Full review of Panasonic Lumix G5 (beginning). Panasonic Lumix G5: trying to abandon the DSLR System camera panasonic lumix dmc g5

To unleash the potential of this camera, we climbed all over Manhattan, took pictures on Broadway at night and even went to the famous zoo located in Central Park

To unleash the potential of this camera, we climbed all over Manhattan, took pictures on Broadway at night, and even went to the famous zoo located in Central Park.

Equipment

In the camera box you will find the Lumix G 14-12mm f/3.5-5.6 telescopic lens, lens hood, battery and charger, USB cable, shoulder strap, and quick guide user and software.

Design

The novelty will definitely appeal to enthusiastic photographers, because in terms of its shape and design, as well as dimensions, the Lumix DMC-G5 is closer to SLR cameras. The case is made of plastic and magnesium alloy with rubberized inserts.

The camera weighs only 562 g with battery and lens. On the front panel of the camera there is a bayonet mount, a lens lock button and an autofocus illuminator.

On the left side, apart from the eyelet for the neck strap, there are no functional elements, on the right side, connectors are hidden behind a plastic plug.

The top panel houses the speaker grille, built-in flash raise key, stereo microphone, hot shoe, mode selector with power button, as well as the shutter, video recording and smart mode activation keys.

On the back side there is a large swivel display, a viewfinder with a proximity sensor, and a set of function keys that are scattered around the screen.

Well, there is a tripod socket on the bottom panel, and the battery and memory card compartment is hidden behind the cover.

The camera is available in black, silver and white colors.

Ergonomics

The mirrorless camera is not as compact as most competitor solutions. The camera is even slightly larger than the previous model due to a more comfortable and, accordingly, larger handle.

On the back side there is a rubberized pad and a small protrusion near it. So the camera is easy to hold with one hand while shooting.

In general, the device turned out to be ergonomic. All the main keys and controls are under the fingers, you do not need to look for them.

To open the display, special grooves are provided at the top and bottom. Lid opens 180˚, display rotates 270˚. This will come in handy when shooting objects from above or below.

The proximity sensor works quickly and correctly, so once again you do not have to switch to the viewfinder manually.

Menu and controls

To enter the menu, only the central button of the five-way switch is used, while the settings can be changed both using the buttons and using the touch screen.

The menu is simple and colorful. It consists of five main items: photo and video settings, user and basic camera settings, and playback mode.

If you do not need to work with the menu, then the hardware navigation buttons will turn into quick settings buttons. They will help you change the autofocus mode, set the desired white balance and ISO values, and also enable continuous shooting.

Above the cross are buttons for entering the viewing menu and changing the information displayed on the display. In addition, above the screen is a shortcut key to the quick menu, which can be customized to your liking.

On the top edge there is a mode selector, a video recording button and a key for turning on the intelligent mode. There is a dedicated lever above the shutter button that can be used to control the electronic zoom (only with G Vario X lenses). In our case, it works as an auxiliary settings selector.

On the right side of the display there is an auxiliary panel that is responsible for additional settings and applying color filters depending on the selected mode.

There is also the ability to control the focus and metering point by touching the screen.

Functionality

Lumix DMC-G5K received a Live MOS matrix of 17.3 x 13 mm and a resolution of 16 megapixels. The sensor received improved processing algorithms. It is assisted by the new Venus Engine 7 FHD processor, thanks to which the speed of the camera is increased compared to the previous model.

The mirrorless camera is ready to go immediately after switching on, it is very fast in terms of filtering and photo processing, but RAW is not recorded instantly.

The speed of contrast autofocus is impressive. But its accuracy is not the best, so sometimes you have to help it with manual or spot focusing.

The burst shooting speed is 6 frames per second. This applies to maximum resolution and shooting in RAW format. In tracking autofocus mode, this figure will decrease to 3.7 frames per second.

The camera is equipped with a G VARIO 14-42 mm F3.5-5.6 lens, which has good sharpness and pleasant artistic blur. He received an optical stabilizer MEGA O.I.S. In addition, its luminosity is enough even for night shooting in the town. So you don't have to use the built-in flash.

The camera boasts 8 shooting modes: classic M/S/A/P, two custom C1 and C2, and two creative modes. The latter allow you to apply one of 14 filters to the picture or choose one of the 23 proposed scenes. I would like to note the scene modes, which provide a wide range of scenarios. Of these, it is worth noting the monochrome and warm night landscape.

An intelligent car is approaching the ideal here. The camera almost always accurately determines the white balance and measures the exposure. This option is quite suitable for amateurs, because after turning on the iA button, you do not have to go into the settings menu.

The detail of the pictures is very good. The camera can compete with entry-level DSLRs and more expensive mirrorless cameras with larger sensors. Color rendition is also as natural as possible.

The ISO sensitivity range varies from 160 to 12800. Values ​​up to ISO 3200 can be considered working, but even at higher values, noise is not as noticeable as in the DMC-G3.

Photo examples:

The Lumix DMC-G5 can shoot Full HD video at 50 and 60 frames per second. You can select AVCHD or MP4 as formats. Video is recorded with tracking autofocus. In addition, color and contrast adjustments are available, as well as most stage effects. The video quality is very good.

Video examples:

The 3-inch touch screen has a resolution of 920,000 dots, which is almost twice as high as the previous model.

The built-in electronic viewfinder received 100% field coverage and a resolution of 1,440,000 dots.

To connect to a computer or monitor / TV, the camera received USB 2.0 / AV Out and miniHDMI. A 2.5mm Jack can be used to connect a remote control.

Working hours

The 1200 mAh lithium-ion battery is enough for more than 300 shots.

Impression

Balanced in terms of design, lightweight, ergonomic and extremely easy to use mirrorless. Lumix DMC-G5K is a versatile camera that excels in speed and focusing, a large number of artistic effects and modes, as well as the quality and detail of photo and video. The camera can compete with entry-level and mid-range DSLRs and all mirrorless cameras without exception.

PECULIARITIES:

. Compact body .

. Ergonomics .

. Menu simplicity .

. Swivel touch display .

. Built-in viewfinder .

. Full HD video .

. Work speed .

. Intelligent Mode .

. Artistic Modes .

. Photo and video quality .

. Burst speed .

. Autofocus speed .

. Plenty of interchangeable lenses .

SPECIFICATIONS:

• Model Panasonic Lumix DMC-G5K
• The weight 562 g with lens and battery
• Dimensions 12 x 8.3 x 7.1 cm
• Matrix 17.3 x 13 Live MOS 16 MP
• Maximum image resolution 4608 x 3456 pixels
• Video resolution 1080/60p
• Lens f = 14 - 42 mm, F3.5-F5.6
• Bayonet Micro 4/3
• zoom optical - 3x, digital - 4x
• Image Format RAW,JPEG
• Video Format AVCHD/MP4
• Display TFT, 3" (920,000 pixels)
• Image stabilizer optical MEGA O.I.S.
• card memory SD, SDHC, SDXC
• Interface USB 2.0, miniHDMI, A/V, remote
• Food Li-Ion 1200 mAh

2 years ago

Convenient swivel screen; - optical stabilization in a whale lens; - low pre-crisis price (bought for 12500, for its current price you can buy a much better device).

2 years ago

Great Viewfinder! High quality swivel screen. Excellent ergonomics. Silent shutter. Ability to specify focus points. RAW. Video quality. Sound capture quality (for the built-in microphone), the presence of noise reduction. Photo quality. Wide range. Working iso up to 1600. Speed, responsiveness. Instant focus, almost no misses. Tracking focus, manual, face detection. Scene photos. Long battery life (600 photos per charge). Deep jpeg processing (HDR, range extension, sharpening, scenes). Five customizable keys.

2 years ago

Fast autofocus. Great shots! Shoots great video. Light weight. Makes a series of 6 shots per second. Folding viewfinder with multi-touch. Blinozum is very nimble with good angles and great for shooting video

2 years ago

Electronic shutter (you can time-lapse without fear of killing the shutter resource) +1080 50p/60p (you can make a smooth layer of motion video) + Good colors, good video quality (but there are drawbacks)

2 years ago

2 years ago

On a whale lens, it makes less noise and is sharper than my XZ-1 Olympus (actually not surprising).

2 years ago

2 years ago

The best video camera ever used. Lightweight, quiet operation. Management is convenient.

2 years ago

Just a GREAT CAMERA!!!

2 years ago

light, fast, excellent photo quality

2 years ago

Native batteries are expensive (Non-native batteries are not suitable for this particular model, digital protection is protected and the camera sees that the battery is not native, writes this and turns off.

2 years ago

Mediocre photo and video quality: noise in low light, poor sharpness;
- resistive touch screen - an outdated technology that requires significant pressure on the screen;
- the lack of the ability to charge via USB, you need to pull the battery out of the device to charge it;
- The build quality of the device leaves much to be desired.

2 years ago

jpeg lathers, although its formation settings are very good. There is no external microphone, although the built-in one is often enough. Do not point the built-in flash at the ceiling. At dusk, the focus misses 1 out of 4-5 times, much less often in the light. Sometimes, with a long series of photos, the recording freezes for 5-10 seconds, even on a high-speed card. Video recording machine.

2 years ago

I have not found it yet, except for the price of course

2 years ago

Panasonic produces carcasses for different regions with different firmware, there is a version of PAL video 25/50, and there is NTSC 30/60 and there is no possibility to switch PAL / NTSC in the camera menu ... this is bad.
There are two bugs that Panas is in no hurry to fix!:
1) in AVCHD FPH video mode (according to the instructions), the output should be 25p / 30p (progressive) video, but it turns out 25i / 30i (interlaced), the picture in this mode is less clear than in PSH (60p) mode. It turns out that the Panasonic G5 cannot shoot AVC video in 1080 25p/30p, and if you want the most clear video, you will only have to shoot in 50/60p.
2) in AVCHD PSH 50p/60p video mode with flicker reduction=50, you get video with double frames (1 frame=2, 3=4, 59=60), which can be seen in any video editor .. it's tough

2 years ago

It takes a lot of finger pointing. AT winter conditions on the street - unsuitable. There was no declared Macro function in the usual sense! There is only Intelligent Macro, and that, sorry, is nothing! Fotik himself decides what he will make sharp in the bud and what not! So those who like to take pictures of pistils, petals, bugs and spiders - you can not consider this model in principle !!!

2 years ago

Video can only be shot in a stationary position, if it slows down with wiring, low resolution is stronger, at high resolution it is smaller, but unacceptable.

2 years ago

The 14-42 electronic lens, which is under the video, is expensive. And it's hard to find a filter.

2 years ago

For us fans, they simply do not exist. Well, the pros still have their say

2 years ago

Mirrorless micro systems Four Thirds, despite the limitations imposed by the relatively small size of the matrix (40% smaller than APS-C), are popular not only among amateur photographers, but also among professionals. And the point is not only in the cameras themselves, but also in the fact that lenses for the system are made by such giants of photo optics as Leica, Zeiss, Sigma, Tokina, Voightländer and Schneider Kreuznach. If you look at the characteristics and cost of this optics, it turns out that mirror systems have long lost their monopoly on the title of professional ones. So the Lumix G5 came to our review with an interesting addition to the "whale" in the form of a Panasonic-branded Leica DG Summilux 25 / 1.4 lens.

Specifications

Panasonic Lumix DMC-G5
Bayonet	Micro Four Thirds
Matrix	Live MOS 16.05 MP
Matrix photosensitivity	ISO160-3200, ISO6400, ISO12800, Auto ISO, Intelligent ISO
Excerpt	photo: manual up to 120 s, 1/4000 - 60; video: 1/16000 - 1/30 (NTSC), 1/16000 - 1/25 (PAL)
Exposure metering	multizone, center-weighted, spot
Burst shooting	2/3.7/6 fps at full size with Live View; 20 fps without LV at 4 MP
Burst Buffer	9 frames
Color Temperature Adjustment	2500K-10000K in 100K steps
Recording media	SD/SDHC/SDXC memory cards (UHS-i compatible)
Recording format	JPEG (DCF, Exif 2.3), RAW, MPO (when using a 3D lens)
Maximum photo resolution	4608x3456 (4:3), 4608x3072 (3:2), 4608x2592 (16:9), 3456x3456 (1:1)
Viewfinder	electronic, equivalent to 1,440,000 dots
LCD screen	swivel, touch, TFT 920,000 pixels (3:2), 3 inches
Flash	built-in, TTL, guide number 8.3 (IS0 100); support external (shoe)
Communications	AV, USB 2.0, HDMI, remote control
direct printing	compatible with PictBridge
eating	Li-ion battery (7.2 V, 1200 mAh)
dimensions	120x83x71 mm (without extensions)
Weight	396 g with battery and memory card (without lens)

Panasonic Lumix G Vario 14-42mm f/3.5-5.6 MEGA O.I.S.
Bayonet	Micro Four Thirds
Focal length	14-42mm (28-84 in 35mm camera equiv.)
Diagonal field of view	75°-29°
Minimum focusing distance	0.30 m at all focal lengths
Diaphragm	minimum 3.5-5.6, maximum - 22
diaphragm type	7 petals, rounded
Maximum magnification	Approximately 0.16x / 0.32x (35mm camera equivalent)
Max. diameter	60.6 mm
total length	63.6mm (front lens to end of mount)
Weight	165 g
Optical design	12 elements in 9 groups (1 aspherical lens)
Filter diameter	52 mm
Stabilizer	yes, optical

Appearance, ergonomics, control

Lumix G5, despite its small size, does not seem like a toy or cheap. This is such a reduced copy of the Big Black Mirror with all its attributes, except for the actual mirror. The metal case gives the device both reliability and solidity. True, for the sake of compactness, I had to sacrifice a little ergonomics. Due to the smaller size of the handle, the hand does not fully adhere to it, and the camera is held mainly by the last phalanges of the fingers resting on the middle of the palm, and the thumb and its muscle overlap the control buttons pushed out by the display to the very right edge. The thoughtful shape of the handle and buttons recessed into the body (so as not to accidentally press) reduce the above inconveniences to a minimum, but to work with the menu and the settings placed on the buttons, you have to change the grip, holding the camera with your left hand.

The battery and memory card are located under the same cover on the underside of the case. Provides installation of a power adapter from the mains instead of the battery. The tripod socket is far enough away from the battery compartment that you don't have to unscrew the pad to remove the card or battery.

Connectors for the remote control, HDMI and combined AV Out/USB are hidden under a cover on the right side of the camera. The left side panel contains no connectors or buttons, so that nothing interferes with the display, which rotates 180° vertically and 270° horizontally, providing comfortable sighting in any position of the camera relative to the photographer. The display is touch-sensitive, but more on that later.

A horizontally located wheel on the corner of the case is responsible for setting the shutter speed and aperture; with its help, in modes A, S and P, the aperture, shutter speed and program shift are adjusted, respectively, in mode M - shutter speed. Pressing the wheel switches it to exposure compensation or aperture setting. This important control, as for me, is not optimally placed (I would like it to be a little to the left, in place of the AF / AE Lock button, so as not to take the thumb away so much) and also hard to press. Therefore, for exposure compensation, setting the aperture in manual mode, and some other functions, it is better to use the lever near the shutter button, which replaces the second control wheel. Swinging the lever once to the side changes the parameter values ​​by one step, and holding it down replaces scrolling. When viewing images, you can scale them with both the lever and the wheel, while pressing the wheel allows you to fix the scale and the selected area of ​​the image, for example, to view series. Photos and videos can be viewed by date, 30 and 12 thumbnails per screen, full screen and with file information, and in the playback menu, you can select one type of content to display - photos, videos or 3D pictures.

The functionality of the 5-way key and six separate buttons on the back of the case are thoughtfully and intelligently selected, in addition, three of them can be reprogrammed at will. Very detailed settings for white balance (right button), although in most cases the automatic mode does a great job. Well, one cannot fail to note the rich selection of exposure bracketing options available by pressing the "down" button, which, by the way, can be implemented both in a series and in single shots. One of the buttons, called Q.MENU, calls up a quick access menu to frequently used functions, the set of which can also be changed to your taste.

In the custom version, this menu looks a little different and has a settings button:

Despite the abundance of buttons and wide possibilities for customizing controls, which should appeal to photo geeks, they also thought about novice amateur photographers. Especially for them, there is an "iA" button to turn on the automatic mode - it's fast and convenient, you don't need to turn the selector. The video recording mode is also placed on a separate button, like most mirrorless cameras.

The electronic viewfinder (brand name - Live Viewfinder, or LVF) of the Lumix G5 is comfortable and of high quality, with a soft eyecup, "like a big one". The resolution and color reproduction are good, subjectively even better than that of the "big brother" GH3. The presence of LVF helps a lot both when sighting and when viewing footage in sunny weather. You can switch the image output from the viewfinder to the display either manually using the LVF / LCD button, or automatically using the proximity sensor.

Above the viewfinder there are a pair of microphones and a built-in pop-up flash, which cannot open itself in automatic shooting modes. Due to the large width of the flash, it may not open completely when a simple diffuser is installed in the shoe, resting against its mount (this happened with my Phottix).

The display of the Lumix G5 is touch-sensitive, but not capacitive, but of a resistive type, that is, responsive to pressing, not touching. It's a pity, because a capacitive sensor would be very handy for one-touch shooting without camera shake, but a resistive one won't. (By the way, in the next model, G6, a capacitive one was already installed.) On the other hand, accidental operation is practically excluded and there is a theoretical possibility to control the camera with gloves, which may be more convenient than small mechanical buttons, half of which are recessed into the case. The sensor is quite sensitive, light pressing works fine, but working with gestures is inconvenient - when scrolling and dragging (for example, focus points), the contact is constantly lost. You need to adapt and find the optimal pressing force. In addition to the obvious OSD function, there is a slide-out panel on the right side of the screen with buttons that change depending on the shooting mode. In this panel, you can turn on shooting with one tap on the display, when when you specify a point, the camera immediately focuses and shoots. If this mode is turned off, then you can only select a point or area, and the actual focusing will be done by pressing either the mechanical shutter button or the virtual one located in the lower right corner of the screen. By the way, the focus area can be selected by clicking and dragging across the screen, even looking into the viewfinder - the screen turns off, but the sensor works, and the focus area marker is visible in the viewfinder. But as already mentioned, a resistive sensor is not the best tool for such tasks. In the same panel there are two more buttons, which by default are responsible for displaying the electronic level and the histogram, but you can choose their function at your discretion. In total, we have five programmable buttons - three mechanical and two touch. Naturally, the touch functions of the display can be disabled partially or completely and work "the old fashioned way" with the buttons - as you like.

The display has several states, switched by the DISP button, with different amounts of service information, as well as a completely off state. The viewfinder repeats all these states, except for the last one, the level and the histogram are also displayed in it.

The settings menu is not as strict as in the DSLRs and GH3 - you can choose one of four background colors (all light), as well as a background image for the first screen. It is designed in the form of several buttons to enter the desired section with one tap. Then the menu has a familiar look. The first section is shooting options, the second is video recording settings, the third is user settings and preferences, the fourth is camera system settings that are not needed as often, and the fifth section is playback options.

In automatic and creative shooting modes, another button is added to select options for this mode. So, for example, in the "iA" mode, you can select the "iA +" option, which allows some user intervention. Here you can enter exposure compensation, select the desired depth of field (DOF), and also shift the color gamut towards red or blue.

It's time to move on to other shooting modes. In addition to "iA" and the standard P, A, S and M, there are two more - the "creative control" mode, which is a set of filters and effects, and the scene selection mode from ready-made preset options. In this last mode, the camera can issue additional instructions, such as "mount the camera on a tripod" or "raise the flash".

Now the promised highlights. One of them is discussed in detail in the Lumix GH3 review - this is the storage of up to 6 faces in the camera's memory (3 pictures per person) for recognition when shooting group photos with priority focusing on the face from among the saved ones. The second is the electronic shutter, which I would like to talk about in more detail. Its advantage is silent shooting (actually not quite, since the noise of autofocus and aperture cover can be heard, the volume of which depends on the specific lens), which allows you to take pictures, for example, in a theater or at a presentation. But there are also disadvantages - when using an electronic shutter, the shape of moving objects is noticeably distorted (see example) due to the fact that the pixels of the matrix "turn off" at the end of the shutter speed not simultaneously, but line by line. ISO values ​​above 1600 are also not available. Therefore, in poor lighting, as well as for dynamic scenes, it is better to use a mechanical shutter.

Another proprietary feature of Lumix cameras (including "soap" compacts) is the Intelligent ISO sensitivity control mode. For static scenes, its work does not differ from the usual AutoISO operating in modes A and P. The camera, depending on the illumination and aperture, changes the ISO so that the shutter speed is no longer than the maximum allowable. This shutter speed threshold cannot be set manually, it is determined, apparently, automatically depending on the focal length of the lens (possibly, the presence of stabilization is also taken into account). But if there is some movement in the frame at the time of shooting, then the ISO value is increased to reduce shutter speed and prevent blur. This is not always effective, since the movement can be very fast, and the sensitivity margin can be small (bad light, heavily covered aperture), but very often it helps.

Similarly (by detecting movement in the frame), the improved single-frame autofocus method - AFF - works. If the subject on which the camera is focused starts to move at the time of shooting, the focus follows the subject. Noteworthy is a very intelligent fine focus mode, indicated in the quick menu as "+". Pressing the shutter halfway zooms in on the image for a while, allowing you to fine-tune the focus area on the desired subject, after which the entire frame is displayed again so that you can finally frame the picture. In other modes, the DMF function works, which magnifies the image when the focus ring is turned. Therefore, the absence of a mechanical AF / MF switch on the body and on the standard lens does not upset, and if you really need it, you can program one of the Fn buttons for this.

And, of course, there are many functions that improve the JPG image, but do not affect the RAW image. These are, for example, automatic vignetting removal, called "shadow suppression" in the menu, a choice of several degrees of sharpness, dynamic range expansion and HDR mode. For those who do not plan to seriously deal with photo processing on a computer, it will be useful to deal with these "improvers".

Now, in fact, about how the Lumix G5 shoots. Autofocus here is classic contrast. It does not break records in speed and can fail in typical scenes that are difficult for it, but the precise focusing and DMF described above come to the rescue here.

But "catching moments" is difficult, and autofocus speed is not the weakest link here. There is also a noticeable screen / viewfinder lag, so when shooting something / someone moving, it's better to immediately switch to continuous shooting, so that later you have plenty to choose from. In RAW + JPG with maximum quality, the camera shoots a series of up to 7-8 frames (with the declared 9), which is not bad compared to competitors. Recording a series or just three or more single shots with a short interval enters the camera into the "please wait" mode - after a full series, the next single shot can be taken in 5 seconds, and you can view a photo or shoot the next series in about half a minute. And this is with a class 10 SDHC card.

The camera was provided for testing with two lenses - a complete H-FS014042 (focal length range 14-42 mm, aperture 1:3.5-5.6) and a "fix" H-X025 with 25 mm FR and aperture 1:1, 4, aka LEICA DG SUMMILUX 1:1.4/25 ASPH. "Keith", frankly, disappointed. Good sharpness is achieved only when the aperture is closed to 7.1-8, and at 11-16-22 it already drops noticeably due to diffraction. Wide aperture chromatic aberrations are often visible to the naked eye and will need to be corrected manually, at least if you use Lightroom and Camera Raw. In the video mode, there are complaints about the zoom - the plastic mechanism jams and jerks when rotated slowly.

The G5 showed itself much better with Leica - both in terms of sharpness, blur pattern, and color reproduction. This lens has excellent sharpness even at an open aperture (of course, within a small depth of field) and a maximum in the range f / 4 ... f / 8, it is not afraid of oncoming light. However, it is logical to expect a good result from a lens priced at 5000 UAH. He also has a couple of shortcomings, but small ones and having nothing to do with the quality of the photo. The iris and/or autofocus mechanism is quite noisy, which is audible in electronic shutter mode. And the standard rectangular lens hood is not put on the lens with the reverse side, because of this, I had to take it off all the time to place the lens in my small photo bag. The H-X025 is a very good stock lens for the Lumix G5. Of course, not every novice amateur photographer will lay out 5-6 thousand hryvnias for it, but for such aperture and such sharpness, this is an adequate price for a wave.

Converting to JPG using the camera (at least with default settings) leaves much to be desired. Dark areas containing a lot of noise are very blurred. This is especially noticeable when shooting at high ISOs, but even at the minimum ISO160, the noise reduction sometimes goes too far. In principle, the intensity of noise reduction is adjustable in the range from -2 to +2 "abstract units", so if you wish, you can try to find a compromise between the level of noise and detail, but still, in low light or the presence of dense shadows in the frame, it is strongly recommended to shoot in RAW, and better - RAW + JPG with maximum quality. With good bright light and uniform illumination, camera JPEG is quite good, and in this case a RAW converter may not be needed.

In view of the above, the test shots from the Lumix DMC-G5 are divided into 4 parts for greater clarity.

Standard lens, conversion to JPG from RAW with default settings and minimal tone correction if necessary (gallery):

Leica DG Summilux 25/1.4, RAW conversion (gallery):

Leica DG Summilux 25/1.4, in-camera JPG (gallery):

As for the sensitivity of the matrix, everything is very good here. Up to ISO3200, noise does not spoil the image in JPG too much, but in RAW it is successfully eliminated; at 6400 and above, color spots and distortion of fine details are already very noticeable. But in some pictures, even at the minimum value of ISO160, color noise is clearly visible.

This is what noise looks like at different sensitivity values ​​​​when shooting in JPEG:

And so - when shooting in RAW:

Video G5 records in Full HD (1920s [email protected]/i) and HD (1280x720p/i). The video sequence is smooth, without jerks and slowdowns, autofocus "leads" moving objects well. As already mentioned, the standard video lens is not the best, but at least it does not make noise when refocusing. Unlike the top-end GH3 (and the new G6), the G5 doesn't allow manual exposure control in video mode and doesn't have an external microphone input.

There are no complaints about the autonomy of the camera. Despite the fact that the display and viewfinder are electronic, the Lumix G5 has a moderate appetite, and the battery is quite capacious. I have never been able to use its entire charge in a day, but the next day there was not much left, so the device was put on charge at night and it was not possible to accurately calculate the number of shots on one "gas station".

In the dry matter

The Lumix G5 camera is an excellent design, well-thought-out software part and rich functionality in a compact body, but it does not best quality shots, especially medium and long-range shots, with a whale lens. At the same time, the G5 confirmed the generally recognized reputation of MFT cameras in the field of subject and macro photography, at short distances the camera shoots perfectly even with a standard lens. Touch control harmoniously complements the usual buttons and wheels, and very often with its help modes and settings are selected more conveniently and faster. That's just have to get a separate cloth to wipe the display.

For amateur photographers who just want to shoot in JPG on the machine and still get pictures " professional quality» without processing on a PC, I won’t risk recommending the Lumix DMC-G5 - it’s more suitable for this compact cameras top level. But for a competent enthusiast, it will do, but under two conditions - better optics and shooting in RAW.

6 reasons to buy Panasonic Lumix DMC-G5:

• good equipment
• rich functionality
• great customization options
• excellent video quality
• good autonomy
• the presence in the system of a large fleet of high-quality optics "for growth"

3 reasons not to buy Panasonic Lumix DMC-G5:

• aggressive noise reduction when shooting in JPG at default settings
• not the best kit lens
• slow recording of pictures on the memory card

This year marks the 10th anniversary of Panasonic's Lumix digital camera brand which makes it an appropriate year for launching some exciting new products. One of those is the Panasonic Lumix G5, the ninth model in the G-series which introduced the world to the Micro Four Thirds standard and mirrorless system cameras in the shape of the DMC-G1 , in 2008.

With its electronic viewfinder and SLR-like form factor the G5 is arguably the most direct competitor to "traditional" entry-level SLRs in the current Lumix lineup. It sits above the simpler GF5 and below the top-of-the-line and enthusiast models GH2 and GX1 .

Under the hood, the G5"s "newly developed" 16MP Live MOS sensor is what Panasonic calls a "digital sensor" with some of the processing happening on the chip itself. In theory this translates into improved high-ISO performance which is very welcome news, the more so because the G5"s maximum ISO setting has been increased to 12,800. The continuous shooting rate has also been bumped up compared to the DMC-G3 , from 4 to 6 frames per second, but almost certainly more important to most users is the increase in resolution for the touch-sensitive rear LCD, from 460,000 to 920,000 dots . The LCD now also comes with a feature that is called "Touchpad AF". It allows you to move the AF area across the frame with your finger on the LCD while you"re framing the shot through the EVF.

Video specs have also been improved. Like the GF5 the G5 now records video in the MP4 format, as well as the now-standard (for Panasonic) AVCHD. The latter Video clips shot in the MP4 format are easier to organize because they"re not stored in a separate file structure to stills, and are far more widely compatible when it comes to playback. However, shooting in the AVCHD format allows you to capture footage at 1080 60/50p, vs 1080 60i on the G3.

With most of the competitors in the mirrorless system bracket of the market offering a variety of digital filter it was only a matter of time before Panasonic followed. The G5 boasts nine new filter options in the camera's Creative Control Mode (namely Soft Focus, Impressive Art, Cross Process, Star Filter, Miniature Effect, Dynamic Monochrome, One Point Color and Low key). As with the GF5 these filter effects can be previewed before they are applied and when the camera is set to intelligent Auto or intelligent Auto Plus mode it will suggest filter effects that it thinks might enhance your photo, based on an analysis of the scene.

All in all the G5 comes with some interesting improvements over its predecessor. We will have to see how many G3 users can be tempted into upgrading to the new model but on paper the G5 certainly looks like a compelling camera that should be attractive to a wide range of photographers. We are looking forward to putting the G5 through its paces to see what the sensor is capable of and what difference the new features make in real-life shooting. In the meantime we "ve produced a 3-page preview which should give an overview of the salient points.

Panasonic GF5 specification highlights

• 16MP Live MOS sensor
• ISO 160-12,800
• 3.0", 920k dot touch-sensitive LCD with Touchpad AF control
• 1.44 million dots electronic viewfinder with eye sensor
• Full AVCHD 1080/60p video with 1080 30p MP4 recording option
• 6 frames per second continuous shooting, 3.7 fps with AF-tracking
• 14 Creative Control filter effects options

Differences between the G5 and the G3

• 16MP "digital" Live MOS sensor (vs analog)
• Maximum ISO of 12,800 (vs 6400)
• 6 frames per second burst shooting (vs 4 fps)
• 1080/60p AVCHD and 1080/30p video recording (vs 1080/60i)
• MP4 video recording option (vs AVCHD and 720p MJPG only)
• 3 inch 920,000 dot LCD screen (vs 460,000 dots)
• Eye-sensor below the EVF
• Function lever
• Touchpad-AF control
• Aluminum front plate (vs plastic)
• Position of the shutter button
• Redesigned rubber hand grip and four-way controller
• Improved battery life (320 shots vs 270)
• 14 filter options in Creative Control Mode (vs 5)

Compared to its peers:

The Panasonic G5 and Olympus" flagship Micro Four Thirds camera, the OM-D, have similar dimensions but the Panasonic comes with a rounded, contemporary design while the Olympus features a retro-style. The latter also comes with an all-metal body. On the G5 only the front-plate is made out of aluminium.
Despite the different approaches to body design, the control and button layout of the two cameras is not too dissimilar, with a four-way controller and a few buttons located to the right of the screen and a screen that can be flipped out and tilted. However, the Olympus features two control dials (G5 only one).

The G5"s general size and shape are ver similar to its predecessor G3 but in this front view the larger handgrip and the changes position/angle of the shutter botton are immediately visible. The new model has also gained an aluminum front plate.
On the back we can see the new eye-sensor below the EVF and the new design of the four-way controller which is now shiny and silver. There"s also a new thumb rest next to the control dial and a slightly changed button-layout.

From http://www.cameralabs.com
Translation: Anna Sedova
http://www.cameralabs.com/reviews/Panasonic_Lumix_DMC_G5/

The Panasonic Lumix G5 is a 16MP compact mirrorless system camera with Micro 4/3 mount standard developed by Panasonic in collaboration with Olympus. Panasonic currently refers to mirrorless system cameras as DSLM cameras, i.e. Digital Single Lens Mirrorless, but we lean towards the term "compact system cameras".

Announced back in July 2012, the G5 has replaced the Lumix G3. In case you're wondering where the G4 went, let me explain: it didn't exist; Panasonic simply skipped this model for reasons of tetraphobia (in a number of East Asian countries, such as China, Japan, Korea, etc., an irrational fear of the number “4” is common, since the hieroglyph for it is written in the same way as the word “death”; they differ only in tones of pronunciation). Like its predecessor, the G3, the new model has a 16MP sensor, but it's a completely new sensor with much improved high ISO noise reduction. Complemented by a microprocessor Venus Engine, it is capable of shooting at maximum sensitivity up to ISO 12800.

The new matrix and processor also provide improved video recording performance: a new 1080p50/60 mode has appeared. The camera offers the possibility of high-speed continuous shooting up to 6 frames per second at full resolution. The fully finger-operated touch-screen monitor is retained and the resolution has been doubled to 920k pixels. In addition, the display can now be used truly "smartly" as a follow-up AF control panel to set the AF area when you are framing a frame with the electronic viewfinder. Also, the eyepiece of the camera viewfinder has an eye sensor, on the basis of which the EVI turns on and off, a new zoom switch located immediately behind the shutter button, a creative filter selection dial (Creative Control filters) and an electronic level that simplifies image alignment relative to the horizon.

With these enhancements, the Lumix G5 has once again confirmed the reputation of the G-series as an excellent value for money product and allowed it to compete with slightly higher-priced cameras. In my review, I compared it with the more expensive Sony NEX-6. The NEX-6 has the same 16-megapixel resolution as the new G5, but has a larger APS-C sensor (3:2 aspect ratio). Other benefits include a 2.3M-dot electronic viewfinder, full HD video recording at 1080p50/60, and fast continuous shooting at 10 fps in full resolution. Just like the Lumix G5, the NEX-6 comes with a whale-sized small and light zoom.

However, perhaps the most interesting feature of the NEX-6 is that you can expand the range of its standard features thanks to built-in Wifi and the ability to download apps. All in all, all things considered, the Lumix G5 delivers roughly the same feature set as the NEX-6 minus a few frills. Will it become a product that is affordable and able to compete in a higher weight class? Read my full review and perhaps you will find the answer to this question.

Design and control system

With its smooth contours and grip handle, prominent hump and centrally positioned viewfinder, the Lumix G5 design is nothing short of a DSLR in miniature. The main selling point of the G3, "the world's smallest and lightest system camera," was its size. With the G5, Panasonic relaxed a little, and the G5 seemed to exhale. The parameters of the camera, for an idea of ​​its dimensions, are 120x83x71mm; at the same time, its weight with a battery and a memory card is 396 g. The parameters of the G3, for comparison, are 115x84x47mm with a weight of 382 g, however, it should be borne in mind that the increase in depth of the G5 is due to a larger handle, and the weight is almost the same.

The mode dial on the top panel has the same eight positions as its predecessor G3, including the PASM mode group, two freely adjustable positions C1 and C2, SCN scene mode, and Creative mode. As with other G-series and compact models, Smart Auto mode is activated via a dedicated illuminated button. Opposite it is the video record button, moved from the rear panel, as was the case with the G3, and further ahead is the switch that controls the electronic zoom, in case a PZ lens is used; in manual shooting mode, this switch can be used to control exposure compensation and aperture setting.
The camera shutter release is on the very front edge of the handle, and this suggests a more natural finger position, as the index finger spontaneously rests in this place, and no additional effort is needed to arch it back, as was the case with the G3. Overall, the G5 is a more comfortable camera to hold and handle than the G3. When wrapping your palm around the handle, the location of your thumb is much more embossed, providing a firmer and more stable grip and allowing you to shoot with one hand with confidence.

The part of the top panel of the Lumix G5, located to the left of the shooting mode dial, looks the same as its predecessor. A standard ISO hot shoe flaunts on top of the hump that houses the viewfinder; stereo microphone - in front of him. To the left of the hump is a flash switch, and then a small mesh mono speaker.

As with previous models, on the back of the camera on the left, just behind the viewfinder, there is a small button that switches the image from the viewfinder to the LCD and vice versa. It becomes a little less relevant than on the G3, due to the fact that the new model has an eye sensor located immediately below the eyepiece of the viewfinder: when the eye approaches the eyepiece, the sensor instantly gives the command to turn on the viewfinder.

The "Q" button for quick access to the menu has now moved to the right side of the viewfinder; and, in addition to it, there is a new programmable AF / AE lock button, designated as Fn1.

The rotary dial on the back of the camera, which is controlled by the thumb, has moved a little to the right: it is still in the right corner, but directly next to the thumb-hole. In modes A - “Aperture Priority” and S - “Shutter Priority”, the default dial adjusts the aperture value and shutter speed (shutter speed) settings, respectively, but when pressed, the dial automatically switches to exposure compensation mode. When pressed again, it returns to its original functions (setting the aperture or shutter speed). Pressing the rotary dial while manual mode (M) is activated causes you to switch from setting the aperture to adjusting the shutter speed and vice versa. When the camera is in P-program mode, the rotary dial is used to set the exposure, and when pressed, it becomes a compensation control.

The playback button has moved to the part of the rear panel to the right of the display, now it is next to the DISP button and switches the image on the display and the image visible in the viewfinder. The four-way control joystick has been redesigned: on the G5, it is a single panel, made entirely in silver, rather than a system of separate buttons, as on the G3. However, the functions of the arrows remain the same: ISO, white balance, Drive mode selector (adjusting the shooting frequency / choosing between single-frame and burst modes) and autofocus (AF) mode. And finally, the delete / "back" button has gained additional features: now it is a second programmable button, designated as Fn2.

Speaking of ports, a sliding flap on the right side of the camera hides a remote control jack, mini HDMI, and a combo AV/USB jack, but unfortunately there's no port for connecting an external microphone; starting with the G2 model, it is not made on cameras in this series in order to differentiate the top-end Lumix GH series.

The compartment on the bottom panel contains a slot for memory cards and batteries. The increase in knob on the new camera implies that the G5 uses a 1200mAh DMW-BLC12E battery - the same one used in the GH2 (Panasonic touts it as capable of 320 shots on a full charge). That's an improvement on the G3's 270 shots, but it's still not as good as the much earlier G2. Also, keep in mind that the numbers given by the manufacturer refer to shooting with the H-FS014042 manual focus lens. These figures are relevant for comparing the capabilities of new and previous models, but when shooting with a whale zoom PZ 14-42 mm, the value will be much lower. As for memory cards, the G3 reads SD, SDHC and SDXC cards. Panasonic recommends using class 4 or higher cards when recording video.

As I already mentioned, the Lumix G5 has a built-in folding flash, which opens mechanically via a toggle switch on the side of the hump. If the flash is turned off, it will not open spontaneously, thus avoiding unpleasant surprises. This flash has a Guide Number (HF) of 8 at ISO 100, which is weaker than the built-in flashes on even entry-level DSLRs like the Canon EOS T4i (HF 13), but just a tad better than on NEX-6 (HF 6) or than the optional flash for Olympus PEN models (HF 7). The effective range it gives the G5 is 3 meters at ISO 160 and wide open at f/3.5. The built-in flash has a red-eye reduction function and a slow sync mode; the highest shutter speed in slow sync mode - 1/160 sec; The G5 syncs both front and rear curtains.

In addition, external flash units, sold separately, FL220/FL360/FL500 with automatic TTL exposure meter (Through The Lens) can be connected to the G5 via the hot shoe; however, be aware that, like the NEX 6, the G5 does not have a built-in wireless remote flash control system.

Viewfinder and Display

The G5 has the same 1.4 million-dot electronic viewfinder as its predecessor. Disappointment that the resolution hasn't been increased on the new model is inevitable, but while the G5 is designed to compete with the NEX 6's 2.4M-dot viewfinder, the G5's viewfinder is nonetheless very good. In terms of resolution, 1.4 million dots has become a kind of standard in this market segment. The same resolution can be seen on the VF-2 on Olympus OM-D E-M5 and PEN (optional EVF), Fujifilm's Finepix X100 and XS-1, and Nikon's V1 and V2.

In general, the viewfinder on the G5 is the same as on the NEX 7 and NEX 6, and the Fujifilm XE-1 continues to lead the way in EVI resolution, at least to date. But here we should not be limited only to this factor; in viewfinders, resolution is by no means the only characterizing parameter: size and brightness also play an important role. I am pleased to inform you that the EVI in the G5 is both big and bright; and when compared in detail with the NEX 6's viewfinder, the differences weren't as stark as one might think. The Lumix G5's viewfinder is, in my opinion, even brighter and slightly larger than the NEX 6's, although it's worth noting the fact that the higher resolution in Sony's EVI allows for a more detailed and stable picture. When panning, the lower resolution of the G5's viewfinder, and therefore its display, results in flickering and a "choppy" effect. Someone uses this technique more often, someone less often, so, despite the fact that it is a little distracting, it did not cause me any strong rejection. Although, if you look into the viewfinder for a long time, your eyes may get tired from it.

I already mentioned that there is an optical sensor below the viewfinder that automatically turns it on and turns off the LCD when your eyes approach it. But, like on the previous model, the G5 retains a button to the left of the viewfinder that allows you to do this in manual mode. It is quite obvious that there is no need for these two systems at the same time; you have to make a choice. If you choose to use an optical sensor, the button can be reprogrammed and assigned a different function. Conversely, if you prefer manual control via a button, the optical sensor can be disabled. In practical use, it turned out that between bringing the eye to the viewfinder and activating it, there is some delay (very minimal), and for me it became more preferable to turn on the EVI manually.

You can also turn off the LCD monitor and shoot using only the viewfinder. But, unlike Sony's NEX 6, there is no way to use the display only to view shooting information, but to frame the shot through the viewfinder.

While the EVI resolution has not changed from the G3, the Lumix G5's display has been upgraded to 920k dots, twice the resolution of its predecessor's display. As before, this is a touch-screen, but here Panasonic has expanded its functions by using 'Touch Pad AF' technology. This means that you can set the focus area by moving your finger across the LCD screen while framing through the viewfinder. In the section on autofocus (towards the end of this review), I will describe in more detail how this works in practice.

The LCD screen itself is tilt-and-turn: it opens to the side, and it can be rotated in any direction, including down for shooting from an overhead position and forward for crossbows. However, the most commonly used display positions in this configuration are "normal", as is the case with non-rotatable displays, and "upside down" (used to protect the screen). The aspect ratio of the screen is 3:2, so that when taking pictures in 4:3 aspect ratio, there are empty margins on both sides. On the right, this space is occupied by touch icons, organized in a reduced strip. The rest of the information is displayed on the screen on top of the image, but you have the opportunity to change the configuration of both the EVI and the display so that the shooting information will be placed below, under the image, while the image area will decrease. This makes it easier to control your settings, but harder to see what you're shooting.

The display button allows you to choose between "with information" and "without information" modes, as well as one of these modes, plus horizontal and vertical camera tilt levels. As I already wrote, the display can be turned off completely. In addition, there are two programmable buttons on the display, labeled Fn4 and Fn5, which by default enable the camera tilt level and live histogram. Given that this button can turn on the level, it is not clear why they should be reprogrammed to activate the other two display configurations. In my opinion, Panasonic could use these buttons more rationally.

Lenses for Panasonic Lumix G5 and Image Stabilization

The Lumix G5 is sold as a standalone body or bundled with one of your choice of kit lenses. I tested the camera with a Lumix GX Vario PZ 14-42mm f/3.5-5.6 ASPH.POWER O.I.S. just a smaller version of DSLR's whale zooms. If before, in order to keep the system camera compact, you had to use only pancake fixes, then with the advent of this lens, it became possible to achieve the same degree of compactness with a standard zoom.

With the exception of the metal Micro 4/3 mount, this lens is made of high quality plastic. When folded with the motor off, it is only 27mm thin, but when the camera is turned on, it extends to 49mm. Two "rockers" on the left side of the body control the zoom and manual focus. Unlike the single speed control system on the Sony E PZ 16-50mm, the zoom switch offers two speeds. In addition, between different positions - a decent distance, a few millimeters; so while it takes a while to get used to it, you end up with the ability to zoom at low speed without the risk of undesirable acceleration from accidentally pushing the toggle switch a little.

Panasonic Lumix G5 Lumix G X Vario PZ 14-42mm F3.5-5.6 coverage wide Panasonic Lumix G5 Lumix G X Vario PZ 14-42mm F3.5-5.6 tele coverage

My only comment about the two-switch control system is that, despite the slightly larger zoom switch, they are still not so easy to distinguish by touch: I, for example, repeatedly tried to zoom with manual focus. Although, there is, of course, another option: use the new zoom switch on the Lumix G5 camera itself. It is located just behind the shutter button, and is also a two-speed switch; although it is not as convenient to use as a toggle switch on the lens barrel.

The range of possible focal lengths of 14-42mm corresponds to the range of 28-84mm on a 35mm sensor, which provides the widest possibilities: from a fairly wide angle to a portrait telephoto lens. The 14-42mm PZ zoom doesn't offer the super-wide angle of view of the Sony E PZ 16-50mm, however, as I found in my NEX-6 review, this camera gives way too much when shooting at its widest angle. optical distortions, and subsequently you have to tinker with them. Comparing RAWs and in-camera JPEGs taken with the G5 and the 14-42mm PZ lens is very revealing: it's a case where you get practically what you see.

However, as with the Sony E PZ 16-50, at a maximum aperture of f/5.6 at the longest end of the range, it takes a lot of effort to get a shallow enough depth of field to blur the background. For this purpose, it is better to use a fast prime, such as the Leica DG Macro-Elmarit 45mm f/2.8 or the more affordable Olympus M.Zuiko Digital 45mm f/1.8. This clearly illustrates the advantages of the Micro 4/3 format over competing mirrorless systems: it is a truly mature mirrorless camera format, boasting the widest range of optics (for which lenses are made by both Panasonic and Olympus, as well as third-party manufacturers). Not only are almost all of the most widely used focal lengths available here, but there is also a choice of at least two manufacturers in terms of aperture, AF speed, image quality and price.

Like Sony in the NEX-series, Panasonic does not include optical image stabilization in their Micro 4/3 bodies, preferring to release lenses with built-in optical image stabilization. Panasonic's Power O.I.S. is built into the PZ 14-42mm zoom. which they claim is twice as effective as the earlier Mega O.I.S. Although this stabilization system is lens-shift based and located in the lens, there is no switch on the lens barrel itself to enable or disable it; instead, it is controlled through the Rec tab in the main menu. There is a choice of three operating modes: Normal (Normal), Panning (Panning), Disabled (Off). In Normal mode, vertical and horizontal camera vibrations are compensated, in Panning mode - only vertical ones; there is no option to correct only horizontal vibrations for panning when the camera is in portrait orientation.

To test the quality of the Lumix G5 optical stabilization system, I set the following settings: shutter priority mode (S - Shutter Priority), the maximum focal length of the lens is 42 mm. So I took a series of shots while gradually decreasing the shutter speed, first with O.I.S. off, and then in Normal (Normal) mode. If it is possible to shoot through the viewfinder, I always use it during these tests to minimize camera shake and ensure the camera is as stable as possible when shooting. When shooting through the viewfinder and with stabilization enabled, the G5 produces sharp shots up to a shutter speed of 1/5 sec., which is 4 stops slower than the standard recommendations for shooting at the same time. focal length. The shot below is a little soapy, and only gets sharp enough at 1/10th of a shutter speed, so I think it's fair to say that the stabilization of the PZ 14-42mm lens gives three to four stops.

Panasonic Lumix G5 Lumix G X Vario PZ 14-42mm F3.5-5.6 Power O.I.S. Off/On

100% crop, 14-42mm at 42mm 160 ISO 1/5th O.I.S. off.nbsp; 100% crop, 14-42mm at 42mm 160 ISO 1/5th O.I.S. On.

Shooting modes

In addition to the basic PASM shooting modes, the Lumix G5 has SCN positions on the rotary mode dial for scene shooting and Creative control for accessing an expanded set of creative filters. By means of a special button on the top panel, which is highlighted in the active position, the Intelligent Auto and Intelligent Auto Plus modes are switched on. On cameras aimed at amateur photographers, these modes often remain unclaimed, but, meanwhile, they activate protection against misuse, which is very useful for beginners, and it is convenient when you have a certain shooting mode on your camera, and you accidentally A frame has turned up that requires other settings.

The Intelligent Auto mode uses Scene detection technology, which recognizes the nature of the scene and selects the appropriate shooting mode from the seven available, and Face recognition, which recognizes faces in the frame and selects the optimal focus and exposure. Pressing with your thumb on another rotary dial located on the back of the camera allows you to blur the background: the display shows the aperture data. In addition, the G5's camera gives you hints if it thinks a given shot could benefit from the use of one or another creative filter from the Creative control mode.

The Intelligent Auto mode also automatically activates three other image enhancement features that were available as options on Panasonic's previous compact models. The first is Intelligent ISO (intelligent ISO), which is essentially a more advanced version of Auto-ISO, which increases ISO sensitivity when recognizing moving objects in the frame in order to choose a sufficiently fast shutter speed to “keep up with the movement”. The second is Intelligent resolution (intelligent resolution), which, in turn, implies four modes - High (High), Standard (Standard), Low (Low) and Disabled (Off) - each of which automatically selects the appropriate degree of sharpness (software sharp) for image; at the same time, artifacts that usually accompany such processing are suppressed. And finally, the third is the Intelligent Dynamic Range function (Intelligent dynamic range), which compensates for differences between light and dark areas of the frame. It is again applied automatically when the iA mode is active, and when shooting in one of the PASM modes, it is disabled by default; here you can choose from four options: High (High), Standard (Standard), Low (Low) and Disabled (Off).

The Lumix G5 introduces a new HDR mode for the lineup, making continuous shooting at high speed of three consecutive shots and retaining one composite of three shots with a wider tonal range. This function without additional features, as it happens, but basic: for example, you cannot change the exposure or EV compensation; however, HDR mode can be used when working in any of the PASM modes, so you still have more control over exposure. Below is an example comparing shots of the same scene in P - Program Auto mode at ISO 160: on the left - a single exposure option, on the right - a lineup of three in HDR mode.

The HDR image on the right shows more detail in the tonal range of the shadows, most evident in the door on the right side of the image; light highlights on the windows on the left side are also drawn in more detail. This is confirmed by the histograms of both shots, which I give below: in the HDR histogram on the right, highlights are suppressed, and details in the shadows are better drawn.

Panasonic Lumix G5 Program mode HDR On/Off

Program Auto 1600 ISO f4 1/8th HDR Scene mode 1600 ISO f2.8 1/16

For those intent on shooting HDR shots in software on a computer, the G5 provides auto exposure bracketing, one of the best quality mirrorless cameras on the market, surpassing even auto bracketing on some budget DSLRs. You can shoot automatically up to 7 frames at an exposure compensation step of up to 1/3EV. Exposure compensation is possible in the same wide range: up to +/-5EV. Here the G5 certainly beats the Sony NEX-6, which offers 3-frame auto-bracketing at +/-3EV increments, or up to +/-5EV with the paid ($4.99) Bracket Pro app.

The set of creative filters for creative shooting (Creative Control) has also been expanded compared to the G3 with new effects such as Soft Focus, Dynamic Monochrome, Impressive Art, One Point Color, Cross Process, Low Key and Star Filter. All of them require some adjustment, whether it be the choice of color for the effect, the intensity of the filter, the degree of vignetting or, in the case of Dynamic Monochrome, the degree of contrast. Additionally, you can apply background blur and set exposure compensation.

If I had to name the disadvantages of Creative Control mode, I would point out that, despite the fact that there is a dedicated position on the mode dial and touch-screen control for creative shooting, it is still extremely difficult to change filters. The icon in the upper left corner of the display showing which filter is currently being applied is non-touch, so you have to change filters through the main menu.

Dynamic Monochrome Cross Process Impressive Art

And finally, I note that the G5 has a new option - the electronic shutter (Electronic Shutter). It does not increase the frames per second of continuous shooting or improve other camera performance, it simply disables the mechanical shutter while providing quieter operation, which is important in situations where shutter sound can be distracting or disturbing, such as in museums, on concerts, etc.

Movie shooting modes

Like its predecessor, the G3, the G5 is capable of recording Full HD video with autofocus in tracking mode and stereo audio via built-in microphones. But while the G3 was limited to 1080i, the G5 offers 1080p50 or 1080p60 depending on the region. So this puts the camera on par with the GH2, although it still doesn't have an external mic port and can't output a clean HDMI signal when recording video. It also doesn't have the manual exposure control of the GH2 and the ability to select frame rates. So the G5 hasn't yet encroached on its flagship position among professionals and advanced video enthusiasts, especially now that the GH3 model has been released, further widening this gap by adding timecode support, higher bitrate and providing a choice of different video compression functions in addition to other characteristics professional camera such as protection against bad weather conditions.

The second important innovation in video shooting with the Lumix G5 is the abandonment of the outdated JPEG codec and the transition to the more modern and efficient H.264 for low-resolution video formats. As before, full HD video is encoded using AVCHD. AVCD selection provides a choice of four quality modes: 1080p50 at 28Mb/s, 1080i50 at 17Mb/s, 1080p25 at 17 Mb/s and 720p50 at 17 Mb/s. When switching to MP4 recording mode, three more options appear, all at 25 frames per second: 1080p at 20 Mb/s, 1080p at 10 Mb/s. and 720p and 640x480 (VGA) at 4 Mb/sec. In the NTSC region (USA, Canada), 25 and 50 fps become 30 and 60 fps, respectively.
You can start shooting video while in any photo mode by simply pressing the dedicated 'Record' button, located immediately to the right of the viewfinder; while the G5 can take static shots without interrupting the video shooting process, however, only with video resolution. Alternatively, you can set the camera to static shooting at full 16:9 resolution while recording video, but this will cause a momentary interruption in audio recording, but the video will continue to be recorded. There is no manual exposure control for video on this camera, nor is it possible to change the exposure if you have already started shooting video. According to these characteristics, it is inferior to Sony's NEX-6 and Panasonic's flagship GH3.

Cameras intended for the European market are limited to a recording time of 29min 59sec, which is explained by the peculiarities of taxation for this type of equipment.

Panasonic Lumix G5 with Lumix G X Vario PZ 14-42mm sample video 1: outdoors, overcast, handheld pan

To record this and the rest of the videos presented here, the Lumix G5 was set to the highest possible quality of 28 Mb/s 1080p50. This video was shot handheld with optical image stabilization on; most of the fluctuations are perfectly smoothed out. I used the zoom swing on the lens barrel, set to medium speed by default (there are also fast and slow zoom modes).

Here, the shooting was carried out with a tripod with the optical stabilization function turned off. The G5's tracking AF exhibits a slight "yaw" when zooming; there were no other major problems. On the recording, neither the sound of the zoom nor the noise of the AF drive is distinguishable.

When shooting indoors in low light conditions, there is some noise from the Lumix G5; otherwise the quality is very good. The built-in microphones are great at picking up background noise. Auto-exposure control and auto-white balance respond perfectly to changing shooting conditions.

To demonstrate the Lumix G5's touch-AF in action, I zoomed in a bit and focused on a cup of coffee before recording video. Then I touched the screen alternately in the bar area, then in the place with a cup of coffee, moving the focus point back and forth. Every time the G5 reacted correctly: the focus changed quickly and smoothly. On some cameras with such systems, you have to make more than one touch before the screen reacts.

When shooting a video, you can apply almost all filters from the Creative control mode, with the exception of Soft Focus and Star Filter. Here is the Miniature Effect: it is recorded without audio and played at 8x speed.

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