Industry News

Industry News: Panasonic S5 specifications leak ahead of an official announcement

The full specifications for the upcoming Panasonic S5 have leaked out ahead of the official announcement. The S5 will be Panasonic’s entry-level L mount full-frame camera body.

There are currently three L mount Panasonic Lumix bodies, the S1, the video focused S1H, and the high-resolution S1R.

Pansonic S5 Specifications:

Type

Digital Single Lens Mirrorless camera

Lens mount

L-Mount Image Sensor Type

35mm full-frame (35.6mm x 23.8mm) CMOS sensor Camera effective pixels / Total pixels

24.20 megapixels / 25.28 megapixels Aspect ratio / Color filter

3:2 / Primary color filter Dust reduction system

Image sensor shift type Latitude

14+ stops (V-Log)

Still Image Recording file format

Still image: JPEG (DCF, Exif 2.31), RAW, HLG Photo (CTA-2072)

6K PHOTO / 4K PHOTO: 6K PHOTO: MP4 (H.265/HEVC, Audio format: AAC (2ch))

4K PHOTO: MP4 (H.264/MPEG-4 AVC, Audio format: AAC (2ch))

Extracted still images: JPEG (DCF, Exif 2.31) Aspect ratio

4:3 / 3:2 / 16:9 / 1:1 / 65:24 / 2:1

File size (Pixels)

When using full-frame lenses 3:2

6000×4000(L) / 4272×2848(M) / 3024×2016(S) / 12000×8000(XL) / 8496×5664(LL)

5184×3456(6K PHOTO) / 3504×2336(4K PHOTO) / 5984×4000(HLG PHOTO, Full-Res.) /

3232×2160(HLG PHOTO, 4K-Res.)

4:3

5328×4000(L) / 3792×2848(M) / 2688×2016(S) / 10656×8000(XL) / 7552×5664(LL)

4992×3744(6K PHOTO) / 3328×2496(4K PHOTO) / 5312×3984(HLG PHOTO, Full-Res.) /

2880×2160(HLG PHOTO, 4K-Res.)

16:9

6000×3368(L) / 4272×2400(M) / 3024×1704(S) / 12000×6736(XL) / 8496×4784(LL)

3840×2160(4K PHOTO) / 5888×3312(HLG PHOTO, Full-Res.) / 3840×2160(HLG PHOTO,

4K-Res.)

1:1

4000×4000(L) / 2848×2848(M) / 2016×2016(S) / 8000×8000(XL) / 5664×5664(LL)

2880×2880(4K PHOTO) / 4000×4000(HLG PHOTO, Full-Res.) / 2144×2144(HLG PHOTO,

4K-Res.)

65:24

6000×2208(L)

2:1

6000×3000(L)

When using APS-C/Super 35mm lenses 3:2

3984×2656(L) / 2880×1920(M) / 2064×1376(S) / 3504×2336(4K PHOTO)

4:3

3536×2656(L) / 2560×1920(M) / 1840×1376(S) / 3328×2496(4K PHOTO)

16:9

3984×2240(L) / 2880×1624(M) / 1920×1080(S) / 3840×2160(4K PHOTO)

1:1

2656×2656(L) / 1920×1920(M) / 1376×1376(S) / 2880×2880(4K PHOTO)

Image quality

RAW / RAW+Fine / RAW+Standard / Fine / Standard Color space

sRGB, AdobeRGB

Motion Picture Recording file format

MOV: H.264/MPEG-4 AVC, H.265/HEVC (Audio format: LPCM (2ch 48kHz/16-bit)) MP4: H.264/MPEG-4 AVC, H.265/HEVC (Audio format: AAC (2ch))

Switch NTSC / PAL

Yes (NTSC (59.94Hz) / PAL(50.00Hz)) MOV: NTSC (59.94Hz)

Full-frame

[4K] 3840×2160

29.97p, 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

23.98p, 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM

[FHD] 1920×1080

59.94p, 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

29.97p, 100Mbps (4:2:2 10-bit LongGOP)/ 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

23.98p, 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

APS-C / Pixel by Pixel [4K] 3840×2160

59.94p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

59.94p, 150Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

29.97p, 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

23.98p, 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

[Anamorphic 4K] 3328×2496 (4:3),

29.97p, 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

23.98p, 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

[FHD] 1920×1080

59.94p, 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

29.97p, 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

23.98p, 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

MOV: PAL (50Hz)

PAL (50.00Hz)

Full-frame

[4K] 3840×2160

25.00p, 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

[FHD] 1920×1080

50.00p, 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

25.00p, 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

APS-C / Pixel by Pixel [4K] 3840×2160

50.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM)

50.00p, 150Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

25.00p, 150Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

[FHD] 1920×1080

50.00p, 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

25.00p, 100Mbps (4:2:2 10-bit LongGOP) / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)

MP4: NTSC (59.94Hz)

Full-frame

[4K] 3840×2160

29.97p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)

3.98p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)

29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

[FHD] 1920×1080

59.94p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

29.97p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

23.98p, 24Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

APS-C / Pixel by Pixel [4K] 3840×2160

59.94p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)

29.97p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)

23.98p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)

29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) [FHD] 1920×1080

59.94p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

29.97p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) MP4: PAL (50.00Hz)

Full-frame

[4K] 3840×2160

25.00p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)

25.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) [FHD] 1920×1080

50.00p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

25.00p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

APS-C / Pixel by Pixel [4K] 3840×2160

50.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)<

25.00p, 72Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, AAC)

25.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) [FHD] 1920×1080

50.00p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

25.00p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

Slow & Quick

MP4: NTSC (59.94Hz)

Full-frame

[FHD] 1920×1080

59.94p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

29.97p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

23.98p, 24Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

1, 2, 5, 10, 15, 30, 60, 100, 120, 150, 180 fps

Angle of view narrows if you select a frame rate with a number of frames 180. The AF mode switches to MF when the frame rate is set to of 150 fps or more

APS-C / Pixel by Pixel

[4K] 3840×2160: 29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) 23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

1, 2, 5, 10, 15, 30, 60 fps MP4: PAL (50.00Hz)

Full-frame

[FHD] 1920×1080: 50.00p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) 25.00p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)

1, 2, 5, 10, 15, 30, 60, 100, 120, 150, 180 fps

Angle of view narrows if you select a frame rate with a number of frames 180. The AF mode switches to MF when the frame rate is set to of 150 fps or more

MP4: PAL (50.00Hz) (Contd.)

APS-C / Pixel by Pixel

[4K] 3840×2160: 25.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC) 1, 2, 5, 10, 15, 30, 60 fps

Viewfinder Type

OLED Live View Finder

Pixels

Approx. 2.36 million dots

Field of view / Magnification

Approx. 100% / Approx. 0.74x with 50 mm lens at infinity; -1.0 m-1, when the aspect ratio is set to 3:2

Eye point / Diopter adjustment

Approx. 20 mm at infinity; -1.0 m-1 / -4.0 – +4.0 (dpt) Eye sensor

Yes Display speed

120fps / 60fps Display time lag

Approx. 0.005sec Rear Monitor Type

TFT LCD monitor with static touch control Monitor size

Free-angle, 3.0-inch (7.5cm), 3:2 aspect

Pixels

Approx. 1.84 million dots

Field of view

Approx. 100% Focus Type

Contrast AF system DFD technology

Yes

Focus mode

AFS (Single) / AFC (Continuous) / MF AF mode

Auto Detection (Face, Eye, Body, Animal) / Tracking / 225-Area / Zone (Face, Eye, Body, Animal)

/ Tracking / 225-Area / Zone (Vertical/Horizontal) / Zone (Square) / Zone (Oval) / 1-Area+ / 1-Area / Pinpoint / Custom 1, 2, 3

AF detective range

EV -6 – 20 (F1.4, ISO100 equivalent, AFS)

AF custom setting

AF Sensitivity, AF Area Switching Sensitivity, Moving Object Prediction AF assist lamp

Yes AF lock

Set the Fn button in custom menu to AF lock Post Focus / Focus Stacking

Yes / Yes

Others

AF-ON, AF-ON: Near Shift, AF-ON: Far Shift, Shutter AF, Half Press Release, Focus/Shutter Priority, Quick AF, Continuous AF (during motion picture recording), Eye Sensor AF, AF-Point Scope Setting, AF+MF, MF Guide, MF Assist, Touch MF Assist, Focus Peaking, Touch AF/AE Function, Touch Pad AF, Touch Shutter, Focus Switching for Vert/Hor, Focus Ring Lock, Show/Hide AF Mode, 1-Area AF Moving Speed, Loop Movement Focus Frame, AFC Start Point (225-Area), Lens Focus Resume, Focus Ring Control

Light metering system

1,728-zone multi-pattern sensing system Light metering mode

Multiple / Center Weighted / Spot / Highlight Weighted Metering range

EV0-18 (F2.0 lens, ISO100 equivalent) Exposure mode

Program AE / Aperture Priority AE / Shutter Priority AE / Manual Exposure ISO sensitivity

Auto / 50 / 100 / 200 / 400 / 800 / 1600 / 3200 / 6400 / 12800 / 25600 / 51200 / 102400 /

204800 (Changeable to 1/3 EV step) (Standard output sensitivity)

Dual Native ISO

[Normal] Native ISO: 100, 640

Auto: Auto / 50 / 100-51200 / 102400 / 204800

[V-Log] Native ISO: 640, 4000

Auto: Auto / 320 / 640-51200

[HLG] Native ISO: 400, 2500

Auto: Auto / 400-51200 / 102400 / 204800

[Cinelike D2 / Cinelike V2] Native ISO: 200, 1250 Auto: Auto / 100 / 200-51200 / 102400 / 204800

Exposure compensation

1/3 EV step +/-5EV ( +/-3EV for motion picture) AE lock

Set the Fn button in custom menu to AE lock Image Stabilization

Image sensor shift type (5-axis / 5.0-stop) Dual I.S. (6.5-stop Dual I.S. 2 compatible)

White balance

AWB / AWBc / AWBw / Daylight / Cloudy / Shade / Incandescent / Flash / White Set 1, 2, 3, 4 / Color temperature setting 1, 2, 3, 4

White balance adjustment

Blue/Amber bias, Magenta/Green bias Color temperature setting

2500-10000K in 100K

Shutter Type

Focal-plane shutter Shutter speed

Still image: Bulb (Max. 30 minutes), 1/8,000 – 60

Electronic front curtain shutter: Bulb (Max. 30 minutes), 1/2,000 – 60 Electronic shutter: Bulb (Max. 60 sec), 1/8,000 – 60

Motion picture: 1/16,000 – 1/25

Creative Video M mode / MF mode: 1/16,000 – 1/2 Self timer

10sec, 3 images / 2sec / 10sec Remote control

Remote control by DMW-RS2 (sold separately) Silent mode / Shutter type

Yes / Yes (Auto / Mechanical / Electronic front curtain / Electronic / Electronic+NR) AE bracket

3, 5, 7 images in 1/3, 2/3 or 1 EV step, max. +/-3 EV, single/burst Aperture bracket

3, 5 or all positions in 1 EV step Focus bracket

1 to 999 images, focus steps can be set in 10 levels White balance bracket

3 images in blue/amber axis or in magenta/green axis, color temperature setting Burst speed

Mechanical shutter/Electronic front curtain shutter: AFS/MF: H: 7 frames/sec, M: 5 frames/sec (with Live View), L: 2 frames/sec (with Live View)

AFC: H: 5 frames/sec (with Live View), M: 5 frames/sec (with Live View), L: 2 frames/sec (with Live View)

Electronic shutter: AFS/MF: H: 7 frames/sec, M: 5 frames/sec (with Live View), L: 2 frames/sec (with Live View)

AFC: H: 5 frames/sec (with Live View), M: 5 frames/sec (with Live View), L: 2 frames/sec (with Live View)

Number of recordable images RAW/RAW+JPEG: More than 24 images

Number of recordable images RAW/RAW+JPEG: More than 24 images

6K Photo / 4K Photo Burst speed 6K PHOTO: 30 frames/sec

4K PHOTO: 60 frames/sec, 30 frames/sec Exif information

Yes (Each JPEG image cropped out of the 6K/4K burst file complies with EXIF.) Flash type

TTL External Flash (sold separately) Flash mode

Auto / Auto/Red-eye Reduction/Forced On/Forced On/Red-eye Reduction/Slow Sync./Slow Sync./Red-eye Reduction/Forced Off

Flash synchronization

1st Curtain Sync, 2nd Curtain Sync Flash output adjustment

1/3EV step +/-3EV Synchronization speed

Less than 1/250 second

The guide number decreases at 1/250 second. Only when set to M mode or S mode Wireless control

Yes (When using DMW-FL200L / FL360L / FL580L (sold separately)), Wireless Channel: 1ch/2ch/3ch/4ch

Extra Tele Conversion

2.0x (EX S) (When using full-frame lenses), 1.9x (EX S) (When using APS-C / Super 35mm lenses), 1.4x (EX M)

Photo Style

Standard / Vivid/Natural/Flat / Landscape / Portrait / Monochrome / L. Monochrome / L. Monochrome D / Cinelike D2 / Cinelike V2 / Like709 / V-Log / Standard (HLG) / Monochrome (HLG) / Like2100 (HLG) / My Photo Style 1-10

Picture adjustment

Contrast / Highlight / Shadow / Saturation / Color Tone / Hue / Filter Effect / Grain Effect / Sharpness / Noise Reduction / ISO / WB

Adjustable settings vary depending on the Photo Style mode

Filter

Expressive / Retro / Old Days / High Key / Low Key / Sepia / Monochrome / Dynamic Monochrome / Rough Monochrome / Silky Monochrome / Impressive Art / High Dynamic / Cross Process / Toy Effect / Toy Pop / Bleach Bypass / Miniature Effect / Soft Focus / Fantasy / Star Filter / One Point Color / Sunshine

Luminance level

8-bit: 0-255 / 16-235 / 16-255

10-bit: 0-1023 / 64-940 / 64-1023

Wave form monitor Yes

LUT display

LUT View Assist (Monitor) / LUT View Assist (HDMI) Time code

Count Up: Rec Run/Free Run selectable, Time Code Mode: Drop frame/Non-drop frame selectable (When NTSC (59.94Hz) is selected.)

Knee control

Yes (in Like709 mode)

REC

Play

Exposure Comp./Sensitivity/White Balance/Photo Style/Metering Mode/Aspect Ratio/Picture Quality/Picture Size/HLG Photo/High Resolution Mode/1 Shot Spot Metering/Long Exposure NR/Min. Shutter Speed/1 Shot RAW+JPG/i.Dynamic Range/Filter Effect/One Push AE/Touch AE/Exposure Mode/AF Mode/AF Custom Setting(Photo)/AF Custom Setting(Video)/Focus Peaking/Focus Peaking Sensitivity/1-Area AF Moving Speed/Focus Ring Lock/AE LOCK/AF LOCK/AF/AE LOCK/AF-ON/AF-ON: Near Shift/AF-ON: Far Shift/AF-Point Scope/Focus Area Set/Flash Mode/Flash Adjust./Wireless Flash Setup/Drive Mode/1 Shot 6K/4K PHOTO/Bracketing/Silent Mode/Image Stabilizer/Shutter Type/Ex. Tele Conv./Live View Composite/Post-Focus/Motion Pic. Rec File Format/Motion Pic. Rec Quality/Slow & Quick Setting/Time Code Display/Sound Rec Level Disp./Sound Rec Level Adj./Sound Rec Level Limiter/Special Mic. Directivity Adjust/Image Stabilizer/E-Stabilization (Video)/Boost I.S. (Video)/Image Area of Video/Live Cropping/Q.MENU/Rec/Playback Switch/Video Record

/LVF/Monitor Switch/Operation Lock/Dial Operation Switch/Preview/Preview Aperture Effect/Constant Preview/Level Gauge/Histogram/Luminance Spot Meter/Frame Marker/Photo Grid Line/Live View Boost/Monochrome Live View/Night Mode/LVF/Monitor Disp.

Style/Photo/Video Preview/Zebra Pattern/LUT View Assist (Monitor)/LUT View Assist (HDMI)/LUT Select/HLG View Assist(Monitor)/HLG View Assist (HDMI)/Sheer Overlay/I.S. Status Scope/Waveform Monitor/Anamorphic Desqueeze Display/Focus Ring Control/Zoom Control/Destination Card Slot/Wi-Fi/No Setting/Restore to Default

Magnify from AF Point/LUT View Assist (Monitor)/HLG View Assist (Monitor)/Anamorphic Desqueeze Display/RAW Processing/6K/4K PHOTO Bulk Saving/Delete Single/Protect / Rating 1, 2, 3, 4, 5/Copy/Rec/Playback Switch/LVF/Monitor Switch/Video Record/Night Mode/Card Slot Change/Wi-Fi/Send Image (Smartphone)/LUT View Assist (HDMI)/HLG View Assist (HDMI)/6K/4K Photo Play/No Setting/Off (Disable Press and Hold)/Restore to Default

Level Gauge

Yes

Print USB HDMI

PictBridge compatible

SuperSpeed USB 3.1 Gen1 Type-C Monitor-through:

When a mode other than [4K/60p]/[4K/50p] is selected for [Picture Quality]: 4:2:2 10bit, 4:2:2 8bit, 4:2:0 8bit

When [4K/60p]/[4K/50p] mode is selected in [Rec Quality]: 4:2:2 10bit, 4:2:0 8bit

Info Display: ON / OFF (selectable):

HLG View Assist (HDMI): AUTO / MODE1 / MODE2 / OFF (selectable) Playback:

microHDMI TypeD / VIERA Link, Audio: Stereo:

NTSC (59.94Hz): Auto / 4K/60p / 4K/30p / 1080p / 1080i / 720p / 480p PAL (50.00Hz): Auto /4K/50p / 4K/25p / 1080p / 1080i / 720p / 576p

Remote Input

Dia.2.5mm

External Mic & Audio Device Input

Dia.3.5mm for external microphone / external audio device MIC (Plug-in Power) / MIC / LINE is selectable.

Stereo/Lens Auto/Shotgun/Super Shotgun/Manual is selectable when attaching DMW-MS2 (sold separately)

Headphone Output

Dia.3.5mm Microphone

Stereo, Wind Noise Canceller: OFF / Low/ Standard / High (sold separately) XLR Microphone

Yes with DMW-XLR1 (sold separately) Speaker

Monaural SD Card Slot

SD Memory Card, SDHC Memory Card, SDXC Memory Card

Slot 1: Compatible with UHS-I/UHS-II UHS Speed Class 3 standard SDHC/SDXC Memory Cards and UHS-II Video Speed Class 90 standard SDXC Memory Cards.

Slot 2: Compatible with UHS-I UHS Speed Class 3 standard SDHC/SDXC Memory Cards

Wi-Fi

2.4GHz (STA/AP) (IEEE802.11b/g/n)

5GHz (STA) (IEEE 802.11a/n/ac)

5GHz Wi-Fi is not available in some countries

Bluetooth

Bluetooth v4.2 (Bluetooth Low Energy (BLE)) Dust And Splash Resistant

Yes Battery

Li-ion Battery Pack (7.2V, 2200mAh, 16Wh) (bundled) USB power supply, USB power charging

Battery Life (Cipa Standard)

Approx. 440 images (rear monitor), 470 images (LVF), 1,500 images (Power Save LVF mode) with S-R2060

Continuous Recordable Time

MP4 [4K/60p]: Approx. 110 min (APS-C, Pixel by Pixel) (LVF), 110 min (APS-C, Pixel by Pixel) (rear monitor)

MOV [4K/60p/4:2:0 10-bit/LongGOP]: Approx. 100 min (APS-C, Pixel by Pixel) (LVF), 110 min (APS-C, Pixel by Pixel) (rear monitor)

Actual Recordable Time

MP4 [4K/60p]: Approx. 55 min (APS-C, Pixel by Pixel) (LVF), 55 min (APS-C, Pixel by Pixel) (rear monitor)

MOV [4K/60p/4:2:0 10-bit/LongGOP]: Approx. 50 min (APS-C, Pixel by Pixel) (LVF), 55 min (APS-C, Pixel by Pixel) (rear monitor)

Battery Grip

DMW-BGS5 (sold separately) Operating Temperature

0 Degree C to 40 Degree C Operating Humidity

10%RH to 80%RH

Dimensions (W x H x D)

Approx. 132.6 x 97.1 x 81.9mm (excluding protrusions)

Weight

Approx.: 714g (SD Memory Card x 1, Battery, Body) Approx.: 630g (Body only)

 

crazyrunner33

EOS RP
Nov 4, 2011
298
116
Nice, but will it have good video AF?
I wouldn't hold my breath for it, but would be pleasantly surprised if that changed. The Panasonic contrast AF I'm used to works well for setting up your shot, but not for tracking. It surprises me that they can't get an amazing auto focus system considering they've been able to produce reliable oversampled 4K since 2014.
 

goldenhusky

EOS RP
CR Pro
Dec 2, 2016
357
161
Panasonic' Contrast AF system DFD technology is not going to cut it. They have great cameras, great features, great ergonomics. I wish they get on boarded to PDAF and give some real competition. Other issue is lens line up but I have hopes Sigma will fill that with great lenses.
 

Twinix

C100 III + R6?
May 6, 2020
90
54
Norway
I wouldn't hold my breath for it, but would be pleasantly surprised if that changed. The Panasonic contrast AF I'm used to works well for setting up your shot, but not for tracking. It surprises me that they can't get an amazing auto focus system considering they've been able to produce reliable oversampled 4K since 2014.
As I answered myself it won’t, and I know what it works for, and it’s about damn time it gets good AF, or at least their attempting at it..
Canon has had good video AF for a looong time, Nikon has had since Z6, Sony for longer.
 

melgross

EOS RP
Nov 2, 2016
608
398
How well is the “L” mount doing? I read that they’re selling in “minuscule numbers”. Perhaps this isn’t the time in photographic history for a mount like this? I know it’s basically been around for a while with Leica, but that means it’s not really been around at all, considering the tiny number of cameras and lenses Leica manages to sell.
 

preppyak

EOS R
Oct 18, 2011
1,019
73
How well is the “L” mount doing? I read that they’re selling in “minuscule numbers”. Perhaps this isn’t the time in photographic history for a mount like this? I know it’s basically been around for a while with Leica, but that means it’s not really been around at all, considering the tiny number of cameras and lenses Leica manages to sell.
Gotta imagine pretty terribly...they made bodies that were too large, lenses that were too expensive, and even to this day basically dont have any lens options for <$800.

I imagine a decent chunk of video people went with them who dont care as much about video AF and want max video quality, but thats not a big niche long-term.
 

Normalnorm

EOS RP
Dec 25, 2012
665
281
How well is the “L” mount doing? I read that they’re selling in “minuscule numbers”. Perhaps this isn’t the time in photographic history for a mount like this? I know it’s basically been around for a while with Leica, but that means it’s not really been around at all, considering the tiny number of cameras and lenses Leica manages to sell.
The idea of introducing a higher end mirrorless into a declining market is a questionable strategy. I feel Panasonic was reacting to the endless cries for FF and the realization that the Sony A7SIII was coming out. Of course the S1H (the A7SIII competitor) competes in a tiny segment to start with.
The S1R and S1 are good cameras but the market is demanding faster AF even if the bulk of shooters don't need much in terms of performance. The IQ is unassailable and the lenses are excellent but history will lament the loss of the line due to the poor sales.
 

melgross

EOS RP
Nov 2, 2016
608
398
The idea of introducing a higher end mirrorless into a declining market is a questionable strategy. I feel Panasonic was reacting to the endless cries for FF and the realization that the Sony A7SIII was coming out. Of course the S1H (the A7SIII competitor) competes in a tiny segment to start with.
The S1R and S1 are good cameras but the market is demanding faster AF even if the bulk of shooters don't need much in terms of performance. The IQ is unassailable and the lenses are excellent but history will lament the loss of the line due to the poor sales.
It seems to me that people might question the long term commitment there. We now have four mounts. With continuing declining sales in ILC, introducing this just dilutes the market.

I also wonder if Sony is now concerned that making that off the cuff decision to use an APS-C mount for their FF mirrorless products was such a good idea after all. If so, can they really have another mount, and another line of lenses? They’ve just thrown mounts around like they can be made on lathes, or something.
 
Apr 6, 2020
8
9
Panasonic' Contrast AF system DFD technology is not going to cut it. They have great cameras, great features, great ergonomics. I wish they get on boarded to PDAF and give some real competition. Other issue is lens line up but I have hopes Sigma will fill that with great lenses.
They are going to pair this initially with their 20-60mm F3.5-5.6, which should be interesting especially if they can keep the body price close to the Nikon Z5. The soon to be announced Sony A5 (or whatever) won't even be interesting, because the least expensive good zoom you can on put on it is the FE24-105 which costs $1100 or more
 

preppyak

EOS R
Oct 18, 2011
1,019
73
They are going to pair this initially with their 20-60mm F3.5-5.6, which should be interesting especially if they can keep the body price close to the Nikon Z5. The soon to be announced Sony A5 (or whatever) won't even be interesting, because the least expensive good zoom you can on put on it is the FE24-105 which costs $1100 or more
Tamron 28-200 is $729 and probably has equal IQ to that 20-60 while actually being a useable focal range.
 

Normalnorm

EOS RP
Dec 25, 2012
665
281
It seems to me that people might question the long term commitment there. We now have four mounts. With continuing declining sales in ILC, introducing this just dilutes the market.

I also wonder if Sony is now concerned that making that off the cuff decision to use an APS-C mount for their FF mirrorless products was such a good idea after all. If so, can they really have another mount, and another line of lenses? They’ve just thrown mounts around like they can be made on lathes, or something.
I think the cost of developing a FF line with lenses implies an optimistic commitment to a long range strategy. The market may have other ideas though.

Sony may be regretting their choice of mount size but it doesn't seem to have stopped people from buying the cameras or from Sony and others delivering a range of interesting lenses. The difference between them and their full frame competitors is not all that different in the actual optical performance. In fact the ratio of diameter to flange distance for Sony is actually comparable to the Canon RF while the Z mount is a lot greater.
 

Mr Majestyk

EOS RP
Feb 20, 2016
278
138
Australia
How well is the “L” mount doing? I read that they’re selling in “minuscule numbers”. Perhaps this isn’t the time in photographic history for a mount like this? I know it’s basically been around for a while with Leica, but that means it’s not really been around at all, considering the tiny number of cameras and lenses Leica manages to sell.
They should have made the move before Canon and Nikon entered the mirrorless FF market IMO. I’m sure it took years to set up the alliance and design the cameras, but I can’t see how they’ll make an impact.
 

Joules

EOS R
CR Pro
Jul 16, 2017
1,045
1,183
Hamburg, Germany
In fact the ratio of diameter to flange distance for Sony is actually comparable to the Canon RF while the Z mount is a lot greater.
I don't think that ratio means much, does it?The flange distance in general doesn't play all that much of a role as designing a lens that sticks into the body is a possibility. If using an APS-C style mount like Sony E didn't come with significant drawbacks for lens design in the long term, Canon would have just expanded their already established EF-M mount (which has a larger diameter than E mount) rather than come up with RF.

Nikon seemingly got so frustrated with F mount that they felt it was necessary to even go 1 mm wider than Canon EF / RF, just to make sure they'd never have to face those design constraints again.

Sony may not regret their mount choice, as it at least allowed them to establish the FF mirrorless market quickly before any competition arrived. But it will impact them in the long term. What is more frustrating to me is that it will also impact the third party manufacturers if they want to serve all major mounts.
 

melgross

EOS RP
Nov 2, 2016
608
398
They should have made the move before Canon and Nikon entered the mirrorless FF market IMO. I’m sure it took years to set up the alliance and design the cameras, but I can’t see how they’ll make an impact.
I think there’s some desperation in the move. Leica is increasingly irrelevant. We read of decreasing sales. Since they’re on their own, with Leitz being another company, they’re significantly affected by the decline in the industry, being a pure photo play. They’ve always been willing to work with other camera companies to the point of having some of their cameras and lenses made by others.

sigma can’t really lose with this, even if it doesn’t really work out, and Panasonic can afford to play around for some time.
 

melgross

EOS RP
Nov 2, 2016
608
398
One more thing not directly related to this al9ne. Why is it that after Apple introduced the wider gamut DCI-P3, only the cameras on iPhones and iPads are capable of shooting still and video in that gamut? Unless some other smartphone also does it that I’m not familiar with.

its not as though there aren’t monitors that can show it. That was true, other than for Apple’s equipment, years ago. I can see an improvement when shooting with my iPhone, as opposed to my 5D mk IV.

what’s the holdup?, this is cinema standard, and 4K Tv standard, so it’s not as though it’s an oddball gamut that no one other than Apple uses.