RSS
 

Posts Tagged ‘MultiAspect’

Rumored 8K multi-aspect sensor could point to 4K super camera (Sony a7S III?)

28 Nov
There’s been a lot of speculation about what an a7S III would look like, perhaps this rumored sensor from Sony Semiconductor provides some clues.

We’ve been speculating for a while about what a Sony a7S III would need to offer to filmmakers to offer a compelling advantage over the a7R III and a7 III. Rumors of a new sensor from Sony Semiconductor could make even our wildest speculation look rather unambitious.

With the $ 2000 a7 III able to shoot 4K footage from a 6K region of its sensor (capturing more detail than the a7S II can), Sony would have to do something clever to make an a7S III look attractive. The office was split down the middle between ‘more resolution,’ perhaps using an a9-style stacked chip to give a7 III-esque resolution but perhaps at 60p and with minimal rolling shutter, or possibly a move to 10-bit recording, to give more flexible files, particularly for anyone shooting Log or HDR video.

In a recent interview, Sony’s Kenji Tanaka told us the a7S II successor would be “more than [a7S II users] expect.”

Rumored specification of sensor capable of 36MP stills and 8K Ultra HD capture
Pixel Size (µm) 4.88
Aspect ratios
  • 3:2
  • 16:9
Pixel Resolutions
  • 7380 x 4932 (3:2)
  • 7730 x 4352 (16:9)
Active sensor area
  • 36 x 24mm
  • 37.1 x 20.9mm*
Rumored readout rates
  • 10FPS @ 16-bit
  • 60FPS @ 10-bit**

*Although the 16:9 region is wider than the 3:2 area, its diagonal length is smaller, so would be guaranteed to fit within the standard image circle of full frame lenses.
**10-bit capture would limit the camera to around 10EV of dynamic range. Video is more likely to be made from 12 or 14-bit capture, the rates for which are unspecified.

However, Sony Alpha Rumors is reporting a fairly plausible chip spec that would blow such cameras out of the water: an oversized Full Frame sensor that could shoot 36MP stills or 8K video while maintaining the same diagonal field of view (so the scope of wide-angle lenses isn’t reduced by cropping a 16:9 image out of the middle of a 3:2 sensor).

This could give a camera that makes no apparent compromise between stills shooting and video capture.

It’s possible to use a 16:9 crop (yellow) that’s wider than the standard 36 x 24mm dimensions of a full frame sensor (pink), so long as the diagonal is the same. This maintains the same diagonal angle of view: a trick Panasonic and Canon have made use of in the past.

This sensor could form the basis of one hell of a stills/video camera. Details of the chip are hazy to the point where they could be downright inaccurate, but a camera that can shoot both high-res stills and high-res video would make sense as an a7S III, since it would cost more than an a7 III but offer a lot more to videographers than the a7R III can.

Don’t get side-tracked by talk of the a7S cameras being great for low light stills: it’s no better than the a7R III

And let’s not get side-tracked by talk of the a7S cameras being great for low light stills. I’d happily put money on that being a marketing angle decided as the camera was being launched: the a7S II is no better in low light than the a7R III if you scale files down to the same size. The only reason it ever looked good in low light was that it’s the first time we’d seen ‘Dual Gain’ technology appear in a Sony sensor, and didn’t initially recognize its significance.

Does 8K capture mean 8K output?

Just because a sensor can capture 8K doesn’t mean that it would necessarily output 8K footage. Every manufacturer we’ve spoken to has told us how difficult it is to process and compress 4K footage in a camera with a small, stills-style body with no fans, because too much heat builds up. It seems unlikely that Sony could go straight from 4K stills/video cameras that have some heat buildup limitations straight to one that can process and compress four times as much data.

And that’s before you question how many people have computers or software that can edit the footage.

Could we be looking at perfectly oversampled 4K output, rather than 8K

But the question is: would it have to? There’s very little call for 8K footage yet, given that 4K is only starting to find its way into people’s homes. Sony’s current cameras can downsample 6K capture into 4K output, so could we be looking at perfectly oversampled 4K output, rather than 8K? After all, the math is likely to be easier.

The Sony a7S used 3840 x 2160 capture to produce 1920 x 1080 video with no aliasing, since this 2x oversampling let it perfectly capture all the frequencies that can be included in 1080 footage.

There’s a precedent for this, of course. The original Sony a7S captured 3840 x 2160 pixels, not to create 4K footage but as the basis for excellent 1080 video. This has a number of advantages: 2160 is the fewest pixels you need to capture to accurately represent all the frequencies you can include in an image 1080 pixels tall (This article explains why). So the a7S captured 4K, filtered-out (blurred) everything that couldn’t be conveyed in a 1920 x 1080 video, and then downsampled to produce some of the best 1080 footage we’ve ever seen.

An ‘8K’ camera could output cleaner, more detailed 4K footage than anything we’ve yet seen

A camera sampling 8K could output cleaner, more detailed 4K footage than anything we’ve yet seen. Better still, creating one output pixel from four capture pixels means you’re capturing all three primary colors at every location, so you could potentially output a 4:4:4 color signal over HDMI if you wanted. Though it’s noticeable that the a7S didn’t do this with its oversampled 1080, and most consumer recorders will only cope with 4:2:2 signals.

Does 10-bit capture mean 10-bit output?

And, just as 8K capture shouldn’t be taken to mean 8K output, 60 frame-per-second readout shouldn’t be assumed to mean 60p recording. The specs of the chip are rumored and hence hazy but if it’s true that it can only shoot 60FPS with 10-bit readout, then I’d expect a camera that records 30p (or whatever rate the sensor can maintain in 12-bit mode). This is down to the difference between capture bit-depth (which is linear and can limit the system’s dynamic range), and output bit-depth (which can contain any amount of DR). 10-bit output is pretty flexible, but 10-bit capture (with a maximum of around 10 EV of DR) is pretty limiting. So I’d expect video to come from 12-bit capture and then, ideally, be recorded and output as 10-bit files.

Venice-series/anamorphic

Of course this could all be wrong. The rumors might be completely incorrect or the idea of an a7S III (or a9S if componentry or the desire not to overshadow the a7R III saw it sold at a higher price point) could be wide-of-the-mark.

Maybe this chip could be destined for something in Sony’s CineAlta range, with the 3:2 region used for anamorphic shooting. We doubt it, though.

For instance, the expensive, Stacked CMOS sensor used in the Sony a9 (or one very closely related to it) is almost certainly the one also used in Sony’s pro-video Venice camera that costs tens of thousands of dollars. This new chip could be for a sister model for that range, with the 3:2 aspect ratio used to capture footage with anamorphic lenses, for instance.

Or maybe it’ll be a different camera maker than ends up making use of the chip.

But, whether this 36MP still/8K video sensor turns up in a Sony a7/a9 series camera or not, it seems fair to say it could be the basis of one hell of a stills/video camera.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Rumored 8K multi-aspect sensor could point to 4K super camera (Sony a7S III?)

Posted in Uncategorized

 

Much-anticipated Panasonic DC-LX100 II features 17MP multi-aspect sensor

22 Aug

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3883516830″,”galleryId”:”3883516830″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Panasonic has finally replaced its venerable LX100 enthusiast compact with the new DC-LX100 II. The big change here is the 17 megapixel multi-aspect Four Thirds sensor, up from 12.8MP on the original model. The higher-res sensor, borrowed from the GX9, and new image processor produce improved fine detail capture and better color rendition, according to Panasonic.

The LX100 II has the same (excellent) 24-75mm equivalent F1.7-2.8 lens, which features five aspherical and two ED elements, a minimum focus distance of 3cm (1.2″) and a leaf shutter. The design of the camera is almost identical, save for a ‘grippier’ grip and additional custom buttons. The LX100 II continues to offer the analog controls that made its predecessor so appealing. There are dials for exposure compensation and shutter speed, plus aperture and custom control rings. A switch on top of the lens barrel lets you quickly toggle between 1:1, 4:3, 3:2 and 16:9 aspect ratios. The field-of-view is maintained at the last three of those aspect ratios, a hallmark feature of Panasonic’s LX-series cameras.

The design of the camera is almost identical, save for a ‘grippier’ grip and additional custom buttons

The LCD resolution has been bumped to 1.24 million dots and the display is fully touch-enabled, as well. The 2.76M-dot equivalent field sequential electronic viewfinder is unchanged. Users will find that the menu system has been updated to match Panasonic’s latest cameras.

The buffer on the camera has been increased, allowing for up to 33 Raw images to be captured at 11 fps (5.5 fps with C-AF). Two of Panasonic’s latest Picture Styles have also been added: L. Monochrome and the high contrast L. Monochrome D. A ‘grain effect’ mode can be applied to either of those modes for a film-like effect.

The 4K Photo feature has been enhanced, with support for Post Focus, Focus Stacking and Sequence Composition. Bluetooth has also been added, allowing for remote wake-up, auto transfer and a simple remote shutter release. Panasonic also added the ability to charge the camera over USB to the LX100 II.

You can pick up a DC-LX100 II (with a small external flash) in October for $ 999.

Official sample photos

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3501874105″,”galleryId”:”3501874105″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Press Release

LUMIX LX100 II: New 17-Megapixel Multi Aspect 4/3-type (inch) Sensor

Featuring F1.7 LEICA DC VARIO-SUMMILUX Lens and 4K Video

Newark, NJ (August 22, 2018) – Panasonic is proud to introduce the LUMIX LX100 II with a large, 4/3-inch High Sensitivity MOS Sensor for the seventh generation model of Panasonic’s world-renowned LX high-end compact camera series.

The LUMIX LX100 II newly integrates a total 21.77-megapixel sensor to achieve an effective 17.0 megapixels in 4:3 aspect ratio. Even the finest details can be precisely captured with the increased resolution of this new sensor. Together with a high-speed, high-performance Venus Engine image processor, it achieves superb image quality with natural, true-to-life description.

The included LEICA DC VARIO-SUMMILUX lens (35mm camera equivalent: 24-75mm) boasts a high-speed of F1.7-F2.8, and high descriptiveness in detail and resolution corner-to-corner. And, together with the large MOS Sensor, the lens also produces a stunningly beautiful defocus. At the same time, a nine-blade aperture diaphragm helps produce bokeh with smooth, circular shapes. The versatile zoom range of 24-75mm (35mm camera equivalent) is ideal for wide-ranging photography from snapshots to portraits. Notably, landscapes can be captured in dynamic 24mm ultra-wide angle in any of 4:3, 3:2 or 16:9 aspect ratios, thanks to the multi-aspect capability. An aperture ring allows direct, intuitive aperture control to take maximum advantage of this high-speed lens. A minimum working distance of 3cm is all that is required to take stunning macro shots with intricate detail.

The LUMIX LX100 II integrates an LVF (Live View Finder) with approximately 2760K-dot equivalent resolution and approximately 100percent color reproduction. This 16:9 Wide Screen LVF boasts approximately 1.39x / 0.7x (35mm camera equivalent) magnification and 100percent field of view. The new 3.0-type (inch) rear monitor increases resolution to approximately 1240K-dot, enabling touch control. A variety of advanced functions are featured on the LUMIX LX100 II to inspire and accommodate the potential of advanced photographers. It allows direct, intuitive control with dedicated rings and dials, such as an aperture ring, control ring, shutter speed dial and exposure compensation dial.

The LUMIX LX100 II capably records smooth, high-resolution 4K video in 3840×2160 at 30p or 24p in MP4. Taking full advantage of 4K technology, users can capture fleeting photo opportunities at 30 fps in 8-megapixel equivalent resolution to save as a 4K PHOTO. Auto Marking, Sequence Composition, Post Focus, Focus Stacking and Light Composition are newly added to make 4K PHOTO even easier to use in more creative ways.

The LUMIX LX100 II is also superior in response. With DFD (Depth from Defocus) technology, accuracy and speed are improved to achieve Light Speed AF of approx. 0.10 sec* to capture fleeting photo opportunities. High-speed burst shooting is possible at 11 fps in full resolution.

For more creative freedom, Filter, Creative Panorama and Photo Style are available. L.Monochrome and L.Monochrome D mode are also added to Photo Style, making it possible to shoot dynamic monochrome photos with emphasized highlights and shadows while preserving the details. Plus, grain effect can now be adjusted in all monochrome modes in Photo Style. Other practical functions include Focus Peaking, Level Gauge, Aperture bracket, Focus bracket, WB (white balance) bracket and highlight/shadow control. The LUMIX LX100 II can also develop RAW images into JPEG in-camera.

The LUMIX LX100 II includes Bluetooth® and Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation. Bluetooth 4.2 (called BLE: Bluetooth Low Energy) compatibility enables constant connection with a smartphone or tablet with minimum power consumption. It also complies with convenient USB/AC power charging.

* Based on the CIPA standard. At wide-end, when using Live View Finder at 60 fps.

  1. New, Large 4/3-inch High Sensitivity MOS Sensor and Venus Engine

The LUMIX LX100 II incorporates a new 4/3-type (inch) total 21.77-megapixel*1 High Sensitivity MOS Sensor to acquire even higher resolution than its predecessor, the LX100. It boasts multiple aspect ratios (4:3/3:2/16:9) and the effective area in the 4:3 aspect ratio is 17.0-megapixel*, which is more than approx. 1.6x larger than that of a 1-inch sensor. This new high-resolution MOS Sensor maintains an excellent S/N ratio for a dramatic reduction in noise, even when shooting at a high ISO setting at max. ISO 25600 corner-to-corner reproduces the finest details, and an impressive defocus with a shallow depth of field from wide to tele-end, making the subject stand out.

The Venus Engine renders vibrant, high-quality, true-to-life images with excellent resolution, high contrast and impressive color reproduction. The advanced Multi-process NR (Noise Reduction) applies effective noise reduction and detail processing according to each component frequency. Plus, Random Filter granulates chromatic noise to blend into the image even more naturally. As a result, the maximum ISO 25600 (Extended) is achieved. A sharpening engine controls over wider frequency range by adjusting the amount of sharpness according to the frequency level, resulting in a faithful stereoscopic effect. The Venus Engine also excels in color reproduction with accurate evaluation of each color, similar in color phase, i saturation, and luminosity. With its 1728-zone metering, more precise WB adjustment and natural image rendering are available.

The combination of the High Sensitivity MOS Sensor and the Venus Engine achieves stunning picture quality that rivals that of DSLRs.

* Multi-aspect count

  1. F1.7-2.8 / 24-75mm LEICA DC VARIO-SUMMILUX lens and 3cm macro shot

The LUMIX LX100 II incorporates a LEICA DC VARIO-SUMMILUX lens system (F1.7-F2.8), providing 3.1x optical zoom (35mm camera equivalent: 24-75mm) with POWER O.I.S.(Optical Image Stabilizer). Comprising 11 elements in eight groups, including two ED lenses and five aspherical lenses with eight aspherical surfaces, this advanced lens unit achieves remarkably high contrast and resolution. The lens unit boasts F2.8 high speed, even at the tele-end, allowing handheld shooting in low-lit situations or adding beautifully defocused background on both photo and video. To achieve further downsizing to fit the large 4/3-inch sensor in the camera body, every lens group is now designed to move while Panasonic’s original centering technology is applied to the lens alignment to enhance sharpness. Adoption of five aspherical glass lenses and optical design optimization achieve beautiful, evenly smooth defocus with an invisible edge line; the “onion ring effect” is suppressed by Panasonic’s unique aspherical lens mold technology. In addition, a nine- aperture diaphragm helps produce bokeh with smooth, circular shapes.

The versatile zoom range of 24-75mm (35mm camera equivalent) is suitable for wide-ranging photography from snap to portrait. Notably, landscapes can be captured in dynamic 24mm ultra-wide angle in any of 4:3, 3:2 or 16:9 aspect thanks to the multi-aspect capability. The aspect can be set quickly with the aspect switch on the lens barrel. A Multi-Aspect Bracket allows shooting still images in 4:3, 3:2, 16:9 and 1:1 aspect ratios simultaneously with a single shutter release.

Stunning macro shots can be shot with minimum working distance of 3cm (wide) and 30cm (tele) to describe the detail of the subject, despite its large-sized sensor. It also complies with maximum 1/4000 (mechanical) and 1/16000 (electronic) high shutter speed.

  1. Intuitive control and quick response

The LUMIX LX100 II integrates a LVF (Live View Finder) with 2764K-dot equivalent high resolution and approximately 100percent color reproduction. This 16:9 Wide Screen LVF boasts approximately 1.39x / 0.7x (35mm camera equivalent.) magnification and 100percent field-of-view. It comes with the Eye Sensor that automatically turns ON/OFF according to the photographer’s action. The Eye Sensor AF starts auto focusing immediately when the photographer looks into the LVF to prevent missing the shooting opportunity. The image output between the LVF and the rear monitor is switched automatically with the eye sensor on the LVF, which features options of sensitivity – high, low and off – to reduce false operation caused by touching the rear monitor.

The LUMIX LX100 II is equipped with a variety of advanced functions to spur potential of advanced photographers. It allows direct, intuitive control with dedicated rings and dials, such as aperture ring, control ring, shutter speed dial or exposure compensation dial. For example, controls including manual focus, zoom and step zoom can be operated with the control ring. An ergonomically designed synthetic leather grip ensures a stable hold.

The new 3.0-type (inch) large rear monitor increases resolution to approximately 1240K-dot, enabling touch control. Direct operation is made possible with Touch AF or Touch Pad AF while enhancing the operability of 4K PHOTO.

DFD (Depth from Defocus) technology calculates the distance to the subject by evaluating two images with different sharpness levels, while consulting the data of optical characteristics of the current lens in a moment. As a result, the LUMIX LX100 II achieves high-speed AF of approximately 0.10 sec* and high-speed burst shooting at 11 fps (AFS) / 5.5 fps (AFC) to capture fast-moving subject just in-focus. The LUMIX LX100 II integrates Starlight AF to allow users to shoot a star in the sky at night with auto focus. This can be achieved by accurate calculation of contrast value in a smaller AF zone.

* Based on the CIPA standard. At wide-end, when using Live View Finder at 60 fps.

  1. Ultra high-definition 4K video and 4K PHOTO for unmissable moments

With its high-speed signal readout of the sensor and engine processing, the LUMIX LX100 II records smooth, high-resolution 4K videos in 3840×2160 resolution at 30p or 24p.

Taking full advantage of 4K technology, users can enjoy 4K PHOTO to capture fleeting photo opportunities at 30 fps in eight-megapixel equivalent resolution by extracting a frame of the most photogenic timing out of the 4K burst file to save as a photo. Three exclusive functions are integrated into the LUMIX LX100 II to make 4K photography even easier: 4K Burst Shooting, 4K Burst (Start/Stop) and 4K Pre-burst. The 4K Burst shooting allows consecutive shooting at 30 fps*1, which can be used just like photo burst shooting. Users can also choose either 4:3, 3:2 or 1:1 in addition to 16:9 with the aspect switch.

Choosing the best shot out of hundreds of frames recorded with 4K PHOTO is now easier with the newly-added Auto Marking function. It lets users jump to the nearest frame where differences are obvious between consecutive frames to minimize the time it takes to choose the best shot. With Sequence Composition, it is possible to make a stromotion image by synthesizing multiple images shot at a fixed frame with 4K PHOTO. A unique image reflecting the subject’s motion can be easily produced in-camera without a special retouching process.

The LUMIX LX100 II also comes with a Post Focus function to select the in-focus area even after shooting. This is particularly helpful in situations like macro shooting, where strict focusing is required or for changing expressions by changing the focused subject. This function was developed by combining the high-speed, high-precision DFD (Depth from Defocus) auto-focus technology and 4K technology. The Focus Stacking function enables users to adjust the depth of field after shooting by combining multiple images shot with the Post Focus function in the camera. Users do not need to focus strictly while shooting as they can obtain the image with the defocus level they want or pan-focus the image by simply selecting the focus area after shooting. This is beneficial when shooting macro shots of insects, small accessories and similar subjects

In addition, the LUMIX LX100 II incorporates Light Composition function as a new option of 4K PHOTO mode. The camera synthesizes images by choosing and saving a brighter pixel. This makes it possible to produce more luxurious, dramatic images of situations such as fireworks or night scenery in-camera with ease.

*1 About 4K motion picture recording / 4K Photo recording:

– Use a card with SD Speed Class with “UHS-I UHS Speed Class 3 (U3)” when recording motion pictures with [MP4] in [4K] or [4K PHOTO].
(SD speed class is the speed standard regarding continuous writing.)

– Recording stops when the continuous recording time exceeds 15 minutes with [MP4] in [4K].

– When using an SDHC memory card: Users may continue recording without interruption, even if the file size exceeds 4GB, but the motion picture file will be divided and recorded/played back separately.

– When using an SDXC memory card: Record a motion picture in a single file.

– When the ambient temperature is high or continuous recording is performed, the camera may stop the recording to protect itself. Wait until the camera cools down.

*2 For [4K] video output, use a HDMI cable that has the HDMI logo on it, and is described as “4K compatible.”

  1. More options for creative freedom

?Filters and Creative Panorama

The LUMIX LX100 II integrates a variety of artistic functions that adds fun to digital photography. A total of 22 filters are available to take pictures with and without filter effect simultaneously, so that users can compare them to choose later. With the Creative Panorama function, it is possible to shoot a horizontal / vertical panoramic image with consequent shots taken by overlaying the previous picture and adding 18 filter effects.

?Photo Style with new L.Monochrome D mode

Photo Style, which changes the texture of the photo, is also upgraded. L.Monochrome mode and L.Monochrome D mode are newly added to Photo Style, making it possible to shoot dynamic monochrome photos with emphasized highlights and shadows while preserving the details. All three monochrome modes, Monochrome, L.Monochrome and L.Monochrome D, allow the user to adjust the grain effect between High/Standard/Low for more creative monochrome photo shooting.

?Exposure / WB / Focus / Aperture Bracket

In the LUMIX LX100 II, Focus Bracket and Aperture Bracket are additions to conventional Exposure Bracket and WB Brackets for users to choose the best shot later. In Focus Bracket, a maximum of 999 images can be shot with different focus points. The Aperture Bracket lets users have multiple shots with different depth of field.

?RAW data development in-camera

?Highlight / Shadow Control

-Focus Peaking

-Level Gauge

  1. Other features

?Bluetooth® 4.2 and Wi-Fi® 2.4GHz (IEEE802.11b/g/n)

The LUMIX LX100 II integrates Bluetooth® and Wi-Fi® connectivity to provide a more flexible shooting experience and instant image sharing with easy operation. Once the camera is connected to a smartphone or tablet installed with Panasonic’s dedicated application software (Panasonic Image App for iOS / Android), users can shoot, browse and share images remotely. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. This enables the camera to activate by simply using a smartphone/tablet or to add a GPS geotag on the photos automatically.

?AC/USB Power Charging

The camera’s battery can be recharged either via AC or USB according to the users’ convenience.

Panasonic Lumix DC-LX100 II specifications

Price
MSRP $ 999
Body type
Body type Large sensor compact
Body material Magnesium alloy
Sensor
Max resolution 4736 x 3552
Other resolutions 4928 x 3288 (3:2), 5152 x 2904 (16:9), 3552 x 3552 (1:1)
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 17 megapixels
Sensor photo detectors 22 megapixels
Sensor size Four Thirds (17.3 x 13 mm)
Sensor type CMOS
Processor Venus Engine
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 200-25600 (expands down to 100)
Boosted ISO (minimum) 100
White balance presets 5
Custom white balance Yes (4 slots)
Image stabilization Optical
Uncompressed format RAW
JPEG quality levels Fine, standard
File format
  • JPEG (Exif v.2.31)
  • Raw (Panasonic RW2)
Optics & Focus
Focal length (equiv.) 24–75 mm
Optical zoom 3.1×
Maximum aperture F1.7–2.8
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (4.3x – 6.2x)
Manual focus Yes
Normal focus range 50 cm (19.69)
Macro focus range 3 cm (1.18)
Number of focus points 49
Screen / viewfinder
Articulated LCD Fixed
Screen size 3
Screen dots 1,240,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.7×
Viewfinder resolution 2,760,000
Photography features
Minimum shutter speed 1800 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/16000 sec
Exposure modes
  • Program
  • Aperture priority
  • Shutter priority
  • Manual
Built-in flash No
External flash Yes
Flash X sync speed 1/4000 sec
Drive modes
  • Single
  • Continuous (H/M/L)
  • Self-timer
Continuous drive 11.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-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)
WB Bracketing Yes
Videography features
Format MPEG-4, AVCHD, H.264
Modes
  • 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, AAC
  • 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC
  • 1920 x 1080 @ 30p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
  • 1280 x 720 @ 30p / 10 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC (UHS-I supported)
Connectivity
USB USB 2.0 (480 Mbit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port No
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth 4.2 LE
Remote control Yes (via smartphone)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description DMW-BLE9 lithium-ion battery & USB charger
Battery Life (CIPA) 340
Weight (inc. batteries) 392 g (0.86 lb / 13.83 oz)
Dimensions 115 x 66 x 64 mm (4.53 x 2.6 x 2.52)
Other features
Orientation sensor Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Much-anticipated Panasonic DC-LX100 II features 17MP multi-aspect sensor

Posted in Uncategorized

 

Throwback Thursday: Panasonic Lumix DMC-LX3, Multi-Aspect Master

23 Mar

Back in 2008 there weren’t a whole lot of enthusiast compacts. The two models which got the most attention were the Canon PowerShot G10 and Nikon Coolpix P6000. At that time, the ‘Megapixel race’ was really getting going, with the G10 and P6000 having 14.7MP and 13.5MP sensors, respectively (the LX2 was still at 10MP). All three of the aforementioned cameras had lenses with lovely focal ranges, but slow maximum apertures (F2.8-4.5 for the Canon, F2.7-5.9 for the Nikon).

Enter the Panasonic Lumix DMC-LX3. Panasonic didn’t go crazy with Megapixels like other companies, instead using a 10 Megapixel, 1/1.63″ CCD with a unique ‘multi-aspect’ feature. An even bigger story was its ‘Leica’ DC Vario-Summicron lens that had an equivalent focal length of 24-60mm (yep, kind of short) and a max aperture range of F2-2.8. Despite that fast lens and because of that limited range, the LX3 remained extremely compact.

The LX3 is remarkably compact considering its lens. Its metal body gave it a quality feel.

Indeed, one of the fun things about the LX3 was its multi-aspect capabilities. Using the switch on top of the lens barrel you could choose between 4:3, 3:2 and 16:9. On most cameras the angle-of-view would change at each of those ratios, but on the LX3 they are all the same. Simply put, the focal range (24-60mm equiv.) was the same, regardless of which of the three aspect ratios used. Having the ability to quickly switch aspect ratios made it a lot more tempting to mix things up a bit, since a trip to the menus wasn’t required.

The back of the LX3 had a pretty standard layout, with a 3″ LCD and cluttered controls.

The LX3 had a snappy UI, effective ‘MEGA OIS’ image stabiliization and plenty of manual controls. It could even capture 720/24p video, which was uncommon in that era. It’s battery life of 380 shots/charge was pretty darn good, too.

A pricey optical viewfinder was an available accessory. Third parties made teleconverters, like this 2.5x model from Fujiyama.

Two other nice things about the LX3 were its support for an optional viewfinder and a threaded lens barrel. The DMW-VF1 was attached via the hot shoe and was framed for 24mm shooting. If you wanted to screw something onto the lens, Panasonic sold a 0.75x wide-angle converter and a number of filters. While Panasonic didn’t sell any teleconverters, third parties did. Fujiyama produced a 2.5x teleconverter, which brought the long end of the lens to 150mm equivalent. 

Ultimately, it’s was the sensor + lens combination that made the LX3 so appealing. The LX3 had very good image quality at its base ISO and it held up well through ISO 800. Having that bright lens made the LX3 very capable in low light, as it allowed the photographer to keep the ISO as low as possible. And at a time when CCDs weren’t exactly noise-free, that made a huge difference.

My colleague Richard Butler adds:

The LX3 is the first compact I ever liked. It also, arguably, rejuvenated the entire sector: everyone else started to make small cameras with bright lenses, including Canon re-launching the S series. Sure, the move to 1″ sensors make the LX3 look rather less impressive, but it still pointed the way towards a generation of enthusiast pocketable compacts with lenses that let you get the best out of their sensors.


Have fond memories of your Panasonic LX3? Share them in the comments below!  Feel free to leave suggestions for future TBT articles as well.

Read our Panasonic LX3 Review

$ (document).ready(function() { SampleGalleryStripV2({“galleryId”:”9924184790″}) })

Sample photoSample photoSample photoSample photoSample photo

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Throwback Thursday: Panasonic Lumix DMC-LX3, Multi-Aspect Master

Posted in Uncategorized