Panasonic fz 1000


Panasonic Lumix DC-FZ1000M2 псевдозеркальный фотоаппарат

Минуло 5 лет со времени выхода популярного фотоаппарата с суперзумом Lumix FZ1000. Наступила пора апгрейда и для этой модели. Компания Panasonic объявила о выпуске модификации Lumix FZ1000 II (M2). Изменения в спецификации незначительные. Да и стоит ли существенно изменять технические характеристики пользующейся стабильным спросом камеры? В предлагаемом ниже обзоре Panasonic Lumix DC-FZ1000M2 рассмотрим технический листинг параметров новинки и отличия от предшественницы.

Panasonic FZ1000 II обзор

Panasonic Lumix DC-FZ1000 II – это высококачественная переходная камера с отличным качеством изображения для своего класса. Она даёт ощущение DSLR и универсальный 16-кратный оптический зум без риска потратить многие тысячи на объективы.

Дизайн

Фотоаппарат Panasonic Lumix FZ1000 Mark II по-прежнему находится в объёмном корпусе, похожим по размеру на зеркальную камеру начального уровня. Если важна абсолютная мобильность, то это не камера для вас. Она больше, чем большинство мостовых моделей. По сравнению с предшественницей в камере FZ1000 II немного прибавилось угловатости, изменилось количество и расположение функциональных кнопок.

Тем не менее, обращаться с ней приятно. Большая, короткая рукоятка позволяет уверенно удерживать камеру в руках. Этот захват вносит свой вклад в 854 г веса камеры, которые хорошо ощутимы. Это пластиковая камера, которая не имеет такой конструкции, как у конкурента Sony RX10, но выглядит достаточно прочной.

Фотоаппарат Lumix FZ1000 M2 также предлагает приличный набор элементов ручного управления. Несмотря на то, что нет дисков для всех основных параметров съёмки, есть 8 физических функциональных кнопок (плюс пять в меню), которые можно запрограммировать для управления такими параметрами, как диафрагма, компенсация экспозиции, макс. ISO и т.д. Поначалу с этим сложновато разобраться, но после небольших усилий всё будет «летать».

Сенсор

Краеугольным камнем FZ1000 II является 20-мегапиксельный 1-дюймовый сенсор. Он намного больше, чем маленькие 1/2.3-дюймовые датчики, с которыми работает большинство бридж-камер. Крошечный датчик – основная причина осутствия популярности таких камер среди любителей фотографии. Так что дюймовый сенсор – это ещё не APS-C, но большой шаг по сравнению с обычными вариантами.

Этот большой датчик MOS-типа улучшает соотношение сигнал/шум, что приводит к резкому снижению шума даже при съёмке с ISO 12800 (расширяемым до 25600). Большое количество света помогает сделать впечатляющую расфокусировку с малой глубиной резкости.

Оптический зум

Платой за размер датчика является диапазон увеличения. Фотокамера Lumix DC-FZ1000 II имеет только две трети диапазона увеличения Panasonic FZ200, флагманского суперзума компании 2013 года. Хотя это всё еще огромный зум. Фотокамера FZ1000 II обеспечивает 16-кратное увеличение, эквивалентный 25-400 мм в стандарте 35 мм.

Но максимальная диафрагма объектива здесь переменная. Она имеет пределы от f2.8 до 4.0, поэтому скорость объектива немного теряется, если только не снимать с широким углом. FZ1000 II имеет 5-осевую стабилизацию, что позволяет использовать большую часть диапазона увеличения без штатива.

Управлять зумом Lumix DC-FZ1000 M2 можно, используя аккуратное кольцо объектива или круговым рычажком вокруг кнопки спуска затвора. Однако кольцо на объективе немного разочаровывает, поскольку при масштабировании требуется слишком много кропотливых поворачиваний.

Экран и EVF

Задний экран – хороший 3-дюймовый свободновращающийся дисплей с разрешением 1250 тыс. точек (против 921 тыс. у FZ1000), который теперь стал сенсорным. Управление и навигация по меню интуитивно понятны и легко запоминаемы. Ещё больше впечатляет электронный видоискатель.

У FZ1000 II это тот же OLED-дисплей с диагональю 0.39″ и разрешением 2.36 миллиона точек, который используется в Panasonic Gh5. Он яркий, ясный и со 100-процентным охватом поля зрения, что тоже очень полезно. Вот ещё один элемент, который помогает объяснить стартовую цену новинки. Вокруг видоискателя также имеется резиновое кольцо, что делает его более удобным в использовании.

Соединения

Любые снимки, сделанные FZ1000 II, могут быть переданы на смартфон или планшет с помощью Wi-Fi. NFC теперь отсутствует, но зато добавилась связь по Bluetooth, что позволит быстро и легко выполнить сопряжение с одним из этих устройств. Panasonic позволяет удалённо управлять FZ1000 II, используя приложение Panasonic Image.

Кроме беспроводной связи есть и физические разъёмы. Это USB 2.0 и HDMI. Гнёзд для подключения микрофона или наушников нет. Есть встроенный стереомикрофон и монодинамик.

Производительность

Одним из главных преимуществ Lumix FZ1000 Марк 2 является то, что камера очень быстро фокусируется. Причём фокусировка точная, с малым количеством ошибок. FZ1000 II имеет систему обнаружения контраста Light Speed AF с 49 точками, которая использует технологию расфокусировки DFD. С её помощью резкое изображение выводится из различных расфокусированных изображений, получаемых при различных положениях объектива.

FZ1000M2 способен спускать механический затвор с минимальной выдержкой 1/4000 с и даже за 1/16000 с электронным затвором, что уменьшает потери времени даже при сильном солнечном свете. Скорость фокусировки составляет порядка 0,09 с. Фотоаппарат снимает в режиме серийной съёмки со скоростью до 12 кадров в секунду, а в режиме макросъёмки можно сфокусироваться на расстоянии всего 3 см от объекта.

Качество изображения

Все в основном очень довольны изображениями Lumix DMC-FZ1000 II. Понятно, что его 1-дюймовый датчик обеспечивает намного лучшее качество изображения, чем обычная 1/2.3-дюймовая мостовая камера. Резкость объектива отличная, а детализация остаётся неизменной вплоть до ISO 1600.

Ухудшение детализации и яркостный шум действительно начинают проявляться, когда превышено значение ISO 1600, но и это даёт приличные возможности для работы в большинстве ситуаций. При нормальных уровнях ISO цветопередача хорошая, баланс белого выглядит естественно. В плане динамического диапазона FZ1000 II прыгает, можно сказать, выше своей головы.

Он достигает того уровня, который обычно ожидаем от камер с APS-C сенсором. Кроме того, есть режим i.Dynamic, увеличивающий динамический диапазон. Фотоаппарат FZ1000 М2 позволяет обрабатывать файлы RAW непосредственно на камере, избавляя от необходимости делать это на компьютере. Это обеспечивает камере ещё один уровень гибкости.

Видеосъёмка и 4K Photo

Известные возможности Lumix 4K Photo помогут сделать снимок в сложных ситуациях. Случайные моменты можно захватывать со скоростью 30 кадров в секунду, что даёт возможность позже выбрать лучший кадр. Недавно добавленная функция автоматической маркировки помогает быстро и легко найти нужный снимок.

Другие захватывающие функции 4K Photo включают в себя Post Focus, Focus Stacking и возможность комбинировать несколько изображений для забавного эффекта «stromotion» (отображение статичных фаз движений спортсмена, например, в виде ролика). Любители видео могут записывать потрясающе плавные изображения с высоким разрешением QFHD с разрешением 3840×2160 пикселей при скорости 30/25/24 кадра/сек.

Характеристики FZ1000 II

Цена FZ1000 II

На текущий момент (февраль 2019) фотоаппарат Panasonic Lumix DC-FZ1000 II доступен к предзаказу по цене от 900 долларов. Начало продаж объявлено на конец марта.

Итоги обзора FZ1000 II

Подводя итоги обзора Lumix DC-FZ1000 II от Panasonic, можно вот что сказать. Камера Panasonic Lumix DMC-FZ1000 II принадлежит новому поколению бридж-камер, которые имеют большие датчики для обеспечения лучшего качества изображения, особенно при съёмке с повышенной чувствительностью. Плюс ко всему – съёмка видео 4К добавит этой псевдозеркалке уверенности в том, что при такой цене она будет сметаема с полок магазинов.

Да, недостаток – большой корпус. Да, недостаток – отсутствие поддержки видео 10 бит с выборкой 4:2:2. Но отличный зум-объектив способен компенсировать эти минусы. Так что будем уверены – и второе поколение FZ1000 найдёт свой отряд поклонников.

https://ultrahd.su/fotoapparaty/panasonic-lumix-dc-fz1000m2-obzor.htmlPanasonic FZ1000 II обзор2019-02-21T19:57:43+00:00SemenФотоаппаратыФотоаппаратыМинуло 5 лет со времени выхода популярного фотоаппарата с суперзумом Lumix FZ1000. Наступила пора апгрейда и для этой модели. Компания Panasonic объявила о выпуске модификации Lumix FZ1000 II (M2). Изменения в спецификации незначительные. Да и стоит ли существенно изменять технические характеристики пользующейся стабильным спросом камеры? В предлагаемом ниже обзоре...SemenСемён [email protected]

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Panasonic Lumix FZ1000 review -

The Panasonic Lumix FZ1000 is a DSLR-styled super-zoom camera with a 16x / 25-400mm range, a decent-sized 1in sensor and 4k video recording capabilities. Announced in June 2014, it represents a new premium category in the Lumix super-zoom lineup, complementing rather than replacing the ageing but still popular FZ200.

The 16x zoom range may be shorter than the 24x of the FZ200 or 60x of the FZ70 / FZ72, but the new FZ1000 boasts a 20 Megapixel / 1in type sensor with around four times the surface area of those models, allowing it to deliver lower noise and a wider dynamic range, not to mention higher resolution. The lens is also fairly bright, starting out at f2.8 at the wide-end and ending at f4 at the long end.

The FZ1000 has a fully-articulated (but not touch-sensitive) 3in LCD screen and a 2359k dot OLED viewfinder (the same as the Lumix Gh5) for composition, offers top shutter speeds of 1/4000 or 1/16000 (with its mechanical or electronic shutters respectively), 12fps continuous shooting, built-in Wifi with NFC, autofocusing which works down to -4EV and exploits the defocus profiling debuted on the Gh5, an external mic socket (but no headphone jack), and support for 1080p video at up to 120fps (100fps in PAL regions), or 4K UHD at 25 or 30fps depending on region.

With this specification, the FZ1000 is clearly going up against Sony’s Cyber-shot RX10, a high-end bridge camera which also has a 1in 20 Megapixel sensor. In my review I’ve closely compared the two models for stills and video to see which offers the best combination of features, handling, performance and quality for your money.

Panasonic Lumix FZ1000 Design and controls

Compared with the earlier FZ200, the Lumix FZ1000 is a step up in terms of size and weight. In some respects it’s closer to a DSLR than its bridge super-zoom heritage might lead you to expect, though of course it has a fixed lens. It measures 137x99x131mm and weighs 831g with the battery and a card fitted. Comparison with an entry level DSLR like the Nikon D3300 which measures 124x98x76mm and weighs 460g, puts it into perspective; even with its 18-55mm kit lens fitted the D3300 weighs around 20 percent less than the Lumix FZ1000, although of course the Nikon kit has a much shorter 3x range compared to 16x on the Lumix.

If you’re thinking of upgrading from the FZ200 – trading in the earlier model’s constant aperture longer zoom for a bigger sensor, better viewfinder and more capable video among other things, be prepared to get a bigger camera bag; the FZ200’s dimensions are 125x87x110 and it weighs a mere 588g.

But the extra size and weight aren’t all bad. The FZ1000 feels very solidly put together, it’s reassuringly hefty and the size makes for a very comfortable fit in the hand with a generous grip that provides enough room for the bottom three fingers of your right hand to wrap around without your little finger trailing off the bottom or your finger tips pushing against the camera body. It also provides ample room for the FZ1000’s myriad of physical controls, but before I get onto that there’s one more important size comparison to make, and that’s with the Sony RX10. The RX10 measures 129x88x102 and weighs 813g with the battery and a card fitted. So the RX10 is marginally lighter, but not so much as you’d notice. What you do notice though is a size difference; the RX10 is smaller all round, has cleaner lines and a simpler control layout. And though it’s a step up in terms of size and weight on earlier Lumix bridge superzooms, the FZ1000 still doesn’t feel quite as robust as the metal bodied RX10 – certainly it lacks the weather-sealing of the RX10, an important difference for those who intend to use either in inclement conditions.

One of the more positive aspects of the FZ1000’s generous proportions is that the lens barrel has a large diameter, providing good support for your left hand and allowing comfortable operation on the dual purpose zoom/focus ring – the function is set using a small switch on the side of the lens. Below which is a second switch for toggling the Power O.I.S. Stabilization.

Like the RX10, the zoom control is smooth, but slow, making it fine for small framing adjustments, but if you quickly need to get from one end of the zoom range to the other you’re better off with the rocker switch surrounding the shutter release. I should also add that unless Panasonic allows you to configure the single lens ring for other settings in a future firmware update, there’s no silent adjustment options during movies on the FZ1000.

Like the Lumix Gh5, there’s a release mode dial on the upper left surface, complemented by the main mode dial on the upper right side. There’s only one control wheel, a rear thumb dial, but in its favour it’s much larger and more tactile than the tiny wheels deployed on earlier Lumix cameras – a very welcome upgrade. Like earlier models though, you can still push the dial in to switch its function, so the same dial can easily control aperture and shutter in manual.

On the top panel the movie record button is positioned behind and slightly to the left of the shutter release and here you’ll also find two of the Lumix FZ1000’s five programmable function buttons. Fn1 is slightly larger and sits proud of the surface making it easy to differentiate by touch from the smaller, flush mounted Fn2 behind it- a nice ergonomic touch.

On the back panel to the left of the viewfinder Fn5 toggles the display between the electronic viewfinder and the LCD screen, in the default mode this happens automatically via an eye sensor located below the eyepiece, but it’s good to have the override because the sensor can easily be activated when you’re not using the viewfinder – when shooting from the waist using the flip-out screen for example.

The viewfinder protrudes quite a long way from the rear body, which is actually an advantage if, like me, you use your left eye – it allows room to access the rear panel controls and avoids smearing the screen with your cheek. There’s a dioptre adjustment wheel on the left of the viewfinder housing and a small switch to pop up the flash just above it.

Moving over to the right side of the viewfinder there’s a three-way switch for selecting AF modes, Fn3 which is the Q.menu button, the playback button, display overlay toggle button and finally, below the four-way controller, Fn4.

On the right side of the body a plastic flap covers the mini HDMI port which is flanked by a USB / A/V out port below and a socket for the DMW-RSL1 wired remote. On the opposite side of the body there’s a port for an external stereo microphone, but the FZ1000 lacks the headphone socket of the RX10.

The Lumix FZ1000 takes the same DMW-BLC12E battery as the FZ200. From a full charge you can expect to get 360 shots before it runs out of power, that’s not great by comparison with an entry level DSLR, or even the FZ200 which managed a respectable 540 shots from the same battery. Having said that, unlike a DSLR which can rely on its optical viewfinder, the FZ1000 has to power either the electronic viewfinder or the LCD screen as well as the 16x zoom. And it compares favourably with the Sony RX10’s 340 shots. In either case a spare is going to be essential for anything other than casual shooting. The remaining battery life is indicated by a crude three segment graphic in the top right of the screen or viewfinder and the battery is recharged outside the camera in the supplied mains charger. By contrast, the Sony RX10’s battery is charged inside the camera using either the supplied mains charger or one of your own, or by plugging it into a powered USB port on a laptop or other device. For me this is a better option as it provides a variety of options for charging that don’t rely on a proprietary charger.

The Lumix FZ1000 is fitted with a integral pop-up flash which is raised by sliding a small switch on the right side of the viewfinder housing. This releases a spring-activated mechanism which pops the flash forwards an up, raising it well clear of the body and lens barrel. To return it you just push it back down. The built-in flash has a maximum range of 13.5 Metres and offers forced on, forced on red-eye, slow sync and slow sync red-eye modes.

There’s also a standard hot shoe for fitting an external flash and the built-in flash can be used to wirelessly control compatible Panasonic external flash units like the DMW-FL360 and DMW-FL580. The RX10’s hotshoe can also accommodate an external flash, but Sony offers a host of other accessories, including a variety of LED lights, external microphones and even supports Sony’s XLR-K1M adapter which not only includes an external microphone but XLR jacks for other professional mics. Coupled with the headphone jack, it’s clear the Sony RX10 takes audio more seriously than the FZ1000.

Panasonic Lumix FZ1000 Viewfinder and Screen

The FZ1000 is equipped with a fully-articulated 3in screen and a high quality electronic viewfinder for composition; I’ll start with the latter. The FZ1000 boasts nothing less than a 2359k dot OLED viewfinder with 0.7x (35mm equivalent) magnification which is both larger and more detailed than that in the FZ200. It’s also higher resolution than the EVF on the RX10, allowing the FZ1000 to enjoy the classiest EVF of its peer group – indeed the FZ1000’s EVF is identical to that in the flagship Lumix Gh5.

The FZ1000’s native 3:2 image shape means that when shooting full-sized stills the image doesn’t quite fill the 4:3 proportioned viewfinder and narrow black bands appear at the top and bottom. These areas don’t go to waste though and are used for information display. Shooting mode, photo style, flash mode, movie mode, image size and quality, focus mode and battery life are displayed along the top; with metering mode, aperture and shutter speed, exposure compensation and remaining card capacity along the bottom.

In practice, the quality of the viewfinder is excellent and on a par with the best EVFs fitted to compact system cameras like the Olympus OMD EM1. It’s big, bright and the image is nice and stable though inevitably when panning there’s an ever so slightly perceptible lag. If this bothers you there’s an option to increase the refresh rate from the default 30fps to 60fps though at the higher rate the battery will run down more quickly.

For most situations though, I found the FZ1000’s viewfinder a pleasure to use though if I was to make one criticism it would be that in very low light it tends to get quite noisy. In a side-by-side comparison with the Sony RX10 the FZ1000’s viewfinder looks similarly sized, but slightly brighter and more detailed. Perhaps most importantly the view looks more stable with no hint of flicker even at the default 30fps refresh rate.

The FZ1000 is also equipped with a 3 inch TFT LCD screen with 920k dot resolution. Unlike the viewfinder, the screen is 3:2 proportioned so when shooting stills in the native 3:2 sensor shape the image fills the entire screen area. The screen is hinged at the side which means it can be positioned at any angle including forward-facing for self-shooting and it can also be folded in on itself for protection when not in use.

This is a more versatile arrangement than the Sony RX10’s bottom-hinged screen which can be flipped up by 90 degrees or down by 45 degrees. While not everyone likes side hinged screens there’s no arguing with the fact that that they allow you to get a good view at all sorts of angles that would be difficult or even impossible with a bottom hinged screen like that on the RX10.

An eye sensor is positioned just underneath the FZ1000’s viewfinder so the display automatically switches from the screen to the viewfinder when you raise your eye to it. There’s a slight lag of about half a second or so which is enough to cause you to miss a quick shot, but on the whole it’s not something that bothered me overly. If you’re in a situation where you want to be able to see the EVF image the second you put your eye to it pressing the Fn5 button toggles between the EVF and screen displays. This is also handy to prevent the EVF kicking in when you don’t want it, for example when shooting at waist level with the screen flipped up.

Pressing the Disp button on the rear panel toggles between four viewfinder display overlays, one displays the full information, a second only show exposure details with both of these options also available with a two-axis level. Generally, what’s displayed in the viewfinder is replicated when you switch to the screen, however, the screen has two other options one being a detailed information only display and the other which is blank.

So it’s possible to have a clear uncluttered view in the viewfinder with all the detailed information displayed on the rear screen, though you can’t have both at the same time, but need to remove your eye from the EVF to switch the screen on. If you’re really not keen on using the screen at all you can set the blank option, which uses less battery power than permanently switching to the EVF as the viewfinder then only becomes active when you put your eye to it. With the rear screen disabled you can still get the detailed information screen if you want it by setting the viewfinder to monitor mode.

Finally, if you like the way the FZ1000 switches between the EVF and screen but don’t like how it sometimes happens accidentally, there’s even an option to alter the sensitivity of the sensor. All in all it’s a very well thought through, practical system which is easy to configure.

The one thing the screen won’t do though is respond to touch. Unlike many Panasonic cameras, the FZ1000 does not have a touch-screen and I feel it’s something which could have made it even better, especially when it comes to repositioning a single AF area or pulling focus during video. To be fair though, neither does the RX10, so they are the same in that regard, but again the FZ1000 enjoys the extra benefits of a fully-articulated screen and a higher resolution viewfinder.

Panasonic Lumix FZ1000 lens and stabilisation

The headline specification of any super-zoom is of course its lens range and with the FZ1000, Panasonic wanted to offer something different to Sony’s RX10. The 9.1-146mm zoom on the FZ1000 delivers a 16x range, equivalent to 25-400mm. This almost matches the RX10’s coverage at the wide-end (in fact it’s a smidgeon longer), but out-reaches it by double at the long end. So while it was a bit of a stretch to describe the RX10 with its 8.3x range as a super-zoom, the 16x range of the FZ1000 qualifies.

There is however another important difference between their respective lenses: the FZ1000 employs a variable aperture which starts at f2.8 at the wide-end and ends at f4 at the long end. Compare that to the constant f2.8 focal ratio of the RX10 throughout its range, right up to 200mm.

While many reports would end there, I always like to delve deeper. At what point does the FZ1000’s lens begin to slow down optically below f2.8? The answer is in fact very quickly. In my tests, the FZ1000 only offers f2.8 at 25mm. At 26mm it slows a fraction to f2.9, then to f3 at 30mm, f3.5 at 57mm and finally to f4 at 175mm all the way to 400mm. This means at 175mm, the RX10 is brighter at all but the very widest focal lengths, and by 175mm the Sony is a whole stop faster. But to be fair, f4 isn’t exactly shabby, especially as the FZ1000 maintains this to a focal length twice as long as the Sony. But it does mean if you want a constant focal ratio throughout the range while zooming when filming for example, you’ll need to close the FZ1000 to f4.

Speaking of controlling the aperture, Panasonic has resisted equipping the FZ1000 with a physical control ring on the lens barrel. Instead you’ll need to adjust the aperture using the thumb dial on the rear which while pleasantly tactile, will click audibly as its turned. In contrast, the Sony RX10 not only sports a manual aperture ring on the barrel, but lets you configure it between clickable or smooth, which will make its control preferable to videographers.

Lumix FZ1000 coverage wideLumix FZ1000 coverage tele
9.1-146mm at 9.1mm (25mm equivalent)9.1-146mm at 146mm (400mm equivalent)

Returning to the coverage for a moment, it’s also worth noting the FZ1000’s 9.12mm widest actual focal length is a tad longer than the 8.8mm of the Sony which, given they share the same sensor size and aspect ratio means the RX10 delivers a fractionally wider field of view in practice.

One of the biggest frustrations with the RX10’s zoom was its somewhat leisurely operation, and I’m afraid to say the FZ1000 is little better. You can operate the zoom using a collar on the body or by turning the motor-assisted ring on the barrel, but neither feel particularly quick or responsive, so if you need to quickly get from one end of the range to the other you may become frustrated. In it’s defence, using the zoom collar the FZ1000 takes a little under three seconds to cover the 25-400mm range where the RX10 takes longer – a little over three seconds to cover half the distance.

1/400, f4, 125 ISO, 9.1-146mm at 146mm (400mm equiv)
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The FZ1000’s lens employs a seven blade aperture system, which Panasonic claims delivers far superior out-of-focus rendering than the FZ200 and the closest focusing distance at wide is the same as the RX10 at 3cm. Note unlike the RX10, there’s no built-in ND filter on the FZ1000 but you can always screw one on the barrel. Above is an example of the maximum shallow depth of field effect you’re likely to achieve: a macro shot taken at the longest focal length with the aperture wide open; I have some more examples on my FZ1000 sample images page.

Panasonic Lumix FZ1000 Power I.O.S. off / on
100% crop, 9.1-146mm at 146mm 80 ISO 1/25th I.O.S. off.100% crop, 9.1-146mm at 146mm 80 ISO 1/25th I.O.S. on.

The FZ1000 features Panasonic’s Power O.I.S stabilisation which moves the lens elements to compensate for camera shake and permit hand-held shots at slower shutter speeds. To test the Lumix FZ1000’s, stabilisation I zoomed the lens to its maximum 400mm focal length and took a series of shots in shutter priority mode at progressively slower shutter speeds first with the stabilisation turned off, then with it turned on. As you can see from the crops above, the Lumix FZ1000 can shoot at shutter speeds as slow as 1/25th with the stabilisation enabled.

That’s about four stops slower than conventional wisdom suggests is safe, so an excellent performance from the FZ1000 though not quite up to the spectacular results of the earlier FZ200. Another thing to consider is that at the full 400mm telephoto the maximum aperture available on the FZ1000 is f4 (in fact, as I noted earlier, the lens actually closes to f4 at 175mm). The FZ200, like Sony’s RX10 offers a constant f2.8 aperture throughout the focal range so at the longer zoom settings you already have a one stop advantage before you take the lens stabilisation into account. That said, I find Panasonic’s stabilisation generally more effective than Sony’s, so as always there’s swings and roundabouts.

Panasonic Lumix FZ1000 shooting modes

The Lumix FZ1000’s mode dial has a business-like design with all the shooting modes represented by a white icon against a black background. In a departure from the usual convention the Intelligent Auto mode position isn’t red, as on the FZ200, but white like all the others. There are actually two intelligent Auto modes: plain Intelligent auto and Intelligent Auto plus. Both use scene detection to help determine the correct exposure, choosing from a selection of nine scene modes including portrait, macro, handheld night shot, baby and sunset.

Intelligent Auto can tell if the camera is on a tripod and set a slower shutter speed than for hand-held shots and when appropriate it also automatically sets face/eye detect autofocus, backlight compensation, and intelligent ISO, i.resolution, and i.dynamic to enhance images with either additional sharpness or contrast.

The difference between the two auto modes is that Intelligent Auto plus gives you the option of making changes to the auto exposure settings. Both modes allow for background defocus – changing the aperture and shutter speed combination to produce more or less depth of field, but Intelligent auto plus also allows exposure compensation and colour balance adjustment using the rear thumb dial. There’s also a raft of other menu setting available in Intelligent auto plus including photo styles, image quality, and single or continuous AF selection.

Good as the Auto modes are though, most people will be more interested in the Lumix FZ1000’s manual and semi-auto exposure modes. As you’d expect, all the PASM modes are supported with the rear thumb dial used to change exposure settings. In Manual mode you switch between aperture and shutter speed control with an inward press of the dial.

The FZ1000 can be operated using either its mechanical or electronic shutter. The range of the mechanical shutter is 60s to 1/4000 plus a bulb setting with a maximum of two minutes. Switch to the electronic shutter and the shutter speed range is extended to 1/16000. The electronic shutter is automatically selected when the camera is used in Silent mode, which also turns off the flash, AF illuminator and all other sounds.

The other advantage the electronic shutter confers is faster continuous shooting speeds. The Lumix FZ1000’s fastest continuous shooting speed is 50fps using the electronic shutter at a reduced 5 Megapixel resolution. As with other modes that use the electronic shutter moving subjects are likely to suffer from rolling shutter effects – where vertical lines are reproduced at a slant – and that’s more likely to be in evidence with a subject that requires 50fps to capture its movement. Also bear in mind you can alternatively pull an 8 Megapixel frame from the 25/30fps 4k video stream (see the movie section below) as this could prove a better alternative, though of course it will be 16:9 proportioned, rather than 3:2.

The fastest continuous shooting speed using the mechanical shutter is 12fps. Like the 50fps mode this fixes the focus and exposure on the first frame and there’s no live view available during shooting. For continuous autofocus and live view you’ll need to drop to one of the two slower continuous modes at 7 or 2fps.

To put the FZ1000 to the test I fitted it with a Kingston 32GB UHS-I Class Speed 3 card and fired-off a series of bursts with the shutter set to 1/500 and the focus locked. In the High speed mode (H), the FZ1000 fired off 185 frames at a constant speed before slowing appreciably. The frame rate for this burst was just shy of 10fps – measurably short of the quoted 12fps. Switching to RAW allowed me to shoot a burst of 13 frames at a marginally faster 10.23fps, before the camera stalled. Switching to the Super High mode reduced the quality to 5 Megapixels, but allowed the camera to capture 60 frames in 1.17 seconds – a whisker over 50fps.

As on earlier models, turning the FZ1000’s mode dial to the palette icon provides access to a range of Creative control filter effects. If you like filter effects you’ll be happy to learn that Panasonic has expanded the range to 22 – eight more than on the earlier FZ200.

No fewer than three of the new filters are monochrome variations – Monochrome, Rough Monochrome and Silky monochrome join the existing Dynamic monochrome giving you the choice of four ways to produce in-camera black and white effects. The other newcomers are Old days, Toy pop, Bleach bypass, Fantasy and sunshine. Below you can see examples of Old days, Rough monochrome, Silky monochrome, Cross process, Toy pop and Bleach bypass.

Most of the effects can be adjusted in some way, usually by means of a slider to adjust colour, or in the case of the black and white filters, tonal reproduction, contrast or graininess. Plus you can use most of the Creative effects filters with video, the only ones not available are Rough monochrome, Silky monochrome, Soft focus, Star filter and Sunshine. You can apply creative effects in any video mode other than 4K, for which the mode dial needs to be in the Creative video position.

The FZ1000 provides excellent auto bracketing options for a bridge super-zoom with up to seven frame shooting at intervals from 1/3 to 1 EV. Auto bracketing has its own dedicated position on the drive mode dial and bracketed frames are shot individually or as a burst depending on the menu setup; you can even change the sequence order; white balance bracketing is also available.

The FZ1000 outshines the Sony RX10 in this respect, though the RX10’s bracketing is itself pretty good, it provides three frame bracketing at 0.3, 0.7, 1, 2 or 3EV increments, or five frames in 0.3 or 0.7 EV increments with white balance and DRO bracketing also available.

If you fancy some fun, there’s a Multiple Exposure mode which can automatically combine up to four images. You can retake them if they go wrong, or combine new ones with existing ones if desired. The Lumix FZ1000 is also well catered for when it comes to time lapse sequences with the choice of a traditional interval timer (Time Lapse Shot mode) or one which lets you take photos manually as and when each frame is ready (Stop Motion Animation). Here’s one I filmed in Falmouth.

Panasonic Lumix FZ1000: Timelapse with in-camera conversion to UHD
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To capture the sequence here I set the FZ1000 to Manual exposure mode, fixed the sensitivity to 125 ISO and locked the focus, then set the timelapse mode to record 900 frames at two second intervals. As I wanted some of the stills for another project, I shot in the native 3:2 shape. I then used the timelapse function on the playback menu to generate a video in-camera, setting the quality to 4K25p and the frame rate to 25fps; the other options for PAL region cameras are 1080p50, 1080p25, 720p25 and VGA 25fps. Note there isn’t an option to crop the photos into a 16:9 aspect ratio, so if you’d like this shape for your in-camera time-lapse videos, you’ll need to remember to set the photo aspect ratio to 16:9 first.

In either mode, once the sequence is complete the FZ1000 can assemble them in-camera into a movie at a variety of quality settings and frame rates including 1080p up to 60fps or 4k UHD up to 25fps; the individual still photos are retained in case you’d like to use them later. The FZ1000 also lets you assemble a time-lapse sequence into a video at a later point using the playback menu. The Time Lapse Shot timer can record up to 9999 frames at intervals from one second to a second shy of 100 minutes, and you can delay the starting time by up to 24 hours.

Panasonic Lumix FZ1000 movie modes

The Lumix FZ1000 sports a broad range of movie capabilities that will see it welcomed by enthusiasts and even professional videographers. Indeed with 1080p at frames rates offering a four-times slow-down and support for 4k UHD video, the FZ1000’s movie capabilities read more like the flagship Gh5. While there are understandably some key differences between the FZ1000 and the Gh5, it’s still the first time this degree of video performance has been offered by a super-zoom bridge camera, and importantly the FZ1000 outguns the rival Sony RX10 in this regard. It’s particularly interesting to note the video differences between the FZ1000 and RX10 as I believe both share the same sensor, and it’s even more curious when you consider Sony’s firmware version 2 for the RX10 only equipped it with a higher bit rate for 1080p (50Mbit XAVC S), meaning it still lacks the 100Mbit 4K UHD of the FZ1000. How is Panasonic getting 4K UHD from a sensor when Sony can’t, or won’t? We can only speculate over that, but what I can do is show you what the FZ1000 is capable of.

I’ll start with the 4K option. This records Ultra High Definition video (3840×2160 pixels) at 25 or 30fps depending on region, and at a bit rate of 100Mbit/s in an MP4 wrapper. Unlike the Gh5 though there’s no 24fps option, nor the chance to record the slightly wider Cinema 4K format, but you can still capture very usable 8 Megapixel stills from 4k footage which makes it a viable alternative for shooting fast action.

Moving on, the FZ1000 records 1080p at up to 28Mbit/s in AVCHD or MP4 modes. In addition to 1080p50/60, the MP4 modes are 1080p25/30, 720p25/30 and 640x480p25/30. Switch to AVCHD format and the options are 1080p50/60, 1080i50/60 (28 or 17Mbit/s), and 1080p24. Impressively, the FZ1000 can also shoot 1080p at frame rates up to 120fps (100fps in PAL regions), allowing footage to be slowed down by four times. At this point it’s worth noting the RX10 sports higher bit rates for 1080p with a 50Mbit XAVC S option added with a firmware update in mid-2014, but there’s still no slow motion, nor any 4k video, two trump cards held by the FZ1000.

Panasonic recommends using an SD card rated at Class 4 or faster for AVCHD, and UHS-I Class Speed 3 (U3) for the 100Mbit 4K UHD and 1080p / 100p / 120p modes. As with the Gh5, I used a Kingston 32GB U3 card for my tests, rated at 90MB/s for read and 80MB/s for write. I can also report success using a SanDisk Extreme Pro 8GB card, even though it’s not officially labelled UHS-I (U3).

FZ1000 4k UHD coverage crop in red

The FZ1000 delivers UHD by taking a 3840×2160 pixel crop straight from the middle of the 5472 x 3648 pixel sensor. As illustrated in the diagram opposite, the cropping results in a significantly reduced field of view compared to shooting still photos at the native resolution, but the benefit is a complete absence of scaling, thereby allowing the 4k mode on the FZ1000 to avoid the undesirable moire artefacts of most cameras. Plus while you miss out on the widest coverage, you do gain extra reach at the telphoto end. The Gh5 is the same in this regard, although with a lower resolution 16 Megapixel sensor as a starting point, the field of view isn’t reduced as significantly.

For 1080p video, the FZ1000 takes the full sensor width and scales it down to 1920 pixels using a non-integer factor of 2.85 times. The benefit is 1080p footage shares the same horizontal field of view as shooting stills, but the downside is again the potential for moire artefacts from the non-integer scaling factor. With this in mind, those wanting the best 1080p output may prefer to shoot in UHD and scale it down by two times, although they’ll have to accept the reduced field of view. Once again this is the same approach employed by the Gh5 for 1080p.

So what difference can you expect in quality? Below is an example of how 1080p compares to down-converted UHD and native UHD. Note the downsampled UHD crop shows a smaller area than the native 1080p crop as the UHD mode starts with a smaller field of view, whereas the 1080p mode starts with the full width of the sensor. But even with that taken into account I think it’s clear to see the native 1080p footage can’t compete with the down-sampled UHD in terms of detail, resolution and absence of scaling artefacts.

Panasonic Lumix FZ1000 100% crops from various movie modes compared at 125 ISO
100% crop from 1080p footage100% crop from UHD downsampled to 1080p

100% crop from UHD footage

1080p comparison. Cropped area in red

How about comparing the native 1080p output of the FZ1000 against the Sony RX10? Opposite is a view I filmed with both cameras in their 1080p / 25p modes using Aperture Priority at f4 and their base ISOs. Both cameras share what I believe is the same sensor, and both also capture 1080p video from their full sensor width, employing a non-integer scaling factor.

As such, it’s not surprising to discover their respective 1080p video is pretty similar in terms of detail and artefacts, with any minor differences being down to processing style, lens quality and compression.

From the 100% crops below I’d say there’s little to choose between them when filming native 1080p, but of course the FZ1000 has the advantage of being able to film in 4K UHD with no scaling, which you can then down-convert into 1080p with fewer artefacts, albeit also with a reduced field of view at the same lens focal length. It’s the ability to capture 4K UHD, and the potential to down-convert it to 1080p which gives the FZ1000 a quality advantage over the RX10.

Panasonic Lumix FZ1000 100% crop from 1080p video grabSony Cyber-shot RX10 100% crop from 1080p video grab
100% crop from photo pictured above100% crop from video grab pictured above

On the FZ1000 you can shoot in PASM exposure modes, although without a touch-screen or click-free controls, there’s no way to silently adjust the settings while filming. I am however pleased to find the useful time-lapse option of the Lumix G models is present, which, as I’ve said, can be used to generate a movie in-camera following the capture.

There’s a 3.5mm microphone jack, but unlike the RX10, no headphone socket; there’s also focus peaking and zebra patterns to help with focus and exposure. Video pros will also welcome the presence of Cinelike D and V profiles introduced on the Lumix Gh5, the former delivering fairly flat footage, ready for grading. There’s also a menu option that allows you to turn off the info display to allow the output of a ‘clean’ signal via the HDMI port.

The Lumix FZ1000 may not sport the constant f2.8 focal ratio, built-in ND filter, headphone, stepless aperture ring or XLR options of the Sony RX10, but I’m guessing many videographers would happily sacrifice these for the ability to shoot 4K UHD or slow motion 1080p. So while Sony may have updated the RX10’s firmware to support 1080p in XAVC-S at 50Mbit, it still falls behind the video modes on offer here. I’m delighted that Panasonic has equipped the FZ1000 with 4k and 1080p slow motion capabilities rather than just saving them for its highest-end models.

Panasonic Lumix FZ1000 sample movie 1: Outdoors handheld pan / 1080 / 50p / 125 ISO
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For this outdoor hand-held pan I set the Lumix FZ1000 to its 28Mbit/s 1080p50 MP4 mode. The stabilization irons out all but the bigest wobbles during the pan and while the lens is zoomed to its maximum 400mm equivalent focal length. You can’t hear the zoom motor and the continuous AF, which is on by default for movies is very well behaved.
Panasonic Lumix FZ1000 sample movie 2: Outdoors tripod pan / UHD / 25p / 125 ISO
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For this tripod mounted panning shot I set the FZ1000 to its 4K mode which has a UHD resolution of 3840×2160 and is encoded at 100Mbit/s. I set the mode dial to the Creative video mode position and set aperture priority exposure. I set the aperture to f4 and manually set the sensitivity to 125 ISO. If you’re used to looking at HD video the quality and detail in this UHD clip is stunning. The FZ1000 handles the tricky into light section of the pan with the bright water reflections very well. There’s a tiny bit of AF wandering, but overall it manages well.
Panasonic Lumix FZ1000 sample movie 3: Low light handheld pan / 1080 / 50p / Auto ISO
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For this low light shot the FZ1000 was set to the 28Mbit/s 1080p50 AVCHD mode. The mode dial was set to Creative video and Progam auto selected with auto ISO. This is an excellent result for the FZ1000 with good exposure, accurate white balance, nicely saturated colours and no noticeable noise. As before, the stabilization keeps things reasonably steady and the continuous AF isn’t phased by the multiple reflective surfaces.
Panasonic Lumix FZ1000 sample video 4: Low light at 800 ISO / UHD / 25p
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To test the low light capabilities of the FZ1000 in UHD, I filmed a series of tripod-mounted clips between 800 ISO and the maximum movie sensitivity of 6400 ISO. The clip shown above was filmed at 800 ISO; for the higher sensitivities, check out my FZ1000 UHD at 1600 ISO, FZ1000 UHD at 3200 ISO and FZ1000 UHD at 6400 ISO. Below are 100% crops taken from each movie sample for side-by-side comparison.
Panasonic Lumix FZ1000 movie noise in low light / UHD / 25p / 100% crops from composition above800 ISO (100% crop)1600 ISO (100% crop)3200 ISO (100% crop)6400 ISO (100% crop)
Panasonic Lumix FZ1000 sample movie 5: Continuous AF / 1080 / 50p / Auto ISO
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This clip tests the Lumix FZ1000’s continuous Autofocus. I zoomed in a little and in aperture priority mode set the widest available aperture – f3.3. The FZ1000’s continuous AF does a pretty good job of switching focus from the close up copy cup to the flower and then to the bar. The Depth from Defocus (DFD) technology isn’t enabled for movie shooting, but the FZ1000 does a respectable job nonetheless. Apologies for the rather brutal cut and the end of this clip – the FZ1000’s battery gave up!
Panasonic Lumix FZ1000 sample movie 6: Miniature Mode / 1080 / 50p / Auto ISO
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The FZ1000 lets you film movies while applying several of the picture effects. Here’s what you get with the Miniature effect applied. The camera inherits whatever the movie quality is currently set to, but only supports a maximum of 1080p for the miniature effect, so no in-camera 4k miniature movies.
Panasonic Lumix FZ1000 sample movie 7: Slow motion / 1080 / 100p / Auto ISO
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Now for a slow motion sample filmed with the FZ1000’s 1080p mode at 100fps. When played-back at 25fps here, the footage is slowed by four times. There’s no sound captured. This clip shows people people playing table tennis. The clip was shot handheld with stabilisation enabled. Note the FZ1000 in NTSC regions offers 1080p at 120fps, but encodes it at 30fps for the same four times slowdown.
Panasonic Lumix FZ1000 sample movie 8: Outdoor test scene / UHD / 25p / 125 ISO
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I filmed this clip of my outdoor test scene in the FZ1000’s UHD 4K mode in aperture priority at f4 125 ISO. For comparison purposes I shot the same clip in UHD using the Cinelike D profile, and then again with the standard profile in 108025p. If you’re interested, you can download my FZ1000 Cinelike D sample and FZ1000 1080p sample clips for comparison. I also filmed the same scene with the Sony RX10 for comparison, see my Sony RX10 1080p sample.

Panasonic Lumix FZ1000 handling

When you compare it with the Sony RX10, one of the most ressuring things about the Lumix FZ1000 is the profusion of controls. Like the RX10 it lacks a touch screen, which will disappoint some people, but the number of controls and degree to which they can be customised go a long way to making up for it.

As I mentioned earlier, the FZ1000 has no fewer than five programmable function buttons labelled Fn1 to Fn5. In order, their default functions are Photo style, Wifi, Q.menu, shutter speed/aperture preview and EVF/screen mode. In playback mode the Fn4 button is fixed to delete but the others can all be programmed to playback functions.

Fn button shooting functions are assigned from the Custom menu. Each button can be allocated to any one of 33 functions spread across 11 menu pages. They include level gauge display (independently of the Disp button), focus area setting, AF mode, picture size, aspect ratio, quality, auto bracket, metering mode, self-timer, HDR, sensitivity, white balance and Macro mode. The Fn buttons aren’t the only programmable ones either. The Zoom collar can be reallocated to exposure compensation (though you’d then be reliant on the snail-like zoom ring).

Further customization is provided on the Q.menu itself. You can opt to use the preset Q.menu, which has a better layout than the custom menu on two lines across the top and bottom of the screen. Alternatively the custom menu allows you to choose what goes on a single line scrolling menu from options including all the usual suspects – Photo style, Quality, metering mode, burst rate, self-time, HDR etc, plus a few less obvious options including monochrome live view, peaking and histogram display.

The FZ1000 lacks the Sony RX10’s aperture ring control and that will doubtless be a drawback for some, particularly pro videographers. But in practice, for still shooting at least, I don’t think it’s an issue, you quickly get used to pushing the FZ1000’s thumb dial to switch between aperture and shutter in Manual mode. For silent adjustment of exposure during filming, though, the RX10 definitely enjoys an advantage.

Panasonic Lumix FZ1000 Autofocus

The Lumix FZ1000 employs a 100% contrast-based AF system which Panasonic claims is quicker than the FZ200 in practice. The number of AF areas has increased from 23 to 49, and the camera now supports eye in addition to face detection.

More interestingly, the FZ1000 exploits the defocus DFD technology first seen on the flagship Lumix Gh5. This profiles the out-of-focus characteristics of the lens to better determine where the point of focus lies. This allows the FZ1000, like the Gh5, to quickly get close to the correct point of focus, before than using traditional contrast-based means to fine-tune it.

The autofocusing certainly feels fairly swift and confident, even given fairly low light levels it responds almost instantaneously, there’s still some searching particularly at longer focal lengths, but it happens only occasionally. Where there’s a slight, but perceptible lag with the Sony RX10, at least 90 percent of the time the FZ1000 feels like it locks focus the instant you half-press the shutter. It’s reassuring to find Panasonic deploying the DFD technology outside of the Lumix G series; it implies we may see it on many models in the Lumix range.

To test the continuous autofocus on the Lumix FZ1000 I set the focus mode to AFC using 1-Area focussing mode and set the burst mode to M, the fastest available speed with continuous AF, shooting at roughly 7fps. I zoomed the lens in to around 170mm and in aperture priority mode set f4 – the widest available aperture. The bright morning sunshine provided enough light at 125 ISO to freeze the action with a shutter speed of 1/800. As you can see from the table below, the FZ1000 does an excellent job of keeping the truck in focus throughout the sequence and there’s no doubt that the DFD focus technology, which profiles the out of focus characteristics of the lens, enabling it to move close to the point of focus before the contrast detect AF fine tunes, is having a positive effect here. I shot several sequences like this one and, aside from a slight slow down after about ten frames, all progressed swiflty without hesitation and all were in focus.

Panasonic Lumix FZ1000 Continuous AF at 7fps

A quick note for manual focusers: the FZ1000 offers the usual array of focusing assistance including peaking, and the ring on the lens barrel can be configured to adjust focus rather than zoom if preferred.

Panasonic Lumix FZ1000 Wifi

The Lumix FZ1000 becomes Panasonic’s latest camera to offer Wifi with Near Field Communications, or NFC for short. Now every model in the Lumix G range apart from the tiny GM1 (which has Wifi but omitted NFC on the grounds of sheer space) features both Wifi and NFC, and Panasonic’s implementation is one of the best around.

Wifi allows you to wirelessly browse the FZ1000’s images on the larger and more detailed screen of a smartphone, tablet or laptop, copy them onto these devices, upload them to online storage or social media services (either directly or via a smartphone), or become remote-controlled by the free Lumix Image app for iOS or Android devices. These are flexible and powerful features to have at your disposal, and if your phone or tablet is additionally equipped with NFC you can simply hold it against the FZ1000 for a second and they’ll sort out the Wifi network selection and password entry for you, making the whole process much quicker and easier.

While Apple continues to resist NFC at the time of writing, the technology is becoming widespread in the Android World and beyond. If you don’t have an NFC device yet though, don’t worry. You can achieve the same end result by manually choosing a Wifi network and entering any security by hand, or by scanning a QR code displayed on the camera’s screen using the Panasonic Image App on your phone.

If your phone / tablet doesn’t have NFC you need to press the Wifi button on the camera (by default assigned to Fn2 on the top of the FZ1000) and either create a new connection, or load one you’ve previously configured. If you’re creating a new connection you can choose from ‘remote shooting and view’, ‘playback on TV’, ‘send images while recording’ or ‘send images stored in the camera’. For a smartphone / tablet connection, you should choose the first option for remote shooting and view. This then sets up the FZ1000 as a wireless access point, displaying the SSID name and password, alongside them both encoded as a QR graphic. You’ll then need to start the Lumix Image app, select Wifi as your means of connection, select the FZ1000 network and either enter the password, or simply point your handset’s camera at the QR code.

Once your phone or tablet becomes connected to the FZ1000, you can remote control it, browse the images direct from the memory card, copy them onto the handset and if desired send them onto various storage or sharing services. You can also set the app to make a GPS log for subsequent syncing and tagging, and the process on the latest version of the Image App is much easier and intuitive than earlier ones.

The remote control feature is really neat, showing a live image on your phone or tablet’s screen and allowing you to take a photo or start or stop a video recording. You can tap anywhere on the live image to set the focus to that area or directly take the shot. If the camera’s mode dial is set to Aperture or Shutter Priority, you can remotely adjust the aperture or shutter speed respectively, and in Manual you can change both.

You can also adjust the ISO, white balance, exposure compensation or focus area, and there’s also a Q.Menu button which presents a list of additional options you can remotely change including the flash mode, aspect ratio, resolution, compression, metering mode, photo style or movie quality. It’s slightly disappointing that you can’t change the drive mode remotely, that has to be done using the dial on the camera, however once you’ve set a drive mode it is then possible to alter, say, the continuous shooting speed, or self-timer delay.

Moving on, you can also use a connected phone or tablet to quickly browse the images in your camera on their bigger screens without having to copy them over first. This is more useful than it sounds, allowing you to scan through a day’s shoot without having to remove the card, physically connect the camera or copy any unnecessary files

To maintain a responsive experience which feels like the images are stored locally on your phone or tablet, the camera sends a lower resolution version. So you can pinch to zoom-in a little, but not as much as if you were viewing the original. But when you see an image you like, just tap it and the Lumix Image app will let you save the original to your device or start uploading it to one of the social, sharing or storage services installed on your device. You can configure the app to provide shortcuts to two or three of your most used services which could include Dropbox and Instagram in addition to the more usual suspects. Or of course once the image is copied into your device, you could just exit the Panasonic app and handle it direct from whichever sharing or storage app you like via your phone’s gallery.

You can also choose whether to copy images in their original resolution, or in one of two smaller versions. It typically took about 12 seconds to copy an original JPEG from the camera to my iPhone 4S from a distance of about 1m; it’s not possible to copy RAW files though.

It’s so much fun interacting with the camera using a smartphone or tablet that it’s easy to forget the Lumix FZ1000 can also upload images directly to the internet by itself via a suitable Wifi connection. You can upload directly to Facebook, Twitter, Picasa, Youtube, Flickr, but there’s two gotchas. The first is the camera doesn’t have any kind of built-in browser to accept the terms and conditions of public hotspots, so you’ll mostly be using home or office-based Wifi. To be fair though, the only cameras I can think of which do have a browser to accept terms and conditions are Sony’s Wifi-equipped models. The second problem is before letting you upload anything directly from the camera you’ll first need to register for Panasonic’s free Lumix Club.

To be fair, the approach is not dissimilar to the way most other manufacturers implement direct uploads, but to me it makes more sense to just use NFC / Wifi to copy the image from the camera to a more capable device and upload from there instead.

Overall, the only thing that could have been better was uploading direct from the camera to online services, but to be honest the more I test connected cameras, the more I think this is a red herring and that the actual getting online part is best left to your phone, tablet or computer. Beyond remote control or backup, the job of a Wifi camera should simply be to get your photos onto the sharing device as quickly and easily as possible, and in that respect the FZ1000, like earlier Lumix models, works very well. If you have NFC it becomes even easier.

By comparison with the Lumix FZ1000, the Sony RX10’s Wifi implementation is fairly basic. Like the FZ1000 the RX10 has NFC for quick and easy connections and provides remote control as well as upload to a smartphone. But the remote features are restricted pretty much to zooming and shooting, with none of the FZ1000’s control over exposure and other setings. And the RX10 lacks the FZ1000’s support for upload to sharing websites. The other thing lacking from the RX10 Wifi set up is the ability to make and apply a GPS log form your phone to pictures on the camera card.

Annoyingly the RX10 isn’t one of Sony’s cameras which can support downloadable apps, so there’s no way to update the smart remote control facilities by this route. That said, Sony has provided a firmware update to equip the RX10 with 1080p encoding at 50Mbit XAVC S, so hopefully it may be able to expand other funcationality in the future.

Panasonic Lumix FZ1000 Sensor

The Lumix FZ1000 is equipped with a ‘new’ 1in MOS sensor with 20.1 Megapixels. The 1in sensor sits between the tiny 1/2.3in sensors typically deployed in bridge / super-zoom cameras and the larger APS-C / Micro Four Thirds sensors in interchangeable lens cameras. Importantly it has four times the surface area of 1/2.3in sensors, allowing it to maintain lower noise levels and a higher tonal dynamic range, giving it a big step-up over the FZ200.

Of course camera enthusiasts know that Sony’s been deploying its own 20.1 Megapixel 1in sensor in a variety of models including the RX10 and RX100 series. So the big question is whether the one in the FZ1000 is different, and if so, how the image and video quality compares. From what we’ve seen of the sensor specifications and the results of my quality and noise tests for this review it seems more than likely that the FZ1000 and RX10 share the same sensor, although as noted above, only Panasonic is managing to capture 4K video from it at the time of writing.

Further evidence the sensor comes from Sony is the native image shape of 3:2. Camera geeks know Panasonic only uses 4:3 shaped sensors in both its point-and-shoot and Micro Four Thirds cameras, and that the company itself manufactures them. So deploying a wider sensor (most likely bought from another manufacturer) is a new move for Panasonic and if the FZ1000 is successful could point to more external sourcing. I’m perfectly happy with this move.

To see how the quality of the Lumix FZ1000 measures-up in practice, take a look at my Lumix FZ1000 quality and Lumix FZ1000 noise results pages, browse my Lumix FZ1000 sample images, or skip to the chase and head straight for my verdict.

www.cameralabs.com

Panasonic Lumix FZ1000 II: тест фотоаппарата

Дата публикации: 20.08.2019

Мощный зум, большая матрица как залог высокого качества изображения, видео в 4K и удобное управление — в 2019 году это необходимые для выживания особенности компакта. Фотоаппараты с несменной оптикой переживают не лучшие времена, оказавшись между молотом и наковальней: с одной стороны их вытесняют набирающие обороты беззеркалки, с другой — смартфоны, с каждым годом наращивающие потенциал. В такой жёсткой борьбе выживают только сильнейшие. Сегодня у нас на тесте Panasonic Lumix FZ1000 II — суперзум, способный задать жару другим устройствам.

Не будем утаивать козыри и начнём с главного. Перед нами уже второе, обновлённое поколение суперзума с 16-кратным объективом (25–400 мм экв.) и 20-мегапиксельной «дюймовой» матрицей. Это настоящий универсальный солдат, цель которого — заменить системную камеру с целым парком оптики.

Снимок сделан в широкоугольном положении зума.

DC-FZ10002 УСТАНОВКИ: ISO 125, F5.6, 1/1000 с, 25.0 мм экв.Cкачать RAW

Снимок сделан с максимальным зумом с той же точки.

DC-FZ10002 УСТАНОВКИ: ISO 125, F5.6, 1/1000 с, 400.0 мм экв.Скачать оригинал

Как вы понимаете, при таких характеристиках сравнение со смартфонами неуместно: они проиграют по всем параметрам, кроме компактности. В нашем тесте будем разбирать, на что в реальности способен LUMIX DC-FZ10002EE и стоит ли он своих денег, ведь камера получилась не из дешёвых. Впрочем, у конкурентов мы видели цены и повыше.

DC-FZ10002 УСТАНОВКИ: ISO 320, F4, 1/125 с, 387.0 мм экв.Cкачать RAW

Основные особенности Panasonic LUMIX DC-FZ10002EE:

  • несменный зум-объектив 25–400 мм экв. f/2,8–f/4 разработки Leica;
  • 20-мегапиксельная матрица формата 1″;
  • работа с RAW-файлами;
  • оптический стабилизатор изображения;
  • гибридная 5-осевая стабилизация HYBRID O.I.S. + при видеосъёмке;
  • запись видео до 3840×2160 4K/30p, 100 МБ/с;
  • серийная съёмка до 12 кадров/с;
  • фирменный режим 4К-фотосъёмки до 30 кадров/с;
  • замедленная Full HD съёмка до 120 кадров/с;
  • механический (60 — 1/4000 с) и электронный затвор (1 — 1/16000 с);
  • Wi-Fi и Bluetooth версии 4.2;
  • 3-дюймовый поворотный сенсорный дисплей с разрешением 1,2 млн точек;
  • электронный видоискатель 2,36 млн точек;
  • один слот формата SD без поддержки UHS-II;
  • вес 810 граммов с аккумулятором и картой памяти.

Из сильных характеристик стоит отметить работу с RAW-файлами, солидные видеовозможности и быструю серийную съёмку. Внимание привлекает электронный затвор, а значит, возможность беззвучной работы и съёмки с короткими выдержками. По сравнению с прошлой версией у FZ1000 появился энергоэффективный Bluetooth, серьёзно упрощающий соединение с мобильными устройствами. Скорость серийной съёмки внушает уважение: 12 кадров/с с покадровым автофокусом и 7 кадров/с с непрерывным. Наконец, давайте обратим внимание на вес. Здесь красуется солидная цифра в 810 граммов! Да, перед нами компакт, но компактным его не назвать. Это всё же полноценная замена зеркалке или беззеркалке с несколькими объективами, и только в таком сравнении будет виден выигрыш в весе и габаритах.

DC-FZ10002 УСТАНОВКИ: ISO 640, F3.9, 1/125 с, 135.0 мм экв.Cкачать RAW

Характеристики в целом очень взвешенные — без откровенно слабых мест, и в то же время в них нет необоснованно завышенных, «дорогих» параметров.

DC-FZ10002 УСТАНОВКИ: ISO 125, F4, 1/125 с, 240.0 мм экв.Cкачать RAW
Page 2

Дата публикации: 20.08.2019

По размеру, форме и внешнему виду Panasonic Lumix FZ1000 II трудно отличить от зеркалки. Разработчики оснастили корпус большой и ухватистой рукояткой, сильно выступающим видоискателем, а объектив визуально отделён красным кольцом, похожим на байонетное соединение. Но нет — перед нами камера с несменной оптикой, просто унаследовавшая от «старших» классов фототехники удобные и хорошо себя зарекомендовавшие эргономические решения.

Важным преимуществом Lumix FZ1000 II является удобство управления одной рукой: держать камеру, менять параметры съёмки, зумировать. Вот здесь и пригождается мощная рукоятка. Если же захочется поддержать камеру за объектив левой рукой, то пальцы безошибочно лягут на металлическое управляющее кольцо, а за ним нащупают целых три программируемых кнопки. Уже в момент первого знакомства камера говорит фотографу: «Я умею чуть больше, чем ты от меня ожидаешь».

Это понимаешь и тогда, когда разглядываешь названия кнопок. Восемь из них имеют маркировку Fn, то есть могут быть в любой момент перенастроены! Всего 13 органов управления могут быть перепрограммированы.

Вероятно, новичку в фотографии это покажется излишне сложным решением, но не делайте предварительных выводов: по мере освоения техники вы, возможно, перепрограммируете большинство из этих кнопок по своему усмотрению. Возможности управления здесь под стать топовым беззеркалкам Panasonic. Есть два управляющих диска, сенсорный экран, многофункциональный навипэд.

Включаем камеру рычажком под большим пальцем. На то, чтобы в видоискателе появилась картинка, уходит примерно 1 секунда. За это время раскладывается зум-объектив. Он тут довольно массивный, при максимальном фокусном расстоянии увеличивает габариты камеры примерно на 8 см. Зумировать можно как кольцом на объективе, так и рычажком вокруг кнопки спуска. Картинка на экране даже на максимальном зуме не дрожит — это работает оптический стабилизатор.

Управлять камерой действительно очень удобно. Никаких задержек в работе и подвисаний нет. Все параметры можно менять как навипадом, так и касаниями экрана. Здесь помощь оказывает фотографу экранное меню.

Точка фокусировки также меняется касаниями или перетаскиванием по экрану (работает даже при визировании через видоискатель!).

Для визирования можно использовать как поворотный 3-дюймовый дисплей, так и электронный видоискатель. На ярком солнце второй оказывается удобнее.

Разрешение его не рекордное по современным меркам, но высокое по меркам компактов — 2,36 млн точек. Так что картинка выглядит хорошо детализированной, живой. Видоискатель не стробит, не тормозит, по характеру работы не отличается от видоискателей более дорогих системных фотоаппаратов. Частота обновления видоискателя и экрана может быть выбрана в меню: 30 или 60 кадров/с.

Будучи ориентированным в том числе и на видеосъёмку, Lumix FZ1000 II имеет отдельный вход для микрофона — 3,5-мм джек. Из других разъёмов также отметим micro-HDMI, 2,5-мм гнездо для дистанционного пульта и USB, через который осуществляется зарядка фотоаппарата. Зарядка происходит в выключенном состоянии. Для карт памяти предусмотрен один разъём формата SD без поддержки UHS-II.

Корпус фотоаппарата выполнен преимущественно из пластика и ощущается в руке сравнительно лёгким несмотря на большой абсолютный вес — сказывается удобство хвата и продуманный баланс. Lumix FZ1000 II комфортно носить на ремне, а его крышка никогда не потеряется за счёт идущего в комплекте страховочного шнура. Он буквально создан для съёмки в путешествии или поездке. Разве что пыле- и влагозащита в характеристиках не заявлены. Но общее качество сборки очень высоко, зазоры отсутствуют.

Page 3

Большая дюймовая матрица и 16-кратный зум — это, безусловно, главные преимущества Panasonic Lumix FZ1000 II. Но чтобы их реализовать, должны хорошо работать и другие системы камеры. Об этом пойдёт речь на этой странице.

DC-FZ10002 УСТАНОВКИ: ISO 125, F4, 1/250 с, 235.0 мм экв.Cкачать RAW

Стабилизация и зум

Первое, что замечаешь при работе с большим зумом — действия системы стабилизации. При 400 мм экв. снимать с рук без стабилизатора было бы не так уж и просто. Но по умолчанию он включается одновременно с камерой, и картинка в видоискателе не дёргается. Это позволяет более точно строить кадр, а также упрощает работу системе автофокусировки.

DC-FZ10002 УСТАНОВКИ: ISO 250, F4, 1/125 с, 400.0 мм экв.Cкачать RAW

Даёт ли стабилизатор преимущество при работе с длинными выдержками? Безусловно, даёт. Если вручную понизить ISO, то в тех же условиях можно снимать на более длинных выдержках и получать меньше шума на снимках. Так, с рук удавалось делать резкие кадры примерно на 1/10 с при фокусном расстоянии 25 мм экв.

DC-FZ10002 УСТАНОВКИ: ISO 125, F3.3, 1/8 с, 25.0 мм экв.Cкачать RAW

В телеположении такой приём тоже можно использовать, но гигантского выигрыша ждать не стоит — 800-граммовая камера подвержена «шевелёнке» сильнее, чем комплект из огромного объектива и зеркалки чисто из-за разницы в весе.

DC-FZ10002 УСТАНОВКИ: ISO 125, F4.5, 1/60 с, 400.0 мм экв.Cкачать RAW

Кроме того, нужно понимать, что при съёмке в большим зумом на резкость картинки также оказывает влияние прозрачность воздуха. Например, в солнечный день из-за «дрожания» атмосферы вы не получите идеально резкие снимки удалённых объектов.

Чем дальше находится снимаемый объект, тем сильнее сказывается дрожание воздуха

DC-FZ10002 УСТАНОВКИ: ISO 125, F5, 1/1000 с, 400.0 мм экв.Cкачать RAW

Кстати, для облегчения кадрирования с большим зумом в Lumix FZ1000 II есть отличная функция. Нажимаем кнопку на объективе, камера «отдаляет» картинку, находим снимаемый объект, отпускаем кнопку — и камера возвращает зум в исходное положение.

Автофокус

В характеристиках Lumix FZ1000 II не заявлено применение столь модной сегодня фазовой фокусировки. Но на скорости работы камеры это не сказывается. Реакция на полунажатие кнопки спуска очень быстрая — максимум полсекунды, и фокусировка подтверждается характерным звуком.

DC-FZ10002 УСТАНОВКИ: ISO 500, F4, 1/125 с, 279.0 мм экв.Cкачать RAW

Здесь важно понимать, что перед нами не зеркалка, глубина резкости у Lumix FZ1000 II в разы больше. Сильно размыть фон получится лишь с максимальным зумом. Поэтому вопросы фокусировки не стоят столь остро.

На максимальном зуме можно отделить главный объект от фона, однако полностью размыть фон сложно.

DC-FZ10002 УСТАНОВКИ: ISO 125, F4, 1/500 с, 400.0 мм экв.Cкачать RAW

Негативно повлиять на скорость автофокуса может только плохое освещение. После заката камера работает существенно медленнее, но и снимать с рук при таких условиях уже не получится.

При съёмке этого ночного сюжета чувствовалось, что автофокус работает не идеально быстро.

DC-FZ10002 УСТАНОВКИ: ISO 125, F4, 1/2 с, 87.0 мм экв.Cкачать RAW

Зону автофокуса можно выбирать касанием дисплея или поручить этот выбор автоматике. Чаще всего автоматика работает безупречно. В сложных ситуациях достаточно помочь ей простым касанием экрана, указав нужный объект. Дополнительно можно задействовать распознавание лиц и автофокус по глазам — всё в духе времени.

Автофокус по глазам в действии

Автофокус по глазам помогает не задумываться о выборе области АФ при съёмке людей

DC-FZ10002 УСТАНОВКИ: ISO 125, F3.2, 1/800 с, 45.0 мм экв.

Есть непрерывный следящий автофокус, работа которого нареканий не вызвала. Автоматика отслеживает тот объект, за который «уцепилась» первоначально — всё предсказуемо и уверенно.

DC-FZ10002 УСТАНОВКИ: ISO 125, F4.5, 1/1600 с, 149.0 мм экв.Cкачать RAW

Более того, чувствительность автофокуса в меню можно настроить, если она вас не устраивает.

Макросъёмка с максимальным зумом

DC-FZ10002 УСТАНОВКИ: ISO 125, F4, 1/1000 с, 400.0 мм экв.

Макросъёмка с минимальным зумом

DC-FZ10002 УСТАНОВКИ: ISO 125, F5, 1/1600 с, 25.0 мм экв.

Макросъёмка и пост-фокус

Макросъёмка на Panasonic Lumix FZ1000 II возможна буквально с 3 см от передней линзы объектива, но лишь в широкоугольном положении. В телеположении зума минимальная дистанция составит 1 метр.

Макросъёмка с минимальным зумом

DC-FZ10002 УСТАНОВКИ: ISO 125, F5, 1/1600 с, 25.0 мм экв.

В виде отдельного режима реализована функция Пост-фокус. Она доступна не только при макросъёмке, но именно для крупноплановых кадров особенно актуальна из-за малой глубины резкости. В режиме пост-фокуса камера делает серию снимков, пробегая все зоны автофокуса по всему полю кадра. Затем прямо на экране фотоаппарата можно выбрать снимок с фокусом там, где вы хотите.

Снимок сделан в режиме пост-фокуса

DC-FZ10002 УСТАНОВКИ: ISO 125, F4, 1/1600 с, 391.0 мм экв.

Скачать оригинал файла Пост-фокус

Но коль скоро у нас есть серия из кадров, где каждый элемент изображения находится в резкости, почему бы не выполнить фокус-стекинг? Напомню, стекинг — это склейка нескольких кадров в одно изображение с целью увеличения глубины резкости. Конечно же, Panasonic Lumix FZ1000 II это умеет и делает абсолютно автоматически. Ограничение одно: чтобы склейка прошла корректно, объект съёмки и камера должны быть неподвижны.

Фокус-стекинг, сделанный после применения функции Пост-фокус

DC-FZ10002 УСТАНОВКИ: ISO 125, F4, 1/1600 с, 391.0 мм экв.

Серийная съёмка

Режим работы затвора в Lumix FZ1000 II вынесен на отдельный селектор — всё предельно просто и понятно. Серийная съёмка в полном разрешении возможна в RAW и JPEG со скоростью до 12 кадров/с (у нас получилось чуть меньше, около 11 кадров/с). При этом в буфер влезет непрерывная серия из 32 RAW-снимков — почти 3 секунды. В видоискателе между кадрами серии виден последний сделанный снимок — картинка чуть отстаёт от реальности. И лишь запись такой серии на карту памяти может стать маленькой ложкой дёгтя в бочке мёда — камере не хватает поддержки быстрых карт UHS-II.

DC-FZ10002 УСТАНОВКИ: ISO 160, F4, 1/125 с, 400.0 мм экв.

При использовании непрерывного автофокуса скорость серийной съёмки снижается до 7 кадров/с, но зато картинка в видоискателе и на экране будет «живой».

Есть здесь и фирменная технология 4K-фотосъёмки. В этом режиме камера записывает короткий видеоролик, который при просмотре можно «разобрать» на 8-мегапиксельные снимки. Минус в том, что RAW при этом недоступен, а съёмка проходит в диапазоне эквивалентных фокусных расстояний 37–111 мм. Плюс — съёмка возможна с предварительной записью, когда в память сохраняется фрагмент видео до нажатия на кнопку спуска.

DC-FZ10002 УСТАНОВКИ: ISO 1600, F4, 1/640 с, 578.0 мм экв. DC-FZ10002 УСТАНОВКИ: ISO 1600, F4, 1/640 с, 578.0 мм экв. DC-FZ10002 УСТАНОВКИ: ISO 1600, F4, 1/640 с, 578.0 мм экв. DC-FZ10002 УСТАНОВКИ: ISO 1600, F4, 1/640 с, 578.0 мм экв.

Скачать файл с 4К-фото

Видеосъёмка

Если есть 4K-фотосъёмка, то должна быть и 4K-видеосъёмка! Она возможна с частотой до 30 кадров/с и битрейтом до 100 Мбит/с. Здесь также присутствует кроп — диапазон эквивалентных фокусных расстояний составит 37–592 мм. Для сцен в помещении это может быть сложностью, а для съёмки живой природы или спорта — только плюс.

Съёмка без кропа возможна в разрешении Full HD, частота при этом тоже поднимается до 60 кадров/с.

Во время записи видео очень эффективно работает стабилизация, позволяя снимать с рук даже с максимальным зумом. Автофокус плавный, не рыскает и не дрожит. Звук можно записывать как со встроенного, так и с внешнего микрофона. Встроенный микрофон поддерживает зумирование.

Камера также позволяет записывать замедленное видео в Full HD — оно доступно в ручном режиме видеосъёмки. Скорость записи при этом достигает 120 кадров/с.

Беспроводные возможности

Для упрощения соединения с мобильными устройствами Panasonic Lumix FZ1000 II имеет энергоэффективный интерфейс Bluetooth версии 4.2. Устанавливаем на смартфон приложение Image App, сопрягаем устройства по Bluetooth, и дальнейшая настройка Wi-Fi уже происходит автоматически.

С помощью Bluetooth также можно применять смартфон в роли дистанционного спускового пульта.

Wi-Fi-соединение даёт чуть больше возможностей. Например, можно передавать снимки на смартфон, а также дистанционно управлять фотоаппаратом, видя живую картинку на экране. Объём регулируемых дистанционно параметров велик, можно даже управлять зумом прямо со смартфона.

Автономность

В характеристиках Lumix FZ1000 II указано, что ресурс одной зарядки аккумулятора составляет до 440 кадров (по методике CIPA). При использовании видоискателя расход энергии выше. На практике заряда точно хватит на половину дня активной съёмки, заявленные характеристики полностью соответствуют реальности. Указанное число кадров нам удавалось снять, используя видоискатель и экран попеременно, а также записывая небольшие ролики и просматривая сделанные снимки.

DC-FZ10002 УСТАНОВКИ: ISO 125, F5, 1 с, 389.0 мм экв.Cкачать RAW
Page 4

Дата публикации: 20.08.2019

За многие годы присутствия на рынке камер-суперзумов за ними закрепилась слава этаких «компромиссных» фотоаппаратов с посредственным качеством изображения. Но тенденция переломилась некоторое время назад, когда производители стали ставить в суперзумы сравнительно большие сенсоры формата 1″, как в Panasonic Lumix FZ1000 II. Такие камеры способны дать в разы более качественное изображение. Судите сами, на ISO 125 герой нашего теста обеспечивает высокую детализацию и отсутствие шума. Такие снимки подойдут не только для публикации в сети или просмотре на телевизоре. Их можно смело печатать форматом до А3 и иногда даже крупнее.

DC-FZ10002 УСТАНОВКИ: ISO 125, F5, 1 с, 93.0 мм экв.Cкачать RAW

Если начать повышать ISO, то ситуация остаётся столь же позитивной до 800 единиц. То есть и пасмурным днём проблем с шумом не будет. Даже ISO 1600 в отдельных случаях пригодно для крупноформатной печати, а при работе с форматом А4 и меньше вообще не вызывает вопросов.

DC-FZ10002 УСТАНОВКИ: ISO 200, F5, 1/2 с, 93.0 мм экв.Cкачать RAW DC-FZ10002 УСТАНОВКИ: ISO 400, F5, 1/3 с, 93.0 мм экв.Cкачать RAW DC-FZ10002 УСТАНОВКИ: ISO 800, F5, 1/6 с, 93.0 мм экв.Cкачать RAW

Пороговым значением является ISO 3200: оно ещё подходит для публикации в сети и фотопечати 11×15 или 15×20, но в целом детализация сравнительно низкая как в RAW, так и в JPEG. Однако такой результат — это уже недостижимая высота для камер с меньшей матрицей.

DC-FZ10002 УСТАНОВКИ: ISO 1600, F5, 1/13 с, 93.0 мм экв.Cкачать RAW DC-FZ10002 УСТАНОВКИ: ISO 3200, F5, 1/25 с, 93.0 мм экв.Cкачать RAW

Lumix FZ1000 II позволяет снимать и на ISO 6400, и на ISO 12800. Но эти значения стоит рассматривать как шанс запечатлеть уникальный момент любой ценой. Для художественной фотографии они малоприменимы.

DC-FZ10002 УСТАНОВКИ: ISO 6400, F5, 1/50 с, 93.0 мм экв.Cкачать RAW DC-FZ10002 УСТАНОВКИ: ISO 12800, F5, 1/100 с, 93.0 мм экв.Cкачать RAW

Динамический диапазон

Сырой RAW-формат в этом фотоаппарате — это не просто игрушка, он нужен отнюдь не только для коррекции баланса белого. Пусть матрица здесь и не такая крупная, как в системных камерах, она позволяет сохранять в RAW чуть больше деталей в тенях и светах, чем видно на фото. У фотографа в запасе есть примерно ступень экспозиции в светлых участках. При редактировании RAW зачастую можно спасти участки пересвеченного неба.

DC-FZ10002 УСТАНОВКИ: ISO 125, F5.6, 1/80 с, 126.0 мм экв.Cкачать RAW

Примерно на ступень-полторы можно осветлить тени. Для сложных контрастных сюжетов подобного запаса динамического диапазона может оказаться достаточно, чтобы спасти невыразительный, «провалившийся» по экспозиции кадр.

DC-FZ10002 УСТАНОВКИ: ISO 125, F5, 1 с, 365.0 мм экв.Cкачать RAW

RAW-файлы можно обрабатывать прямо в фотоаппарате, применяя к ним основные настройки и дополнительные фильтры.

Снимок обработан и сконвертирован из RAW прямо в камере.

DC-FZ10002 УСТАНОВКИ: ISO 125, F5.6, 1/2000 с, 135.0 мм экв.Cкачать RAW

prophotos.ru

LUMIX DMC-FZ1000EB Bridge Camera | Panasonic UK & Ireland

Try and see what POST FOCUS is

Try out the cool new function available with the latest free firmware download for LUMIX GX80, GX8, G7, FZ330, TZ80 and TZ100 cameras**. It's called Post Focus and it allows you to take a photo and then choose your focal point later. With Post Focus, you can shoot with confidence knowing that you can always change the focal point your photo was out of focus. Click here to read more about this LUMIX-exclusive feature* or click on image to simulate the Post Focus function.

* As per June 2016. **Models as per June 2016.

Try out the cool new function available with the latest free firmware download for LUMIX GX80, GX8, G7, FZ330, TZ80 and TZ100 cameras**. It's called Post Focus and it allows you to take a photo and then choose your focal point later. With Post Focus, you can shoot with confidence knowing that you can always change the focal point your photo was out of focus. Click here to read more about this LUMIX-exclusive feature* or click on image to simulate the Post Focus function.

* As per June 2016. **Models as per June 2016.

Try out the cool new function available with the latest free firmware download for LUMIX GX80, GX8, G7, FZ330, TZ80 and TZ100 cameras**. It's called Post Focus and it allows you to take a photo and then choose your focal point later. With Post Focus, you can shoot with confidence knowing that you can always change the focal point your photo was out of focus. Click here to read more about this LUMIX-exclusive feature* or click on image to simulate the Post Focus function.

* As per June 2016. **Models as per June 2016.

Try out the cool new function available with the latest free firmware download for LUMIX GX80, GX8, G7, FZ330, TZ80 and TZ100 cameras**. It's called Post Focus and it allows you to take a photo and then choose your focal point later. With Post Focus, you can shoot with confidence knowing that you can always change the focal point your photo was out of focus. Click here to read more about this LUMIX-exclusive feature* or click on image to simulate the Post Focus function.

* As per June 2016. **Models as per June 2016.

Try out the cool new function available with the latest free firmware download for LUMIX GX80, GX8, G7, FZ330, TZ80 and TZ100 cameras**. It's called Post Focus and it allows you to take a photo and then choose your focal point later. With Post Focus, you can shoot with confidence knowing that you can always change the focal point your photo was out of focus. Click here to read more about this LUMIX-exclusive feature* or click on image to simulate the Post Focus function.

* As per June 2016. **Models as per June 2016.

DMC-FZ1000, Amateur Photographer, Bridge Camera of the Year, 28 February 2015

DMC-FZ1000, ePHOTOzine, Ultra Zoom Camera of 2014, December 2014 24 December 2014

DMC-FZ1000, Amateur Photographer, Recommended 30 July 2014

DMC-FZ1000, Expert Reviews, Best Buy 30 July 2014

DMC-FZ1000, What Digital Camera, Gold Award 30 July 2014

DMC-FZ1000, Photography Blog, Highly Recommended 30 July 2014

DMC-FZ1000, ePhotozine, Highly Recommended 30 July 2014

DMC-FZ1000, Techradar, Recommended 30 June 2014

DMC-FZ1000, What Digital Camera, Winner 01 September 2014

www.panasonic.com

Panasonic Lumix DMC-FZ1000 Review

The Panasonic LUMIX DMC-FZ1000 is the world’s first bridge camera to feature 4K video recording. The Panasonic Lumix DMC-FZ1000 is a super-zoom camera featuring a wide-angle 16x zoom lens equivalent to a focal range of 25-400mm, a 20.1 megapixel 1-inch MOS sensor, a 3-inch 921K-pixel rotating LCD screen, a 2,359k OLED Live View Finder (LVF), 1920x1080 60/50p Full HD video recording, 0.09 second auto-focusing speed, wi-fi and NFC connectivity, and 12fps continuous shooting without autofocus and 7fps with autofocus. Other key features include RAW format support, an ISO range of 125-12800, manual shooting modes, Intelligent Resolution technology, a 3.5mm port for an optional stereo microphone, and an accessory shoe for an external flash. The Panasonic Lumix DMC-FZ1000 is available in black and retails for £749.99 / $899.99.

Panasonic has confidently pitched the newly available-to-buy Lumix DMC-FZ1000 to photographers and video makers alike as an ‘epoch’ product that it hopes will prove to be a game changer. It’s clearly pretty excited to have the first compact camera to not only feature 4K video capture, but which also allows photographers to extract a still image from a 4K sequence, to end up with the equivalent of an 8 megapixel photo. In terms of video we also have the option for time-lapse effects and stop motion animation with this model, so one could argue this is clearly a ‘hybrid’ product.

Thankfully this premium camera has some premium features to help justify the hype. These include a one inch 20.1 megapixel ‘Mos’ sensor – the same physical chip size found in Nikon’s ‘1’ system or Sony’s RX10 bridge model – plus a Leica branded lens. The latter provides a focal length the equivalent of an ultra wide angle 24-100mm in 35mm terms, translating as a 16x optical zoom. Naturally bird watchers, outdoor photographers, amateur paparazzi and simply family users will find such a broad range of framing options very useful, as they would do with any big lens ‘all in one’. Also on board is what Panasonic claims is a newly developed Venus Engine processor, with a quick (in fact almost instantaneous) start up time, faster AF response at the telephoto end of the zoom (again we’re talking blink-and-you’ll-miss-it fast), plus high speed OLED display all adding up to the fact that, it says, there is nothing else in the Panasonic range currently at this level.

The FZ1000 obviously resembles your typical bridge/ super zoom model from all angles, ape-ing the look of a full-blown DSLR, which immediately instills confidence while building expectation.

Notable on-board features include a 2,359K dot OLED EVF and 921K dot, 3-inch ‘free angle’ LCD screen. That lens reach, prominent electronic viewfinder, tilting screen and a decent sized handgrip have all resulted in a slightly chunky camera that obviously comes from the same ‘stock’ as the Gh5. While the chunkiness might dissuade some, others will be glad to at least feel they’re getting their money’s worth for the £749.99 manufacturer’s asking price. There is also the point to be made that the FZ1000 weighs around a third what a DSLR kit with equivalent lens might – so portability here is still key.

Front Rear

It’s also worth mentioning that the lens’ maximum f/2.8 aperture – running to up to a still respectable f/4 at extreme telephoto – will give us DSLR-like ‘bokeh’ effects, enabling attractive shallow depth of field look for portraits and still life shots whatever the framing option chosen.

Further notable features include 49-area AF, in-camera raw processing, face and eye detection technology, seamless 1 area AF, pinpoint AF and shutter speed of 1/4000 sec, plus an electronic shutter function for when photographers want to avoid potentially subject distracting noise – very useful when taking the night shots for this test report and wanting to avoid getting mugged! Aiming to make this camera truly a jack-of-all-trades, Panasonic’s picture control mode now offers up 22 filter effects on the FZ1000, which feels like an almost exhaustive amount as you scroll though the various options. Naturally since this is 2014, Wi-Fi connectivity is another box that needs ticking and here the camera offers up both NFC and QR code interaction, along with the prospect of remote shooting with use of a Panasonic ‘app’ that includes a new photo collage creation function.

Providing the hands-on feel for those who want it, the FZ1000’s zoom can be controlled via the regular zoom lever surrounding the shutter release button, as on any point and shoot compact. Alternatively this can be done by flicking a zoom/manual focus switch on the side of the lens barrel, and either focus or lens reach automatically adjusted by turning a lens control ring.

Whether you’re put off by the fact that a bigger than average lens means a chunky camera or are positively enthused by that fact, from all angles the FZ1000 certainly looks like it means business, which is reassuring given the high-ish price tag of £749.99, though street prices may be slightly cheaper a little after initial launch. The mottled finish and leather effect padding will cause most observers to suspect you’re wielding a DSLR from a distance. As you’d imagine it handles like one too. And the large-ish, bright and clear electronic viewfinder with a prominent eye relief means that we just about get away with avoiding our nose smearing up against the main monitor screen, though the larger and more flexible screen is what we most naturally found ourselves using when setting up or reviewing shots.

Unsurprisingly, that large Leica branded glass lens dominates proceedings here with its 25-400mm focal range and aperture range stretching from a bright/fast f/2.8 to a perfectly acceptable f/4 at the telephoto end. This, and probably not purely the fact that the camera shoots 4K video, is what the majority of users will be buying it for – though the latter feature is certainly a bonus in terms of future proofing your footage, providing you have the storage capacity to deal with the resultant huge 4K file sizes.

Tilting LCD Screen Tilting LCD Screen

Interestingly on this camera, the default still image ratio is now 3:2, which gives us the full 20.1 effective megapixel image. If you want to opt for the 4:3 ratio usually provided as the standard on a digital camera, this results in a resolution squeeze down to 17.5 megapixels. Naturally there’s the ability to capture Raw files or Raw files and JPEGs in combination. Since the latter option barely affected writing speed in the slightest, we chose it as our own personal default setting for the Panasonic.

To help with the ability to hold the camera nice and steady at maximum zoom, the FZ1000’s manufacturer has thoughtfully provided us with a comfortably moulded handgrip around which we were able to wrap three fingers, leaving our forefinger to hover expectantly over the shutter release button. The latter sits atop the handgrip, tilting forward at an ergonomic angle, encircled by a zoom lever.

Situated just behind these controls are two further buttons on the top plate. To the left we find a dedicated video button and on the right the first function button, marked ‘Fn1’. Drill into the menu screens and it’s possible to manually attribute a wide variety of functions to such buttons, including the ability to call up Panasonic’s Photo Style settings (the default factory option, seemingly), a level gauge – also summoned up by a press of the ‘display’ button – or alter the aspect ratio, just for starters. In fact, on this model there are 11 screens’ worth of user-attributable options, with four options presented on each, so the customization of said controls certainly feels almost limitless. If you so desire, the ability to make this camera your own – or to ‘build your own camera’ as some rivals are found of saying in their marketing, is here.

The FZ1000’s second function – or ‘Fn2’ – button sits just behind the first. Here the default factory setting is to enable the camera to establish a Wi-Fi connection – seen as a must on any digital device these days. Via this mode we can also set up remote shooting and viewing with the aid of a smartphone, plus Panasonic’s free downloadable app, transmit images whilst recording or send those already captured and stored by the camera to a suitably enabled TV set for shared viewing.

The other notable control nestling nearby on the top plate is for the camera’s shooting modes, of which 10 are offered – including the usual fully automatic, manual and custom settings – with the dial ergonomically encircled by the on/off switch. Give this a flick with the thumb, and, as soon as said thumb comes to rest, the camera is powered up; which is as quick as anyone could hope for. This responsiveness extends to the use of the lens, which travels through its optical zoom range from wide-angle to maximum telephoto setting in 4-5 seconds when in stills shooting mode. Even at maximum telephoto setting a squeeze of the shutter release button and the camera determines focus in a blink of an eye. If there’s potentially distracting foreground objects when fully zoomed in on your subject – such as bars on a cage at the zoo, or foreground shrubbery in a landscape shot – of course this will confuse the auto focus slightly – though a slight re-framing and subsequent press quickly eliminates the problem.

Top Side

On the FZ1000 the selectable shooting modes include the expected intelligent Auto setting and palette-like icon indicating creative controls. The Panasonic has eight screens’ worth of digital effects on board selectable in this mode. These range from our particular favourite of the saturation boosting ‘Expressive’ colour through the sepia tinted ‘Retro’ and the more white-ish if slightly clumsily named ‘Old days’, and include the more self explanatory High Key, Low Key, a slightly unnecessary ‘Sepia’ (given the previous Retro and Old Days options), Monochrome, more high contrast Dynamic Monochrome and grainy film-like Rough Monochrome, Silky Monochrome, the high dynamic range ape-ing ‘Impressive Art’, a separate High Dynamic setting, Cross Process, a vignetting Toy Effect, a more luridly saturated Toy Pop, Bleach Bypass, Miniature Effect, Soft Focus, ‘Fantasy’ – bathing everything in a light blue-ish wash (a it like we’ve left the camera on ‘daylight’ setting) – plus Star Filter, One Point Colour and Sunshine setting – the latter of which mimics a burst of sunshine intruding from the top of your frame, so enlivening rather dull shooting conditions with the haze of a summer’s evening.

The next shooting option discovered with a further turn of the mode dial is the scene settings, of which there are 25 here, including the likes of Silky Skin and ‘Sweet Child’s Face’, Vivid Sunset Glow, Glistening Water, ‘Cute Dessert’ – from which it would appear obvious that this camera has originated in Japan (!) – and finally, a panorama option. Moving around the shooting mode wheel we find two customisable settings, followed by a dedicated mode for video. Here we can switch between AVCHD video capture and MP4 – interestingly, if you want to shoot the maximum 4K video – i.e twice as high quality as Full HD – then a switch to MP4 mode is required before you can implement that setting on the Panasonic, with a resultant 25 frames per second capture speed. In other words 4K shooting is not available with AVCHD compression. Continuing around the dial, the final four shooting setting options are for the regular creative quartet of manual, shutter priority, aperture priority and program modes.

Jumping across the ‘hump’ in the middle of the top plate, housing the electronic viewfinder, vacant hotshoe, stereo microphone and pop-up flash, we come to a second, smaller dial with ridged edge. Here we get access to the camera’s drive modes, which range from single shot capture through high speed burst, to exposure bracketing and further self timer and interval shooting modes. In other words all the essentials are easily within reach of forefinger and thumb, and, despite the camera’s relative bulk, without too much of a stretch.

Moving our attention to the backplate, this is obviously dominated not only by the tilt, swivel and flip LCD screen, but also by the aforementioned EVF that juts out above it. The malleability of the screen is such that it can be turned to face the subject for that inevitable ‘selfie’, or flipped screen inwards affording added protection when in transit. It’s worth saying that we were very impressed with the clarity of screen, which comes into its own when focusing manually. Select this option and a central portion of the image is magnified, making matters even easier, and bringing even the scribbles on our notepad into sharp relief.

In terms of composing our shots when leaving the camera on its automatic default, the eye-level electronic viewfinder provides the obvious benefit of a built-in eye sensor immediately below, thus automatically activating and by turn deactivating the larger LCD when it senses the proximity of an eyeball. Over time, such little touches add up to a big benefit in terms of the unit’s intuitiveness.

Memory Card Slot Battery Compartment

The short sighted also get a dioptric adjustment wheel to the left of the EVF, as viewed straight on, and just up from this we find a manually activated sliding switch for raising the pop-up flash, which announces its presence with a reassuringly solid sounding ‘clunk’ when called into action. As well as the eye sensor, there is a button to the left of this marked ‘LVF’ for manual activation if desired, which feels a bit redundant given the camera’s responsiveness. Luckily this also doubles up as one of the customisable function buttons – ‘Fn5’ to be exact – should you wish to change its function. Attendant controls veer towards those of a DSLR – for example an auto focus/auto exposure lock, encircled by a lever for switching between single shot and continuous auto focus, or on to manual (focus). Switch to manual focus and flick the two-way lever on the lens barrel from ‘Zoom’ to ‘Focus’ and, as noted earlier, your deployment of the lens ring can be changed.

The default setting of the ‘Fn3’ button to the right of the lock/drive mode buttons provides access to the usual Panasonic ‘Quick Menu’ bar. Selectable from this are the Photo Style settings, which here range from the default ‘Standard’ setting to Vivid, Natural, Mono(chrome), Scenery, Portrait, and Custom options. A top-of-screen toolbar further provides access to flash modes, which include forced flash, forced flash with red eye reduction, slow sync and slow sync with red eye. Image size and picture quality can also be adjusted in this manner, along with, again, AF modes. Such options can either be tabbed through using the camera’s four-way control pad – which we’ll get to in a moment – or a thumb spin of a DSLR-like control dial top right of the camera back. Again there are a variety of options for arriving at your destination with the FZ1000. But this doesn’t make it a confusing camera to use or difficult to get to grips with. On the contrary; more options are simply more options.

Between this ‘Fn3’ and ‘display’ button we find a standard playback control, with a press of the display button not only showing or hiding on-screen options but also, with subsequent presses, bringing up a level gauge – useful for photographers/ videographers shooting landscapes and cityscapes without the support of a tripod.

Bottom right of the camera’s back plate is the aforementioned four-way/directional control pad. Selectable here are ISO sensitivity settings, which include both auto and ‘intelligent’ ISO options, along with manually selectable staggered increments from ISO125 to ISO12800. White balance and macro mode implementation also happens via the same dial.

The very bottom of the FZ1000 features a further user attributable ‘Fn4’ button which doubles up as a dedicated ‘delete’ button in playback mode, with the base of the camera featuring a slightly off-centre screw thread for tripod attachment and  shared compartment housing both rechargeable battery, good for around a respectable 360 shots, plus SD card. This means that HDMI and USB output ports are provided under a very stiff flap at the camera’s side, which also allows for remote input, while on the opposite flank of the camera there’s a port for attaching an accessory microphone. Clearly this is a camera with ideas and ambitions beyond what is already on board, out of the box.

But what about the FZ1000’s image quality – how does it measure up to the alternative of a mid range DSLR that one could buy for its £749.99 price tag, if a long lens reach and 4K video shooting aren’t the prime concern? Click ahead and find out…

Next Page Image Quality »

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