Anamorphic 4K] 3328x2496 (4:3) 25.00p, 150Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable. 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) *When using S-R2060. When the battery is fully charged. There’s no right or wrong here, but let me know which is your preferred camera of the three at high ISOs. Personally I’d say all three are looking good up to 6400 ISO, but any higher and you’ll steadily lose fine details to noise and smearing. I’d also say Panasonic’s default approach may leave the most visible noise, but not to the detriment of retained details.

Panasonic DMW-BLK22E Battery for S5 - CVP Panasonic DMW-BLK22E Battery for S5 - CVP

Shooting stills, the S5 II can handle 7 fps bursts of RAW+JPEG shooting with AF-C for roughly 200 frames. If you need more speed, its mechanical shutter can do 9 fps with AF-S or 30 frames per second using its electronic shutter with AF-C. At the time of testing I was still using pre-production firmware and still, the results were impressive. I second this. The S5 is very capable camera and - given the FW state - even a bit ahead of the much more expensive S1. But now the S5 Mark II includes a spread of phase-detect autofocus points which hope to lay those demons to rest, and in a bold move, Panasonic invited a load of YouTubers including myself to Japan to try it out, before sending us home with the camera for long-term testing. When a mode other than [C4K/60p]****/[C4K/50p]****/[4K/60p]/[4K/50p] is selected for [Picture Quality]: 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.Last I looked Nikon has some of the most recognised and loved colours in the business. And the ibis is regarded as some of the best. Doesn’t have the numbers of the Canon but certainly comparable in practice. Size-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. I was referring to the mediocre EVF which, in my view, does not contribute to good handling. The D780 actually has a very good viewfinder. In terms of video, the S5 II is a 10-bit video specialist. Almost all of its extensive recordable video formats can be captured with a maximum of 10-bit color, including 4:2:2 10-bit C4K/4K 60p video, which has no video recording limits. The LUMIX S5 II can also record up to 4:2:0 10-bit 6K/29.97p LongGOP video in an H.265 codec, using the full readout of the camera’s sensor and producing a 5952x3968 (3:2) image.

Panasonic Lumix S5 review | TechRadar Panasonic Lumix S5 review | TechRadar

bit, C4K/4K 30p/25p 4:2:2 10-bit, 4K 8-bit with no limitation of video recording time and 14+ stops of V-Log/V-Gamut. To see how the competition compares, I made a similar test with 50mm f1.8 lenses on the Canon EOS R6 II on the left, and the Sony A7 IV on the right, both flanking the Lumix S5 II in the middle. Anamorphic 4K] 3328x2496 (4:3) 23.98p, 150Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable. Above: On the grip-side of the camera you’ll find twin SD memory card slots, although only the top slot-1 supports UHS II speeds. This leads to some labelling confusion with Slot 1 labelled with II for speed, while Slot 2 is labelled with I for speed. But it seems churlish to complain when the S5’s modest burst speed doesn’t overly tax the cards and importantly it can happily record video in any format to both cards simultaneously, all the way up to 4k 60p – a capability that’s not available on the more expensive Canon EOS R5 and R6, unless you count the proxy option on the R5 when recording 8k RAW. Plus I prefer having two SD slots versus the SD and XQD arrangement of the S1 and S1R. So thanks Panasonic for giving us the functionality that counts. Another key upgrade for the LUMIX S5 II includes Active I.S., but what is the difference between Active I.S. and familiar boosted image stabilization modes that we’ve seen before? Active I.S. utilizes the power of an entirely new image processor, co-developed with Leica. Active I.S. deploys algorithms that can detect and anticipate camera motion, particularly when the camera operator is also moving. The S5 II can monitor the 5-axis of motion and prioritize intended movements while suppressing unwanted movement that is likely to negatively impact picture or video quality.I’ll show you some bursts with the mechanical shutter at 7fps first before switching to some with the electronic shutter at 30fps. Shooting alongside the R6 II, Canon’s recognition felt more confident, identifying birds from a longer distance when they were smaller on the frame, not to mention concentrating on their eyes when closer, but the bottom line is I still managed to get a decent number of keepers with the S5 II. 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. The S5 II runs on the same DMW-BLK22 battery as its predecessor. It's good for around 370 shots per charge based on CIPA testing standards, a bit less than the original gets (470 shots). If you enable power-saving options, however, Panasonic says you can expect around 1,250 exposures, a big jump.