Tag: “full frame”

Taking Our Old Canon EOS 5D Mark II DSLR Out For A Walk With Our Adapted Panagor 28mm F/2.8 Attached

As there’s not much of a secondhand market for cameras and lenses where we live and nor is there a nationwide online buyer and reseller as there is in the UK and USA we tend to keep our older cameras and lenses and try to get some use out of them when we can.

That certainly applies to the Canon EOS 5D Mark II we bought when one of us was working in the local branch of Canon’s global research and development division, cisra (yes, it was rendered in all lower-case with an italicised letter i).

Had we known that Panasonic had its Lumix GH1 and then GH2 waiting in the wings for release not long afterwards then we would have held onto our cash and spent it far more wisely on a couple of Lumix cameras and a small selection of Panasonic Lumix and Leica M43 prime and zoom lenses. 

Canon EOS 5D Mark II with Panagor 28mm f/2.8 PMC Auto Wideangle vintage M42 prime lens

But buy a 5D Mark II we did and it was initially only available with the Canon EF 24-105mm f/4.0 L IS USM kit zoom lens so we had no choice in the matter, and little did we know how mediocre that lens would turn out to be.

Soon after the lens’ warranty ran out so did our luck and it succumbed to the notorious aperture-control ribbon cable failure that renders the whole lens useless.

It came at a less-then-perfect time for us financially so we had to set thoughts of photography and videography aside for a time and when we were ready to get back into it Fujifilm released its gently revolutionary FinePix X100 digital rangefinder camera, the first digital camera we loved on first sight.

Canon EOS 5D Mark II, Canon EF 24-105mm f/4L IS USM, Panasonic Lumix GH1 & GH2, & a couple of vintage primes

leica_elmarit-m_28mm_f2.8_japancamerahunter_01_1924px
Leica Elmarit-M 28mm f/2.8 manual prime lens for Leica M-Series. This was my automatic go-to lens for documentary photography and photojournalism. Photograph courtesy of Japan Camera Hunter.

After learning that it would cost a small fortune to have our Canon EF 24-105mm f/4.0 L IS USM lens made usable again with no guarantee it wouldn’t keep failing, camera and lens sat semi-neglected in a closet for years save for occasionally firing off a few lensless shots to keep the mechanisms working.

After an engineer friend claimed he could repair the lens and was qualified to do so, then failed miserably, we wondered if it was time to write both camera and lens off once and for all.

(The engineer wrote himself off as a friend shortly after and we never saw him again.)

My late Uncle Brian was responsible for the funds that paid for the 5D Mark II and a number of other stills and video production items and sentiment held its grip so we didn’t try selling the camera dirt cheap on what passes for a local secondhand market.

Early this week the Canon 5D Mark II caught our eye while rearranging the closets so we popped an adapted Panagor 28mm f/2.8 vintage lens on, a SanDisk Extreme III CompactFlash memory card in and banged off several snaps during a shopping trip when the sun suddenly burst into action.

After that we began carrying camera and lens each day on brief local forays and used the combo as a glorified snapshot camera with ISO set to A for automatic, lens at f/8.0, shutter speed at 1/250th or 1/500th of a second provided the sun was shining and exposure compensation at -1.

The 28mm focal length is our favourite and we equally love it at its 18mm equivalence for APS-C and 14mm on Micro Four Thirds.

The only 28mm prime lens we have is our Panagor but we’d love an updated Fujicron-style f/2.0 R WR prime lens for our Fujifilm X-Pro2 as 28mm and its equivalents is in our opinion the best and most useful focal length for documentary photography, one that’s brilliant at conveying the feeling in viewers that they’re almost right there in the picture.

We’re zone-focusing and hyperfocal-focusing the Panagor 28mm as we used to in our Leica M System days with our beloved but long-gone Leica Elmarit-M 28mm f/2.8 and while we need to get back into practice with it our early results are not too bad.

Our use of DxO PhotoLab Elite and its plug-ins DxO FilmPack Elite and DxO ViewPoint for processing the 5D Mark II’s .CR2 raw files also needs some practice and so far we haven’t come up with the optimal combination of settings.

It might even be that we’ll need to apply some DxO Nik Collection settings to funk the 5D’s images up a little or a lot.

Mirror-slap and shutter-shake are intrinsic to DSLRs and they benefit from stabilized lenses to reduce both to some degree whereas vintage lenses do nothing to compensate, regrettably.

The best thing we can do to get more out of our 5D and its lenses – the Panagor 28mm f/2.8 and Pentacon 50mm f/18 – is take them into the city on a nice and busy sunlit day and let loose then come home and experiment further in all our available software.

One thing is for sure: this camera and lens combination is not for producing images dense with fine and sharply-rendered detail but is better suited for funkier things.

Another thing is for sure, this camera is heavy and it was even heavier to carry with its kit lens even when I was younger and fitter.

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.
  • Camera-wiki.org – Pentacon lenses – “The most Pentacon brand lenses were derived from classical East-German lens constructions.”
  • Camera-wiki.org – Jaca Corporation – “… most famous for their Elicar and Panagor brand lenses, made by a variety of Japanese lens manufacturers which included Komine and Kino Precision.”
  • Camera-wiki.org – Kino Precision Industries – “… Kino began manufacturing lenses for Ponder & Best (later Vivitar) including some of the highest quality Vivitar Series 1 lenses. Kino also manufactured lenses for Soligor, Jaca Corporation (Panagor, Elicar), and Tapak International (Elicar).”
  • DxO – website – PhotoLab, FilmPack, ViewPoint, PureRAW, Nik Collection – Our #1 choice in raw image processing and editing software.
  • Wikipedia – Canon EOS 5D Mark II – “The Canon EOS 5D Mark II is a 21.0 effective megapixel full-frame CMOS digital single-lens reflex camera made by Canon, the first Canon EOS camera to have video recording capabilities. It succeeds the EOS 5D and was announced on 17 September 2008…. Canon 5D Mark II was able to compete with high-end digital movie cameras available that time. Its release started the trend of “DSLR revolution”, significantly changing the world of independent filmmaking for upcoming years.”
  • Wikipedia – Fujifilm X100 – “The FinePix X100 was the first camera to show a number of new technologies developed by Fujifilm. These include a hybrid viewfinder which allows the user to choose between a conventional optical viewfinder with an electronic overlay, or an electronic viewfinder. The combination of APS-C sized CMOS sensor, EXR processor and 23mm (35 mm equivalent) fast aperture lens was also a first.”
  • Wikipedia – Panasonic Lumix DMC-GH1 – “The Panasonic Lumix DMC-GH1 is a digital mirrorless interchangeable lens camera adhering to the Olympus and Panasonic developed Micro Four Thirds System (MFT) system design standard. Panasonic classified the GH1 as a hybrid stills/video camera and the GH1 was introduced and marketed as a higher end camera than Panasonic’s first MFT camera, the stills only, non-video capable Lumix DMC-G1.”
  • Wikipedia – Panasonic Lumix DMC-GH2 – “The GH2 was released in October 2010 as a successor to the Panasonic Lumix DMC-GH1. The GH2 comes with a touch-screen display, a feature that was not present in the GH1.”

Panasonic, Where Is Daniel Berehulak?

One of the most important things for me at least when deciding what photography and video production hardware in which to invest the hard-earned readies, as they say, is seeing which professionals rely upon them for their daily work. 

If it works for them then it surely will work for me.

That was the case with a number of celebrated male photojournalists, for example, just after I got back into documentary photography with digital cameras in the 2000s through the 2010s.

That was the era when far too few women were being signed up as brand ambassadors, when it was even worse than it is today and today things are still not great for equity in female inclusion and that of other so-called diversities.

The photojournalists in question then were the Australian Daniel Berehulak (Panasonic), David Burnett (Panasonic before he turned to Sony), and Magnum photographers Ian Berry and Thomas Dworzak (both Panasonic).

There was another Magnum photojournalist (Fujifilm) whose name shall not be uttered here as he is the centre of a sexual harassment scandal against female colleagues.

I seem to remember too that before the X-Pro2 came out, a photograph made by another Magnum photojournalist whose name I can’t recall right now was circulated.

That image was made with the disappointing Fujinon XF 18mm f/2.0 R pancake lens, often praised as “quirky” by fans.

The X-Pro2 and 18mm seemed like a sensible focal length and camera combination for documentary photography and photojournalism and it still will be if Fujifilm sees fit to redesign the 18mm f/2.0 R pancake lens into an 18mm f/2.0 R LM WR Fujicron lens and releases it with the X-Pro4, hopefully due out not too much later this year, 2023.

Back to the impressive Australian expatriate Daniel Berehulak.

As Mr Berehulak seemed to be going great with Panasonic’s first generation Lumix S 35mm sensor cameras after years of relying on their Micro Four Thirds cameras, it is surely a no-brainer that he be re-equipped with the Lumix S5 II and S5 IIX and appear in Panasonic’s marketing materials and especially its press packs.

Panasonic, where is Daniel Berehulak?

Links

Panasonic North America on the Lumix S5 II for Videographers. And Cinematographers For That Matter

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!…

Looking for past LUMIX Live streams? Check out the entire back catalog here: https://youtube.com/playlist?list=PL1…”

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

Emily Lowrey of Micro Four Nerds Tries Out The Lumix S5 II’s Real Time LUT Feature On Photos & Videos

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

There’s Plenty To Watch & Learn About the Lumix S5 II & S5 IIX From PanasonicLumixVideo’s Latest Video Playlist

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

Links

Panasonic North America on Autofocus: Tip of the Iceberg in Exciting New Lumix S5 II & S5IIX 35mm Sensor aka Full Frame Cameras

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!…

Looking for past LUMIX Live streams? Check out the entire back catalog here: https://youtube.com/playlist?list=PL1…“

Panasonic Lumix S5 II

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

Gordon Laing Does His Usual Massively In-Depth Hands-On Review of the Panasonic Lumix S5 II 35mm aka “Full Frame” Compact Hybrid Camera

Gordon Laing’s in-depth hands-on reviews of new photography and video hardware releases are always our first port of call so we’re pleased to re-present his review of Panasonic’s Lumix S5 II here. 

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Panasonic Lumix DMC-GH1 with Panasonic Lumix G Vario 14-140mm f/3.5-5.6 Aspheric Power OIS zoom lens. Image courtesy of Panasonic Global.

Panasonic has had a long history of creating solid workhorse camcorders and cinema cameras and the company’s entry into the mirrorless hybrid market with its Lumix GH1 was as revolutionary as the much more publicly lauded Canon EOS 5D Mark II if not more so.

Due to our connections with Canon R&D at the time, and the difficulty of finding the GH1 and its successors in our local camera stores, we were blindsided by the implications of Panasonic entering the consumer hybrid camera market and the camera hacks that users began creating to extend the GH2’s video capabilities.

We bought into the Panasonic plus Olympus Micro Four Thirds world when we needed a more video-capable hybrid than the 5D Mark II for documentary work and we’ve been hoping since that Panasonic would radically improve its autofocus capabilities beyond its proprietary DFD – Depth From Defocus.

panasonic_lumix_dmc-gh2_10_1024px_80pc
Panasonic Lumix DMC-GH2 with Panasonic Lumix G Vario 14-140mm f/3.5-5.6 Aspheric Power OIS zoom lens.

DFD proved up to the job for stills photography though we’ve mostly relied on back button focus and manual focus via our Olympus M.Zuiko Pro lenses’ excellent manual clutch focus mechanisms.

Having learned photography and moviemaking in the analog era, manual focus has been in our DNA for years now, so we didn’t mind relying on manual focus for video production whatever camera system we used.

But ageing eyes and the desire to do more, faster and better with less but still affordable enough means we’ve been hoping Panasonic would finally do something about replacing DFD  with PDAF or something better again.

And so it has, and Gordon Laing shows us just how much the company has done it with this excellent video review.

Gordon Laing: Panasonic Lumix S5 II for PHOTOGRAPHY review: BEST value full-frame vs R6 II A7 IV?

“My Panasonic Lumix S5 II review! In-depth look at the photo and focusing vs R6 II and A7 IV.”

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.
panasonic_lumix_gx8_square_waterspray_1024px_60%
The Panasonic Leica DG Summilux 12mm f/1.4 Aspheric prime lens is well-balanced on the GX8. Image courtesy of Panasonic Australia.

We’ve often recommended Panasonic Micro Four Thirds or Fujifilm APS-C/Super 35 hybrid cameras for their relative affordability compared to 35mm sensor-equipped cameras, popularly referred to as “full frame” or sometimes “full format”.

Panasonic tipped the tables, though, when it added the compact but feature-rich S5 to its much larger and heavier initial 35mm-sensor S-Series offerings comprising the S1, S1R and the Netflix-approved S1H.

We have been hoping, though, that Panasonic would extend the compact and affordable S5 concept into two different directions – more high-end video capability one way and higher megapixels for professional photography in the other.

The S5 II and the coming S5 IIX are taking care of the video end of things and we’re still hoping that a 50 megapixel or greater more stills-oriented camera will appear later in 2023.

Even better would be a 35mm rangefinder-style camera with tilting EVF in the tradition of Panasonic’s GX8, still one of our favourite Micro Four Thirds cameras despite its age.

During our analog film camera days our daily carry was two Billingham belt-pack camera bags containing a combo of one or two Leica M-System cameras and from one to five Leica M prime lenses with a Zone VI Studios modified Pentax spotmeter for deadly accurate Zone System exposure.

Cameras from a range of other brands, film formats and camera types supplemented our Leicas but we always came back to our tough and reliable M-System gear when our other hardware wasn’t up to the task or the tough environment in which we often worked.

Panasonic has had a long association with Leica at least from the start of the former’s Micro Four Thirds Leica-badged lenses and that’s continued and grown with the formation of the L-Mount Alliance.

Last year, 2022, it looked like it would become even deeper with the announcement of Panasonic’s L² Technology collaboration agreement and so it has proven with the many innovations in the S5 II and S5 IIX not least of which is their DFD-quashing hybrid PDAF aka PDHAF aka Phase Detection Hybrid Autofocus.

We’re looking forward to more such innovations from Panasonic and Leica in 2023.

Links

B&H Explora: Panasonic Lumix S5II & S5IIx Full-Frame Mirrorless Photo-Video Cameras – Commentary

https://www.bhphotovideo.com/explora/videos/photography/panasonic-lumix-s5ii-s5iix-full-frame-mirrorless-photo-video-cameras/BI/20140/KBID/14125/SID/DFF

“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 S5 II, S5 IIX, 14-28mm & 20-60mm zoom lenses

Panasonic Lumix S5IIX. Image courtesy of B&H.
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 S Pro and S 35mm aka “Full Frame” lens roadmap as of January 4, 2023. Image courtesy of Panasonic Global.
Panasonic Lumix S5II. Image courtesy of B&H.

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

Panasonic North America: Panasonic Announces Highly Anticipated LUMIX S5II and S5IIX at Consumer Electronics Show 2023

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!
  1. Conventional zoom lenses require firmware update to use Continuous AF during zooming. The firmware will be released on 10/Jan 2023, UTC 1:00.
  2. Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used. Firmware must be updated to the latest version.
  3. Compared with LUMIX S5. Focal length 20mm, when using S-R2060.
  4. When the camera is used at recommended operating temperature 0-40 degrees C.
  5. When [Thermal Management] is set to [STANDARD], recording stops once the continuous recording time exceeds 30 minutes.
  6. Apple and ProRes are trademarks or registered trademarks of Apple Inc. in the United States and/or other countries.
  7. Requires USB-LAN adaptor, sold separately.
  8. Up to 60p. Does not work in Variable Frame Rate mode.
  9. When the camera is used at recommended operating temperature 0-40 degrees C.
  10. 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]
  11. In the LUMIX S5IIX only.
  12. Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
  13. 5GHz Wi-Fi is not available in some countries.

Images

Panasonic Lumix S5 II
Panasonic Lumix S5 IIX

Links

Emily Lowrey of Micro Four Nerds Releases First Look at Lumix S5 II: “SO MUCH MORE than AF!”

“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