4/3 Rumors: Will Panasonic transform their MFT product line to focus on vloggers?

https://www.43rumors.com/will-panasonic-transform-their-mft-product-line-to-focus-on-vloggers/

“I got this from a very reliable source:

They will change strategy here. MFT will focus on the V-Logging segment. They don’t see a huge market for a GH6 anymore as most people are moving to Full Frame. So the upcoming GH6 may be more a “Pro Grade” G100. It’s more of an upgraded GH5 in a new body with enhanced mobile integration. Or to make it short – a GH6 may not come with the desired specs and the story of the Pro Video MFT will end with the GH5….”

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Paul Leeming’s Panasonic Lumix DC-GH5 in 8Sinn cage with Scorpio handle and XUME magnetic filter holder system, the backpack travel version of a much bigger rig he uses for shooting independent narrative feature films. Photograph by Karin Gottschalk.

Commentary

“MFT will focus on the V-Logging segment.”

I SERIOUSLY hope not!

The Micro Four Thirds format has plenty of potential for serious video work, especially amongst self-funded independent documentary moviemakers, so long as Panasonic radically improves its DFD autofocusing to the point where it matches that of Sony and Canon’s PDAF autofocus.

Micro Four Thirds remains a great stills photography format, especially for documentary photography.

I certainly rely mostly on manual focus and back-button focus with my Lumix MFT cameras, but I would certainly use autofocus far more if it equalled that of Canon and Sony.

No question about that.

Despite the frequently-expressed desires of myself and many others, it looks like Panasonic will never release a pro-quality successor to the GX8 rangefinder-style hybrid camera.

GX8-style cameras are an excellent expression of the Micro Four Thirds ethos being small, nimble, discrete and versatile in comparison to the larger, heavier and less discrete DSLR-style GH line.

The GX9 was a slap in the face of professional GX8 users.

Turning MFT into a format for vlogging only is a slap in the face of professional users.

If the GH5 and GH5S are the end of the line, there go our investments in pro-quality lenses such as Olympus’s excellent manual clutch focus-equipped M.Zuiko Pro collection and Panasonic’s unique, wildly innovative and also manual clutch focus-equipped Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric superwide to standard lens.

Granted, the Lumix DC-S5 looks very promising and so does the possibility of smaller 35mm sensor-equipped cameras, perhaps even a 35mm GX8 successor.

But completely moving over to the larger sensor format means a heavy investment in mostly larger and even heavier lenses, essentially flushing our current MFT gear down the toilet when our MFT cameras wear out or cannot deliver the results we need.

Panasonic, please say it is not so.

Panasonic, please do not abandon your professional Micro Four Thirds user base.

Or do are you willing to see Olympus, under new owner JIP, snap them up with their apparent new emphasis on video?

Links

New Hardware: SmallRig Side Handle with Remote Trigger for Panasonic Mirrorless Cameras 2934

“SmallRig Side Handle with Remote Trigger for Panasonic Mirrorless Cameras 2934 is designed to provide a comfortable grip and features a record button on top to control camera start/stop.

Compatibility:
Panasonic S5/S1/S1R/S1H
Panasonic GH4/GH5/GH5S
Panasonic G9/G95

Key Features:
1. Ergonomic Control Handle for Selected Panasonic Cameras.
2. Start/Stop Remote Trigger Button.
3. 1/4″-20 & 3/8″-16 & Cold Shoe Accessory Mounts.
4. Features Slots for Cable Tethering.
5. Adjusts up & down with Sliding Connector.
6. Integrated Allen Wrench Stores Inside the Grip.”

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SmallRig Side Handle with Remote Trigger for Panasonic Mirrorless Cameras 2934. Image courtesy of SmallRig.

Commentary

This long-awaited remote cable side handle for a range of Panasonic Lumix Micro Four Thirds and 35mm sensor aka “full frame” or “full format” hybrid stills/video cameras is in pre-order at time of writing with a 15% discount so get there soon to secure one.

This device looks well-designed and well-executed, and it is now on my production accessories wishlist.

Expected release date is November 16, 2020.

You may wish to consider adding a second wooden side handle to create a two-handed rig, such as the SmallRig Universal Wooden Side Handle 2093.

Links

Videos by Panasonic About The Lumix DC-S5 “Full Frame” 35mm Hybrid Stills & Video Camera

Introducing LUMIX Business Strategy and New Brand Message in September, 2020. Also, introducing new full-frame mirrorless camera S5 and S series lenses which are introducing near future.

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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.

PanasonicLumixVideo: LUMIX New Product Launch Event | LUMIX S5

PanasonicLumixVideo: LUMIX S5 Teaser|First impression of New Product LUMIX S5 by LUMIX Ambassador, Todd White

PanasonicLumixVideo: Behind the Scenes of LUMIX Ambassador, Todd White x LUMIX S5

PanasonicLumixVideo: LUMIX S5 Teaser | First Impression of New Product LUMIX S5 by Sports Photographer, Adam Pretty

PanasonicLumixVideo: Behind the Scenes of Sports Photographer, Adam Pretty x LUMIX S5

PanasonicLumixVideo: LUMIX S5 – “The Art of Glassblowing with Gail Allard” by LUMIX Ambassador, Todd White

PanasonicLumixVideo: Introducing LUMIX S5 | Full-frame Mirrorless Camera for all contents creators

PanasonicLumixVideo: LUMIX S5 – “Fall 2020 Fashion Looks for Estilo” by LUMIX Ambassador, Todd White

Links

Peter Forsgård: Panasonic 10-25mm F1.7 – [FASTEST Wide-Angle Zoom] – video – Commentary

Panasonic 10-25mm F1.7 is the fastest Wide-Angle Zoom for MFT bodies…. Panasonic 10-25mm f1.7 lens was introduced in Photokina 2018. It was not until May 2019 when it was officially launched. It [is] the fastest wide-angle zoom for MFT.

Correction: This unique lens is better described as the fastest wide-to-standard zoom lens.

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Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens. Image courtesy of Panasonic Australia.

The recent publication by 4/3 Rumors of Peter Forsgård’s intro video about the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric reminded me that I had yet to try one out myself or even simply clap eyes on one in our ever diminishing local camera stores.

Time, I thought, to look deeper into this intriguing lens to determine if I should place it on my documentary stills and video hardware wishlist, or forgo it in favour of that other uniquely fast zoom lens, the Sigma 18-35mm f/1.8 DC HSM Art lens.

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Panasonic Lumix DC-G9 with Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens. I would love to try out this combination in the field for documentary stills and video storytelling. Some say that the lens somehow works better with the G9 than with the GH5 or GH5S. Image courtesy of Panasonic Australia.
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The Olympus M.Zuiko Pro professional prime and zoom lens collection as of late 2017, all with manual clutch focus, invaluable for fast, accurate and repeatable manual focusing as well as linear focus-by-wire and autofocus. Image courtesy of Olympus Australia.

Peter Forsgård has yet to produce a more in-depth video about the lens and his results with it, and there is the fact that he is using it on Olympus OM-D cameras rather the more videocentric Lumix GH5, GH5S  and G9 hybrid cameras from Panasonic for which the lens was clearly designed.

Its clickless aperture ring only works on Panasonic Lumix cameras but clickless is of more use for moviemaking than stills photography and Olympus seems to have fallen well behind Panasonic in the video half of the hybrid camera equation.

Australian/American Director of Photography and Olympus Visionary John Brawley is one of the few I have encountered who shoots serious video with that brand’s hybrid cameras but I can better understand his love of Olympus lenses, especially the Olympus M.Zuiko Pro professional-quality collection with the lenses’ manual clutch focus via retractable ring and hard stops at each end of the focusing scale.

I spotted the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric zoom lens at SMPTE’s Metexpo in July 2019 but could not borrow it for a quick tryout at the show. Pity, as I still have some unanswered questions about it.
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Will Panasonic’s DFD autofocus approach the speed of PDAF autofocus camera systems some day? Fujinon XF 50mm f/1.0 R WR on Fujifilm X-Pro3. Image courtesy of Fujifilm Australia.

The Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric is Panasonic’s very first manual clutch focus lens and not before time.

Focus-by-wire only lenses can be problematic for moviemaking with some more unusable than others although they can work acceptably for stills photography especially when relying on back-button focus in manual focus aka MF mode.

I have not done much video using autofocus on any camera and lens combination, partly because I only had manual focus during the analog era and became comfortable with it, and more to the point because autofocus on video and hybrid cameras was unreliable up until recently.

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Has the S5 improved Panasonic’s DFD autofocus enough yet? Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens. Image courtesy of Panasonic Australia.

I still set my cameras to manual focus by default when prepping for a project, and the unpredictability of documentary photography and moviemaking means I often need to snap into manual focus in an instant, easily done by rapidly retracting the focusing ring.

Hard stops in manual focusing mean I can train myself in approximating the right focus point fast without looking at the focusing scale, then refine focus through the viewfinder or monitor.

The Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric, on the other hand, allows its focusing ring to travel beyond extreme left or right of the focusing scale, and I remain unsure as to the usefulness of this behaviour.

A question only firsthand experience can answer.

Gerald Undone: Panasonic 10-25mm f/1.7 Lens Review (vs Sigma 18-35 + Speed Booster)

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Sigma 18-35mm f/1.8 DC HSM Art EF-mount fast zoom lens can be adapted for a range of Super 35/APS-C cameras or for cameras with larger sensors that can be set to Super 35/APS-C. Image courtesy of Sigma Australia.

Mr Undone is currently the first and sometimes only YouTube reviewer I watch these days and his in-depth, fast-talking rundowns amply reward the effort.

The highly adaptable Sigma 18-35mm f/1.8 DC HSM Art EF-mount fast zoom lens is high up on my wishlist for use with several camera systems and sensor sizes, but the lure of one lens with a focal range from 10mm through 14mm, 17mm, 20mm and 25mm is strong.

In 35mm sensor terms that equates to 20mm, 28mm, 35mm, 40mm and 50mm, only lacking my longer favourite focal lengths of 75mm and 105mm.

The lens’ image quality at each of those focal lengths is reportedly almost as good as that of pro-quality premium-priced lenses such as Olympus’ M.Zuiko Pro 17mm, 25mm and 45mm primes, a feat only matched by Fujifilm’s shorter Red Badge zooms.

I will keep looking for reviews and videos about Panasonic’s Leica DG Vario-Summilux 10-25mm f/1.7, but I found Gerald Undone’s comparison with Sigma’s 18-35mm f/1.8 DC HSM Art zoom lens the most useful so far.

There are pros and cons to both lenses and the choice depends on these currently unanswered questions about the 10-25mm:

  • Exactly how much curvature is there at its wide end of lens? I find too much curvature irritating especially when the frame contains horizontal parallels and I am following a figure walking through it.
  • How much vignetting is there at all focal lengths but most especially at the wide end?
  • How well is skin rendered by it given not all lenses are equal in doing this?
  • Does the lens have that classic warm and three-dimensional Leica lens micro-contrast and resolution?
  • I love the idea of an emotive wide-angle closeup on a face and upper body using a wide aperture to throw figure and background into stark contrast, but how well does the lens render this look?
  • Why did we not have a choice between clicked and clickless aperture ring given de-clicked works best for video while clicked is best for stills?
  • Is Panasonic working on the perfect companion for the 10-25mm, a similarly-designed 25-50+mm f/1.7 zoom lens?
  • I am accustomed to hard stops at each end of the focusing scale on manual clutch focus lenses, but how useful or not are the 10-25mm’s software stops?
  • Although I still rely heavily on manual focus for video and back-button focus for stills, great autofocus in both modes certainly has its uses. Will Panasonic’s reliance on DFD aka depth-from-defocus instead of PDAF aka phase-detection autofocus continue to be its Achilles’ Heel?

Questions remain about the viability of the Micro Four Thirds system given Olympus’ recent sale of its camera and lens division to JIP and Panasonic’s big investment in 35mm SLR-style cameras.

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

Panasonic staffers say that work continues on the company’s M43 cameras and lenses, but where is the much-requested pro-quality successor to the GX8 rangefinder-style hybrid workhorse, and when can we expect the GH6?

With the Lumix DC-S5, Panasonic has demonstrated it can make 35mm sensor cameras smaller than its M43 cameras.

If Panasonic follows the same path with the successors to its other two first generation S-Series cameras, the S1R and the S1H, will there be less incentive to stick with M43?

Right now I love the choice between the GH-series and G-series M43 cameras’ Super 16 and 35mm film handling and aesthetics, and those of the S-Series cameras’ Super 35 and 120 roll-film look and feel.

But DxO’s PhotoLab raw editing software and Topaz Labs’ Gigapixel AI image enlargement application radically reduce the need for larger sensors to produce better image quality.

Likewise, I wonder how much difference is really noticeable onscreen between Super 16 4K and Super 35 4K.

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Sigma 50-100mm F1.8 DC HSM | Art APS-C zoom lens.

Panasonic’s Leica DG Vario-Summilux 10-25mm f/1.7 may be an amazing M43-only lens with an incredibly useful focal range for documentary stills and video, but Sigma’s 18-35mm f/1.8 DC HSM Art zoom lens is adaptable to a range of Super 35/APS-C and Super 16/M43 cameras, helping future-proof one’s investment in lens and adapters.

Furthermore, the 18-35mm already has a longer companion lens in the form of Sigma’s 50-100mm f/1.8 DC HSM Art zoom, though there is no obvious companion lens on the wide end though there is that gap between 35mm and 50mm.

Links

Press Release: Lumix S5 – Feature-Packed Hybrid Full-Frame Mirrorless Camera Delivers Exceptional Video Quality Plus Stunning Mobility and Durability

With the appearance of media releases from the various national Panasonic branch offices including this one from Panasonic Australia, it has become clearer that the Lumix S5 35mm sensor-equipped DSLR-style camera may be the hybrid stills/video powerhouse we were hoping for when the Lumix DC-S1 launched Panasonic’s contribution to the L-Mount Alliance. 

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Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens. Image courtesy of Panasonic Australia.

I will enjoy studying the complete Lumix S5 specifications list and watching the videos that have been released so far, and am looking forward to the coming release of the announced four wide aperture prime lenses that will perfectly complement the Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens, not to mention any new L-mount lenses from Sigma.

On terminology

I refuse to comply with the inane and inaccurate marketing department terminology applied cameras with 35mm sensors, “full frame” and “full format”, and will continue that rejection of fuzzy thinking in writing about such cameras.

“Full frame” may have had some usefulness back in the 1960s during the days of half-frame analog cameras using 35mm film, such as the Olympus Pen F half-frame SLR, but the intended meaning of “full format” remains indecipherable.

LUMIX S5 – Feature-packed hybrid full-frame mirrorless camera delivers exceptional video quality plus stunning mobility and durability

Panasonic is delighted to announce the new LUMIX S5, a hybrid full-frame mirrorless camera in a highly mobile body that delivers powerful video performance, amazing photography and solid reliability for content creators.

James Choi, Product Marketing Manager, Imaging, Panasonic, explained: “The hybrid S5 packs the essential capabilities of our ground-breaking flagship S Series cameras into a small, mobile and robust body. Enthusiasts who want to take their creativity to the next level can harness the incredible image quality of a powerful full-frame sensor. The S5’s compact size belies the impressive performance under the hood – this camera is class-leading in the sheer breadth of video and stills capabilities it puts in the hands of content creators.”

The S5 is packed with impressive video capabilities, including 4K 60p 10-bit internal recording and external output via HDMI, full Varicam V-log profile pre-installed in the camera, 4:3 Anamorphic Super 35 mode and up to 180 frames per second (fps) Slow Motion shooting. The camera is also compatible with Panasonic’s DMW-XLR1 microphone adaptor, allowing professional audio equipment to be used in video creation. Additionally, RAW video output via HDMI up to 5.9K will be available via a future firmware update.

For hybrid shooters who want to take a step up, the S5 delivers stunning image quality and greater creative scope. It contains the 24.2-megapixel 35mm full-frame CMOS sensor first introduced in the LUMIX S1, providing impressive low-light performance and incredibly high dynamic range. This is backed by the 5-axis Dual I.S. 2 image stabilisation system with up to 6.5-stops[i] of camera shake correction for handheld shooting. The camera also incorporates an improved Deep Learning autofocus algorithm that detects specific subjects – humans and fast-moving animals – with great accuracy.

Inspired by the flagship S Series professional camera lineup, the S5 provides enthusiasts with a compact, durable camera designed for field use. The camera’s full magnesium alloy weather-sealed body is splash and dust resistant, essential for working in a range of environmental conditions. Dual SD card slots offer further flexibility with relay recording and backup support. A large, high-resolution OLED viewfinder delivers quick response with minimum distortion for easy and accurate framing of the scene.

Creative aids for expressive photography include “Live View Composite”, newly-introduced to the S Series with the S5, which combines multiple exposures into a single image that emphasises bright points while suppressing overexposure of the total image and maintaining the shadows, thus reducing the learning curve for light painting and long exposure photography. The S5 also features sensor-shift 96-megapixel (MP) high resolution mode, which can capture detailed landscapes with increased dynamic range and colour reproduction, with files created in-camera without the need for external software.

Panasonic is currently developing a number of S Series prime and zoom lenses at popular focal lengths, designed to further expand the creative possibilities for LUMIX S Series users. These new portable and lightweight lenses include a 24mm F1.8, 35mm F1.8, 50mm F1.8, 85mm F1.8 and a 70-300mm F4.5-5.6, all of which will complement the S5 very well.

Key LUMIX S5 Capabilities

Exceptional recording performance for video creation

As a pioneer of photo/video hybrid mirrorless cameras, LUMIX has the largest lineup of cameras that record 4K 10-bit video[ii]. The S5 is no exception, and is capable of unlimited 4K 60p/50p 4:2:2 10-bit HDMI output and also delivers unlimited 4K 30p/25p 4:2:0 8-bit internal recording. In addition, 4K 60p/50p 4:2:0 10-bit and 4K 30p/25p 4:2:2 10-bit can be recorded internally for up to 30 minutes.

The camera features V-Log/V-Gamut with a wide dynamic range of 14+ stops, in line with the dynamic range of the Panasonic VariCam, to precisely capture everything from dark to bright areas. Subtle gradations such as skin tones are faithfully reproduced. Designed with consistent colour management in mind, the recorded footage is easily matched with V-Log footage recorded by the LUMIX S1/S1H or LUMIX GH5/GH5S, for an easier post production workflow. Practical tools like a Waveform Monitor and V-Log View Assist are included.

Slow & Quick mode enables impressive slow and quick motion video with autofocus[iii], and can be accessed directly using the mode dial. In 4K the S5 achieves up to 30x quick or 2.5x slow motion at 1-60fps, and in FHD it achieves 60x quick or 7.5x slow motion[iv] at 1-180fps.

Stunning image quality

The S5 has a 24.2-megapixel full-frame CMOS sensor (35.6 mm x 23.8mm) with Dual Native ISO technology. The sensor can leverage a dual-base ISO setting, resulting in minimised noise and outstanding image quality from low to high sensitivity. Dual Native ISO provides a greater variety of artistic choices, with the ability to use less light if desired. The S5’s Dual Native ISOs are 640 and 4000[v] in V-Log. This feature teams up with the Venus Engine processor to deliver a maximum ISO of up to 51200.

With the new Live View Composite function, the camera releases the shutter at designated exposure intervals and produces a single picture combining all the areas of high luminosity such as lights, stars or fireworks. The photographer can monitor this in Live View.

Panasonic’s 5-Axis Dual I.S. 2 offers excellent stability in a range of situations. A high-precision gyrosensor joins the Dual I.S. system of 5-axis in-body stabilisation and 2-axis optical stabilisation in selected lenses for highly accurate shake detection and compensation. This makes it possible to use up to 6.5 stops[vi] slower shutter speed in both photo and video. Incredibly stable performance can be achieved when shooting handheld at much slower shutter speeds and lower ISO values, reducing the need to carry a tripod or gimbal.

The 96MP High Resolution mode creates highly detailed images that can be turned into enormous prints or used in commercial imagery. Using sensor shift technology, it captures and combines eight consecutive images in-camera for outstanding results achieved when shooting handheld colours of natural landscapes to intricate fine arts, and can also be used when moving subjects are in the scene, by switching to the sub mode. It produces a 96MP equivalent (12,000 x 8,000-pixel) RAW and/or JPEG image.

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

Panasonic has achieved high-speed AF with its advanced control technology incorporating the major devices – lens, sensor and imaging engine. The lens and sensor communicate at a maximum 480 fps. Contrast AF with DFD technology allows the S5 to achieve an ultra high-speed, high-precision AF of approximately 0.08[vii] sec. It also excels in low-light shooting, with -6EV[viii] luminance detection performance in Low Light AF, thanks to the higher sensitivity and optimised tuning of the sensor.

The S5 also incorporates an improved Deep Learning autofocus algorithm that offers greater accuracy in detecting specific subjects – including humans, people’s faces, and fast-moving animals. In addition to the eye, face and body, the head is also separately recognised by real-time detection technology to provide even more precise focusing. The camera keeps tracking subjects when they move quickly, turn away, tilt their head or move far away from the camera. Also, improvements to DFD technology have enhanced AFC, which allows the camera to keep tracking small or fast-moving subjects and capture them in crisp focus.

Reliable performance plus expandability for creative freedom

To withstand heavy field use, the S5 has a magnesium alloy full die-cast body and is splash/dust-resistant[ix]. With an optimum layout of heat dispersion components, heat is effectively transferred externally, which results in stable, continuous video recording for an extended time.

The large OLED LVF (Live View Finder) has a magnification ratio of approx. 0.74x, 2,360K-dot high resolution and a minimum time lag of less than 0.005 sec. A versatile free-angle 3.0-inch LCD rear monitor (3:2 aspect,
approx.1840K-dot) with touch control allows for quick changes to settings, even when the user is in front of the camera.

Other shooting assist functions include Frame Markers for checking composition during recording. A wide range of aspect ratios are supported, including those for popular social media platforms – 16:9, 4:3, 1:1, 4:5, 5:4 and 9:16. In addition, the REC Frame Indicator displays an eye-catching red frame for checking at a glance if the camera is recording or not.

The S5 has dual SD Card slots – one slot complies with the high-speed, high-capacity UHS-II (Video Class 90) and the other with UHS-I. Users can select Relay Recording, Backup Recording or Allocation Recording modes.

The camera uses a new DMW-BLK22 high-capacity battery which meets its power demands in a small form factor. The S5 battery is also backwards compatible with the GH5, GH5S and G9. The camera’s battery can be recharged either via AC or USB, which is convenient if you are travelling and want to use a USB power bank. The S5 is also capable of power supply and delivery via USB-C, making it possible to continuously power the camera with a USB power source.

Content sharing with smartphones is streamlined using Bluetooth 4.2 Low Energy connection, Wi-Fi 5-GHz (IEEE802.11ac) and 2.4-GHz (IEEE 802.11b/g/n). With an always-on Bluetooth connection, a smartphone can act as the camera’s remote control via the LUMIX Sync app. The settings of an S5 camera can also be copied and transmitted to other S5 cameras when shooting using multiple cameras.

The S5 is compatible with the LUMIX Tether applications which enable tethered shooting via USB. Users can control the camera by connecting it to a PC. Images can be viewed on a large PC screen while shooting, which is useful in situations where continuous confirmation is required. For live streaming, LUMIX Tether for Streaming (Beta) with LIVE VIEW mode is available. LUMIX Sync for iOS/Android devices enables image transfer to a smartphone or tablet via easy wireless connection.

Convenient optional accessories

A variety of optional accessories can be used with the S5. They include a Microphone Adaptor (DMW-XLR1) for professional XLR microphones to record high-quality stereo sound, as well as switchable Mic, Line and Condenser Microphones. The Battery Grip (DMW-BGS5) extends battery life and provides controls for portrait oriented shooting. Other accessories include a Remote Shutter (DMW-RS2), DC coupler (DMW-DCC17), and Tripod Grip (DMW-SHGR1).

LUMIX S5 Pricing and Availability

LUMIX S5: Body only – RRP $AU 3199
LUMIX S5 kit (DC-S5KGN-K): Kit with LUMIX S 20-60mm F3.5-5.6 lens (S-R2060) – RRP $AU 3699
The S5 will be available in late September 2020 from leading photographic specialists.
Planned firmware updates for the LUMIX S1R, S1H and S1

Panasonic will release firmware updates for the LUMIX S1R, S1H and S1 by the end of 2020. New firmware will enable the S1R to record 5K video, making the most of its high-resolution image sensor. In addition, the AF improvements introduced with the S5 will be available on the S1R, S1H and S1 for both video recording and still shooting. In addition to the eye, face and body, the head is also separately recognised by real-time detection technology to provide even more precise focusing. The camera keeps tracking subjects when they move quickly, turn away, tilt their head or move far away from the camera. Also, improvements to DFD technology have enhanced AFC, which allows the camera to keep tracking small or fast-moving subjects and capture them in crisp focus.

For further information, please visit http://www.panasonic.com.au or call 132 600.

oOo

RELEASED BY PANASONIC AUSTRALIA

Media Enquiries

Shona Hannon
Panasonic Australia
(02) 9491 7629
Shona.hannon@au.panasonic.com

Tom Scambler
Porter Novelli
+61 400 335 460
TScambler@porternovelli.com.au

[i] Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm] when S-E70200 is used.
[ii] Of mirrorless interchangeable lens cameras, as of 2 September 2020.
[iii] The AF mode switches to MF when the frame rate is set to of 150 fps or more. The angle of view is reduced when the frame rate is set to 180 fps. Recording stops when the continuous recording time exceeds 30 minutes.[iv] The AF mode switches to MF when the frame rate is set to of 150 fps or more. The angle of view is reduced when the frame rate is set to 180 fps. Recording stops when the continuous recording time exceeds 30 minutes.
[v] When recording mode is set to V-Log. The sensitivity varies depending on the recording mode.
[vi] Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm] when S-E70200 is used.
[vii] 11EV, at wide-end with S-R24105 (CIPA) in LVF120 fps setting.
[viii] At ISO100, F1.4, AFS
[ix] Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water. To avoid damage when using the camera under these conditions, it must be used in accordance with associated instructions in the manual.

Panasonic Lumix DC-S5

Links

Lumix Experience: Panasonic Announces the Compact Lumix S5

https://lumixexperience.panasonic.co.uk/whats-on/news/panasonic-announces-the-compact-lumix-s5/

… The LUMIX S5 is the smallest and lightest S Series camera to date, measuring only 132.6 x 97.1 x 81.9 mm (approx) and with a body-only weight of 630g. This makes the S5 incredibly portable and easy to use for extended handheld shooting.

As a pioneer of hybrid mirrorless cameras, Panasonic LUMIX has the largest line-up of cameras that record 4K 10-bit video*2. The latest member of the family, the LUMIX S5, is capable of 4K 60p/50p 4:2:0 10-bit, and 4K 30p/25p 4:2:2 10-bit internal recording. It is also capable of 4K 60p/50p 4:2:2 10-bit HDMI output. For 4K 30p/25p 4:2:0 8-bit internal recording, there is no time limitation as Panasonic’s exceptional heat dispersion technology enables stable and continuous video recording.

The LUMIX S5 provides 14+ stops of dynamic range, which is as wide as cinema cameras, and V-Log / V-Gamut compatibility with popular VariCam colour science. A variety of recording formats and modes including 4:3 Anamorphic mode, Slow & Quick Motion, 4K/60p interval shooting and 4K HDR are also provided….

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Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens and Battery Grip DMW-BGS5. Image courtesy of Panasonic Australia.

PanasonicLumixVideo: LUMIX New Product Launch Event | LUMIX S5

Panasonic Lumix DC-S5

Links

David Thorpe: A Look At The Olympus 12-40mm f/2.8 Pro Zoom for Micro Four Thirds Cameras – Commentary

I bought this lens some time after it came out so never thought to reviews [sic] it. Quote a few photographers have taken me to task about that so here, at last, is my take on it. There’s no shortage of standard zooms for Micro Four Thirds but the Olympus 12-40mm f/2.8 Constant Aperture Pro zoom should be towards the top of any buyer’s list.

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Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens.

Former Fleet Street newspaper photographer David Thorpe remains one of the very best digital camera and lens reviewers on YouTube and I thoroughly recommend him for those interested in the Micro Four Thirds format. 

He has to buy the gear that he reviews so he makes somewhat infrequent appearances on his YouTube channel and limits his coverage to the Olympus and Panasonic cameras and lenses that he uses for his own freelance work.

Likewise, Panasonic Australia seems to have fallen off in it support for local reviewers while Olympus Australia has never been interested in helping out with review units, so my current coverage of both company’s hardware and firmware is limited to items that I already own, or based on articles by others.

Thank goodness, then, for reviewers like David Thorpe and others too numerous to list here!

Other M43 lenses that David Thorpe uses and recommends

I own two of the six lenses that receive high recommendations from David Thorpe, the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom and the Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric near-pancake sized collapsible standard zoom.

Both have their joys and their workarounds, but both are firmly established as my default zoom lenses for different reasons and different subjects and applications.

Foremost amongst their differences is that the M.Zuiko Pro 12-40mm f/2.8 can be purchased standalone or bundled with a high-end Olympus camera while the 12-32mm f/3.5-5.6 can only be purchased bundled with a lower-end Panasonic camera.

I managed to find my 12-32mm zoom lens online at eBay Australia, bought it for a good price, and have been very happy with it ever since.

It is not a lens for all seasons though, lacking a manual focusing ring and an aperture ring, and with a 37mm filter diameter so narrow that it necessitates stacking step-up rings to get it to industry-standard 77mm or 82mm or investing in a set of smaller diameter fixed and variable neutral density filters.

For those reasons I have yet to create videos with my 12-32mm lens, relying instead on the Olympus 12-40mm f/2.8 with its 62mm filter diameter, excellent manual clutch focusing, solid build, beautiful optics, and great weather and dust resistance.

Despite the effectiveness of Panasonic Lumix cameras’ back button focus, I have often resorted to retracting my 12-40mm’s manual clutch focus ring to quickly zero in on a key detail, and the usefulness of fast and accurate manual focusing when shooting video cannot be disputed.

The one thing that stops the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro from being the perfect standard zoom lens for stills and video is its lack of an aperture ring.

Aperture rings are one of the major areas where Micro Four Thirds consortium partners Olympus and Panasonic appear to have begged to differ, with Olympus lenses have them not at all and Panasonic building them into some and not all of their lenses.

One of the most intriguing Panasonic lenses with a form of manual clutch focus is the company’s Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide-to-normal zoom lens.

I had the chance to briefly try one out at the last SMPTE in Sydney and while the lens’ range from 20mm to 50mm equivalent is impressive and incredibly useful for documentary photography and video, I was a little nonplussed by the lens’ lack of hard stops at each end of the focusing scale.

Hard stops aid in easier, faster focusing when your eyes are glued to the camera’s EVF or LCD monitor, as I quickly discovered after investing in my 12-40mm f/2.8, but if I was buying into Micro Four Thirds video nowadays then Panasonic’s Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric would be the first and possibly only lens I would buy alongside a Panasonic Lumix DC-GH5,  DC-GH5S or the coming DC-GH6.

If I had the funds and the need for more M43 lenses with manual clutch focus and autofocus capabilities, though, then I would certainly invest them in Olympus’ excellent though aperture-ringless M.Zuiko Pro primes and zooms, so impressive is their optics and performance.

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The Olympus M.Zuiko Pro professional prime and zoom lens collection as of late 2017, all with manual clutch focus, invaluable for fast, accurate and repeatable manual focusing as well as linear focus-by-wire and autofocus.

Links

PauL Leeming’s Leeming LUT Pro Now Released for Fujifilm F-Log, LUTs for Eterna Cinema, Pro Neg Std and HLG for Rec709 Coming Soon

Cinematographer/director Paul Leeming of Leeming LUT Pro and Visceral Psyche. Photograph made by Karin Gottschalk with Fujifilm X-T3 and Fujinon XF 56mm f/1.2 R then processed in Alien Skin Exposure X4 using Summer Blockbuster cinematic preset.

Australian feature film cinematographer/director Paul Leeming has released the first camera profile correction look-up table in his Leeming LUT Pro set for Fujifilm X-Trans sensor-equipped cameras, for Fujifilm’s F-Log logarithmic shooting profile, with Eterna Cinema, Pro Neg Std and HLG for Rec709 LUTs to come. 

This is a significant and long-awaited event given that Fujifilm has finally delivered on its longtime promise to radically improve its cameras’ video capabilities with the Fujifilm X-T3 and X-H1, with the coming X-H2 hopefully improving on the X-T3 as a moviemaking hybrid mirrorless camera in Super 35 format. 

Super 35 has long been the feature film format of choice for narrative and documentary production, and the arrival of improved video capabilities on Fujifilm’s X-T2 cameras was a relief after the disappointment of the X-Pro2’s video support. 

Leeming LUT Pro for F-Log on Fujifilm cameras with X-Trans sensors

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Still frame from sample footage of Leeming LUT Pro for Fujifilm F-Log in use with video from Fujifilm X-T3.

Even the recently announced X-Pro3 appears to have 4K Super 35 video features that may prove good enough in a pinch when more video-oriented cameras are unavailable.

The Leeming LUT Pro expose and correction methodology is based on exposing to the right aka ETTR followed by correction via camera-specific look-up-table files in one’s nonlinear editing suite or colour grading software of choice.

The ETTR method’s most vocal proponent was the late Michael Reichmann who was in favour for its use in photography and videography, and although he and many other photographers constantly lobbied camera makers for auto-ETTR in their Live View-capable cameras, to no effect so far.

Why camera makers continue to ignore the necessity of optimal exposure is anyone’s guess.

For that reason I am grateful that Paul Leeming has applied himself to solving the problem of correct exposure followed by correcting colour via Leeming LUT Pro, with the added benefit of making footage shot on a variety of affordable cameras usable in the same timeline without excessive shot matching work.

The ideal, maximum possible dynamic range and realistic colours, using Leeming LUT Pro and Expose-To-The-Right (ETTR)

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Footage with Leeming LUT Pro applied in nonlinear editing suite.

Uncorrected camera maker luma and colorimetry

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“Uncorrected manufacturer luma curve and colorimetry. Notice how the X shape is all distorted and not straight, and how it artificially lifts the mids to make them much brighter (a favourite trick of the manufacturers to make their images appear brighter than the sensor is recording them).”

Luma curve and colorimetry levels corrected with Leeming LUT Pro

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“Corrected luma curve. Notice how straight the X shape is. As an aside, you can also see the fixed colorimetry levels.”

In the light of camera makers’ tendency to fudge their camera’s video output as illustrated above, exposing to the right appears to make footage appear darker than one may be accustomed to, but Mr Leeming has made available other, secondary, LUTs to quickly and easily raise footage low values, as explained below.

As usual, the LUT will “darken” the footage, which really just means it will make the curve perfectly LINEAR. Examine the attached image using your waveform scope in your favourite editing software, and you’ll see what that means, with the exposure steps forming a perfect “X” shape in linear fashion. This is of course ETTR, so if you under-expose your image, it will look darker.

The LUT(s) don’t make the image darker. The LUT(s) correct the manufacturer luma curves to be linear. In most (but not all) cases, this results in the image “appearing” to be darker, but it’s not affecting anything, nor clipping anything, nor adding additional noise that wasn’t in the shot to begin with.

Don’t forget, you also have the Apollo Pro Quickies to use after the corrective LUT in case you want to brighten the image without clipping the highlights or adding any more shot noise. But when you can, please ETTR and save yourself the problems (and give yourself the cleanest possible log image to begin with).

If your shot after LUT application has its highlights not reaching 100% IRE, then you underexposed it. Use the zebras as per the guide to see where the clipping point is. Expose just shy of that and you’ll maximise sensor dynamic range and minimise shot noise.

If you HAVE underexposed or simply want a brighter image post-corrective LUT, try following it with one or more of my Apollo Pro Quickies, which are expressly designed to lift the shadows in a natural way without clipping the highlights.

Stills frames from feature film shot by Paul Leeming, ungraded then graded with Leeming LUT Pro

Settings for shooting video Fujifilm cameras for processing with Leeming LUT Pro

  • Pro Neg Std, Eterna Cinema, F-log or HLG
  • H265 recording format
  • DR100 for all profiles
  • Highlight tone 0
  • Shadow tone 0
  • Color 0
  • Sharpness -4
  • Noise Reduction -4
  • Zebra level 100%

Quick and dirty Leeming LUT Pro for Fujifilm F-Log tryout with Fujifilm X-H1 F-Log footage

I shoot documentary stills and video rather than make narrative feature movies, so often work alone under challenging conditions as in this example.

The Fujifilm X-H1 had a vintage Zeiss Jena Pentacon 50mm f/1.8 MC Auto prime lens attached to it via a Gobe M42-to-X-mount adapter with no neutral density filter, and I fudged on setting a custom white balance as I was more concerned with understanding the creative possibilities of this lens for video than in getting technicalities perfect.

An adapted 50mm lens on an APS-C/Super 35 camera equates to 75mm in the 35mm sensor format, which is one of my favourite focal lengths for documentary photography and video.

I have been throughly enjoying trying out this lens and its companion, a Panagor PMC 28mm f/2.8 wide-angle prime lens that Paul Leeming kindly gave us.

These sorts of vintage prime lenses are rare and overpriced here in Sydney, at least ever since camera stores like Foto Reisel with their secondhand gear cabinets closed down.

Fujifilm Super 35/APS-C hybrid cameras capable of shooting 4K and Cinema 4K F-Log video as well as in other picture profiles: X-T3, X-H1 and X-Pro3

Links

Help support ‘Untitled’

Clicking on the links and purchasing through them for our affiliate accounts at Adorama, Alien Skin, B&H Photo Video, SkylumSmallRig or Think Tank Photo helps us continue our work for ‘Unititled’.

  • Fujifilm XF and GFX CamerasB&H
  • FUJIFILM X-Pro3 Mirrorless Digital Camera B&H
  • Fujifilm XF LensesB&H

Richard Wong: Panasonic Leica 10-25 mm f/ 1.7 In-Depth Review

“Panasonic Leica 10-25mm 1.7 is the fastest zoom lens from Panasonic/Leica. How is it’s build quality, image quality (sharpness,vignetting,CA,flare,distortion..etc)? Could this be a great lens for videographers or vloggers? How does it compare to the Leica prime lenses and what are the pros and cons of this lens? We’ll talk about all of these in this review.”

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Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens.

Links

  • 4/3 RumorsPanasonic Leica 10-25mm f/1.7 In-Depth Review by Richard Wong
  • Photo by RichardPanasonic Leica 10-25mm f/1.7 Review – article – “When Panasonic told me about this lens, they told me this is a lens that can replace multiple prime lenses. I was skeptical because zoom lens rarely can match the quality of prime lens. But after testing this lens, I agree with them. If you are a pro photographer or videographer who is currently rely on multiple prime lenses within this focal length range, I think you should consider switching to this amazing lens. It would make your life a lot easier without sacrificing the image quality.”
  • Richard WongPanasonic Leica 10-25 mm f/ 1.7 In-Depth Review – video

Help support ‘Untitled’

Clicking on the links and purchasing through them for our affiliate accounts at Adorama, Alien Skin, B&H Photo Video, SkylumSmallRig or Think Tank Photo helps us continue our work for ‘Unititled’.

  • Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH. LensB&H