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Panasonic announces Lumix DC-GH5S, an even more video-focused GH5

09 Jan

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Panasonic has unveiled the Lumix DC-GH5S, an even more video-centric variant of the company’s GH5 hybrid stills/video camera. Aside from some minor cosmetic differences the two cameras are identical, however the GH5S has been designed to maximize low-light sensitivity and provides a deep feature set tailored to video shooters’ needs.

The GH5S uses a slightly larger, but lower resolution 12.5MP sensor whose ‘multi-aspect’ design offers a series of ~10.2MP crops with the same angle of view. It gains the ability to shoot the wider-angle DCI 4K format at up to 60p, whereas the GH5 tops out at 24p. Both cameras can shoot UHD 4K at up to 60p.

The sensor features a “dual gain” design that Panasonic calls “Dual Native ISO.” This uses two separate sensor read-out circuits – one that maximizes dynamic range at lower sensitivities, and one that prioritizes noise reduction at a dynamic range cost. Unusually, Panasonic lets you limit its camera to one of these modes.

Despite the outward similarities, the GH5S’ list of changes compared to the GH5 is a long one. Image stabilization has been removed to avoid unwanted interactions between a floating sensor and the dollies and gimbals pro shooters tend to favor. VLog-L, offered as an paid upgrade on the GH5, is included as standard. Autofocus is rated down to –5 EV compared to –4EV in the GH5.

The list of differences also includes up to 240fps framerate in 1080p “Variable Frame Rate” mode, a 120fps refresh rate in the electronic viewfinder, 14-bit Raw stills shooting, time code in/out functionality, and LUT-corrected display in playback as well as capture. For a detailed look at the GH5S’ additional capabilities, head to our first impressions review.

The Panasonic Lumix DC-GH5S will be available February 2nd for $ 2499 body-only.

Panasonic Announces the Ultimate Hybrid DSLM with a newly developed 10.2MP High Sensitivity MOS sensor

Introducing the LUMIX GH5S: Exceptional Mirrorless Videography and Photography, designed and developed for professional filmmakers

Introducing a newly developed 10.2MP High Sensitivity MOS sensor for enhanced image quality in low light: Allowing up to 51,200 ISO recording without extended ISO.
Time Code IN/OUT for easy synchronization of multiple cameras and Dual Native ISO, providing low range (400) and high range (2,500) ISO environments.
True “Multi-Aspect Ratio” Function in Both Photo and Video

Las Vegas, NV (January 8, 2018) – Panasonic is proud to introduce the new hybrid Digital Single Lens Mirrorless Camera LUMIX GH5S with expanded video recording capability and enhanced image quality. Designed and developed for professional filmmakers, the LUMIX GH5S achieves highest-ever image sensitivity and video image quality in the history of LUMIX cameras, especially in low-light situations.

Packed with big features to satisfy demanding photographers and videographers alike
The new 10.2-megapixel Digital MOS Sensor with Dual Native ISO Technology and Venus Engine 10 faithfully reproduce even dark parts of the image, allowing high ISO capture when the use of supplemental lighting may not be possible. This sensor is a multi-aspect type with a sufficient margin for realizing the same angle of view in 4:3,17:9,16:9 and 3:2 aspect ratios. The sensor also enables photo shooting in 14-bit RAW format, providing higher flexibility for professional RAW stills development workflows. When shooting in dark environments, videographers can now focus on filming that perfect shot as they no longer need to worry about noise which often results from having to use higher ISOs. The Dual Native ISO Technology suppresses noise to produce cleaner footage when taken in all light. Both videographers and photographers can now enjoy the same diagonal field of view across all aspect ratios with the True “Multi-Aspect Ratio” Function. This feature means you can easily swap between difference aspect ratios giving you the accuracy you want from your lenses, and making the process easier while producing and editing in post-production. The LUMIX GH5S is compatible with Time Code IN and OUT, like the professional camcorders, which is easy to set using the flash sync terminal and bundled conversion cable for a standard BNC terminal. This is especially important for “lip synchronization” when using multiple cameras. The LUMIX GH5S can be used as Time Code generator for other GH5S cameras and professional camcorders. The Time Code IN/OUT functionality makes a production teams job pain-free as it provides synchronization for both video and audio devices used on multi-cam productions.

The LUMIX GH5 achieved 4KUHD 60p video recording for the first time as a digital mirrorless camera in 2017.2 The new LUMIX GH5S establishes a new milestone by realizing the world’s first 4K 60p video recording in Cinema 4K (4096×2160), 3 capable of internal 4:2:2 10-bit video recording up to Cinema 4K30p and internal 4:2:0 8-bit Cinema 4K60p. subsampling commonly used for film production, for even more faithful color reproduction.4 The LUMIX GH5S also records 4:2:2 10-bit 400-Mbps All-Intra in 4K 30p/25p/24p and 200- Mbps All-Intra in Full-HD.

Continuing the LUMIX GH tradition, there is no time limit for both Full-HD and 4K video recording. The LUMIX GH5S complies with 4K HDR video with Hybrid Log Gamma (HLG) mode in Photo Style. A low-bit-rate recording mode, 4K HEVC for HLG, is available. This enables playback on AV equipment compatible with the HLG Display format, such as Panasonic 4K HDR TVs.

The VFR (Variable Frame Rate) function lets users record overcranked (time-lapse) and undercranked (slo-mo) video in C4K/4K (60 fps, maximum 2.5x slower) and FHD (240 fps, maximum 10x slower). A V-LogL and Rec.709 LUT (Look Up Table) are pre-installed in the camera, so users can play videos recorded in V-LogL without having to separately purchase a Software Upgrade Key. Four additional LUTs can be installed using the Panasonic Varicam (.VLT) file format.

DFD (Depth From Defocus) technology and ultra-high-speed digital signal processing achieve fast auto focusing of approximately 0.07 sec 6 with 12 fps (AFS) / 8 fps (AFC) in 12- bit RAW and 10 (AFS) / 7 (AFC) fps in 14-bit RAW high-speed burst shooting. In addition to a total of 225 focus areas, The options for Face/Eye Recognition, Tracking AF, 1-area AF and Pinpoint AF are available for precise focusing. The 4K PHOTO enables 60 fps high-speed capture in approximately 8-megapixel equivalent resolution.

Achieve outstanding footage in any environment, especially in low light
As a camera that excels in shooting in low light, the LUMIX GH5S boasts -5EV luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. Live Boost is another practical feature that makes it possible to check the composition even in total darkness, by boosting the sensitivity just for Live View. The magnification ratio in MF assist is increased from conventional 10x to 20x, which is convenient especially for astronomical photography. An AF Point Scope function, first introduced in the Lumix G9 and Night mode are also integrated.

In order to make the GH5S tough enough to withstand even heavy field use, it is composed of a magnesium alloy full die-cast front, rear and top frame that is not only splashproof7 and dustproof but also freezeproof down to -10 degrees Celsius. The GH5S is equipped with a double SD Memory Card slot, compatible with the high-speed, high-capacity UHS-II and Video Speed Class 90. Users can flexibly choose the recording method from Relay Recording, Backup Recording or Allocation Recording. The HDMI Type A terminal is provided, along with the USB-C Gen1 interface.

Exceptional image capture without concern
The GH5S has a large LVF (Live View Finder) with a stunningly high magnification ratio of approximately 1.52x/0.76x (35mm camera equivalent) providing smooth display at 120 fps. A high-precision, high-speed OLED (Organic Light-Emitting Diode) display features 3,680K-dot resolution and 100% field of view. In addition to dual dials, an omni-directional joystick enables more intuitive and flexible operation.

The GH5S includes Bluetooth and Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation. Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. For Wi-Fi, 5 GHz (IEEE802.11ac)8 can be selected in addition to the conventional 2.4 GHz (IEEE 802.11b/g/n) for an even more secure and stable connection.

For extended battery life and a more stable hold, the new Battery Grip DMW-BGGH5 (sold separately) is available. The XLR Microphone Adaptor DMW-XLR1 (sold separately) allows high-res sound recording with an external XLR microphone.9

The Panasonic LUMIX GH5s will be available from end of February 2 and will retail for $ 2499 (body only).

*1 RAW files are in 14-bit even when 12-bit is selected.
*2 4K 60p/50p(for a Digital Single Lens Mirrorless Camera), 4:2:2 10-bit (for a digital interchangeable lens camera) as of 4 January, 2017
*3 As of January 8, 2018 as a Digital Single Lens Mirrorless camera that complies with 4K (4096×2160) resolution defined by Digital Cinema Initiatives(DCI). According to a Panasonic study.
*4 4:2:0 8-bit in C4K 60p and 4K 60p recording on an SD Memory Card.
*5 Contrast AF with DFD Technology works only with Panasonic Micro Four Thirds lenses. *6 In AFS, at wide-end with H-ES12060 (CIPA) when LVF display speed is set to 120fps.
*7 Splash Proof is a term used to describe an extra level of protection this camera offers against exposure to a minimal amount of moisture, water or dust. Splash Proof does not guarantee that damage will not occur if this camera is subjected to direct contact with water.
*8 5GHz Wi-Fi is not available in some countries.
*9 In MOV only

Panasonic Lumix DC-GH5S specifications

Price
MSRP	$ 2499
Body type
Body type	SLR-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	3680 x 2760
Other resolutions	3:2 (3840 x 2560), 16:9 (4016 x 2256), 1:1 (2752 x 2752)
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	10 megapixels
Sensor photo detectors	12 megapixels
Sensor size	Four Thirds (17.3 x 13 mm)
Sensor type	CMOS
Processor	Venus Engine 10
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 160-51200 (expands to 80-204800)
Boosted ISO (minimum)	80
Boosted ISO (maximum)	204800
White balance presets	5
Custom white balance	Yes (4 slots)
Image stabilization	No
Uncompressed format	RAW
JPEG quality levels	Fine, standard
File format	JPEG (Exif v2.31) Raw (Panasonic ARW, 12/14-bit)
Optics & Focus
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 (2x-4x)
Manual focus	Yes
Number of focus points	225
Lens mount	Micro Four Thirds
Focal length multiplier	2×
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3.2″
Screen dots	1,620,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	1.52× (0.76× 35mm equiv.)
Viewfinder resolution	3,680,000
Photography features
Minimum shutter speed	60 sec
Maximum shutter speed	1/8000 sec
Maximum shutter speed (electronic)	1/16000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Built-in flash	No
External flash	Yes (via hot shoe or flash sync port)
Flash modes	Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off
Flash X sync speed	1/250 sec
Drive modes	Single Continuous 4K Photo Focus Stacking Self-timer
Continuous drive	12.0 fps
Self-timer	Yes (2 or 10 secs, 10 secs w/3 images)
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, H.264, H.265
Modes	4096 x 2060 @ 60p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 50p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 30p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 30p / 100 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 25p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 24p / 400 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 24p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 24p / 100 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 23.98p / 400 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 60p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 50p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 30p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 30p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 25p / 400 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 25p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 25p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 400 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 24p / 100 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 23.98p / 150 Mbps, MOV, H.264, Linear PCM 3840 x 2160 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 60p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 60p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 50p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 50p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 25p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 25p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 24p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 24p / 100 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 23.98p / 200 Mbps, MOV, H.264, Linear PCM 1920 x 1080 @ 23.98p / 100 Mbps, MOV, H.264, Linear PCM 4096 x 2060 @ 60p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 50p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 30p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 30p / 100 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 25p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 25p / 100 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 24p / 400 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 24p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 24p / 100 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM 4096 x 2060 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 60p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 50p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 72 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 72 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 400 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 150 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM 3840 x 2160 @ 23.98p / 72 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 50p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 50p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 30p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 30p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC 1920 x 1080 @ 25p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 25p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 25p / 20 Mbps, MP4, H.264, AAC 1920 x 1080 @ 24p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 24p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 24p / 24 Mbps, MP4, H.264, AAC 1920 x 1080 @ 23.98p / 200 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 23.98p / 100 Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 23.98p / 24 Mbps, MP4, H.264, AAC 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 23.98p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
Microphone	Stereo
Speaker	Mono
Storage
Storage types	Dual SD/SDHC/SDXC cards (UHS-II V60 cards supported)
Connectivity
USB	USB 3.1 Gen 1(5 GBit/sec)
USB charging	No
HDMI	Yes (Up to 4:2:2 10-bit output)
Microphone port	Yes
Headphone port	Yes
Wireless	Built-In
Wireless notes	802.11b/g/n + Bluetooth 4.2 LE
Remote control	Yes (wired or smartphone)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	DMW-BLF19 lithium-ion battery & charger
Battery Life (CIPA)	440
Weight (inc. batteries)	660 g (1.46 lb / 23.28 oz)
Dimensions	139 x 98 x 87 mm (5.47 x 3.86 x 3.43″)
Other features
Orientation sensor	Yes
Timelapse recording	No
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Panasonic Lumix DC-GH5S First Impressions Review

09 Jan

The Panasonic GH5S is a video-focused Micro Four Thirds camera built around what the company markets as a 10.2MP sensor. It’s best understood as an even more video-centric variant of the GH5: it can shoot either DCI or UHD 4K footage natively (one capture pixel = one output pixel) at up to 60p.

Panasonic wasn’t the first company to introduce high quality video to what was otherwise a still camera, but with its GH series it has been constantly expanding the range of professional video features appearing in consumer stills/video cameras. The GH5S takes this logic one step further, by lowering the sensor resolution and omitting image stabilization to make a more single-minded video tool, rather than an hybrid intended to be similarly capable at both disciplines.

The ability to shoot DCI 4K at up to 60p with no crop is the most obvious distinction between this and the standard GH5, but the differences run deeper:

Key specifications

Oversized ‘Multi Aspect’ sensor with dual gain design
10.2MP maximum usable area from at around 12.5MP total
DCI or UHD 4K at up to 60p
10-bit 4:2:2 internal capture at up to 30p
8-bit 4:2:0 internal 60p or 10-bit 4:2:2 output over HDMI
1080 footage at up to 240p (with additional crop above 200p)
Hybrid Log Gamma mode
ISO 160 – 51,200 (80 – 204,800 extended)
AF rated down to –5EV (with F2 lens)
3.68M-dot (1280 x 960 pixel) OLED viewfinder with 0.76x magnification
1.62M-dot (900 x 600 pixel) fully articulated LCD
14-bit Raw stills
11 fps (7 with AFC) or 1 fps faster in 12-bit mode
USB 3.1 with Type C connector

As well as the ability to shoot DCI 4K at higher frame rates, Panasonic also claims the GH5S’s larger pixels and ‘Dual Native ISO’ sensor will mean it shoots significantly better footage in low light.

Differences vs GH5

“10.2” megapixel oversized sensor (vs 20.2MP Four Thirds sized sensor)
Dual-gain sensor design with two read-out circuits
Fixed sensor (no internal stabilization) for use with pro stabilization systems
DCI 4K available in 59.94, 50, 29.97 and 25p (GH5 is 23.98 / 24p only)
1080 mode
AF rated to work in lower light (–5EV vs –4EV)
14-bit Raw available
VLog-L enabled out-of-the-box
Time code in/out
‘Like709’ and ‘V-LogL’ color profiles available in stills shooting
Mic socket offers Phantom Power and Line-level In options
LUT-corrected display available in playback as well as capture
120fps viewfinder mode

Beyond these changes, the GH5S keeps the rest of the GH5’s capabilities, with matching codec options and the same support tools, such as vectorscopes, wave forms and preview modes for anamorphic, Log and Hybrid Log Gamma shooting, for instance.

As on the GH5, Panasonic recommends the use of V60 rated cards or faster for shooting 400Mbps video. However, the V60 standard itself seems to be vague enough that even some nominally V60-compliant cards are still not fast enough. The company says to use either its own brand V60 or V90 cards or to stick to well-known manufacturers with a proven history of producing fast cards (and, ideally, to buy from a source with a good return policy).

Multi-aspect sensor

The GH5S uses a chip that natively shoots DCI or UHD 4K, meaning one pixel on the sensor is used to produce each pixel in the final footage. The sensor, like that on the GH1 and GH2, is oversized. This means it can shoot different aspect ratios using the full extent of the imaging circle projected by the lens, rather than simply cropping down from the 4:3 region.


4:3	3:2	16:9	~17:9 (DCI)	1:1

As well as using the maximum amount of pixels and silicon for each aspect ratio (with consequent image quality benefits), this also means that the diagonal angle of view is preserved, whether you shoot 4:3, 3:2, 16:9 or in DCI 4K’s roughly 17:9 aspect ratio.

It also means that the GH5S should offer a fractionally wider angle-of-view than the GH5 when shooting video, especially when capturing DCI footage.

Dual Gain

Panasonic describes the GH5S as having ‘Dual Native ISO,’ which is standard video terminology for a dual gain sensor design. Such chips have two read-out circuits, one that maximises dynamic range at low sensitivity settings and a second designed to minimize noise but at the cost of dynamic range, at higher settings. It’s something we first encountered in Nikon’s 1 Series cameras but that’s become increasingly common over the past few years, resulting in visible improvements at high ISO settings.

The only difference we can see between the approach taken by Panasonic is that it lets you limit the camera to either one of the sensor’s modes, whereas other brands just change mode in the background, without the user ever knowing.

One of the only concepts fuzzier than ‘ISO’ sensitivity itself is the videography term
‘Native ISO’

From a stills point of view, the two circuits are used from ISO 160 – 640 and from ISO 800 and upwards, respectively. You’ll see talk of the camera having ‘Native ISO’s of 400 and 2500’ but this is perhaps best completely ignored.

One of the only concepts fuzzier than ‘ISO’ sensitivity itself is the videography term ‘Native ISO,’ which essentially appears to mean ‘setting at which the quality is good but that gives room to move either up or down from.’ This should not be confused with the idea of base ISO, which is the setting with the minimal amount of amplification, which usually results in the widest dynamic range.

Lower pixel count

The other thing Panasonic says contributes to giving the GH5S a performance boost in low light is the adoption of fewer and therefore larger pixels.

In general terms, there’s no significant advantage to large pixels over small ones: individually they have access to more light (which usually means less noise when viewed 1:1) but once you scale things to a common size, the noise and dynamic range levels tend to be similar. Instead, using more but smaller pixels can have a resolution benefit, even if you then downsize. This is because pixelated systems can only capture a certain percentage of their nominal resolution, but sampling at a higher resolution then downsizing (oversampling) can preserve some of the higher frequency detail it initially captures.

By concentrating on video capture, Panasonic is able to pick sides in this struggle

However, readout speed and processing/heat constraints mean very few cameras currently offer oversampled video, instead sub-sampling their sensors to find the ~8.5MP needed to capture 4K footage. This creates a tension between the needs of high-res stills photographer and lower-resolution of video capture. By concentrating on video capture, Panasonic is able to pick sides in this struggle.

The most obvious benefit is that it’s quicker to read out fewer pixels. So, while the latest processors are fast enough to generate oversampled footage from high pixel counts, the sensor read-out rate risks creating significant rolling shutter. Having fewer pixels means the GH5S should have less rolling shutter than the GH5.

Having a lower pixel count also means the GH5S is also able to include an anti-aliasing filter that reduces the risk of video moiré, without having to worry about limiting the stills resolution.

Just as we expect to see better pixel-level noise from larger pixels, logic would also lead you to expect greater pixel-level dynamic range (even though again, this advantage tends to disappear when you compare images at the same size). This additional pixel-level dynamic range is the reason the GH5S needs to offer 14-bit Raw files: because you need the extra bit-depth to provide room for that additional dynamic range.

No stabilization

From a photographic perspective it may seem odd to remove image stabilization from the camera but for high-end video shooting, it makes sense. Sensor-shift IS systems operate by ‘floating’ the sensor using a series of electromagnets. Even when they’re ‘off’ they’re not locked in place, they’re simply set so that the electromagnets aren’t attempting to correct for movement. This has the side-effect that, which mounted on a professional stabilization rig, there’s a risk of the sensor being shaken around.

For high-end video work, Panasonic says its users would prefer to use dedicated gimbals and dollies, rather than internal stabilization, and that means physically locking the sensor in place to avoid unwanted interactions between these systems and a floating sensor.

Articles: Digital Photography Review (dpreview.com)

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Panasonic Lumix DC-G9 Shooting Experience

04 Jan

The Panasonic Lumix DC-G9 is the brand’s highest-end stills-oriented camera, sitting beside the video-oriented Lumix DC-GH5 at the top of the product lineup. The GH-series has long held a positive reputation with pro-video shooters but Panasonic hasn’t seen the likes of the GH5 resonate as well with the stills crowd. With the G9 Panasonic hopes to mimic the success the GH series has had in the video realm, and gain a greater foothold in the stills world.

There’s a good bit of crossover between the two cameras, but the G9 has some juicy offerings to whet the appetite of still photographers – specifically advanced amateurs and professionals – as well as those seeking a stills/video hybrid.

For starters, its faster than its video-centric sibling, capable of an impressive 20 fps with continuous autofocus for about 50 frames using the electronic shutter. It can also shoot at 9 fps with AF-C for 600+ frames using the mechanical shutter, which is equally as impressive.

Panasonic’s taken a page out of Olympus’ book – as other manufacturers with stabilized sensors recently have – and added a High-Resolution mode that shifts the sensor to build an 80MP file – this should be hugely appealing to still life and landscape shooters occasionally requiring resolution greater than that of a Micro Four Thirds camera.

Key Features

20.3MP Live MOS sensor with no AA filter (same as GH5)
3.68M-dot electronic viewfinder w/ 0.83x equivalent magnification
1.04M-dot 3″ articulating touchscreen display
5-axis in-body image stabilization with Dual I.S. 2 (CIPA rated 6.5 stops)
20 fps burst w/continuous AF using the e-shutter (for ~50 frames)
9 fps burst w/continuous AF using mechanical shutter (for 600+ frames)
80MP Raw and/or JPEG files using High-Resolution mode
4K/60p UHD video capture
Magnesium body designed to be dust/weather-sealed
Dual UHS-II card slots supporting new high-speed ‘V’-rated cards
Assortment of 4K and 6K Photo modes and in-camera focus stacking
USB charge and power capability
Top plate LCD
AF joystick
Wi-Fi + Bluetooth

Physical standouts include a top plate LCD – a true rarity in mirrorless-land – and one of the largest electronic viewfinders on a Micro Four Thirds cameras. It has an equivalent magnification of 0.83x and an eyepoint of 21mm. The G9 also features dual UHS-II card slots and can support V-rated SD cards – the industry’s fastest to date.

Don’t take these mostly-stills oriented improvements to mean the G9 is not a capable video camera, because it surely is. Like the GH5 it can shoot 4K/60p video and offers both headphone and microphone jacks, but it lacks the high bitrate options and extensive video tool set of its sibling. Dual I.S. 2 has also been improved and when using compatible lenses, the G9 offers the highest CIPA-rated level of stabilization – 6.5-stops – of any camera currently on the market. This is great news for both stills and video shooters.

Specs Compared

The Panasonic G9 has some stiff competition from similarly-priced high-end models from both Nikon and Olympus. Have a look at our comparison table below for a detailed breakdown:

	Panasonic DC-G9	Panasonic DC-GH5	Olympus OM-D E-M1 II	Nikon D500
MSRP	$ 1700	$ 2000	$ 2000	$ 2000
Sensor size	Micro Four Thirds	Micro Four Thirds	Micro Four Thirds	APS-C
Sensor Resolution	20.3MP	20.3MP	20MP	21MP
ISO sensitivity (expanded)	100-25600	100-25600	64 – 25600	50 – 1640000
AF system	225-point Contrast Detect AF system with DFD	225-point Contrast Detect AF system with DFD	121-point hybrid AF system	153-point Phase Detect AF system
Max frame rate w/C-AF	20 fps	9 fps	18 fps	10 fps
In-body stabilization	Yes	Yes	Yes	No
Viewfinder	3.68M-dot EVF (0.83X equiv. mag)	3.68M-dot EVF (0.76X equiv. mag)	2.36M-dot EVF (0.74x equiv. mag)	Optical (0.67x equiv. mag)
Top plate LCD	Yes	No	No	Yes
Rear screen	1.04M-dot 3″ articulating touch-sensitive	1.62M-dot 3.2″ articulating touch-sensitive	1.04M- dot 3″ articulating touch-sensitive	2.36M-dot 3.2″, tilting touch-sensitive
Video Resolution	UHD/60p 1080/60p	UHD/60p 1080/60p	UHD/30p 1080/60p	UHD/30p 1080/60p
Mic/Headphone	Yes/Yes	Yes/Yes	Yes/Yes	Yes/Yes
Battery Life (CIPA)	400 shots	410 shots	440 shots	1240 shots
Dimensions	137 x 97 x 92mm	139 x 98 x 87mm	134 x 91 x 69mm	147 x 115 x 81mm
Weight	658g	725 g	574g	760g

The Nikon D500, Panasonic Lumix DC-GH5 and Olympus OM-D E-M1 II are all DPReview Gold award winning cameras that, at the time of testing, we felt revolutionized their respective class of camera, upping the ante for what we’ve come to expect from a flagship Micro Four Thirds or APS-C body. That’s some big competition to go up against, but the G9 seems to hold its own. In spec terms, at least.

Note: 15mm F1.7 is not included in any kit, but we wish it were.

Availability

The Panasonic Lumix DC-G9 will be available, body-only, from mid-January with an MSRP of around $ 1700.

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Professional photographers explain why they shoot Panasonic Lumix

13 Nov

Being a professional photographer used to mean carrying around heavy SLRs and medium-format camera, tripods and cumbersome accessories. As cameras have evolved to become smaller and smaller, those days are over.

Panasonic was a pioneer in the mirrorless camera market, and over the past decade its G and GH-series cameras have been adopted by a wide range of photographers, including professionals in various different fields. In a new video by filmmaker Griffon Hammond, professional photographers Daniel J. Cox, Ben Grunow, William Innes and Jennifer Maring explain why they choose to shoot with Panasonic Lumix cameras.

Panasonic’s latest G-series camera is the impressive flagship Lumix DC G9, which features a suite of powerful features including high frame-rate stills shooting and 4K video.

Real-world test: Long exposures with Panasonic G9’s high-res mode

12 Nov

Out-of-camera 80MP JPEG using the Panasonic G9’s high-resolution mode. Lots of detail, and some strange-looking pedestrians.
Panasonic Leica DG 12-60mm F2.8-4 | ISO 200 | 1/500 sec | F4

New to Panasonic’s G9 flagship is a high-resolution mode, which shifts the sensor by half-pixel increments eight times, and generates an 80MP final image. As with similar technologies from Ricoh and Olympus, it’s not necessarily recommended for scenes with moving subjects in them. But we wanted to see if we could make it work.

You’ll notice in the above image, the pedestrians are sharply ‘ghosted’ in the foreground; this is due (obviously) to the eight exposures being taken, but also partially the 1/500 sec shutter speed. What if we purposely chose a slower speed, so that they would blur more naturally into each other?

These are only initial findings on a gray Seattle day, but we’ve got some interesting results.

Panasonic Leica DG 8-18mm F2.8-4 | ISO 200 | 1/30 sec | F8

For this situation, in order to get a proper exposure without either an ND filter or stopping down to diffraction-inducing levels, I figured I’d give 1/30 of a second a try. As you can see, there’s a little ‘repetition’ around portions of the pedestrians in the foreground and across the street, and while there’s lots of detail in the scene, you may want to just use the normal 20MP file for this one.

What if we go with a little longer of a shutter speed, though?

Panasonic Leica DG 8-18mm F2.8-4 | ISO 200 | 1/8 sec | F8

This looks to our eyes to exhibit some improvement. We overall found that a shutter speed between 1/4 sec and 1/8 sec gave a reasonably natural look to the average pedestrian in motion – of course, for faster and slower moving objects, you’ll have to adjust accordingly. Do take note, though, that there are some interesting colorful streaks in our moving subjects, and a reduction of resolution in static objects that can be seen behind them.

If you’re thinking about an even slower shutter speed, once you get down to 1/2 sec or so, pedestrians largely just disappear from your frame, leaving barely a shadow for you to notice. Of course, this could be an advantage if you’re wanting to eliminate people from your photos, without necessarily needing an ND filter and a 30-second exposure.

There were some people on these stairs, I promise.
Panasonic Leica DG 8-18mm F2.8-4 | ISO 200 | 1/2 sec | F8

We tried an even longer exposure to see if we could get the motion artifacts to ‘disappear’ with subjects moving fast enough across the scene, but we still could see some – check out the car taillights and the ground surrounding them in the below image. The rest of the image, predictably, shows good detail, but once you start inspecting the areas of motion too closely, the image starts to look a little strange. That said – you’d probably have to have someone point it out to you to really notice it in real life.

Panasonic Leica DG 12-60mm F2.8-4 | ISO 200 | 1.3 sec | F4

In any case, the high res mode on the G9 is something we want to continue to look into as we progress with our review. Raw support is coming shortly, and we’re looking forward to examining the Raw files from both real-world shooting as well as our test scene.

For now, we’ve added these images and their corresponding ‘normal’ 20MP equivalents onto the end of our existing image gallery for you to inspect.

Scroll to the end of our sample gallery to see our updated high res images

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Panasonic Lumix DC-G9 first impressions

09 Nov

Introduction

The Panasonic Lumix DC-G9 is the company’s newest mirrorless interchangeable lens camera (ILC), and in many ways, the first Lumix camera ever to be aimed squarely at professional and advanced amateur stills photographers – and it shows.

But that doesn’t mean the G9 is light on video specs; Panasonic has long been a leader in ‘hybrid’ stills and video cameras with the impressive GH-series, but just as the GH-series leans slightly more to the video side of things, the G9 leans the other way.

Even though we’ve had only a few days with our G9, we’ve already seen improvements to the JPEG engine (color in particular), and been able to play around with some of its new features like the 80MP high-resolution mode, and been blown away by its incredibly large electronic viewfinder. Some of its capabilities – like impressive-looking 20 fps burst shooting with continuous autofocus – will need more in-depth testing.

But for now, we’ve put together some of our first impressions and takeaways – let’s get started.

Key specifications

Design sketch of the Panasonic Lumix DC-G9.

The Lumix G9 is overflowing with refinements and improvements both inside and out. There’s a lot to digest in this camera, but here are what we believe to be the G9’s most important qualities:

20.3MP Live MOS sensor with no AA filter (same as GH5)
6.5-stop 5-axis Dual I.S. 2
0.83x (35mm equivalent) high-res, 120 fps electronic viewfinder
80MP high-resolution mode
20 fps bursts with continuous autofocus (60fps with focus locked)
Dual UHS-II SD card slots supporting new high-speed V-rated cards
Assortment of 4K and 6K Photo modes, in-camera focus stacking
Refined ergonomics and controls
USB charge and USB power capability, 400 shots per charge battery life (CIPA)

But for established photographers, particularly those Panasonic is targeting, equally important in addition to this list of objective specifications are the intangibles; how does the G9 feel in the hand, and how does it respond to your inputs?

Let’s get started with that first consideration, and look at the G9’s body and design.

Body, design and handling

The G9 isn’t a small camera, but with a suitably compact lens, it isn’t too intimidating. Out-of-camera JPEG, processed in-camera with increased exposure compensation. Panasonic Leica DG 25mm F1.4.
ISO 3200 | 1/500 sec | F1.4

The G9 comes with splash, freeze and dust proof construction, and feels in the hand as though you’re holding a chunk of solid magnesium alloy, as opposed to a hollow one filled with Panasonic’s most advanced photographic technology to date.

Battery life from the G9 is good if not downright impressive, at a CIPA rated 400 shots; it’s compatible with the same battery as the GH5, and will easily last you many hours of serious shooting. As always, exploring menus and rocketing through images in playback will shorten the battery’s stamina.

Speaking of playback, the rear jog dial does a good job of moving through your images quickly, handy for when you start firing off those 20 fps bursts. The new top-plate LCD allows you to check your settings at a glance, even if the rear screen is folded away, and the combined Mode + Drive dials on the left shoulder work surprisingly well; some competitors that have attempted this end up feeling kind of ‘fiddly.’

The top plate on the G9 is one of its key physical differentiators versus the GH5.

The AF joystick has been tweaked, with a new textured finish and a click-in option to toggle between your chosen AF point and the center. Unfortunately, we think it could still be faster to move your AF area when you tap it to the side, and if you’re holding it to the side, your moving AF area won’t respond to a change in your desired direction unless you release the joystick, and push in that new direction. Compounding this is that you can’t move the point diagonally; only horizontally and vertically.

As always, having an AF joystick is always better than not having one, and we’re hopeful to see these issues addressed in a future firmware update.

Body, design and handling

An abundance of controls and overall responsive performance helped me get this grab image of a low-flying plane in South Seattle. Out-of-camera JPEG, cropped to taste. Panasonic Leica DG 12-60mm F2.8-4.
ISO 200 | 1/640 sec | F4.5

The G9 has tons of controls, and tons of customization options. It can take a while for you to find your way around the camera, but that’s nothing out of the ordinary for a flagship. One thing we’ve noticed is that, likely on purpose, the shutter button on the G9 is very sensitive, so that could be something users may need to adjust to.

What shouldn’t require much adjustment to is the all-new 0.83x (equivalent) optical viewfinder. It’s among the largest electronic viewfinders ever built into a digital camera, providing an immersive shooting experience that’s enhanced by the use of an OLED display, which gives great contrast.

As someone who’s just officially griped about the necessity of USB charging, it’s nice to see it make an appearance on the G9 in addition to the ability to run off of USB power. The batteries by now are commonplace, but it’ll be great to power the camera with a USB power pack for longer shoots like timelapses, or when you need to top-up a battery off the grid.

The G9 has among the largest electronic viewfinders ever built into a digital camera.

And finally, let’s address the issue of size. There’s also no doubt that the G9 is fairly ‘chunky,’ especially given the Four Thirds sensor inside. Despite this, we think it’s likely to be a good fit for its intended audience.

After all, a comfortable grip, extensive external controls, decent battery life, robust weather sealing and a crazy stabilization system all come with size and weight penalties; but even so, the G9 is lighter than the GH5. Indeed, couple the G9 with the appreciably small size of many Micro Four Thirds lenses, and you have the potential to make for a lightweight yet comprehensive kit that doesn’t skimp on ergonomic comfort.

New and notable features

In this image, you can see how possible motion in your scene might impact your ability to use this mode – but you can also see just how much detail is there in the static portions of the scene. Panasonic Leica DG 12-60mm F2.8-4.
ISO 200 | 1/500 sec | F4

The new 80MP high resolution mode on the G9 works similarly to competitors’ offerings, and takes eight shots in quick succession, moving the sensor by a half-pixel for each image. In practice, it’s one of the faster implementations of a pixel-shift high res mode that we’ve seen, and predictably comes with a serious increase in image quality. Usually.

What you gain in detail and noise characteristics, you lose out depending on how much motion is in your scene. The above image is a good example of both the detail benefit you can get from this mode, as well as how it copes with moving subjects – and for the record, this is not necessarily the setting Panasonic would recommend for this feature, but we figured you, dear reader, might be curious about it.

Image stabilization on the G9 is a claimed 6.5 stops, which is basically magic.

As an added bonus, if you did attempt an 80MP image and were bothered by unintended motion artifacts, the G9 has an option to capture an additional ‘normal’ 20MP Raw and JPEG image simultaneously.

Image stabilization on the G9 is a claimed 6.5 stops – which is basically magic. With shorter lens, you’ll have an almost glidecam experience (even if you’re only using the in-body stabilization), and even with the new Panasonic Leica 200mm F2.8 lens and 2.0x teleconverter, you can easily frame your subjects shake-free through the viewfinder, even hand-held.

Image and video quality impressions

Panasonic told us that, for their latest JPEG engine, they’ve been working hard on the G9’s rendition of yellows and blues, particularly for blue skies. We think they look pretty darn good.

While we don’t yet have Raw support for the G9, the early JPEGs coming out of our camera look good. We’ve been critical of Panasonic’s JPEG color and noise reduction in the past, and our early sample shots seem to show noticeable improvements.

First, the automatic white balance seems to handle a variety of settings with much greater reliability – warm evening light is represented as such, without going over-the-top orange, colors are nicely saturated and exhibit far less ‘green-shifted yellows’ than before. We’ll wait until we can perform our studio testing to make a definitive call on noise reduction, but it looks to this reviewer that there’s less smearing of areas of fine detail, which was historically a problem even at lower ISO values.

Panasonic is claiming more sophisticated sharpening and noise reduction on the G9, but we’re waiting for our studio scene analysis before we can claim anything definitive in this regard.

In terms of video, the G9 offers 4K UHD capture at up to 60 fps, as well as an array of slow-motion modes in both 4K and Full HD. While you lose out on some more advanced features of the GH5, such as ultra-high bitrate recording, higher color depth capture and unlimited clip length (the G9 tops out at 10 minutes and 30 minutes for 4K/60p and 4K/30p respectively), video capture is still taken from the full width of the sensor and downscaled, and so should provide great detail. Lastly, our initial impressions show DFD autofocus to be more decisive and less prone to ‘wobble’ when shooting video, making run-and-gun capture more feasible.

Overall impressions and sample gallery

Out of camera JPEG. Panasonic Leica DG 12-60mm F2.8-4.
ISO 200 | 1/4000 sec | F4

Credit where credit is due, Panasonic has a long history of bringing cameras to market that bear impressive technical capabilities; from the lineage that gave us the first-ever mirrorless interchangeable lens camera, to the first mirrorless camera that could capture 4K video comes the stills-focused G9. With this new model, Panasonic has taken advantage of that greater emphasis on stills to pack some advanced and innovative features into a camera that is meant to be rugged and reliable for professional use.

Starting with ruggedness, we have to admit the G9 feels great in the hand. It’s all-metal, with a redesigned (and really comfy) grip. It’s far from compact, but it doesn’t feel heavy for a professional-level camera; its overall size allows room for an enormous viewfinder, good-sized battery and abundant external controls.

We’ve only had the G9 for a few days, and so we’ve not had time to fully evaluate all of the G9’s new features in-depth. For now, we remain impressed with overall JPEG image quality, video autofocus performance looks to be improved and the image stabilizer is really something you have to see to believe.

The G9 continues to use the same Four Thirds 20.3MP sensor as the GH5.

With the same mechanical shutter as the GH5, it offers 9 fps burst shooting with what should be similar (read: very good) autofocus performance at 9 fps, but we’re really looking forward to doing some sports testing at the full 20 fps with electronic shutter. We have to admit we’re also curious how the new V-rated SD cards holds up to the CFast and XQD slots in high-end sports DSLRs.

There will always be folks that will have a hard time seeing past the Four Thirds sensor in the G9, relative to APS-C and full-frame offerings. But the G9 nonetheless comes with incredible image stabilization, high shooting speed, high quality 4K video and compact-yet-high-quality lens offerings (all of which are made possible, or at least easier, with the smaller Four Thirds sensor). For this, we think the G9 represents a compelling option for professional photographers needing all of the capability, customizability and resilience they can get in a smaller package than many competitors are able to offer.

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Panasonic announces Leica DG Elmarit 200mm F2.8 Power OIS telephoto prime

09 Nov

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Panasonic has announced its Leica DG Elmarit 200mm (400mm equiv.) F2.8 Power OIS telephoto prime. This hefty, weather-sealed and freezeproof lens features 15 elements, 2 of which are ‘ultra extra-low dispersion’. The lens has image stabilization onboard, though Panasonic does not quote a CIPA figure for shake reduction. The 200mm F2.8 is compatible with the Dual IS systems built into most modern Panasonic mirrorless cameras.

The lens features a triple linear focus motor system with a 240 fps sensor drive speed along with a ‘micro-step’ drive system that allows for precise aperture control.

Panasonic includes the new DMW-TC14 1.4x teleconverter in the box with the lens, bringing the focal length up to 280mm (560mm equiv.). It’s also compatible with the company’s 2x teleconverter.

When it launches in January 2018, some functions on the 200mm F2.8 will not be compatible with the Panasonic GH5, and a firmware update slated for March will take care of that.

The Panasonic Leica DG Elmarit 200mm F2.8 Power OIS will be priced at $ 2999.99.

Press Release

LEICA DG ELMARIT 200mm / F2.8 / POWER O.I.S. (H-ES200)

The New Compact, Lightweight Ultra Telephoto Lens with POWER O.I.S. For Handheld 400mm Equivalent Ultra-Telephoto Shooting

November 8, 2017 (Newark, NJ) – Panasonic Consumer Electronics Company is proud to introduce a new telephoto single focal length lens, the LEICA DG ELMARIT 200mm / F2.8 / POWER O.I.S. (35 mm camera equivalent: 400 mm). The LEICA DG ELMARIT 200mm / F2.8 / POWER O.I.S. is the first large-diameter ultra-telephoto fixed focal length lens with a name of LEICA DG. It boasts sharpest-ever image quality from corner to corner in the history of LUMIX digital interchangeable lenses. Featuring high mobility in a compact, lightweight design, it also realizes handheld ultra-telephoto shooting.

With its 400mm ultra telephoto focal length and stunning descriptive performance, the LEICA DG ELMARIT 200mm / F2.8 / POWER O.I.S. is suitable for wildlife or sports photography. The 1.4x Teleconverter (DMW-TC14) is bundled^*1 to extend the focusing distance to 560mm (35mm camera equivalent) for close-up shots.

The fast F2.8 aperture lets you capture fast-moving subjects while the POWER O.I.S. (Optical Image Stabilizer) effectively compensates for hand-shake movement, making it easy to shoot even without a tripod or in low-lit situations. The lens works with Dual I.S.^*2 (Image Stabilizer) and Dual I.S. 2.0^*3 system when mounted on the compliant Panasonic LUMIX DSLM (Digital Single Lens Mirrorless) cameras for more powerful hand-shake suppression.
Clearing the stringent quality standard of LEICA, the lens is comprised of 15 elements in 13 groups, featuring two UED (Ultra Extra-low Dispersion) lenses. The use of UED lenses and Panasonic cutting-edge optical technology achieve high resolution, high contrast image from corner to corner while suppressing distortion and chromatic aberration.

Incorporating a triple linear motor system and max.240 fps sensor drive, the new LEICA DG ELMARIT 200mm / F2.8 / POWER O.I.S. achieves high-speed, high-precision contrast AF system for both photo and video recording. This stunning AF performance is excellent to record 4K video, where precise focusing is required. In addition, the micro-step drive system in the aperture control section helps the camera smoothly catch up to brightness changes when panning.

It boasts a rugged, dust/splash-proof design and are even freeze-proof down to -10? (14 degrees F) to withstand professional use under harsh conditions. Offered in sharp, metallic black color, it stylishly matches the LUMIX G Digital Single Lens Mirrorless (DSLM) cameras.
The LEICA DG ELMARIT 200mm / F2.8 / POWER O.I.S. can also be used with the 2.0x Teleconverter DMW-TC20 (sold separately), which extends the focusing distance to 800mm (35mm camera equivalent) to capture subjects at a greater distane.

*1 The 1.4x Teleconverter (DMW-TC14) is also sold separately as an optional accessory.
*2 Dual I.S. is available on GX8, GX80/85
*3 Dual I.S. 2.0 is available on GH5, G9, G80/81/85
•Some functions of H-ES200 cannot be used with DC-GH5. The firmware for DC-GH5 to fully comply with H-ES200 is scheduled to be released by the end of March, 2018.
•Design and specifications are subject to change without notice.
•LEICA is a registered trademark of Leica Microsystems IR GmbH.
•ELMARIT is a registered trademark of Leica Camera AG.

The new ELMARIT 200mm lens and accessories will be available in early January 2018. The lens with the 1.4x teleconverter MSRP will be $ 2,999.99 and the optional 2x teleconverter is $ 599.99.

Leica DG Elmarit 200mm F2.8 Power OIS specifications

Principal specifications
Lens type	Prime lens
Max Format size	FourThirds
Focal length	200 mm
Image stabilization	Yes
Lens mount	Micro Four Thirds
Aperture
Maximum aperture	F2.8
Minimum aperture	F22
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	15
Groups	13
Special elements / coatings	2 ultra extra-low dispersion + Nano Surface Coating
Focus
Minimum focus	1.15 m (45.28″)
Maximum magnification	0.2×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Focus distance limiter	Yes
Physical
Weight	1245 g (2.74 lb)
Diameter	88 mm (3.46″)
Length	174 mm (6.85″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Filter thread	77.0 mm
Hood supplied	Yes
Tripod collar	Yes
Other
Notes	Includes 1.4x teleconverter

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Video: Meet the Panasonic Lumix G9

09 Nov

What happens when a company known for its video-centric hybrid cameras turns its attention to professional stills shooters? The Panasonic G9. Still equipped with high-end video specs like 4K/60p recording, it adds stills-centric features like 20 fps bursts and an 80MP high-resolution mode. Get caught up on everything that’s new in our quick overview video.

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Panasonic Lumix G9 sample gallery

09 Nov

Panasonic pleasantly surprised us last week when they dropped off a near-final version of their new Lumix DC-G9 flagship stills camera. There’s obviously a ton we want to test out, but in the meantime, we were eager to get it out and about for some initial sample shooting. Watch this space in the coming weeks for more images under a variety of situations, including some peak-action sports. For now, take a look at what it can do in low light and a rare sunny afternoon in otherwise wintry Seattle.

See our Panasonic Lumix G9 sample gallery

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Panasonic Lumix G9: What you need to know

08 Nov

Panasonic Lumix G9: What you need to know

The new Panasonic Lumix DC-G9 is a flagship interchangeable lens camera aimed primarily at stills photographers. Sitting alongside the video-centric GH5 in Panasonic’s high-end Micro Four Thirds lineup, the G9 is designed for speed, durability, and versatility. Between using one for a few days and digging into its lengthy spec sheet, here’s what we think you need to know about it.

Same 20.3MP sensor as GH5

The G9 features the same 20.3MP CMOS sensor as the GH5, capable of a maximum output of 5184 x 3888 pixels. As such, baseline performance in stills mode should be very good indeed. Panasonic did a lot of work with the GH5 to improve JPEG image quality over earlier generations and despite being a video-oriented camera, the GH5 compared well with competitive models from the likes of Olympus and Fujifilm.

Revamped JPEG engine

The really good news is that Panasonic’s engineers didn’t stop with the improvements they made in the GH5. As a stills-focused flagship, the G9 has been further tweaked, with improved color and noise reduction in JPEG mode. We were pretty happy with JPEGs from the GH5, but the improvements in the G9 are obvious. Organic textures are rendered more naturally, and images taken at medium / high ISO sensitivities look better, thanks to more intelligent noise reduction.

Large, high-resolution EVF

The G9’s OLED viewfinder is really something. A resolution of 3.86 million dots (equiv) and 120 fps refresh rate means that it’s detailed and contrasty, and with an equivalent maximum magnification of 0.83X (in full-frame camera terms) it’s enormous, too – and very immersive. Looking through the G9’s finder, it’s easy to forget that it uses a Micro Four Thirds sensor. If the viewfinder image is too big for you (for instance if you wear reading / sunglasses) the magnification can be dialed back to 0.77X or 0.7X if/when required.

Obviously, being a mirrorless camera, a full range of shooting information and various shooting aids (like focus peaking, an electronic level etc.) are available in the G9’s viewfinder, just as they are on the rear LCD.

20fps burst shooting with AF-C

The G9’s conventional mechanical shutter tops out at 9 fps with AF-C, but shifting to a fully electronic shutter ups that to an impressive 20 frames per second. If this still isn’t fast enough for you, the G9 can also shoot at a maximum rate of 60 fps using its electronic shutter with focus locked.

For best performance, you’ll want to install a UHS-II Class 3 (U3) SD card. The G9 offers two card slots, both of which support the UHS-II standard.

4k/60p video

The G9 isn’t meant to replace the GH5 and cannot match that model’s professional video features, but despite the focus on still imaging, its video feature set is still pretty solid. The headline feature is 4K/60p video at a maximum bitrate of 150Mbps but other features, like focusing peaking, zebra stripes and flicker reduction are good to see, and should make the G9 useful for multimedia professionals as well as casual or occasional video shooters.

Encouragingly, the G9’s autofocus in video mode seems much improved over previous models and less prone to ‘hunting’. In the words of our very own technical editor Rishi Sanyal, this makes autofocus in video mode ‘usable’. High praise indeed, as anyone who knows him will tell you.

4K / 6K photo

The G9 also offers 4K and 6K photo modes, which essentially capture high-resolution stills images as video frames, at up to 30fps (6K) and 60fps (4K). Effective resolution is 18MP for 6K photo files and 8MP in 4K photo mode. Panasonic claims that the Venus Engine 10 processor enables more effective ‘Post Recording Refinement’ to improve image quality in 4K/6K photo modes, by reducing noise and rolling shutter effect.

80mp high-res shot mode

Among the most interesting features to emerge into the consumer and professional stills camera market in the past few years have been the various sensor-shift modes, offered by the likes of Olympus and Pentax, aimed at increasing resolution (in one way or another). The G9 joins the club with an 80MP high-resolution shot mode (with JPEG and Raw output) which works by shifting the 20MP sensor by half-pixel increments, eight times – and then combining the exposures into a single, high-resolution image.

We haven’t been able to give this feature a proper try-out yet, but we’d expect it to offer the same benefits as the similar mode built into Olympus’s high-end Micro Four Thirds cameras. At the very least, it should offer a very useful resolution boost for still life and product photography. We’re hopeful that capture is fast enough to also make it useful for landscape work, assuming minimal or no movement within the scene.

6.5 stops of image stabilization

No – that’s not a typo. The G9’s 5-axis system is rated to offer image stabilization to the tune of 6.5 stops of correction, with short lenses and/or longer lenses, in combination with optical stabilization. We’ve been very impressed with improvements made to image stabilization in recent Panasonic and Olympus M43 cameras, and the G9 continues this trend.

To put this in perspective, 6.5 stops of correction means that you should be able to hand-hold a 100mm (equiv) lens at shutter speeds of slightly longer than a quarter of a second. Watch this space for some real-world test results.

Improved DFD autofocus

Panasonic’s clever Depth-from-Defocus (DFD) technology delivers impressively fast and accurate autofocus – including tracking – considering that it’s a pure contrast-detection AF system. In the G9, Panasonic claims that this 225-point system has been further improved compared to the GH5. In addition to various automatic AF area modes, an AF joystick is nicely positioned for use by the right thumb, and the G9’s 1.04 million-dot rear LCD can be used as a touch panel for AF point positioning with your eye to the viewfinder, if required.

Professional build quality

The G9 is built to be a flagship stills camera and as such it offers excellent build quality, with dust and moisture-sealing and a cold weather performance rating down to -10°C (14°F). Designed for use outdoors and in tough conditions, the quality of the G9’s die-cast magnesium alloy construction is obvious as soon as you pick it up. Less tangible, but a time-honored shorthand for durability is the G9’s shutter rating, which like many professional DSLRs should withstand (at least) 200,000 cycles.

USB 3.0 and Bluetooth LE / WiFi

Like the GH5, the G9 features a USB 3.0 interface, but via a conventional Micro-B-type connector, rather than USB C. Not quite as versatile, but probably more practical for the stills photographers at whom the G9 is being aimed. The G9 can be charged via USB and powered from it, too – increasing the camera’s versatility when tethered or used remotely. Bluetooth LE 4.2 and Wi-Fi (5GH) is also built-in, for connection to smart devices.

Articles: Digital Photography Review (dpreview.com)

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