Danny Bull, BBC Senior Cameraman based in Bangkok, Thailand, has just launched F-Stop Frenzy, his “blog dedicated to all things cameras, lenses, films, news, and documentary” with a story about live broadcasting on the Thai-Myanmar Border.
We came acros this story while waiting for the upgraded video of an online webinar about news video journalism by BBC camera journalist Julie Ritson to appear on her YouTube channel below.
Given the ongoing convergence and crossover between different forms of video production, in this case documentary moviemaking and news journalism, it’s useful to learn from experts in other fields.
Sony a7S III, Sony FE 24-105mm f/4.0 G OSS & Sony XLR-KM3 audio adapter
Sony a7S III aka Sony Alpha 7 S III. Image courtesy of B&H.
Sony FE 24-105mm f/4 G OSS standard zoom lens. Image courtesy of B&H.
Sony XLR-K3M Dual-Channel Digital XLR Audio Adapter Kit with Shotgun Microphone. Image courtesy of B&H.
“Our goal is to provide you with the latest news and reviews on the best cameras, lenses, and film equipment on the market, as well as valuable tips and techniques to help you take your photography skills to the next level.
In addition to our product reviews and tutorials, we also share in-depth interviews with accomplished photographers, cinematographers, and filmmakers, who share their personal stories, insights, and advice for aspiring artists….”
We’re now subscribed to Julie Ritson’s YouTube channel and social media as well as Danny Bull’s channel.
How does Danny Bull do it and with what?
Although not all the gear he uses may be suitable for self-funded independent documentary moviemakers, it is certainly exactly right for other camera journalists – the new and non-sexist term the BBC is using for what used to be referred to as a “cameraman”.
Sony FE 24-240mm f/3.5-6.3 OSS zoom lens. Image courtesy of B&H.
Sony FE 70-300mm f/4.5-5.6 G OSS zoom lens. Image courtesy of B&H.
Sachtler ACE XL Tripod System with Slide-In Plate and flowtech 75 Carbon Fiber Tripod Legs. Image courtesy of B&H.
LiveU LU600 HEVC HD Livestream Portable Modem Video Transmission Streaming Unit. Image found on ebay.
iwata Tech GL-01 RGB LED Light 3000K-5500K CRI96+ for videography, live broadcast. Image found on ebay.
iwata Tech GL-03 RGB LED Light, Photography Light, Type-C Rechargeable, Lightweight, 3000K-5500K, CRI 96+ for video, live broadcasting. Image found on ebay.
Danny Bull’s core gear list
Sony A7siii camera
XLR-K3M
LiveU600 unit Mini LED lights – made by iWata – these are fantastic and cheap
Reflectors
Lapel mics
Headphones
Extra mini XLR cables for wireless lapel mics
Memory cards
Loads of batteries for the Sony A7siii
AA batteries for our wireless lapel mics
He shares his current lens choices in a comment below the article:
For the last few years on the A7iii I’ve been on the 24-105mm f/4.0 mostly. then a wide and a 70-300mm. but run and gun 24-105 and the crop up sensor worked for most conditions.
With the new Sony A7Siii I’m also on that lens but i’m trying out the 24-240mm on today’s shoot, I liked it more than I thought I would.
He wrote this about neutral density filters:
I dont yet have a solution for ND’s on the lenses yet,…
That’s something I’m liking about the Sony FX6, variable ND. and hoping to upgrade to that at some point for situations like this.
His tripod as depicted in the header photographs is a Sachtler flowtech tripod, known for being fast and easy to set-up and dismantle on location.
What alternatives are there to Danny Bull’s Sony & Sachtler gear?
Sony’s 35mm sensor aka “full frame” cameras and lenses are expensive and are often beyond the reach of self-funded indie documentary moviemakers but there are some excellent alternatives now.
Panasonic’s Lumix S Series cameras and lenses are also equipped with 35mm sensors and the brand’s experience in professional video production goes back decades.
Panasonic’s Lumix G Series cameras with their Micro Four Thirds sensors also deliver excellent results and the smaller, lighter M43 sensors make for more effective in-body image stabilization aka IBIS.
We’re looking forward to the successor of the Lumix GH6 having the phase detect hybrid autofocus aka PDHAF that appeared in this year’s S5 II and S5 IIX, replacing the sometimes challenged Depth-from-Defocus aka DfD that Panasonic persisted with for too long.
Fujifilm’s X-H2 and X-H2S APS-C/Super 35 flagship hybrid cameras have advanced radically in their video production capabilities, their sensors also allow more effective IBIS than 35mm and their autofocus capabilities have leapt ahead in the current generation.
Sachtler flowtech tripods are excellent though not necessarily affordable so we recommend Miller Tripods’ Solo range – we have one and love it, and the Australian company is the inventor of the fluid head.
Next for Danny Bull?: Sony FX9 Cinema Camera
Sony FX6 35mm-sensor cinema camera with Sony FE 24-105mm f/4.0 G OSS standard zoom lens. Image courtesy of B&H.
Sony FX6 35mm-sensor cinema camera with Sony FE 24-105mm f/4.0 G OSS standard zoom lens. Image courtesy of B&H.
Sony FX6 35mm-sensor cinema camera with Sony FE 24-105mm f/4.0 G OSS standard zoom lens. Image courtesy of B&H.
Sony FX6 35mm-sensor cinema camera with Sony FE 24-105mm f/4.0 G OSS standard zoom lens. Image courtesy of B&H.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
Julie Ritson – Twitter – “Picture Correspondent for @bbcnews, Camera/edit Trainer, CAA Drone Pilot. Padi DM & Nitrox Diver. 30+ years working for BBC.” – Apparently the official non-gender-specific title for what she does at the BBC is now Camera Journalist.
Leeming LUT Pro – website – “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”
It’s the last day of CES 2023 and the Panasonic USA team looks a little tired hence the slide behind the presenter showing “photographers” instead of “videographers”.
And I would have added “cinematographers” too given the Lumix S5 II has already shaped up to appeal to both aspects of moviemaking and also independent self-funded documentary moviemaking as well as narrative moviemakers.
The presenter does a fine job of showing us the video features of the Lumix S5 II and I’m especially looking forward to learning more about the even more video-centric Lumix S5 IIX that’s coming later in this year, 2023.
LUMIX USA: LUMIX Live: The S5II from a Videographer’s Perspective
“During this special edition series of LUMIX Live at CES 2023, Sean and Matt will be diving into the various capabilities of the brand new LUMIX S5II!
In this stream (4 of 4) Matt will discuss what makes the S5II great for Photographers! [sic… Oops, they meant to write Videographers!]
We’ll talk about Open Gate, 4K60p, Video Tools, and how the new Phase Hybrid AF helps make your job easier!…
Panasonic Lumix S5 II & Panasonic accessories for video
Panasonic Lumix S5II and S5IIX. Image courtesy of Panasonic North America.
Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S5II with Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras. Image courtesy of Panasonic Australia.
Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras.
Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras.
Panasonic DMW-MS2 Mid-Side Mono-Stereo Shotgun Microphone, switchable from stereo to mono and back as well as mid-side coverage. Image courtesy of B&H.
Panasonic Lumix DC-S5 with Battery Grip DMW-BGS5 for Panasonic Lumix S5, S5II and S5IIX. Image courtesy of Panasonic Australia.
Panasonic Lumix Battery Grip DMW-BGS5 for Panasonic Lumix S5, S5II and S5IIX. Image courtesy of Panasonic Australia.
Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens, built-in fully articulated LCD monitor and Panasonic DMW-SHGR1 Tripod Grip. Image courtesy of Panasonic Australia.
Panasonic DMW-EC6 Eyecup for Panasonic Lumix S-Series cameras.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
B&H Affiliate Link – Leica L-Mount SL-Series lenses – Premium prime and zoom lenses that can be used on Panasonic’s Lumix S Series cameras.
B&H Affiliate Link – Sigma L-Mount lenses – Affordable DG DN prime and zoom lenses that can be used on Panasonic’s Lumix S Series cameras.
Leeming LUT Pro – website – “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading. The Pro III LUTs are designed for perfect Rec709 colorimetry and have a linear luma curve, with an average measured dE(2000) of less than 1, meaning they are visually indistinguishable from reality to the human eye.”
As Emily Lowrey of Micro Four Nerds shows in this video there is so much more to Panasonic’s ground-breaking Lumix S5 II than its long-requested and finally here radically-improved Phase Detection Hybrid Autofocus aka PDHAF.
Here she is trying out applying film simulation and creative LUTs in-camera without any image editor or non-linear editing suite post-processing whatsoever.
Fujifilm’s APS-C/Super 35 and medium format (large format according to Fujifilm) cameras have offered customizable film simulations based on the company’s past and present analog film stock, but Panasonic’s brand new Real Time LUT application feature goes one or more steps beyond.
Micro Four Nerds: No more Photo Editing?
“Ever since the Lumix S5ii was announced, I was super excited to try the Real Time LUT feature for photography. Here is a real-world photowalk where I challenge myself to only use Real Time LUT – zero editing!”
Panasonic Lumix S5 II
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens on Panasonic Lumix S5II. Image courtesy of Panasonic Australia.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens on Panasonic Lumix S5II. Image courtesy of Panasonic Australia.
Panasonic Lumix Battery Grip DMW-BGS5 for Panasonic Lumix S5, S5II and S5IIX. Image courtesy of Panasonic Australia.
Panasonic Lumix S Pro and S 35mm aka “Full Frame” lens roadmap as of January 4, 2023. Image courtesy of Panasonic Global.
L-Mount Alliance lens roadmap as of January 2023.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
B&H Affiliate Link – Leica L-Mount SL-Series lenses – Premium prime and zoom lenses that can be used on Panasonic’s Lumix S Series cameras.
Oh my, Panasonic’s Introducing S5 II video was shot in Sydney in locations not far from where I used to live for years. I miss the city and inner suburbs so badly what with the ever-worsening COVID-19 pandemic.
Nonetheless I’m itching to get back into the city soon to see what’s become of it after all these years we’ve been trapped in the suburbs.
Compact, affordable and affording a wide range of up-to-date video and stills photography options, the S5 II and S5 IIX have got us excited by what they and their perfectly-sized and well-specced companion Lumix S lenses have to offer.
PanasonicLumixVideo: Introducing S5II | Explore Your Creative Universe. – Playlist
“Meet the LUMIX S5II – beginning of a new phase for LUMIX. With unlimited creative possibilities, these versatile hybrid full-frame mirrorless cameras will help you capture stunning content in any situation. LUMIX S5II is the latest additions to its LUMIX S Series camera line-up designed for ambitious creators looking to take their work up a notch. Packed with Panasonic’s cutting-edge features, these two cameras bring together outstanding photo/video performance and incredible portability.”
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens on Panasonic Lumix S5II. Image courtesy of Panasonic Australia.
Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S Series prime lenses as of September 07, 2022
Panasonic Lumix S 18mm f/1.8 ultra wide-angle prime lens. Image courtesy of B&H.
Panasonic Lumix S 24mm f/1.8 super wide-angle prime lens. Image courtesy of B&H.
Panasonic Lumix S 35mm f/1.8 moderate wide-angle prime lens. Image courtesy of B&H.
Panasonic Lumix S 50mm f/1.8 standard normal prime lens. Image courtesy of B&H.
Panasonic Lumix S 85mm f/1.8 medium telephoto prime lens. Image courtesy of B&H.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
The arrival of Panasonic’s brand new and long-awaited radically updated autofocus functionality in its compact and affordable Lumix S5 II and S5 IIX 35mm-sensor aka “full frame” cameras is just the tip of the iceberg in what the company’s designers and engineers have achieved.
The Phase Hybrid aka Phase Detection Hybrid Autofocus aka PDHAF appears to equal if not outdo the PDAF autofocus in other 35mm sensor camera brands as well as Fujifilm’s recently released X-H2, X-H2S and X-T5 and we hope it will be appearing soon in updates of other Lumix cameras such as the S1H.
LUMIX USA: LUMIX Live : What does a LUMIX User need to know about the Autofocus[?]
“During this special edition series of LUMIX Live at CES 2023, Sean and Matt will be diving into the various capabilities of the brand new LUMIX S5II!
In this stream (1 of 4) we will be talking about the new Phase Hybrid AF system deployed in the S5II while providing tips on how it differs from our previous system!…
Panasonic Lumix S5II and S5IIX. Image courtesy of Panasonic North America.
Panasonic Lumix S5IIX. Image courtesy of Panasonic North America.
Panasonic Lumix S5IIX. Image courtesy of Panasonic North America.
Panasonic Lumix S5IIX. Image courtesy of Panasonic North America.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
B&H Affiliate Link – Leica L-Mount SL-Series lenses – Premium prime and zoom lenses that can be used on Panasonic’s Lumix S Series cameras.
“Venture into the video and photo sides of creative storytelling with the powerful, new hybrid mirrorless camera offerings from Panasonic, the Lumix S5II and Lumix S5IIx full-frame mirrorless cameras. The new releases include the Lumix S5II and Lumix S5IIx camera bodies, kits with the S5II and S5IIx cameras and a 20-60mm zoom lens, and a new 14-28mm ultra-wide L-mount half-macro zoom lens, perfect for those in search of a camera with photo and video applications….”
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5IIX. Image courtesy of B&H.
Panasonic Lumix S Pro and S 35mm aka “Full Frame” lens roadmap as of January 4, 2023. Image courtesy of Panasonic Global.
Commentary
The announcement of the S5 II, S5IIX, 14-28mm zoom and the reminder about the previously released 20-60mm zoom lens has come as welcome news indeed and we’re looking forward to watching and reading up about each of them over the coming days.
Both cameras have begun to turn our heads, as it were, when it comes to self-funded independent documentary video production given Panasonic’s excellent color science and years of producing great video and cinema cameras and lenses.
Even better, Panasonic knows the necessity of great manual focusing capability as well as excellent autofocusing and we’re hoping that both are well catered for in these two exciting new 35mm sensor-equipped hybrid mirrorless cameras.
Plenty more content on these cameras and lenses will be coming here soon.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
Panasonic Announces Highly Anticipated LUMIX S5II and S5IIX at Consumer Electronics Show 2023
The S5II and S5IIX utilize Phase Detection Auto-Focus (PDAF), satisfying the demand for the feature in LUMIX mirrorless cameras
January 04, 2023
Las Vegas, NV – Panasonic is proud to announce two new hybrid full-frame mirrorless cameras, the LUMIX S5II and S5IIX, as the latest additions to its LUMIX S Series camera line-up. The LUMIX S5II and S5IIX are the first LUMIX mirrorless cameras to utilize Phase Detection Auto-Focus (PDAF) thanks to a newly developed 24.2-megapixel 35mm full-frame CMOS sensor and a new imaging engine. Developed under the L² Technology alliance formed by LEICA and LUMIX last year, the new imaging engine provides high resolution, natural description, and approximately 2x higher-speed signal procession for high bit-rate video recording. To further the cameras’ PDAF capabilities and make them more dependable, Panasonic evolved the auto-focus system into Phase Hybrid Auto-Focus by increasing the AF points to 779 to significantly improve subject tracking. Once the S5II and S5IIX are locked on a subject, the auto-focus will continue to track the subject, even in adverse lighting conditions and when multiple objects are moving within the frame. Additionally, continuous AF during zooming (1), AF micro adjustments, and options to decrease the size of the AF area are available.
The LUMIX S5II and S5IIX have a powerful image stabilization system for wide-ranging shooting conditions and situations. The Body I.S. (5-axis) in the LUMIX S5II and S5IIX (i) and the O.I.S. (Optical Image Stabilizer, 2-axis) from the LUMIX S Series lens were combined to create the 5-axis Dual I.S. 2, maximizing the correction power to allow 6.5-stop slower shutter speed. (2) The 5-axis Dual I.S. 2 works for both photo and video recording, including 4K. In addition, Active I.S. has been added for even more stable video recording. Active I.S. optimizes the horizontal, vertical, and rotational correction ratios by determining the status of camera shake. As a result, the performance of the image stabilizer can account for a larger amount of camera shake at approximately 200% (3) compared to conventional image stabilization. This capability is highly beneficial in adverse situations, such as handheld filming or telephoto fixed-frame shots.
The new imaging engine provides the LUMIX S5II and S5IIX with high video performance comparable to the LUMIX S1H. They provide 4:2:0 10-bit 6K (3:2) / 5.9K (16:9), unlimited 4:2:2 10-bit C4K/4K recording capability.(4) With a new heat-dispersion mechanism, there is no limit on recording time to avoid overheating.(5) HFR (High Frame Rate) in C4K/4K (48p), FHD (120p), Slow & Quick motion in C4K/4K(1-60fps) / FHD(1-180fps) are also available. The LUMIX S5II and S5IIX contain 14+ stop V-Log/V-Gamut capture to deliver a high dynamic range and broad colors. Plus, a REAL TIME LUT function is provided to enable color grading on the compatible video and photo in camera by applying the LUT(.VLT/.cube) saved in the SD memory card. Users can perform intended color grading on the spot without postproduction and share images online through social networking sites. This function can be used for livestreaming.
Packing the essence of LUMIX S Series cameras into a compact, lightweight body, the LUMIX S5II and S5IIX have further evolved to meet the demands of all creators. The LUMIX S5II is US $1,999.99 and will be available in January 2023. The LUMIX S5IIX is US $2,199.99 and will be available in May 2023.
1. Professional-quality photo/video performance for unlimited expression
In addition to the PDAF capabilities mentioned above, the LUMIX S5II and S5IIX provide:
Dual Native ISO sensitivity, which minimizes noise generation by choosing an optimal circuit to use according to the sensitivity before gain processing. As a result, it allows a maximum ISO 51200 (Extended: 204800) high sensitivity recording.
Increased capable of higher speed burst shooting at 9 (AFS) / 7 (AFC) fps with a mechanical shutter and 30 fps (AFS/AFC) with an electronic shutter in JPEG/RAW compared with LUMIX S5.
2. A variety of video functions and recording options
Alongside the recording capability, new heat dispersion mechanism and 14+ stop V Log/V Gamut capture mentioned above, the LUMIX S5II and LUMIX S5IIX feature unique shooting options such as the 4K60p interval shooting and 4K HDR video recording. In response to requests from professional users, video assist functions such as Waveform Monitor, Vector Scope and Zebra Pattern are available. Some features offered on the LUMIX S1H and LUMX GH6, like System Frequency (24.00Hz), Synchro Scan, Fan mode and redesigned control panel, which enables quick selection of menu, are also available on the LUMIX S5II and S5IIX.
48kHz/24bit audio can be recorded using a built-in microphone and external microphone for realistic sound recording. The use of the external microphone and XLR microphone allows high-res 96kHz/24bit audio recording.
The LUMIX S5IIX is capable of RAW video output and All-Intra, ProRes (6) recording on SSD. It also features wired7/wireless IP streaming function and USB tethering.
3. Excellent operability and functions to minimize workflow for one man crew operation
Building upon the functionality of the LUMIX S5, a wealth of options was added to the LUMIX S5II and S5IIX to provide users with a superior shooting experience. AWB Lock maintains the white balance set in auto. Sheer Overlay can now be used in Creative Video mode making it easy to fix the frame through footage sequence. Luminance level of 2100 Like (HLG) in Photo Style for video has an extended setting range from 64-940 to 0-1023, providing sufficient amount of color grading resistance. In addition to FHD it is now possible to output a 4K image with the live crop function. To support high precision focusing, the LUMIX S5II and S5IIX provide practical options for manual focusing. While focus is shifted with variable amount according to the rotation speed of the focus ring for non-linear setting, it is shifted with a designated amount according to the rotational quantum of the focus ring for linear setting. Sensitivity (amount of focus shift per rotational quantum) can be selected from 90 to 1080 degrees to enable intended focus operation. The MF Assist, which enables the focus point to be enlarged, is now available in both photo shooting and in video recording. (8)
The LUMIX S5II and S5IIX adopt a large, 3,680K-dot OLED (Organic Light-Emitting Diode) LVF (Live View Finder) that features a high magnification ratio of approx. 1.52x / 0.76x (35mm camera equivalent). A 3.0-inch free-angle touch-control monitor in 3:2 aspect with 1,840K-dot high resolution does not cause interference even when both the HDMI cable and USB cable are connected by adjusting the tilt/rotation angle of the monitor. There are improvements in external design, including new easy-to-operate 8-directional joystick and the drive dial with an increased setting position for 96-megapixel High Resolution Mode (JPEG/RAW).
4. Reliable quality and performance for professional use and connectivity
Overheating is a fatal issue to continuous video recording, especially when the resolution and the frame rates are increased. The LUMIX S5II and S5IIX adopt a new heat dispersion mechanism that combines a small fan and high-efficiency heat sink. As a result, the LUMIX S5II and S5IIX achieve unlimited video recording time (9,10) and livestreaming (11) in C4K 60p while keeping the camera size compact. In case the camera stops while 4K video recording, the small fan operates separately to cool down the unit for quick recovery.
To withstand heavy field use, the LUMIX S5II and S5IIX are composed of a magnesium alloy full die-cast front / rear frame and is splash-resistant (12) and dust-resistant.
For the terminal, HDMI Type A is provided. Plus, a cable lock holder for the HDMI/USB cable is bundled to prevent issues such as unplugging on location. The LUMIX S5II and S5IIX support USB 3.2 Gen 2 for high-speed writing and readout. The LUMIX S5II and S5IIX are equipped with double card slots (UHS-II x 2). Users can choose the recording method from Relay Recording, Backup Recording, Allocation Recording. For the external microphone, a Φ3.5mm stereo jack and a headphone jack are provided.
Wi-Fi 5 GHz (IEEE802.11ac)13 and 2.4 GHz (IEEE802.11b/g/n) effectively provide a secure and stable connection on smartphones, tablets, and other devices on location for smooth remote control. The transmission speed of photo/video data is also increased by using the 5 GHz band. Compatibility with Bluetooth 5.0 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone or tablet with minimum power consumption. The settings of LUMIX S5II and S5IIX camera can be copied and transmitted wirelessly to other LUMIX S5II and S5IIX cameras when using multiple LUMIX S5II and S5IIX cameras. The LUMIX Sync application for iOS/Android devices allows remote control of the camera using a smartphone or a tablet via easy wireless connection. In addition to wireless control via a Remote Shutter DMW-RS2 (sold separately), application software LUMIX Tether enables tethered shooting via USB. Users can control the camera by connecting it to a PC via USB. It lets them view the image on a large PC screen while shooting.
The camera’s 2200mAh high-capacity battery DMW-BLK22 can be recharged either via AC or USB according to the users’ convenience. It also complies with USB PD (Power Delivery) when the corresponding Battery Charger DMW-BTC15 (sold separately) is used. Battery Grip DMW-BGS5 (sold separately) can be used in common with LUMIX S5.
Dressed in an exceptional matte black profile, the LUMIX S5IIX boasts an exceptional sleek, stylish design while the S5II takes on the authentic look as the predecessor.
5. The best assortment of S PRO /S full-frame lenses
The Panasonic LUMIX S Series boasts a total lineup of 14 lenses including new LUMIX S 14-28mm F4-5.6 MACRO (S-R1428) according to the purpose. Moreover, the L-Mount system provides the best assortment of full-frame lenses to choose from, for limitless spectrum of creative possibilities. Color shading correction helps improve image quality when other manufacturer’s lenses including old lenses are used with or without using a Mount Adaptor. Furthermore, LUMIX S5II and S5IIX memorize the name and its focal length of analog lenses such as anamorphic lenses or old lenses to provide suitable setting of camera’s in-body image stabilizer automatically when those lenses are used.
6. Future firmware update
UMIX S5II and S5IIX, the functions below will be available with future firmware update following the needs of customers.
RAW data output using Software Upgrade Key DMW-SFU2 (S5II)
Live View Composite (S5II)
And more!
Conventional zoom lenses require firmware update to use Continuous AF during zooming. The firmware will be released on 10/Jan 2023, UTC 1:00.
Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used. Firmware must be updated to the latest version.
Compared with LUMIX S5. Focal length 20mm, when using S-R2060.
When the camera is used at recommended operating temperature 0-40 degrees C.
When [Thermal Management] is set to [STANDARD], recording stops once the continuous recording time exceeds 30 minutes.
Apple and ProRes are trademarks or registered trademarks of Apple Inc. in the United States and/or other countries.
Requires USB-LAN adaptor, sold separately.
Up to 60p. Does not work in Variable Frame Rate mode.
When the camera is used at recommended operating temperature 0-40 degrees C.
6K and 5.9K at 30p/25p video recording stops once when continuous recording time exceeds 30 minutes if [Thermal Management] is set to [STANDARD]
In the LUMIX S5IIX only.
Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
5GHz Wi-Fi is not available in some countries.
Images
Panasonic Lumix S5 II
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II with Panasonic Lumix S 50mm f/1.8 prime lens. Image courtesy of B&H.
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens on Panasonic Lumix S5II. Image courtesy of Panasonic Australia.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens on Panasonic Lumix S5II. Image courtesy of Panasonic Australia.
Panasonic Lumix S5II. Image courtesy of Panasonic Australia.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II with Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5 IIX
Panasonic Lumix S5IIX. Image courtesy of B&H.
Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens. Image courtesy of B&H.
Panasonic Lumix S5IIX. Image courtesy of B&H.
Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S5IIX. Image courtesy of B&H.
Panasonic Lumix S5IIX. Image courtesy of B&H.
Panasonic Lumix S5IIX. Image courtesy of B&H.
Panasonic Lumix S5IIX. Image courtesy of B&H.
Panasonic Lumix S5IIX. Image courtesy of B&H.
Panasonic Lumix S5IIX. Image courtesy of B&H.
Panasonic Lumix S5IIX. Image courtesy of B&H.
Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens, SmallRig cage and SSD holder and Samsung SSD. Image courtesy of Panasonic Australia.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
“SO happy to finally share this news! What an amazing camera. Here is my full Lumix S5ii review!”
Panasonic Lumix S5 II
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II with Panasonic Lumix S 50mm f/1.8 prime lens. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S5II. Image courtesy of B&H.
Panasonic Lumix S Pro and S 35mm aka “Full Frame” lens roadmap as of January 4, 2023. Image courtesy of Panasonic Global.
Commentary
At last, one of two successors to Panasonic’s Lumix S5 compact 35mm sensor hybrid camera, the S5 II.
Photographer and videographer Emily Lowery has just released her first look at the S5 II and there are plenty more to come.
Best news of all with the Panasonic Lumix S5 II and S5 IIX?
After all these years of us asking, Phase Detection Autofocus aka PDAF has finally arrived at Panasonic, alongside and in conjunction with Contrast Detection Autofocus aka CDAF.
And it looks like it works brilliantly for video and for stills.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
Panasonic Announces [Lumix S 14-28mm F4-5.6 Macro,] a New Compact and Lightweight Ultra Wide-Angle Zoom Lens with Macro Capability
January 04, 2023
Las Vegas, NV – Panasonic is pleased to introduce a new cost-effective ultra-wide-angle zoom lens, the LUMIX S 14-28mm F4-5.6 MACRO based on the L-Mount system. The LUMIX S Series offers three budget-friendly lenses including the LUMIX S 14-28mm F4-5.6 MACRO (S-R1428), LUMIX S 20-60mm F3.5-5.6 (S-R2060) and LUMIX S 70-300mm F4.5-5.6 MACRO O.I.S. (S-R70300) to cover 14mm ultra wide-angle to 300mm telephoto. All of these lenses achieve high optical performance and stunning mobility fit to LUMIX S5 series cameras for both photo and video.
The LUMIX S 14-28mm F4-5.6 MACRO is comprised of 14 lens elements in 10 groups including one aspherical ED (Extra-Low Dispersion) lens, one aspherical lens, three ED (Extra-Low Dispersion) lenses and one UHR (Ultra High Refractive Index) lens. The use of aspherical lenses realizes both high descriptive performance and beautiful bokeh. The three ED lenses effectively suppress chromatic aberration. Despite its compact size and approximately 345g of light weight, the LUMIX S 14-28mm F4-5.6 MACRO boasts 0.25 (at 14mm) – 0.5x (at 28mm) macro capability. Taking advantage of the minimum focusing distance of 0.15m at entire zoom range, it can be used for close-up shots with beautiful bokeh. It is suitable for versatile situations including sweeping landscape shots in ultra-wide-angle of view.
The LUMIX S 14-28mm F4-5.6 MACRO is capable of smooth, silent operation to work with the camera’s high-speed, high-precision AF system with the sensor drive at max.240 fps. For the non-linear setting, focus is shifted with a variable amount according to the rotation speed of the focus ring. Focus is shifted with a designated amount according to the rotational quantum of the focus ring for the linear setting. Sensitivity (the amount of focus shift per rotational quantum) can be selected from 90 to 360 degrees to enable intended focus operation. (1) The LUMIX S 14-28mm F4-5.6 MACRO also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem of all interchangeable lenses designed for still image photography. Together with a micro-step aperture control for smooth exposure change, professional quality video can be recorded.
The LUMIX S 14-28mm F4-5.6 MACRO and LUMIX S 20-60mm F3.5-5.6 lens feature a common overall length and position of control parts to provide practical advantages in use. The weight and the center of the gravity of these lenses is similar, making it easy to exchange lenses quickly with minimum balance adjustment when the camera is on a gimbal.
The rugged dust/splash-resistant (2) design withstands use under harsh conditions even at -10° Celsius for high mobility. A fluorine coating is applied to the front lens element to secure water/oil-repellency. An ND/PL filter with 77mm diameter can be attached.
Panasonic and L-Mount system alliance is committed to the development of L-Mount lenses for the further expansion of its lineup to fulfill the needs of customers.
The LUMIX S 14-28mm F4-5.6 MACRO will be available at valued channel partners for US $799.99 at the end of March.
The maximum sensitivity differs by camera model, up to 1080 degrees on S5II, S5IIX and BS1H (as of January 2023).
Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
Images
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens on Panasonic Lumix S5II. Image courtesy of Panasonic Australia.
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens on Panasonic Lumix S5II. Image courtesy of Panasonic Australia.
Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens on Panasonic Lumix S5II. Image courtesy of Panasonic Australia.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
“Several recent cameras like the Panasonic GH6 and Fujifilm X-H2S are offering high resolution ‘open gate’ video recording modes. You may be curious, what is ‘open gate’ video and how can it help your video projects? Chris Niccolls will fill you in.”
Two affordable current open gate hybrid cameras: Fujifilm X-H2s & Panasonic Lumix GH6
Fujinon XF 18-120mm f/4.0 LM PZ WR stills + video zoom lens on Fujifilm X-H2S. Image courtesy of Fujifilm Global.
Panasonic Lumix DC-GH6 with Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric Power OIS zoom lens. Image courtesy of Panasonic Australia.
Commentary
Panasonic added open gate video capability to the GH5 in a firmware update and interest in combining anamorphic lenses with open gate recording has been growing from then onwards.
Lens makers have been adding more and more anamorphic lenses in Micro Four Thirds, APS-C/Super 35 and for 35mm sensor equipped cameras, so-called “full frame” aka “full format”.
The latter two terms are marketing man talk intended to persuade consumers that 35mm sensor cameras are somehow the standard to aim for instead of there other two but they may be more useful in another context, the use of the full sensor for video recording instead of a segment cropped out of the sensor.
Jordan and Chris at DPReview TV have suggested a third term, “full sensor recording”, and it makes sense when used in place of “open gate”.
Digital cameras don’t have gates.
“Open gate” dates back to the days of analog movie cameras where one had to check the camera’s film gate for hairs or dust and then clean it out before the next take.
The term isn’t really applicable to digital movie cameras and hybrid cameras so we support a more sensible and realistic alternative.
“Full sensor recording” has value as an explanation in an owner’s manual, for example, but perhaps “full frame” makes way more sense as “open gate” is recording using the whole frame, the whole of the sensor, and not a part of it.
The absurd and wildly inaccurate use of “full frame” to refer to 35mm sensor cameras will need to be jettisoned, but frankly that’s no bad thing as marketing man gibberish like “full frame” and “full format” has done little but constantly bewilder the uneducated and confuse the unwary.
Links
B&H Affiliate Link – click here to help us with costs for creating this website and its contents by pre-ordering and purchasing items from B&H.
LUMIX Cameras – LUMIX Live : A Starter on Open Gate filming – “Sean is discussing the benefits of shooting in “Open Gate” with the new GH6! This “starter” discussion will be a basic intro into what Open Gate is, how it is different (and in some ways the same) as Anamorphic mode, and how we’ve implemented this capability in the brand new LUMIX GH6. More often these days, professionals are being asked by clients to deliver multiple output versions of projects. The GH6 (as well as other cameras that support the “Anamorphic” modes) is one of the only cameras leading this charge for modern creators!”
PhotoJoseph – Open Gate Changes Everything — so much MORE than 16:9 – “What is Open Gate, and why should you care? In this video, learn about Open Gate mode on the LUMIX GH6, and why if you deliver content both in 16;9 and 9;16, then you should DEFINITELY be shooting in Open Gate! UPDATE: The LUMIX S1 also has Open Gate, in the form of (for larger-than-4K), “6K” 5952*3968 (3:2) 24p as well as a “5.4K” 5376*3584 (3:2) 30p modes! Both are 4:2:0.”
SmallRig Affiliate Link – click here to help us with costs for creating this website and its contents by pre-ordering and purchasing from SmallRig.
Videomaker – What is open gate? – Why should you shoot with an open gate. – “Life just got a little easier with this new camera feature. With the right camera, like the Fujifilm X-H2S, you can shoot open gate and decide what size you want to crop it in post-production. Take advantage of this by shooting with an open gate for both vertical and horizontal formats.”
Wikipedia – Film gate – “The film gate is the rectangular opening in the front of a motion picture camera where the film is exposed to light. The film gate can be seen by removing the lens and rotating the shutter out of the way. The film is held on a uniform plane at a calibrated distance in the gate by a pressure plate behind the film.”
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