Panasonic DMW-BLK22E

Product Information

Announced in January 2023, the S5 II is pitched as an all-round hybrid camera, and brings a number of upgrades to the original model launched just over two years previously – but by far the most important is the inclusion of phase-detect autofocus. The standout features of the S5 are related to the fact that it’s super compact and comes in at a highly competitive price. It offers Lumix colours and full-frame quality in a much smaller body. It also adds JPEG + RAW capture to its sensor shift-based 96MP high resolution mode, which is a fantastic upgrade. Don't get me wrong: Sony or Nikon do that, too, and they do it extremely well (if I am not mistaken the Z6 II is the first cam ever that has received 5* in all categories 'Chasseur d'images' evaluates - a French magazine that publishes very comprehensive test results in conjunction with tests performed by DXOMark). The original Panasonic Lumix S5 was an exceptional value that punched above its weight for video and kept up with entry-level competitors for stills . The S5 II promises a host of improvements and delivers on many, but its fresh phase detection autofocus system just doesn't make the grade, slowing down when you need it most for moving subjects. Sirui 50mm 1.6x Anamorphic, t/2.9, 1/125-second, ISO 800 Those are two features that would have been amazing to have in the S5 II, but I wouldn’t trade its full-frame sensor to gain them. The LUMIX S5 II camera can be used to produce cinematic quality footage that doesn’t need any correction work in post if you’ve exposed it to your tastes and perhaps taken advantage of its Real-Time LUT feature.

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Panasonic Lumix S5, Panasonic S 20-60mm f/3.5-5.6, 1/400sec f/4.3, ISO 100. (Image credit: Jon Devo) The Lumix continues the angular styling of the Lumix S5 and S1 cameras. (Image credit: Jon Devo) Panasonic Lumix S5 II Performance Above: There’s also support for anamorphic modes which use special lenses to squeeze a wide aspect ratio into a 4:3 shape for recording, before being de-squeezed later during presentation. If you’d like to shoot faster bursts, switch the S5 II to its fully electronic shutter. Previously this made no difference to the speed of the original S5, but now on the Mark II it’ll boost the burst speed to 30fps, with single or continuous autofocus. The camera's large buffer makes it easy to take a bunch of photos in a row. With the 9fps mechanical shutter, the S5 II manages 360 Raw or 380 JPG shots in a row, and it can get around 200 shots at a time with the 30fps electronic shutter. There is a caveat, however,—it takes between 50 and 60 seconds to write a full burst to memory, even with a fast 299MBps Sony Tough SDXC memory card. Sigma 60-600mm Sports, 532mm, f/6.3, 1/100-second, ISO 100Size-wise, here’s the S5 II on the right with the Canon EOS R6 II on the left, the former a little taller and more angular in style. And now for the Sony A7 IV on the left, again a little shorter than the new Lumix. Because you can not directly compare a camera that came out seven months ago to a camera that came out years ago. The rewards they receive is a function of the state of the industry At The Time They Were Reviewed. Panasonic does so many things right in terms of ergonomics, handling and interface. I much prefer a streamlined and more discreet rangefinder style body. The S5's dynamic range is remarkably consistent throughout the tested sensitivity range, Though it's not class-leading at lower sensitivities, it matches the rival cameras through the ISO 200-6400 region, and then comes out on top at the upper end of the sensitivity scale. The S5 II is strong when it comes to capturing dynamic range, almost matching the class-leading Z6 II throughout the tested sensitivity range. At high ISOs the Panasonic can capture as much as 2EV more dynamic range than the Canon and Sony cameras.

Lumix DC-S5 II - Review 2023 - PCMag UK Panasonic Lumix DC-S5 II - Review 2023 - PCMag UK

For sports photography, longer lenses, extended vertical shooting or just longer battery life, there's an optional DMW-BGS5 battery grip. (Image credit: Panasonic) Above: From the image quality menus you can select three photo resolutions for JPEG files, at 24, 12 or 6 Megapixels. You can choose between two levels of JPEG compression and accompany them with RAW files if desired, although no compressed RAW options are available. There’s six different aspect ratios including two wider than normal, plus a bunch of framing guides too from tall and narrow to extra wide. HLG is available for high dynamic range photos for display on compatible devices and you can record them in 4k or at the full resolution. Above: Like all Lumix S bodies to date, the S5 includes built-in sensor-shift stabilisation or IBIS for short. After entering the menus and activating stabilisation, there’s a dramatic improvement to the steadiness of the image. For me IBIS is as beneficial during composition as it is for handholding video or slow shutter speeds, and it’ll work with any lens you attach. MP4 [4K/60p]: Approx. 110 min (APS-C, Pixel by Pixel) (LVF), 110 min (APS-C, Pixel by Pixel) (rear monitor) *When using S-R2060. When the battery is fully charged.For example, Canon and Sony simply have one option for humans, with a separate option for animals. Sony has a third option specifically for birds, while Canon is the only one of these three rivals to have an additional option for vehicles. Simply choose the one for the desired subject. Image sensor shift type (5-axis / 5.0-stop*) *Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=60mm when S-R2060 is used.] To find out if the S5 II finally resolves the issues with previous models, I tested a final production camera running final firmware over several weeks with a selection of native L-mount and adapted EF lenses. I also tested Canon’s latest EOS R6 Mark II alongside it, as well as retesting Sony’s A7 IV side-by-side. Interchangeable-lens Panasonic cameras are designed with two sensor sizes, providing options for every level of creator. Full-frame S Series cameras are compatible with all L Mount lenses, while the original G Series Panasonic digital camera employs a Micro Four Thirds sensor that fits all MFT lenses.

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Larger full-frame sensors are the professional photographer’s standard, but they’re less common in the video world. The benefit is that they can gather more light as they have about 2.5 times the surface area of APS-C sensors found in rival cameras like the APS-C King, the Fujifilm X-T4. The Lumix S5 is ideal for vlogging and can be used with the optional Panasonic DMW-SHGR1 grip. (Image credit: Panasonic) To compare the technical resolution of the EOS R6 II, Lumix S5 II and Sony A7 IV, I photographed my standard resolution chart using the same adapted Sigma 40mm f1.4 Art lens on each body. This is one of the sharpest lenses I have, and as an EF model, it’s possible to adapt it to multiple systems to place them on a level playing field optically. English, German, French, Dutch, Danish, Portuguese, Finnish, Italian, Norwegian, Swedish, Spanish, Greek, Russian, Polish, Czech, Hungarian, Romanian, Ukrainian, Turkish, Arabic, Thai, Simplified Chinese, Traditional Chinese, Korean, Malay, Vietnamese, Indonesian, Hindi, Japanese,Dynamic range is measured in EV (exposure values, or 'stops'). It's a measure of the camera's ability to record detail in extremely bright and dark areas of the scene. The higher the value, the better. Unfortunately, people hoping that a firmware upgrade could deliver similar focusing performance in older LUMIX cameras will be left disappointed. The LUMIX S5 II uses an entirely new image sensor and processor, which combine to deliver faster data readouts and utilize more sophisticated algorithms. The new imaging system at the core of the S5 II delivers on most of its intended promises, in full. The Lumix S5 features the same 5-stop, 5-axis in-body stabilisation as the larger S1 and S1R models, and this increases to 6.5 stops of compensation with stabilised lenses. (Image credit: Panasonic) The new processor and sensor combo are also designed to deliver greater color depth and detail, as well as a maximum of 14 stops of dynamic range. It also has Dual Native ISO of ISO 640 and 4000, which helped the original S5 deliver clean footage and stills at higher sensitivities. There are a few different color profiles available for creators who want to snap ready-to-share JPGs: standard, portrait, vivid, and landscape, as well as the film-like L.ClassicNeo and L.Monochrome looks. Note that there's some overlap with the V-Log, HLG, and CineD2 video profiles because you can use any of those for stills and vice versa. Nikon Micro-Nikkor 55mm F2.8 AIs, f/2.8, 1/500-second, ISO 100