.0-inch free-angle LCD in 3:2 aspect with 1,840K-dot high resolution provides touch control. Composition during recording in various popular aspect ratios such as 16:9, 4:3, 1:1, 4:5, 5:4 and 9:16 can be checked with the Frame Marker function. The REC Frame Indicator identifies whether the camera is recording or not.

The LUMIX S5 has a double SD Memory Card slot. One slot complies with UHS-I and the other with the high-speed, high-capacity UHS-II (Video Class 90). The camera’s battery can be recharged either via AC or USB according to the user’s convenience.

Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. The settings of a LUMIX S5 camera can also be copied and transmitted wirelessly to other S5 cameras when using multiple S5 cameras. Wi-Fi 5-GHz (IEEE802.11ac) [*2] also is effective in addition to 2.4-GHz (IEEE802.11b/g/n.) This provides secure and stable connection on location for smooth remote control and high-speed data transfer.

*1 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

*2 5GHz Wi-Fi is not available in some countries.

  1. Optional accessories and application software

A variety of accessories can be used for the LUMIX S5 to enhance its usability and convenience. Microphone Adaptor (DMW-XLR1) is a plug-in type adaptor for an XLR microphone to record high-quality stereo sound. It is ideal for lip-sync recording. Dedicated switches allow direct, quick control. MIC, LINE and CONDENSER MICROPHONES are switchable. Battery Grip (DMW-BGS5) allows approximately 940 pictures (using the LVF) / 3000 pictures (in Power Save LVF mode) with an extra battery inside the grip. More accessories such as Remote Shutter (DMW-RS2), DC coupler (DMW-DCC17), Tripod Grip (DMW-SHGR1) are available.

Application software LUMIX Tether enables tethered shooting via USB. Users can control the camera by connecting it to a PC via USB. It lets them view the image on a large PC screen while shooting. For live streaming, LUMIX Tether for Streaming (Beta) with LIVE VIEW mode can be used.

The LUMIX Sync application for iOS/Android devices enables photo transmission to a smartphone or a tablet via easy wireless connection. It also allows remote control of the camera using these devices.

  1. Future Firmware Update

To further enhance its performance, a firmware update is scheduled for the LUMIX S5 by the end of 2020. In addition to C4K video recording, it will support RAW video data output to ATOMOS NINJA V over HDMI at a resolution of 5.9K (5888×3312) 29.97p/25p, 4K(4128×2176) 59.94p/50p and Anamorphic 3.5K (3536×2656)/50p. A variety of video recording assist functions such as the Vector Scope Display, Master Pedestal Adjustment and SS/Gain Operation(SEC/ISO, ANGLE/ISO, SEC/dB) will also be available. L.MonochromeS and L.ClassicNeo are the new options to be added for Photo Style.

The Lumix S5 will be available at valued channel partners in mid-September for $ 1999.99 for the body only and $ 2299.99 with a 20-60 kit lens.

Panasonic Lumix DC-S5 specifications

Price
MSRP $ 1999 (body only), $ 2299 (w/20-60mm lens)
Body type
Body type SLR-style mirrorless
Body material Magnesium alloy
Sensor
Max resolution 6000 x 4000
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 24 megapixels
Sensor photo detectors 25 megapixels
Sensor size Full frame (35.6 x 23.8 mm)
Sensor type CMOS
Processor Venus Engine
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-51200 (expands to 50-204800)
Boosted ISO (minimum) 50
Boosted ISO (maximum) 204800
White balance presets 5
Custom white balance Yes (4 slots)
Image stabilization Sensor-shift
Image stabilization notes 5-axis Dual IS 2
CIPA image stabilization rating 6.5 stop(s)
Uncompressed format RAW
JPEG quality levels Fine, standard
File format
  • JPEG (Exif v2.31)
  • Raw (Panasonic RW2, 12-bit)
  • HLG (CTA-2072)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Number of focus points 225
Lens mount Leica L
Focal length multiplier 1×
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 1,840,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.74×
Viewfinder resolution 2,360,000
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/8000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes (via hot shoe)
Flash modes Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync, Slow Syn./Red-eye Reduction, Forced Off
Flash X sync speed 1/250 sec
Continuous drive 7.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Highlight-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±3 (3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV steps)
Videography features
Format MPEG-4, H.264, H.265
Modes
  • 3840 x 2160 @ 60p / 200 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 50p / 200 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 30p / 150 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 25p / 150 Mbps, MOV, H.265, Linear PCM
  • 3840 x 2160 @ 23.98p / 150 Mbps, MOV, H.265, Linear PCM
  • 3328 x 2496 @ 30p / 150 Mbps, MOV, H.264, Linear PCM
  • 3328 x 2496 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 100 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types Dual SD/SDHC/SDXC slots (UHS-II supported in slot 1)
Connectivity
USB USB 3.2 Gen 1 (5 GBit/sec)
USB charging Yes (Power Delivery supported)
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port Yes
Wireless Built-In
Wireless notes 802.11ac (dual-band) + Bluetooth
Remote control Yes (wired or via smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description DMW-BLK22 lithium-ion battery and charger
Battery Life (CIPA) 440
Weight (inc. batteries) 714 g (1.57 lb / 25.19 oz)
Dimensions 133 x 97 x 82 mm (5.24 x 3.82 x 3.23″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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