Panasonic S5 Review

September 23, 2020 | Mark Goldstein | Rating star Rating star Rating star Rating star Half rating star

Introduction

The Panasonic Lumix S5 is the smallest and lightest full-frame mirrorless camera that Panasonic have released so far. It's intended to be a cheaper all-round hybrid camera with features that will appeal to both photographers and videographers alike.

It's much smaller than the S1, S1R and S1H full-frame cameras, and actually about the same size as the popular GH5 model, which has a comparatively tiny Micro Four Thirds sensor. Note that Panasonic still have plans to release a GH6 model, so the new S5 isn't meant to be a direct replacement.

While the video-centric S1H proved to be a big hit for Panasonic, the stills-focused S1 model wasn't as nearly as successful, hence the release of the new S5.

The Panasonic S5 features a 24.2 megapixel CMOS sensor with an expanded ISO range of 50-204,800, the latest Venus image processing engine, a free-angle 3.0-inch touchscreen LCD with 1.84m-dot resolution, and a 2.36m-dot OLED electronic viewfinder.

It offers UHD 4K/60p video recording with 4:2:0 10-bit colour internally to the SD card using an APS-C crop, or 4K/30p internal recording with 4:2:2 10-bit color using the full-frame, both for up to 30 minutes. In addition 4K/30p and 1080/60p with 8-bit colour can both be recorded without any time limit.

The full V-Log profile is already pre-installed on the Panasonic S5, while HDR (High Dynamic Range) video recording in 4K is also possible. You can switch between NTSC/PAL modes at any time, and Anamorphic 4K is included, as is automatic dual native ISO.

External microphone and headphones are supported via dedicated 3.5mm ports and recording to an optional external recorder is possible via the HDMI Type D port.

A standout feature is the High Resolution mode, which allows the Panasonic S5 to capture 96-megapixel equivalent photos by rapidly taking 8 separate images and combining them into one.

Other key features of the Panasonic Lumix S5 include a 6.5-stop Dual Image Stabilizer, 5fps continuous shooting with full-time auto-focusing or 7fps without, 60 fps continuous shooting when using 6K or 4K Photo modes, an improved 225-area DFD autofocus system offering an acquisition speed of 0.08 sec that works down to -6EV low-light, and Eye AF mode and animal recognition driven by Artificial Intelligence Technology.

The weatherproof Lumix S5 has a thumb-controlled AF joystick on the rear, dual SD XC memory card slots, Bluetooth 4.2 and 5GHz/2.4GHz Wi-Fi connectivity, and USB charging.

Main rivals include the Sony A7 III, Sony A7C, Canon EOS R and the Nikon Z6.

The Panasonic S5 is priced at £1799 / $1999 body only or £1999 / $2299 with the S 20-60mm f/3.5-5.6 kit lens, and it will start shipping in late September 2020.

Ease of Use

Panasonic S5
Front of the Panasonic S5

Panasonic have so far concentrated on the mid to high end of the mirrorless camera market with the release of the Lumix S1, S1R and S1H models, but now they're seeking to widen the appeal of their L-mount system by releasing the smaller, lighter and crucially cheaper S5 model.

Measuring 132.6 x 97.1 x 81.9 mm and weighing 630g body only, it's significantly more compact than the next model up the range, the S1, which in comparison measures 148.9 x 110.0 x 96.7 mm and weighs 899g.

Indeed, the new Panasonic S5 is even smaller and lighter than the perennially popular Lumix GH5, a Micro Four Thirds model which measures 138.5 x 98.1 x 87.4 mm and weighs 725g. Even with a battery and card fitted, the S5 still only tips the scales at 712g.

In terms of its competitors, the S5 is a little heavier than all of them, but comparable in overall size, with the exception of the ground-breaking Sony A7C.

If you were previously intrigued by the Lumix S-series but were put off by the relatively large size of the S1 bodies, then the S5 is definitely small and light enough to reignite your interest in the range.

Whichever way you cut it, the Lumix S5 is a remarkably small and compact full-frame camera, and one that thankfully doesn't sacrifice the overall handling experience to achieve that reduction.

Indeed, comparing the S5 side-by-side with the larger S1, the two cameras look very similar at first glance.

They both utilise a familiar DSLR style with the viewfinder in the centre, a large tactile hand grip, and a healthy array of logically placed controls.

Panasonic S5
Rear of the Panasonic S5

Pleasingly, despite the reduction in asking price, the new Panasonic S5 still retains the tank-like build quality and weather-proof exterior shared by the other Lumix S-series cameras. Its magnesium alloy full die-cast dust and splash-proof body has all its main seams tightly sealed against moisture ingress. Phew!

Similarly, the S5 continues to offer the same dual image stabilisation system (in-body IS and lens IS) that's employed by the S1- series for more effective, shake-free shooting when handled in lower lighting conditions. This provides a whopping 6.5-stops of compensation, putting the S5 right at the top of its particular class.

At the heart of the Lumix S5 is the same sensor that's also found in the more expensive S1 and S1H models. This offers 24.2 effective megapixels from its 25.28MP full frame sensor, and is aimed at next generation photo and video creators, says its manufacturer.

Panasonic certainly haven't cut any corners in terms of the S5's build quality in order to meet the more aggressive price point. This is one of the best mid-range mirrorless cameras on the market in this regard.

The Panasonic S-series adopted Leica’s L lens mount when it was initially launched – something that saw the company enter a collaborative partnership, known as the ‘L-Mount Alliance’, with both Leica and Sigma - and as you'd expect, the new Panasonic S5 is no different in this regard.

Panasonic sent us the S5 with the S 20-60mm f/3.5-5.6 kit lens for review. When we tested this lens a few months ago, we commented that it "is a welcome addition to the L-Mount range. It's versatile, compact and light, handles like a dream and complements a Lumix S1 body well in all areas."

All of those things hold true when using the 20-60mm on the S5 - indeed even more so, as the compact nature of this zoom perfectly matches the more compact S5. It's almost as if the two products were developed alongside each other.

While photographers may bemoan the slight lack of telephoto reach available, videographers and especially vloggers will be delighted by the 20mm wide-angle focal length, which makes it possible to hand-hold the camera at arm's length and still get yourself comfortably in the frame without having to resort to having to using a selfie stick or some other form of extension (or a different lens entirely).

Panasonic S5
Top of the Panasonic S5

Indeed, we said that "With silent focusing, minimal focus breathing, excellent autofocus and a focal range of 20-60mm, this lens in clearly positioned in the hybrid realm, practically serving photographers and videographers in a wide range of scenarios." And that certainly applies to this lens when used on the Lumix S5, making the extra £200 / $300 for the S5 camera and lens kit something of a veritable bargain.

So the camera body is small, light but still well-built and weather-proof, and the 20-60mm kit lens is a natural partner, especially if you don't already have a vested interest in either Panasonic's S-series or the L-mount system in general.

Turning to the front of the Lumix S5, that wide L lens mount dominates proceedings, along with a hand grip that, while narrower than that typically found on a semi pro DSLR, nevertheless feels just right for the S5’s own shape and build, enabling the camera to be operated with just one hand, even if additionally curling the fingers of your left hand around the lens barrel feels much more comfortable and natural.

With the lower three fingers of your right hand curled around the S1’s grip, your forefinger is free to alternate between rotating the front control dial that sits slightly proud of the grip at its topper-most edge, and the slightly raised and angled shutter release button just atop it, which is responsively spring-y.

Sitting just behind these controls are three small raised buttons, just like on the S1 and S1R. From left to right, these are for manually adjusting white balance, light sensitivity and exposure settings. The Panasonic S5's layout feels ergonomic and its operation – particularly of such key and regularly used features – well thought through.

Unlike the bigger S1-series, there's no top-plate LCD screen on the new Lumix S5. Instead the large shooting mode dial has been moved from top-left on the S1 to top-right on the S5,and there's now a new Burst/Bracketing Shooting dial in its former position.

This smaller but still chunky, roughly ridged and raised dial over at the left hand edge of the camera has 5 different settings, which variously provide quick access to the self-timer, interval shooting, 6K modes, burst shooting and normal single shooting modes.

Underneath the dial is a shiny red ring, just like on the S1-series cameras, which has perhaps been deployed to lend the cameras a more professional air.

Panasonic S5
Tilting LCD Screen

Stereo microphones and a vacant hotshoe for an accessory flash are slotted directly on top of the EVF. Interestingly there’s no built-in pop up flash on the Panasonic S5, which is maybe a slightly surprising omission for a beginner-focused camera, but one that's inline with the other Lumix S cameras that have been released so far.

The chunky, roughly ridged and raised shooting mode dial makes it easy to adjust settings from intelligent Auto focus to program, shutter priority, aperture priority or manual pretty quickly.

On the same dial we also get a manual video mode setting, a brand new S&Q setting, and no fewer than three custom modes. In the S(low)&Q(uick) shooting mode, the S5 can capture Full HD video at up to 150fps and 180fps and then play back the videos at 24p, 30p, or 60p.

Unlike the S1-series, there is no dial-unlocking button that needs to be depressed in tandem with a turn of said dial to be able to arrive at your preferred setting. The dial on the Panasonic S5 is pretty difficult to accidentally turn, so we didn't miss the S1's lock button too much.

The on/of switch is more of an actual lever which sits adjacent to the shooting mode dial. This is quite stiff in operation – you almost have to force it – which, to give it a positive spin, means this is a camera that is almost impossible to accidentally activate or deactivate.

Flick this lever to on and the camera is ready to take the first shot just as quickly as your finger can move from it to the shutter release button just in front. There’s no waiting around with the S5 - it’s ready when you are.

The control dial at the front of the handgrip is, incidentally, mirrored by one the size of a five pence piece that sits recessed into the top plate at the back. Here it readily (and again, ergonomically) falls under the thumb of the right hand; thereby continuing to give the impression that the layout has been well thought through, making the Panasonic S1 quickly feel familiar in a new pair of hands.

While holding down, say, the likes of the ISO button, you can once again use this alternative dial to scroll through settings that alter in real time in the electronic viewfinder on the rear LCD screen. You’re not left grappling around trying to find a way to adjust the essentials – the methods to do so are, literally, at your fingertips.

Panasonic S5
Memory Card Slots

Completing the S5's top-plate is a one-touch movie record button, finished in the same dark red as the ring which sits underneath the drive mode dial. Just like the shutter release button, again this has a nice springy feel to it that makes it easier to locate and activate.

Video recording is one of the areas where the Lumix S5 leaps ahead of its main rivals.

This is the only sub-£$2000 camera currently on the market to offer UHD 4K 60p 4:2:0 10-bit internal video recording, 4:2:2 10-bit internally in any resolution or frame rate, 4K at up to 60p internally, and an anamorphic mode.

There is a slight drawback, as it uses a Super-35mm crop in this particular mode rather than the full-frame, but it's still an impressive achievement at this price-point none-the-less.

There is also an APS-C crop when shooting in Full HD at higher than 60fps and when shooting in the 4K anamorphic mode.

An even higher quality 4K 60p 10-bit 4:2:2 10-bit mode is available if recording via the HDMI port to an external device.

Alternatively, 4K/30p internal recording with 4:2:2 10-bit color using the full-frame of the sensor is also available, which as with the headline-grabbing 4K 60p 4:2:0 10-bit mode has a 30-minute time limit.

If you need to record longer than 30 minutes in one take, then the Lumix S5 can record both 4K/30p and 1080/60p with 8-bit colour for an unlimited amount of time.

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Connectivity Ports

High-speed recording is possible via the dedicated S&Q shooting mode, which provides a range of settings in 4K (1-60fps, 30x quick to 2.5x slow) or in FHD (1-180fps, 60x quick to 7.5x slow).

The full V-Log profile is pre-installed on the Panasonic S5 – it's not the light version or a paid upgrade – offering 14+ stops of dynamic range, virtually the same as those of the Panasonic cinema cameras. HDR (High Dynamic Range) video recording in 4K is also possible.

You can switch between NTSC/PAL modes at any time without having to reformat the memory card or power down the camera. A REC Frame Indicator identifies whether the camera is recording or not.

An external microphone and headphones are supported via dedicated 3.5mm ports and recording to an optional external recorder is possible via the micro-HDMI Type D port.

Dual Native ISO is borrowed directly from the S1H and Panasonic's broadcast line of video cameras. This automatically switches between native ISO settings of 640 and 4000 without increasing noise by changing the way the camera reads out the image sensor.

The one drawback on the S5 compared to the S1H is that you can't manually switch between the LOW and HIGH settings, instead relying on the camera to do so at various ISO levels.

A Low ISO circuit provides base sensitivities of ISO 100 for normal use, ISO 640 when V-Log is applied, ISO 400 when HLG is applied, and ISO 200 when Cinelike D2/V2 is applied. A Low Noise circuit provides base sensitivities of ISO 640 for normal use, ISO 4000 when V-Log is applied; ISO 2500 when HLG is applied, and ISO 1250 when Cinelike D2/V2 is applied.

There's no All-Intra codec – LongGOP is used instead - and the S5 uses a Micro HDMI port rather than a standard full-sized one.

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Bottom of the Panasonic S5

If all of that wasn't enough, Panasonic have already publically committed to further improving the S5's video capabilities by the end of 2020.

To further enhance its performance, a firmware update is scheduled which will add Cinema 4K video recording and support RAW video data output to ATOMOS NINJA V over HDMI at a resolution of 5.9K 29.97p/25p, 4K(4128x2176) 59.94p/50p and Anamorphic 3.5K (3536x2656)/50p.

Extra video recording assist functions such as the Vector Scope Display, Master Pedestal Adjustment and SS/Gain Operation will also be added, as well as new L.MonochromeS and L.ClassicNeo Photo Styles.

With lugs for attaching the shoulder strap provided out of the box to be found left and right of the camera, the right-hand flank provides a port protected by a sliding switch that allows for the insertion of two SD-XC cards. Somewhat disappointingly, whilst one slot supports the latest, fastest UHS-II standard, slot 2 only supports the older, slower USH-1 standard, perhaps a concession to achieving the S5's more economical price-tag.

The two ports on the left-hand flank provide a means of connecting a cable release, accessory microphone and headphones, plus USB-C and micro-HDMI leads, rather than a full-sized one, the latter presumably dictated by the size or cost of the camera, or perhaps both.

The rubberized flaps protecting these feel a little flimsier than the rest of the camera, and time will tell whether these become worn and stop adhering so flush-ly over time.

Moving to the rear of the Panasonic S5, again this is button festooned without being over-bearingly so.

The camera’s 3-inch LCD screen with 1.84m-dot resolution is also a touch screen, meaning that you can, if wished, drag the focus area around the screen with your finger or thumb. Alternatively, if you prefer physical controls, you can use the small thumb-operated joystick to the upper-right of the LCD to do the same. Once again it’s just so intuitive.

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Tilting LCD Screen

Instead of the clever but rather convoluted three axis tilting LCD that's featured on the S1 cameras, the new Lumix S5 has a rather more conventional free-angle screen that's hinged on the left-hand side.

This can be tilted all the way out to the side of the camera, turned forwards for selfies and vlogging, and turned towards the back of the camera to help protect it when the camera isn't being used. It's very useful as an aid to shooting video as well as more unusual compositions when you can't always get an eye flush to the viewfinder.

The top-left of the back of the camera is where we find the playback button for reviewing stills and video. There's also a dedicated LVF button alongside it for manually switching between the rear LCD screen and the EVF, which perhaps feels a little redundant given that the camera automatically switches to the EVF when you hold the camera up to your eye (this setting can be turned on and off as desired).

Surrounded by a large, prominent and comfortable eye piece is a 2.36 million dot resolution 0.39" EVF with 0.74x magnification, 60/120fps frame rate, time lag of less than 0.005 second and an eyepoint of approximately 20mm.

Whilst not on a par with the high 5.76 resolution EVF used on the S1 model, which offers a quality claimed as very close to human vision, nevertheless the lower resolution EVF on the S5 is still perfectly fine to look through.

Directly to the right of the EVF is a tactile circular switch for changing the auto-focus mode from single to continuous to manual focus, into which is set the AF area button for selecting one of the eight available AF modes. You can choose from Face/Eye/Body/Animal Detect, Tracking, 225-Area, Zone (Vert/Horz), Vert (Oval), 1-Area+, 1-Area and Pinpoint.

Along with the afore-mentioned AF joystick, the small AF On which can be used for back-focusing completes the S5's very handily-placed collection of focusing controls.

The Panasonic Lumix S5 continues to employ a contrast-based auto-focusing with DFD technology, but Panasonic claims that a brand new algorithm means continuous auto-fousing for both stills and video has been enhanced, specifically for head, face, and eye detection.

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Front of the Panasonic S5

Panasonic claim that the tracking performance speed is 2x as fast as previous systems for face and eye detection and 5x as fast for human and animal tracking performance, while its purportedly better at following subjects if they turn their heads.

As with the S-series cameras, we found the new S5 to be fast and responsive in the single AF-S mode for both stills and video, but a little less so in the continuous AF-C mode.

It undoubtedly locks onto the subject more quickly than the S1-series cameras, and also keeps them in focus more reliably as they move around the frame, but the characteristic "pulsing" effect as the DFD system scans back and forth is still evident.

It's certainly not as pronounced as on the S1 or S1H, so much so that Panasonic are planning to roll-out the S5's AF system onto those cameras in a future firmware update (and the S1R too), but the limitations of the contrast based AF mean that the Lumix S5 still lags behind the likes of the Sony A7 III and Canon EOS R6, especially when it comes to continuous AF during 4K video recording.

This being a Panasonic camera, as on its compacts we’re provided with the very useful Quick menu short cut button – located via the button marked with an enigmatic ‘Q’ situated to the right of the LCD - which gives completely customizable quick access to 12 of the camera's key settings.

Menu / set, display and a shared delete/back buttons are also to be found at the rear of the S5, along with a familiar multi-directional control pad, encircled by a scroll wheel for maximum fluidity of operation.

The menu screens are, as expected, comprehensively featured but pleasingly legible and intuitively navigated. That said it was also nice to have the Quick menu feature in order to circumnavigate them when we knew what we wanted and wanted to get to the relevant setting swiftly.

At the base of the camera we find a single screw thread, located directly in line with the central point of the lens mount, for attaching the S5 to a tripod.

Also found here, nestled within the base of the S5’s handgrip is the rechargeable 2,200mAh DMW-BLK22 lithium ion battery. This provides 440 images (rear monitor), 470 images (LVF), 1,500 images (Power Save LVF mode), as measured using stringent CIPA industry standards, surpassing the 380 to 400 shot life of the Lumix S1.

A ‘proper’ charger with its own mains plug is also provided out of the box – or at least was with our fully working review sample - and you can also charge the camera whilst you're out and about by attaching a power-bank to the USB-C port.

Image Quality

All of the sample images in this review were taken using the 24 megapixel Fine JPEG setting, which gives an average image size of around 10Mb.

The Panasonic S5 produced still images of excellent quality during the review period.

This camera produces noise-free JPEG images from ISO 50 all the way up to ISO 6400, with significant noise first appearing at ISO 12800. The faster settings of 25600 and 51200 display quite a lot of noise, but they're still fine to use for making smaller prints and web images. You should avoid using the expanded ISO 102400 and 204800 settings if possible.

The Lumix S5 proved to very capable in low-light, with the maximum shutter speed of 30 seconds and the Bulb mode allowing you to capture enough light in all situations and the camera's -6EV rating successfully auto-focusing even in near-dark conditions.

Post Focusing is a great feature while the Intelligent D-range mode and HLG mode are effective features for capturing more detail in both the shadows and highlights.

The High Resolution Mode is capable of creating 96 megapixel images, while the wide range of Photo Styles and Filters allow you to quickly and easily customise the look of the camera's RAW and JPEG images, respectively.

Noise

ISO sensitivity can be set between ISO 50 and ISO 204800 in full-stop increments. Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and RAW on the right.

JPEG RAW

ISO 50 (100% Crop)

ISO 50 (100% Crop)

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ISO 100 (100% Crop)

ISO 100 (100% Crop)

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ISO 200 (100% Crop)

ISO 200 (100% Crop)

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ISO 400 (100% Crop)

ISO 400 (100% Crop)

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ISO 800 (100% Crop)

ISO 800 (100% Crop)

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ISO 1600 (100% Crop)

ISO 1600 (100% Crop)

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ISO 3200 (100% Crop)

ISO 3200 (100% Crop)

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ISO 6400 (100% Crop)

ISO 6400 (100% Crop)

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ISO 12800 (100% Crop)

ISO 12800 (100% Crop)

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ISO 25600 (100% Crop)

ISO 25600 (100% Crop)

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ISO 51200 (100% Crop)

ISO 51200 (100% Crop)

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ISO 102400 (100% Crop)

ISO 102400 (100% Crop)

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ISO 204800 (100% Crop)

ISO 204800 (100% Crop)

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File Quality

The Panasonic S5 has 2 different JPEG image quality settings available, with Fine being the highest quality option. Here are some 100% crops which show the quality of the various options, with the file size shown in brackets.

Fine (7.90Mb) (100% Crop) Standard (3.73Mb) (100% Crop)
quality_fine.jpg quality_normal.jpg
RAW (34.3Mb) (100% Crop)
quality_raw.jpg

Night

The Panasonic S5's maximum shutter speed is 60 seconds and there's also a Bulb option for exposures up to 30 minutes long, which is excellent news if you're seriously interested in night photography. The shot below was taken using a shutter speed of 30 seconds at ISO 200. The camera takes the same amount of time again to apply noise reduction, so for example at the 30 second setting the actual exposure takes 60 seconds.

night.jpg

Post Focus

Post Focus is a function that enables you to select the in-focus area after shooting simply by touching it on the LCD screen. The first three images show the effects of switching between the three memory cards.

Right

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Middle

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Left

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High Resolution Mode

The Panasonic Lumix S5's High Resolution Mode combines 8 shots into a 96 megapixel image to create a super high-resolution photo. The resulting Raw files are 165Mb in size! We found during testing that selecting Mode 2 in the Motion Blur Processing sub-menu produced the sharpest images.

Off (100% Crop)

Mode 1 (100% Crop)

high_resolution_off.jpg high_resolution_mode1.jpg

Mode 2 (100% Crop)

high_resolution_mode2.jpg

Intelligent Dynamic Range

The Panasonic S5's Intelligent D-range setting adjusts the exposure to record more detail in the highlights and shadows, with three strengths available - Low, Standard and High - and an Auto setting.

Off

intelligent_drange_01.jpg

Low

intelligent_drange_02.jpg

Standard

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High

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Multiple Exposure

The Panasonic Lumix S5's Multiple Exposure mode combines up to four different pictures to create one composite image.

intelligent_drange_04.jpg

HLG Photo

The Panasonic S5 has two native HLG modes for high dynamic range presentation - 4K (3232x2160 pixels) and Full (5984x4020 pixels). The Hybrid Log Gamma mode is designed for display on the latest Panasonic HLG-compliant 4KTV via a HDMI cable connection, offering 3x more dynamic range than a standard image. Pictures taken with the HLG modes can be saved as HSP files as well as in JPEG and RAW formats.

HLG Off

hlg_off.jpg

HLG 4K

hlg_4k.jpg

HLG Full

hlg_8k.jpg

Photo Styles

Panasonic's Photo Styles are preset combinations of different sharpness, contrast, saturation and noise reduction settings. The 9 available Photo Styles are shown below in the following series, which demonstrates the differences. There are also some Custom options so that you can create your own looks.

Standard

photo_style_01.jpg

Vivid

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Natural

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Flat

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Landscape

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Portrait

photo_style_06.jpg

Monochrome

photo_style_07.jpg

L. Monochrome

photo_style_08.jpg

L. Monochrome D

photo_style_09.jpg

Cinelike D

photo_style_10.jpg

Cinelike V

photo_style_11.jpg
Like709
photo_style_12.jpg
V-Log
photo_style_12.jpg

Filters

The Panasonic S5 has an extensive range of creative Filters with 22 different options on offer.

Expressive

Retro

filter_01.jpg filter_02.jpg

Old Days

High Key

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Low Key

Sepia

filter_05.jpg filter_06.jpg

Monochrome

Dynamic Monochrome

filter_07.jpg filter_08.jpg

Rough Monochrome

Silky Monochrome

filter_09.jpg filter_10.jpg

Impressive Art

High Dynamic

filter_11.jpg filter_12.jpg

Cross Process

Toy Effect

filter_13.jpg filter_14.jpg

Toy Pop

Bleach Bypass

filter_15.jpg filter_16.jpg

Miniature Effect

Soft Focus

filter_17.jpg filter_18.jpg

Fantasy

Star Filter

filter_19.jpg filter_20.jpg

One Point Color

Sunshine

filter_21.jpg filter_22.jpg

Sample Images

This is a selection of sample images from the Panasonic S5 camera, which were all taken using the 24 megapixel Fine setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

Sample RAW Images

The Panasonic S5 enables users to capture RAW and JPEG format files. We've provided some Panasonic RAW (RW2) samples for you to download (thumbnail images shown below are not 100% representative).

Sample Movies & Video

This is a sample movie at the quality setting of 3840x2160 pixels at 60 frames per second. Please note that this 9 second movie is 219Mb in size.

This is a sample movie at the quality setting of 3840x2160 pixels at 30 frames per second. Please note that this 15 second movie is 290Mb in size.

This is a sample movie at the quality setting of 3840x2160 pixels at 60 frames per second. Please note that this 10 second movie is 120Mb in size.

This is a sample movie at the quality setting of 3840x2160 pixels at 30 frames per second. Please note that this 10 second movie is 112Mb in size.

This is a sample movie at the quality setting of 4096x2160 pixels at 50 frames per second. Please note that this 21 second movie is 555Gb in size.

This is a sample movie at the quality setting of 4096x2160 pixels at 25 frames per second. Please note that this 20 second movie is 283Gb in size.

Product Images

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Conclusion

The new Lumix S5 may be the cheapest camera in Panasonic's full-frame lineup, but in many ways it's also the most appealing, especially if you regularly shoot a mix of stills and video.

Where the S1H scored highly on video and the S1R on out-and-out resolution, the more sensibly specced S1 ultimately proved to be something of a miss rather than a hit for the all-round audience that it was aimed at. Too big and heavy, too slow at autofocusing, and too expensive came the cry from would-be buyers.

Enter stage left the new Panasonic S5, which successfully address all of those key concerns and more, coming across like a full-frame GH5 or a mini-S1H, depending on your viewpoint.

Smaller and lighter even than the GH5 with its tiny Micro Four Thirds sensor whilst offering most of the core specifications of the much more expensive S1H, the new Lumix S5 is probably the camera that the S1 should have been. Panasonic are adamant that the S1 will continue to be sold at its full RRP, but we can't see too many reasons to choose it over the S5.

Especially as the S5 out-performs its bigger brother in many ways, with a better video system, fully-articulated screen, more confident AF, much lighter and more compact body, and a great kit lens.

As with every camera, there are a few notable caveats to be aware of with the S5, most notably the slow 5fps burst shooting speed, slightly dated viewfinder, the micro HDMI port, and Panasonic's continued use of the DFD contrast-based AF system, which is undoubtedly better than ever before, but still not as good as the phase-detection based competition.

Overall, though, the new Panasonic S5 is a compelling mid-teir camera that punches well above both its weight and its price-tag. It deserves to give the likes of the Sony A7 III, Canon EOS R and Nikon Z6 more than a run for their money (and yours), and is a deserved winner of our Highly Recommended award.

4.5 stars

Ratings (out of 5)
Design 4.5
Features 4.5
Ease-of-use 4.5
Image quality 4.5
Value for money 4.5

Main Rivals

Listed below are some of the rivals of the Panasonic S5.

Canon EOS R

The EOS R is Canon's first ever full-frame mirrorless camera, joining the likes of Sony, Nikon and Panasonic. Can it beat its main rivals, and is it a real alternative to a more traditional DSLR? Find out now by reading our in-depth Canon EOS R review, complete with full-size sample images, videos and more...

Canon EOS R6

The EOS R6 is the best ever Canon mirrorless camera - there, we said it! If you want to find out why, carry on reading our in-depth Canon EOS R6 review, complete with full-size sample photos and videos.

Canon EOS RP

The Canon EOS RP camera follows hot on the heels of last year's EOS R model, offering full-frame mirrorless tech and 4K video recording at an even more affordable price-point than before. Find out just what the cheapest full-frame mirrorless camera on the market is capable of by reading our in-depth Canon EOS RP review, complete with full-size sample JPEG and RAW images, videos and more...

Nikon Z6

The Nikon Z6 mirrorless camera is the sensible little brother of the flagship Z7 model, offering less megapixels, fewer AF points and faster continuous shooting at a much lower price point. Is this the best balanced mirrorless camera on the market? Find out now by reading our in-depth Nikon Z6 review, complete with full size JPEGs, Raw files and movies...

Panasonic S1

The Panasonic S1 is the more sensibly specced and sensibly priced sibling of the flagship S1R full-frame mirrorless camera. It lowers the number of megapixels whilst upping the video capabilities, promising a more well-rounded camera at a more affordable price-point. Does the new Lumix S1 have what it takes to compete with the likes of the Sony A7 III, Nikon Z6 and Canon EOS R? Read our detailed Panasonic S1 review to find out...

Sony A7 III

The new A7 III is the most affordable Sony full-frame camera in the Alpha range, but as our in-depth review reveals, it's far from being the most basic. Find out why we think this is the best camera of 2018 (so far at least) by reading our in-depth Sony A7 III review...

Sony A7C

Sony are attempting to turn the camera world on its head by creating a new 35mm full-frame camera that's the same size and weight as one with a smaller APS-C sensor. Have they succeeded with the new Sony A7C, and is it a great camera in its own right? Find out now by reading our Sony A7C review complete with full-size sample photos and videos.

Review Roundup

Reviews of the Panasonic S5 from around the web.

digitalcameraworld.com »

Despite its compact size, the Lumix S5 shares the impressive 24MP CMOS sensor housed in the Lumix S1, but with improved AF. It also has a tough weather-resistant body and delivers up to 6.5-stops of image stabilisation with compatible lenses. Its standout features include class-leading dynamic range and 4K video recording, as well as 96MP high resolution RAW+JPEG capture. It’s tough to beat in this category.
Read the full review »

cameralabs.com »

The Lumix S5 is a very appealing mid-range full-frame mirrorless camera that finally gives the Lumix S system and L-mount in general the attention they deserve. A competitive body price of 1800 pounds or 2000 dollars gets you a 24 Megapixel full-frame sensor with very clean results and an optional boost in detail with its high-res composite mode.
Read the full review »

Specifications

TYPE Type Digital Single Lens Mirrorless camera
Recording media 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.
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 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 6000x4000(L) / 4272x2848(M) / 3024x2016(S) / 12000x8000(XL)* / 8496x5664(LL)* *High Resolution Mode.
5184x3456(6K PHOTO) / 3504x2336(4K PHOTO) / 5984x4000(HLG PHOTO, Full-Res.) / 3232x2160(HLG PHOTO, 4K-Res.)
When using full-frame lenses 4:3 5328x4000(L) / 3792x2848(M) / 2688x2016(S) / 10656x8000(XL)* / 7552x5664(LL)* *High Resolution Mode.
4992x3744(6K PHOTO) / 3328x2496(4K PHOTO) / 5312x3984(HLG PHOTO, Full-Res.) / 2880x2160(HLG PHOTO, 4K-Res.)
When using full-frame lenses 16:9 6000x3368(L) / 4272x2400(M) / 3024x1704(S) / 12000x6736(XL)* / 8496x4784(LL)* *High Resolution Mode.
3840x2160(4K PHOTO) / 5888x3312(HLG PHOTO, Full-Res.) / 3840x2160(HLG PHOTO, 4K-Res.)
When using full-frame lenses 1:1 4000x4000(L) / 2848x2848(M) / 2016x2016(S) / 8000x8000(XL)* / 5664x5664(LL)* *High Resolution Mode.
2880x2880(4K PHOTO) / 4000x4000(HLG PHOTO, Full-Res.) / 2144x2144(HLG PHOTO, 4K-Res.)
When using full-frame lenses 65:24 6000x2208(L)
When using full-frame lenses 2:1 6000x3000(L)
When using APS-C/Super 35mm lenses 3:2 3984x2656(L) / 2880x1920(M) / 2064x1376(S) / 3504x2336(4K PHOTO)
When using APS-C/Super 35mm lenses 4:3 3536x2656(L) / 2560x1920(M) / 1840x1376(S) / 3328x2496(4K PHOTO)
When using APS-C/Super 35mm lenses 16:9 3984x2240(L) / 2880x1624(M) / 1920x1080(S) / 3840x2160(4K PHOTO)
When using APS-C/Super 35mm lenses 1:1 2656x2656(L) / 1920x1920(M) / 1376x1376(S) / 2880x2880(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] 3840x2160 29.97p, 150Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
[4K] 3840x2160 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.
[FHD] 1920x1080 59.94p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
[FHD] 1920x1080 29.97p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
[FHD] 1920x1080 23.98p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
NTSC (59.94Hz) APS-C / Pixel by Pixel [4K] 3840x2160 59.94p, 200Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, LPCM) *HLG is selectable.
[4K] 3840x2160 59.94p, 150Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
[4K] 3840x2160 29.97p, 150Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
[4K] 3840x2160 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.
[Anamorphic 4K] 3328x2496 (4:3) 29.97p, 150Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
[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.
[FHD] 1920x1080 59.94p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
[FHD] 1920x1080 29.97p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
[FHD] 1920x1080 23.98p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
PAL (50.00Hz) Full-frame [4K] 3840x2160 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.
[FHD] 1920x1080 50.00p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
[FHD] 1920x1080 25.00p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
PAL (50.00Hz) APS-C / Pixel by Pixel [4K] 3840x2160 50.00p, 200Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, LPCM) *HLG is selectable.
[4K] 3840x2160 50.00p, 150Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
[4K] 3840x2160 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.
[Anamorphic 4K] 3328x2496 (4:3) 50.00p, 200Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, LPCM) *HLG is selectable.
[Anamorphic 4K] 3328x2496 (4:3) 50.00p, 150Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM)
[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.
[FHD] 1920x1080 50.00p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
[FHD] 1920x1080 25.00p, 100Mbps (4:2:2 10-bit LongGOP)* / 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) *HLG is selectable.
MP4** NTSC (59.94Hz) Full-frame [4K] 3840x2160 29.97p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
[4K] 3840x2160 23.98p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
[4K] 3840x2160 29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[4K] 3840x2160 23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 59.94p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 29.97p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 23.98p, 24Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
NTSC (59.94Hz) APS-C / Pixel by Pixel [4K] 3840x2160 59.94p, 100Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
[4K] 3840x2160 29.97p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
[4K] 3840x2160 23.98p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
[4K] 3840x2160 29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[4K] 3840x2160 23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 59.94p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 29.97p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 23.98p, 24Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
PAL(50.00Hz) Full-frame [4K] 3840x2160 25.00p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
[4K] 3840x2160 25.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 50.00p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 25.00p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
PAL(50.00Hz) APS-C / Pixel by Pixel [4K] 3840x2160 50.00p, 100Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
[4K] 3840x2160 25.00p, 72Mbps (4:2:0 10-bit LongGOP)* (H.265/HEVC, AAC) *HLG is selectable.
[4K] 3840x2160 25.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 50.00p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 25.00p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
SLOW & QUICK NTSC (59.94Hz) Full-frame [FHD] 1920x1080 59.94p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 29.97p, 20Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 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.
NTSC (59.94Hz) APS-C / Pixel by Pixel [4K] 3840x2160 29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[4K] 3840x2160 23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
1, 2, 5, 10, 15, 30, 60 fps
PAL (50.00Hz) Full-frame [FHD] 1920x1080 50.00p, 28Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, AAC)
[FHD] 1920x1080 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.
PAL (50.00Hz) APS-C / Pixel by Pixel [4K] 3840x2160 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 (Vertical/Horizontal) / Zone (Square) / Zone (Oval) / 1-Area+ / 1-Area / Pinpoint / Custom 1, 2, 3
(Full area touch is available) (Scalable AF frame size and flexible AF position)
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
EXPOSURE 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 (Standard output sensitivity) Auto / 50* / 100 / 200 / 400 / 800 / 1600 / 3200 / 6400 / 12800 / 25600 / 51200 / 102400* / 204800* (Changeable to 1/3 EV step) *Extended ISO
Dual Native ISO [Normal]
Native ISO: 100, 640
Auto: Auto / 50* / 100-51200 / 102400* / 204800* *Extended ISO

[V-Log]
Native ISO: 640, 4000
Auto: Auto / 320* / 640-51200 *Extended ISO

[HLG]
Native ISO: 400, 2500
Auto: Auto / 400-51200 / 102400* / 204800* *Extended ISO

[Cinelike D2 / Cinelike V2]
Native ISO: 200, 1250
Auto: Auto / 100* / 200-51200 / 102400* / 204800* *Extended ISO
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 SYSTEM IMAGE STABILIZATION SYSTEM Image sensor shift type (5-axis / 5.0-stop*) *Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=60mm when S-R2060 is used.]
Dual I.S. (6.5-stop* Dual I.S. 2 compatible) *Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used.]
WHITE BALANCE 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)
BRACKET 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 SHOOTING 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
JPEG: More than 999 images (When using a card with SD Speed Class with "UHS-II UHS Speed Class 3 (U3)" inserted into card slot 1.)
* When recording is performed under the test conditions specified by Panasonic.
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 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 *For iA only.
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 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) *Only for still image recording.
PHOTO STYLE 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 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*
*For photos only.
MOTION PICTURE FUNCTION 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)
FUNCTION BUTTON REC 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
PLAY 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 LEVEL GAUGE Yes
OSD LANGUAGE OSD LANGUAGE Japanese, English, German, French, Italian, Spanish, Polish, Czech, Hungarian, Romanian, Netherlandic, Turkish, Portuguese, Finnish, Danish, Swedish, Greek, Russian
PRINT PRINT PictBridge compatible
INTERFACE USB SuperSpeed USB 3.1 Gen1 Type-C
HDMI*** 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 *When 4:2:2 10bit mode is selected, it is not possible to record motion picture or still picture on the memory card in the camera unit.

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 φ2.5mm
External microphone / external audio device input φ3.5mm 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 φ3.5mm
Microphone Stereo, Wind Noise Canceller: OFF / Low* / Standard / High *When attaching DMW-MS2 (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.
WIRELESS 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.
1-13, 36, 40, 44, 48, 52, 56, 60, 64, 100, 104, 108, 112, 116, 120, 124, 128, 132, 136, 140 ch
Bluetooth Bluetooth® v4.2 (Bluetooth Low Energy (BLE))
DUST AND SPLASH RESISTANT DUST AND SPLASH RESISTANT* Yes.
*Dust and Splash Resistant does not guarantee that damage will not occur if this camera is subjected to direct contact with dust and water.
POWER 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
*Under the test conditions specified by Panasonic based on CIPA standard. When the time to get in the sleep mode is set to 1 sec.
Continuous recordable time (Motion picture)** MP4 [4K/60p]: Approx. 110 min (APS-C, Pixel by Pixel) (LVF), 110 min (APS-C, Pixel by Pixel) (rear monitor) *When using S-R2060. When the battery is fully charged.
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) *When using S-R2060. When the battery is fully charged.
Actual recordable time (Motion picture)** MP4 [4K/60p]: Approx. 55 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.
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.
Battery grip DMW-BGS5 (sold separately)
DIMENSIONS / WEIGHT Dimensions (W x H x D) Approx. 132.6 x 97.1 x 81.9 mm / 5.22 x 3.82 x 3.22 inch (excluding protrusions)
Weight Approx. 714g / 1.58 lb (SD Memory Card x 1, Battery, Body)
Approx. 630g / 1.39 lb (Body only)
OPERATING ENVIRONMENT Operating temperature 0oC to 40oC (32oF to 104oF)
Operating humidity 10%RH to 80%RH
STANDARD ACCESSORIES Software Recording LUMIX Tether
・ This software is used to control a Panasonic digital camera from a PC. It allows you to change various settings of the camera, perform remote recording, and save remotely recorded images to the PC. Check the site below to download and install the software.
http://panasonic.jp/support/global/cs/soft/download/d_lumixtether.html (For Windows / Mac)
Playback / Editing ・ The software to edit and playback images on computer is not bundled with this camera. To do this, PHOTOfunSTUDIO 10.1PE is available for download at Panasonic website using computer connected to the Internet.
https://panasonic.jp/support/global/cs/soft/download/d_pfs1001pe.html(For Windows)
・ The software to process RAW file on computer is not bundled with this camera. To do this, SILKYPIX Developer Studio is available for download at Ichikawa Soft Laboratory's website using computer connected to the Internet.
http://www.isl.co.jp/SILKYPIX/english/p/ (For Windows / Mac)
Standard accessories DC-S5 Kit
Body Cap, Hot Shoe Cover, Cover for the Battery Grip Connector, Shoulder Strap, Battery Pack, Battery Charger, AC Adaptor, USB Connection Cable (A-C)


・ The DC-S5 Operating Instructions for advanced features is available for downloaded at Panasonic LUMIX Customer Support Site using PC, smartphone or tablet connected to the Internet.
NOTE NOTE *** About motion picture recording / 6K PHOTO/4K PHOTO recording
- 6K PHOTO is a high speed burst shooting function that cuts a still image out of a 4:3 or 3:2 video footage with approx. 18-megapixel (approx. 6000 x 3000 effective pixel count) that the 6K image manages.
- Use a card with SD Speed Class with ""Class 4"" or higher when recording motion pictures in [MP4 (under 28Mbps)].
- Use a card with SD Speed Class with ""UHS-I / UHS-II UHS Speed Class 3 (U3)"" when recording motion pictures with [MP4] in [4K], [MOV], [S&Q], [6K PHOTO] or [4K PHOTO].
(SD speed class is the speed standard regarding continuous writing.)
- Recording stops when the continuous recording time exceeds 30 minutes in [4K/60p] [4K/50p] [4K-A/50p] [4K/4:2:2 10-bit] [4K-A/4:2:2 10-bit] [4K/4:2:0 10-bit] [4K-A/4:2:0 10-bit] [S&Q].
- Recording stops when the continuous recording time exceeds 15 minutes in [6K PHOTO] [4K PHOTO].
- MP4 motion pictures with [MP4] in [4K]:
- When using an SDHC memory card: You can continue recording without interruption even if the file size exceeds 4 GB or 30 minutes, but the motion picture file will be divided and recorded/played back separately.
- When using an SDXC memory card: You can continue recording without interruption even if the file size exceeds 96 GB or 3 hours 4 minutes in length, but the motion picture file will be divided and recorded/played back separately.
- MP4 motion pictures with [MP4] in [FHD]:
- You can continue recording without interruption even if the file size exceeds 4 GB or 30 minutes in length, but the motion picture file will be divided and recorded/played back separately.
- MOV motion picture with [MOV]
- When using an SDHC memory card: You can continue recording without interruption even if the file size exceeds 4 GB or 30 minutes, but the motion picture file will be divided and recorded/played back separately.
- When using an SDXC memory card: You can continue recording without interruption even if the file size exceeds 96 GB or 3 hours 4 minutes in length, but the motion picture file will be divided and recorded/played back separately.
- 4:2:2 10-bit recording is a recording mode for film production and the video needs to be processed on PC.
The original video cannot be played on standard TV, Blu-ray Disc™ recorder and Blu-ray Disc™ player.
It may cause problems such as freezing when played on these devices.
- When the ambient temperature is high or continuous recording is performed, the camera may stop the recording to protect itself. Wait until the camera cools down.

*** For [4K/60p] [4K/50p] video output, use an HDMI2.0 cable that has the HDMI logo on it, and that is described as""4K compatible"".

News

The new Panasonic S5 mirrorless camera is smaller and lighter than the popular GH5, but with a full-frame sensor rather than a much smaller Micro Four Thirds one!

It even has exactly the same 24.2 megapixel sensor as the much more expensive S1H model.

The Lumix S5 offers 4K 60p 4:2:0 internal video recording (with small crop), making it the only sub-£2000 camera to offer this.

Internal 10-bit video is available with a 30 minute time limit, tested at 40-degrees (almost double the temperature of some rivals).

You can then re-record for another 30 mins straight-away, and so on. In 8-bit, there is no recording time limit at all.

The full V-Log profile is pre-installed on the Panasonic S5 – it's not the light version or a paid upgrade – offering 14-stops of dynamic range.

You can switch between NTSC/PAL modes at any time without having to reformat the memory card or power down the camera.

The Panasonic Lumix S5 still uses contrast-based auto-focusing with DFD technology, but Panasonic claim that a brand new algorithm means that Face/Eye/Head AF is greatly improved.

There's no All-Intra codec – LongGOP instead - and the S5 uses a Micro HDMI port rather than a standard one.

Anamorphic 4K is included, as is automatic dual native ISO (you can't manually turn this feature on and off though). 4:3 Anamorphic mode is recorded in super-35mm crop mode.

There's a free-angle LCD screen on the back, 6.5 stops of in-body image stabilisation, and dual SD card slots

The Panasonic S5 can shoot 96 megapixel jpegs or raw files in the clever hi-resolution mode.

There are now 7 different 4K 10-bit cameras in Panasonic's extensive line-up. The S1H actually outsold the Panasonic S1 in 2019, despite only selling for 6 months rather than 12.

The Sony A7III, Canon EOS R and Nikon Z5 are the S5's main rivals.

The Panasonic Lumix S5 is priced at £1799 body only or £1999 with the 20-60mm f/3.5-5.6 kit lens, and it will ship mid-end September 2020.

In addition, Panasonic have unveiled a new firmware roadmap for the end-2020.

There's also an updated lens roadmap with an 85mm F1.8 lens due to be shipped by November and costing less than $1000. 24mm, 35mm and 50mm F1.8 lenses are the other new additions, along with a 70-300mm F4.5-5.6 telephoto zoom.

Panasonic Press Release

The Panasonic LUMIX S5: a new hybrid full-frame mirrorless camera offering stunning image quality and exceptional video performance

Panasonic is delighted to announce the LUMIX S5, a new hybrid full-frame mirrorless camera that achieves excellent performance in both video and photo as well as exceptional flexibility for serious videographers and photographers.

The S5 will be available from the end of September for £1,799.99 for body only, or £1,999.99 for the kit which includes the LUMIX S Series 20-60mm f3.5-5.6 lens. From today until 30th September, Panasonic LUMIX UK are also running a pre-order launch offer of a complimentary DMW-XLR1 microphone adaptor or Sigma 45mm f2.8 lens by redemption*1.

At the heart of the camera, the LUMIX S5 contains a 24.2-megapixel 35mm full-frame CMOS sensor that boasts wide dynamic range and high sensitivity performance. The LUMIX S5 further realises a maximum ISO 51200 of crystal-clear high sensitivity video with the adoption of the Dual Native ISO technology.

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

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

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

The LUMIX S5 also possesses improved high-speed, high-precision AF in both photo shooting and video recording that has been made possible with advanced deep-learning technology featuring real-time detection of the subject such as human eye, face, head and body recognition.

Thanks to a new highly energy-efficient 2,200mAh high-capacity battery, the S5 can capture approximately 470 pictures (using the LVF) / 1,500 pictures (in Power Save LVF mode). It complies with a USB power charging and power supply. Double SD Card slot (UHS-IIx1 and UHS-I x1), 5GHz/2.4GHz Wi-Fi and Bluetooth 4.2 connectivity are also supported. The splash/dust-resistant rugged design provides professionals with high reliability.

The LUMIX S Series full-frame mirrorless camera system adopts the L-Mount system to provide users with a diverse and future-proof range of products from Panasonic, Leica Camera and Sigma. Panasonic now offers four innovative models in the LUMIX S Series of full-frame mirrorless cameras – the S1, the S1H, the S1R, and the new S5. The LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, the LUMIX S1H is designed and developed specifically for film production, and the LUMIX S1R is ideal for taking high-resolution pictures.

The LUMIX S5 packs the essence of these S Series cameras in a more compact, lightweight body. With this line-up, Panasonic is committed to meeting the demands of all creators by challenging the constant evolution of photo/video culture in today's new digital era.

*1 Offer available between 2nd-30th September by redemption. DMW-XLR1 offer available for UK customers only. Terms and conditions apply, visit the website for further details.
*2 Of mirrorless interchangeable lens cameras, as of 2 September, 2020.

Exceptional video recording performance for cinema-quality film creation

The LUMIX S5 delivers class-leading video performance and is capable of 4K 60p/50p 4:2:0 10-bit, and 4K 30p/25p 4:2:2 10-bit internal recording up to 30 minutes. It is also capable of 4K 60p/50p 4:2:2 10-bit HDMI output. For 4K 30p/25p 4:2:0 8-bit internal recording, there is no time limit.

To further enhance its performance, a firmware update is scheduled for the LUMIX S5 by the end of 2020. In addition to C4K video recording, the update will support RAW video data output to ATOMOS NINJA V over HDMI at a resolution of 5.9K (5888x3312) 29.97p/25p, 4K(4128x2176) 59.94p/50p and Anamorphic 3.5K (3536x2656)/50p. A variety of video recording assist functions such as the Vector Scope Display, Master Pedestal Adjustment and SS/Gain Operation(SEC/ISO, ANGLE/ISO, SEC/dB) will also be available. L.MonochromeS and L.ClassicNeo are the new options to be added for Photo Style.

The LUMIX S5 delivers 14+ stops of dynamic range, virtually the same as those of the Panasonic cinema cameras, to precisely reproduce everything from dark to bright areas. The ability to capture accurate colours and skin tones is a must for any filmmaker. The LUMIX S5 imports the renowned colour science of Panasonic’s VariCam line-up of cinema cameras, as well as V-Log / V-Gamut.

V-Log renders a very flat image while maintaining all of the colour information, meaning there is more room to play when the images are in post-production. The CMOS sensor of the LUMIX S5 achieves a wide colour gamut known as V-Gamut, which is the S5’s optimum colour space that is wider than BT.2020. V-Log has log curve characteristics that are reminiscent of negative film and V-Gamut delivers a colour space even larger than film. 35 conversion LUTs for VariCam cinema cameras can be downloaded free of charge for use in the LUMIX S5. It is easy to match the colour tone with the footage recorded in V-Log of S1H/S1 and V-Log L of GH5/GH5S. Practical tools like a Waveform Monitor and V-Log View Assist are also available.

With Slow & Quick mode, impressive video slow and quick motion in 4K (1-60fps, 30x quick to 2.5x slow) or in FHD (1-180fps, 60x quick to 7.5x slow)*1 is available. It is possible to use AF*3 to capture the subject in sharp focus in this mode too. It can also be accessed directly using the mode dial.

The HDR (High Dynamic Range) video recording in 4K is also available, which realistically reproduces both light and dark parts of an image. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and the user can now choose Hybrid Log Gamma (HLG) in Photo Style. The HLG*2 Photo mode provides a wider dynamic range to reproduce light and shadow with more natural contrast. The HLG Photos can also be produced as an HSP file*3 with compressed high-brightness signals in its full resolution (5,888 x 3,312, in 16:9) in addition to JPEG/RAW files. The user can playback these vibrant images on the latest Panasonic HLG-compliant 4KTV via HDMI cable connection or other HLG-compliant devices.

In continuous burst shooting, 6K PHOTO*4 makes it possible to capture unmissable moments at 30 fps by extracting the frame with the best timing out of a 6K burst file (in 4:3 or 3:2 aspect ratio) to save as an approximate 18-megapixel equivalent high-resolution photo.

*1 The AF mode switches to MF when the frame rate is set to of 150 fps or more. The angle of view is reduced when the frame rate is set to 180 fps. Recording stops when the continuous recording time exceeds 30 minutes.
*2 “HLG (Hybrid Log Gamma)” is an international standard (ITU-R BT.2100) HDR format.
*3 “HSP” is an HDR picture format using HLG format video technology.
*4 6K PHOTO’ is a high speed burst shooting function that cuts a still image out of a 4:3 or 3:2 video footage with approx.18-megapixel (approx. 6000 x 3000 effective pixel count) that the 6K image manages.

High image quality even in low light situations with Dual I.S. to suppress blurring

The LUMIX S5 boasts a wide dynamic range and reproduces sharp images with exceptional clarity. Noise is minimised even when shooting at maximum ISO 51200 high sensitivity, making it an ideal camera to use in low-light situations.

The LUMIX S5 features Dual Native ISO sensitivity, a technology that was first introduced in the Panasonic professional cinema camera VariCam line-up. Normally, noise increases as sensitivity rises with a single native ISO image sensor. However, the image sensor with Dual Native ISO in the S5 minimises noise generation by choosing an optimal circuit to use according to the sensitivity before gain processing. As a result, it allows a maximum of ISO 51200 high sensitivity recording. Dual Native ISO gives film creators a greater variety of artistic choices as well as the ability to use less light on set, saving time. The LUMIX S5’s Dual Native ISOs are 640 and 4000.*1

Taking full advantage of its high-resolution sensor, the LUMIX S5 provides a High Resolution mode that faithfully reproduces precise details to be saved as beautiful, highly realistic images not only in RAW but also in JPEG.

Eight consecutive images are automatically shot while shifting the sensor using the Body I.S. (Image Stabiliser) mechanism and synthesised into a 96-megapixel equivalent (12,000 x 8,000-pixel) image by the Venus Engine, which boasts high-speed signal processing. This magnificently high resolution photo is ideal for landscape photography of stationary subjects or fine arts with delicate details using a tripod. However, it can also be used in situations where moving subjects are included in the scene, by switching the sub mode.

The LUMIX S5 integrates the Body I.S. (Image Stabiliser) for powerful handshake correction. Panasonic developed an algorithm that precisely calculates shake information acquired not only from the gyrosensor, but also from the image sensor and accelerometer sensor. This enables more accurate shake detection and compensation, making it possible to use a 5-stop slower shutter speed*2. Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabiliser, 2-axis) in the LUMIX S Series lens the 5-axis Dual I.S.2 compensates for blurring, allowing the use of a 6.5-stop slower shutter speed*3.

It is highly beneficial in telephoto shots and in adverse situations, such as in low-light or one-handed shooting. The 5-axis Dual I.S.2 works for both photo and video recording, including 4K. The Body I.S. compensates for camera movement even when other L-Mount lenses without O.I.S. are used.

With the Live View Composite function, the camera releases the shutter at designated intervals of exposure time and synthesizes the parts with high luminosity to produce a single picture. While the total brightness of each consecutive image is accumulated in bulb shooting, only the target subject and the bright parts of an image are detected and the user can synthesize them carefully while seeing it in live view. This is useful for capturing shots of fireworks or stars in the night sky where the background needs no gain-increase.

*1 When recording mode is set to V-Log. The sensitivity varies depending on the recording mode.
*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=60mm when S-R2060 is used.
*3 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used. Firmware must be updated to the latest version.

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

The LUMIX S5 possesses improved high-speed, high-precision AF in both photo shooting and video recording. Combining the Contrast AF with DFD (Depth From Defocus) technology, it focuses on the target in approximately 0.08 sec*1. As a camera that excels in low-light shooting, the LUMIX S5 boasts -6EV*2 luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. With 480 fps max communication speed between the sensor and the lens, users can take full advantage of this high-speed, high-precision AF when a LUMIX S Series lens is used.

The LUMIX S5 also incorporates advanced deep learning technology that detects specific subjects - humans and fast-moving animals, including dogs, cats and birds. Notably for humans, in addition to the eyes, face, and body, the head is also separately recognised by real-time detection technology to provide even more precise focusing. The camera keeps tracking the subject even if they move quickly, turn their back to the camera, tilt their head or move far away. In addition, improvements to DFD technology have enhanced AFC, which enables users to keep tracking small or fast-moving subjects to capture them in crisp focus whenever the shutter is released.

*1 11EV, at wide-end with S-R24105 (CIPA) in LVF120 fps setting.
*2 At ISO100, F1.4, AFS

Reliable and flexible for optimum creative freedom

The compact LUMIX S5 boasts outstanding mobility while still achieving exceptional performance. To withstand heavy field use, the LUMIX S5 is composed of a magnesium alloy full die-cast body and is splash/dust-resistant*1. With an optimum layout of heat dispersion components, heat is effectively transferred outside which results in stable, continuous video recording for long periods.

The LUMIX S5 has a large LVF (Live View Finder) with a high magnification ratio of approx. 0.74x, as well as a high-precision, high-speed OLED (Organic Light-Emitting Diode) display which features a 2,360K-dot high resolution. Adoption of OLED for the LVF achieves high speed response with minimum time lag of less than 0.005 sec. With an eyepoint of approximately 20 mm, it offers high visibility with comfort for users wearing glasses.

A 3.0-inch free-angle LCD in 3:2 aspect with 1,840K-dot high resolution provides touch control. Composition during recording in various popular aspect ratios such as 16:9, 4:3, 1:1, 4:5, 5:4 and 9:16 can be checked with the Frame Marker function. A REC Frame Indicator identifies whether the camera is recording or not.

The LUMIX S5 has a double SD Memory Card slot - one slot complies with UHS-I and the other with the high-speed, high-capacity UHS-II (Video Class 90).

The camera’s battery can be recharged either via AC or USB according to the user’s convenience.

Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. The settings of a LUMIX S5 camera can also be copied and transmitted wirelessly to other S5 cameras when using multiple S5 camera. Also, Wi-Fi 5-GHz (IEEE802.11ac)*2 is effective in addition to 2.4-GHz (IEEE802.11b/g/n.) This provides secure and stable connection on location for smooth remote control and high-speed data transfer.

*1 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
*2 5GHz Wi-Fi is not available in some countries.

Optional accessories and application software

A variety of accessories can be used for the LUMIX S5 to enhance its usability and convenience. Microphone Adaptor DMW-XLR1 is a plug-in type adaptor for an XLR microphone to record high-quality stereo sound. It is ideal for lip-sync recording and has dedicated switches to allow direct, quick control. MIC, LINE and CONDENSER MICROPHONES are switchable.

Battery Grip DMW-BGS5 allows approximately 940 pictures (using the LVF) / 3000 pictures (in Power Save LVF mode) with an extra battery inside the grip. More accessories such as Remote Shutter (DMW-RS2), DC coupler (DMW-DCC17), Tripod Grip (DMW-SHGR1) are available.

The LUMIX Tether application software enables tethered shooting via USB. Users can control the camera by connecting it to a PC via USB and view the image on a large PC screen while shooting. For live streaming, LUMIX Tether for Streaming (Beta) with LIVE VIEW mode can be used.

The LUMIX Sync application for iOS/Android devices enables photo transmission to a smartphone or a tablet via easy wireless connection. It also allows remote control of the camera using these devices.

• L-Mount is a trademark or registered trademark of Leica Camera AG.
• Wi-Fi® is a registered trademark of Wi-Fi Alliance®
• The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Panasonic Corporation is under license.
• Other trademarks and trade names are those of their respective owners.
• Design and specifications are subject to change without notice.

Image Gallery

Click on a thumbnail to see the full version.

Preview Images

​Ahead of our full review, here are some full-size 24-megapixel JPEG and Raw sample images and 4K videos taken with the brand new Panasonic S5 mirrorless​ camera.

A gallery of sample photos and videos taken with the Panasonic S5 mirrorless camera.

Panasonic S5 Sample Images

Sample RAW Images

The Panasonic S5 enables users to capture RAW and JPEG format files. We've provided some Panasonic RAW (CR2) samples for you to download (thumbnail images shown below are not 100% representative).

Sample Movies & Video

This is a sample movie at the quality setting of 3840x2160 pixels at 60 frames per second. Please note that this 9 second movie is 219Mb in size.

This is a sample movie at the quality setting of 3840x2160 pixels at 30 frames per second. Please note that this 15 second movie is 290Mb in size.

This is a sample movie at the quality setting of 3840x2160 pixels at 60 frames per second. Please note that this 10 second movie is 120Mb in size.

This is a sample movie at the quality setting of 3840x2160 pixels at 30 frames per second. Please note that this 10 second movie is 112Mb in size.

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