Panasonic lumix dmc fz1000. LUMIX DMC-FZ1000EE Digital Camera

As another positive step, Panasonic has also upgraded the resolution of the FZ200's EVF from 201K pixels to 1312k dots. It now provides roughly the same level of detail as the viewfinder on Lumix G-series cameras, albeit at a smaller image size.

The sensor on the FZ200 has the same 12-megapixel resolution as its predecessor and still allows you to record RAW files. In terms of other specs, the new camera achieves the same burst frame rate of 12fps and offers 1080/50p/60p video recording and a similar external microphone jack, making it one of the best the most expensive super zooms on the market.

Panasonic focused on the performance, functionality and other features of the Lumix FZ200, while Canon, with the PowerShot SX50 HS, focused on a 50x optical zoom that extends up to 1200mm, twice the FZ200's telephoto range. Such a super zoom is clearly aimed at photographers who want to get as close to distant action as possible. In this review you will find a comparison of the Lumix FZ200 with the flagship super zoom Canon PowerShot SX50HS.

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Panasonic Lumix FZ200 - design and control

The body style of the Lumix FZ200 is very similar to its predecessor, but it has gained a bit of weight and bulk. With dimensions of 125 x 87 x 110mm and a weight of 588g including battery and memory card, it is practically the same as the Canon PowerShot SX50 HS, and the squareness of these last two models makes them more related to each other than to their predecessors.

The FZ200 has a deeper grip and thumb holder than the FZ150, which contributes to the comfortable operation of the camera. In front of the body, to the left of the lens, additional zoom controls appeared and the focus switch was preserved. As with the previous model, the built-in microphones are mounted on the top of the body near the pop-up flash, and there is a new Fn1 function key near the camera switch. The built-in flash covers a range of 13.5m, and the Lumix FZ200 also has a standard hot shoe through which you can attach an external flash.

The combo USB/A/V port and mini HDMI connector has been moved from the left to the right side of the camera body. But the 2.5mm external mic jack, located on the left side under a small soft plastic cover, is the FZ200's key advantage over its rivals, including the PowerShot SX50 HS. The compartment for the battery and memory card is located on the right under the handle. The FZ200 is powered by a 1200mAh BLC12E lithium-ion battery. On one charge, you can take 540 shots.

Panasonic Lumix FZ200 - viewfinder and screen

The Lumix FZ200 retains the 3-inch 460K-dot LCD screen of its predecessor. This is an excellent hinged screen that delivers a bright, high contrast image. It can also be turned inward to protect the top cover when not in use. It's worth noting that while the Lumix FZ200's 3-inch screen is slightly larger than the 2.8-inch LCD monitor in the SX50 HS, its 3:2 aspect ratio means you'll get narrow blacks when shooting in 4:3. stripes on both sides of the picture. Therefore, the active area here is actually a little smaller than on the PowerShot SX50 HS. But when switching to widescreen and video, the situation changes.

Panasonic has updated the electronic viewfinder in the FZ200. It's now a 0.21-inch, 1,312,000-dot compositor, down from the 1,440.00 dots of the Lumix G3 mirrorless system camera, but with a physically much larger viewfinder. Thus, the closest competitor to the FZ200 is Fujifilm's HS30 EXR with 920,000 pixels and 0.26-inch viewfinder, followed by the Canon PowerShot SX50, Sony Cyber-shot HX200V and FZ150.

The higher resolution viewfinder on the Lumix FZ200 delivers more detailed, brighter, and less prone to tearing and rainbows than the SX50 HS. Therefore, the eyes get tired less and it is easier to compose a shot in low light conditions.

Panasonic Lumix FZ200 - lens and stabilization

The key feature in the Lumix FZ200 is its zoom lens, but not for the same reason as in the SX50 HS, which Canon has equipped with a 50x zoom. Panasonic stuck on the 24x range for the third time in a row in the FZ series. As with early FZ models, the Lumix FZ200 has a constant f2.8 aperture throughout its range. This feature will be of interest to many photographers who value low-light performance and shallow depth of field.

The more you zoom in with the SX50, the more the aperture difference will become apparent compared to the FZ200. The SX50's maximum aperture steadily decreases and drops to f4 at 38mm, a one-stop difference; at 185mm it closes down to f5.6, which is a two-stop difference at the same focal length. This means that you will have to shoot at ISO 1600 on the SX50 HS, where in the same situation you can choose ISO 400 on the FZ200 with the same shutter speed.

To test depth of field, both cameras were set to aperture priority mode and the widest aperture available was zoomed in to 600mm, which is the maximum on the FZ200. You can see the results below. Not only does the FZ200's aperture give it an edge in low light, it also provides a shallower depth of field.

The second example below shows similar results with both lenses zoomed in to around 400mm, with the subject closer to the camera this time.

The Panasonic FZ200 is equipped with a powerful OIS system that uses moving lens elements to compensate for camera shake and enables handheld shooting at slower shutter speeds. To test the effectiveness of stabilization, we took a shot at the maximum focal length of up to 600 mm in shutter priority mode, gradually slowing down the shutter speed. First, stabilization was turned off, and then activated. As you can see in the crops below, the Lumix FZ200 can shoot at slow shutter speeds with IS on, up to about six stops slower than without IS. Combined with a constant f2.8 aperture, the Lumix FZ200 delivers truly unsurpassed low-light performance at long focal lengths.
Panasonic Power OIS on/off

Panasonic Lumix FZ200 - shooting modes

In addition to PASM modes and Intelligent AE, Panasonic offers two custom positions marked on the mode dial as C1 and C2, as well as SCN (with separate scene modes selected on screen), creative effects and video mode.

The range of creative filters has been expanded with the addition of eight new options, now there are fourteen. Some of them are: expressive, soft focus, star filter effect, toy camera effect, miniature effect, retro, high key, low key, sepia, dynamic monochrome.

Dynamic monochrome Sepia star filter effect

Creative filters can be applied during shooting or later added from the retouch menu. The miniature effect requires additional internal processing that reduces the frame rate of the recorded frames to 3.5 frames per second, but instead of playing jerky motion in real time, these clips simply play at eight times the normal speed, which further enhances the effect. Below you can see an example of such a recording, which took four minutes. But if you're a real fan of thumbnail video, the SX50's version of the feature is a bit more versatile, with a choice of three playback speeds.

The Lumix FZ200 retains a 3D mode that creates images when the camera is moved up to 10 cm to the side. This is the same approach that was first used on Sony cameras.

The FZ200 also offers a panorama shooting mode that stitches consecutive shots as you rotate the camera to capture a panoramic scene and then combines them into a single image. You can even create images with a viewing angle that can reach 360 degrees horizontally.

Panasonic Lumix FZ200 - ISO aperture priority and HDR mode

Program mode, ISO 1600, f4, 1/8 sec Scene mode HDR, ISO 1600, f2.8, 1/16 sec

In HDR and night portrait mode, ISO sensitivity is set automatically. Above you can see the effectiveness of the HDR mode. For this low-light scene with lots of deep shadows, the HDR mode greatly improved shadow detail. This is certainly a more dramatic improvement than what we saw with the same scene when shooting on the SX50 HS in i-Contrast mode.

Panasonic Lumix FZ200 - functionality

Fast and responsive, the FZ200 won't let you run out of custom buttons. It is ready to take a picture in about a second after being turned on. It has redesigned the on-screen graphics and is now much smaller, giving an overall less clunky and unobtrusive look. New graphics not only look better, it lets you see more of what's happening on the screen. PASM exposure modes feature new scale bars that show aperture and shutter speed combinations in a much more legible format than the old numerical readouts. Both the viewfinder and the LCD can be set to display information below the image rather than using an overlay method, although this greatly reduces the image.

Unfortunately, Panasonic didn't go one step further and redesign the layout of the Q.Menu overlay, which doesn't stand up to scrutiny for poor design. But what the FZ200 lacks is the straightforward simplicity of the SX50 HS's Func.Set menu, which does provide quick access to frequently used settings like photo styles (color reproduction), flash settings, image size and quality, and AF area settings. The full menu is organized into three tabs: shooting options, audio settings, and camera settings. The first works on six pages, and the last on eight with linear navigation. That is, you have to scroll through each page to get to the next one, and if what you want is on the seventh page, then you might find it a little tedious. Of course, if you know what you're looking for on page seven (the format, for example), you can go backwards, but good design shouldn't require you to memorize the location of 37 different options.

Luckily, the FZ200 provides various programmable function keys. There are only three of them: Fn1 is located on the top panel, Fn2 is near the AF / AE lock button and Fn3 is on the back panel, just above the joystick. The same choice of thirteen functions is available for each of the three buttons, including photo style, aspect ratio, quality, metering mode, blend line guide, and auto bracketing.

While the FZ150 didn't have a single Cust position, the Lumix FZ200 introduced C1 and C2 positions. So this only increases the total number of custom kits that are instantly available - you just need to turn the dial and start shooting.

The FZ200 at its 600mm maximum telephoto presents a challenge for those not accustomed to shooting with long lenses. It's tricky, but not impossible as long as you have stabilization enabled. Take a look at the first sample video to get an idea of ​​how much the camera wanders around when you zoom in all the way. Of course, a lot will depend on how stable your hands are. Also note that the video above was shot using an LCD screen, but if you're using an electronic viewfinder, you'll find it easier to keep subjects steady as the camera will be pressed against your face.

The FZ200 can wander a bit at 600mm, but it's much easier to track moving subjects at this focal length than at 1200mm with the PowerShot SX50 HS. And yet, a monopod or other support will be very helpful. When the focal length was fully zoomed out, despite a constant aperture of f2.8, focusing took longer than at wide angle.

Panasonic Lumix FZ200 - autofocus

Lumix FZ200 has four focus modes: 1-zone, 23-point, continuous autofocus and face detection. The latter can detect up to 15 faces and fix the focus on one of them. In addition, there are three styles of autofocus, these are the usual single AFS (Auto Focus single) and the continuous AFC (Auto Focus continuous) mode, as well as the flexible AFF mode (Auto Focus Flexible). The latter is intended for shooting objects such as children and pets, which tend to move erratically.

Manual focus can be selected in the same way as on the FZ150 using a three-position switch on the lens barrel that switches to autofocus mode, autofocus macro mode, and manual focus mode. Focus is then corrected using the rear control wheel or via the zoom controller on the lens barrel, as you prefer.
If your subject is static and well lit and your camera is mounted on a tripod, then manual focus can work well, but don't expect it to replace autofocus in low light conditions.

As we already mentioned, the Lumix FZ200, like the PowerShot SX50 HS, supports face recognition. The camera remembers people whose names are pre-memorized, or you can set it to focus on frequently photographed faces. Focus and exposure will be adjusted for recognized faces. This feature is popular on Panasonic compacts, as it is undoubtedly very funny to see people's names that appear under the detected faces.

Panasonic Lumix FZ200 - continuous shooting

The Lumix FZ200 essentially exhibits the same continuous shooting performance as its predecessor. You can shoot at up to 12fps at full resolution without autofocus, or 5.5fps and 2fps with autofocus.
To test burst speed, the FZ200 was equipped with a Sandisk Extreme Pro UHS-1 formatted SD memory card rated at 45MB/s. When set to 12 fps with the best image quality in JPEG format, the FZ200 managed to shoot exactly 12 frames in 0.9 s, that is, just over 13 frames per second. This is a very high result in terms of speed, but one second is a very short amount of time to capture the action in a sequence.

As another test showed, the 5.5fps mode looks like it could be of great use for capturing long action. With similar JPEG settings and a formatted card, the FZ200 took fifteen shots at 5.5 fps before it slowed down noticeably and continued shooting. The first 15 frames were shot in 2.6 seconds, that is, at a frequency of 5.76 fps, and then the speed slowed down to about 2 fps.
So you can get a burst of about two and a half seconds at 5.5 fps, which may actually be a more useful option than a burst of one second at 12 fps.

Panasonic Lumix FZ200 - sensor

Like its predecessor, the Lumix FZ200 is equipped with a 12.1 megapixel CMOS sensor, which is an upgrade from Panasonic's previous model. The sensor allows the camera to shoot slow motion 1080p HD video in addition to fast continuous shooting and provides an HDR mode for shooting in low light.

The FZ200 supports shooting in RAW format and offers two JPEG compression options: Standard and Fine. The maximum image size is 4000x3000 pixels, 4:3, 3:2 and 1:1 ratio options. Full size Fine JPEG files are 4.5 to 5 MB. The sensitivity range is from 100 to 6400 ISO, and the shutter speed range is from 60 to 1/4000 sec.

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Panasonic Lumix FZ200 - Video modes

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The FZ200 retains the same set of HD video capabilities as its predecessor with better quality in 1080 50p or 60p depending on region. But there is something new for videographers as well. This is high-speed Motion Video shooting that slows down action recorded at high frame rates. There are two options: 100 fps - 720p HD recording and playback at 1/4 of real time and 200 fps in VGA mode, which plays back 1/8 of real time. The Canon SX50 HS and other compacts offer super slow motion video, but Panasonic is the first to bring it to high definition HD. Unfortunately, you won't be able to zoom while recording at high speed.

The camera offers a choice of two encoding formats, AVCHD or MP4. Panasonic recommends using the first one for best quality when playing on TVs, and the second for extensive editing and downloading.

In AVCHD mode, you can record 1080p video at 28Mb/s, as well as 1080i or 720p at 17Mb/s. At 1080p, footage is recorded at 50p or 60p; at 1080i, footage is recorded in 50i or 60i mode. 720p footage is recorded at 50p or 60p. MP4 can record Full HD 1080p, 720p or standard definition VGA video at 20, 10 and 4 Mbps respectively. All three modes are encoded using progressive video at 25p or 30p.

Using the 1080p best quality mode, you are viewing frames at 200Mb per minute, which is significantly more than the AVCHD 1080i and 720p modes, which consume up to 120MB per minute. If you are using the MP4 format, the clip length is limited to 29 minutes and 59 seconds or a 4 GB file size. The manufacturer recommends using Class 4 or higher SD cards for video recording.

#1: Outdoors, sunny, handheld.

For this and the other samples presented, the Lumix FZ200 camera was set to HD PSH 28Mbps 1080p50 best video quality. Stabilization was turned on for this handheld panorama, which kept subjects in the frame stably even at the full 600mm zoom. Autofocus performed well during zooming, although it allowed itself to wander around a bit.

Panasonic Lumix FZ200 - Sample Video #2: Outdoors, sunny, shooting with a tripod.

Stabilization has been disabled for this tripod panorama shot. Another good result from the FZ200 with warm, rich colors and good auto exposure, particularly when shooting water reflections. As before, the autofocus was a bit erratic when zooming, but quickly corrected itself. The zoom motor is not audible, but you can hear the autofocus motor from time to time.

Panasonic Lumix FZ200 - Sample Video #3: Indoor, low light, handheld.

The Lumix FZ200 produces a slightly noisy picture in low light conditions and colors look a bit washed out. The exposure is handled well and the stabilization does the job, but at the very end of the shoot, notice how the frame moves backwards.

Panasonic Lumix FZ200 - Sample Video #4: Continuous autofocus.

The coffee cup example shows the continuous autofocus on the Lumix FZ200 in action. With alternate focusing on the cup and on the bar, the FZ200 quickly reorients itself, and the exposure makes a quick, unobtrusive transition.

Panasonic Lumix FZ200 - Sample Video #5: High Speed ​​Motion Video at 100 fps 720p.

The Lumix FZ200's Motion Video feature offers two options, a 100fps 720p HD mode that plays the action at 1/4 speed, and a VGA mode that plays back footage at 1/8 speed. This 32-second clip took about 8 seconds to shoot.

Panasonic Lumix FZ200 - Sample Video No. 6: Miniature mode.

Lumix FZ200 allows you to use creative filters for your videos. The miniature effect shown here is played back at eight times the speed real speed actions. This 30 second clip took four minutes of video. Unfortunately, what looks like interlacing artifacts spoils the impression of this interesting mode.

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Panasonic FZ200 and Canon SX50 HS performance comparison

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To compare actual performance, the Panasonic Lumix FZ200 and Canon PowerShot SX50 HS shot the same scene minutes apart using the best JPEG quality settings.

The focal length on the SX50 HS has been increased slightly to produce a similar field of view as the FZ200 at its 25mm maximum wide angle.

Image stabilization was disabled, shooting was carried out with a tripod, and all other settings remained at default.

The image above was taken from the Panasonic Lumix FZ200. The camera was set to aperture priority mode with an aperture of f4, ISO 100, shutter speed 1/640. The Canon PowerShot SX50 HS shot at 1/400 at f4 and a base ISO of 80.

On the day of the test shooting, the bright sun scene was particularly demanding, presenting a very wide range of brightness. The Lumix FZ200 did a fairly good job of exposure, but there are still quite a few clippings in the image, in particular the white walls of a building reflecting bright sunlight. The histogram reaches both ends of the chart. Note that the PowerShot SX50 HS had exactly the same problem with this high dynamic range.

Overall, despite the harsh lighting conditions, the Lumix FZ200 captured an excellent set of shots. The first vintage conveys a lot of fine detail in the rocks and well-detailed grass, as well as fine detail in the stone chapel. In the second frame, the lighthouse blurred a little and there was noise in the sea and sky area. Yes, and the foreground here also gives out a slight degree of noise. Obviously, there is not enough contrast.

In the third frame towards the edge of the shot, the FZ200 is unable to maintain the same level of sharpness and contrast as it is in the middle, and details appear softer. We also see some color fringing here, and the noise we noticed in the second frame is more noticeable, especially in the window area. Finally, in the last frame closer to the center, a return to sharpness can be noted. Already clear window frames in the farthest building and a good level of detail on the roof tiles in the foreground.

The difference in quality between these crops compared to the Canon PowerShot SX50 HS is obvious. Of course, one or two shots are very similar in terms of detail. But at the edge of the frame, as shown in frame 3, the Lumix FZ200's 25x zoom lens doesn't do as well at maintaining consistent image quality as the PowerShot SX50. The details here look a little blurry and distorted, and there is also a significant amount of color fringing. Pictures from the Lumix FZ200 contain more noise than those from the SX50 HS.

The test was repeated, increasing the focal length to 400 mm. A scale was used on the SX500 lens to estimate the 400mm equivalent focal length, which turned out to be 65.4mm or 365mm equivalent. Then the Lumix FZ200 respectively used a focal length of 65.8mm to 366mm equivalent. The aperture on both cameras was set to f5.6 in aperture priority mode at the base ISO setting. As always, the red squares in the figure below indicate the areas in which the survey was conducted.

These shots did not reveal any flaws at the 25-600mm FZ200 lens distance, as well as at wide angle. The noise that stands out especially in the vertical gray bars has nothing to do with zooming. This is not actually a defect in the lens, but sensor noise.

f4, ISO 100 f4, ISO 80

f4, ISO 100 f4, ISO 80

f4, ISO 100 f4, ISO 80

f4, ISO 100 f4, ISO 80

Panasonic FZ200 and Canon SX50 HS at 365mm equivalent distance.

Panasonic Lumix FZ200 Canon PowerShot SX50 HS

25-600mm at 65.8mm (366mm equiv.) f5.6, ISO 100 4.3-215mm at 65.4mm (365mm equiv.) f5.6, ISO 80

25-600mm at 65.8mm (366mm equiv.) f5.6, ISO 100 4.3-215mm at 65.4mm (365mm equiv.) f5.6, ISO 80

25-600mm at 65.8mm (366mm equiv.) f5.6, ISO 100 4.3-215mm at 65.4mm (365mm equiv.) f5.6, ISO 80

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Panasonic Lumix FZ200 - sample images

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The following pictures were taken with the Panasonic Lumix FZ200 in Program mode. The Lumix FZ200 camera was set to its best quality at 12 megapixels with auto white balance. Image stabilization was on, shooting was done handheld.

All images shown are available for download in their original format. Click on the desired photo to access the files on Flickr.

Landscape: 4.85MB, Program, 1/500, f4, ISO 100, 4.5-108mm at 4.5mm (25mm equiv.)

Landscape: 5.01MB, Program, 1/160, f4, ISO 100, 4.5-108mm at 4.5mm (25mm equiv.)

Landscape: 5.09MB, Program, 1/500, f4, ISO 200, 4.5-108mm at 108mm (600mm equiv.)

Portrait: 4.99Mb, Programmed, 1/200, f4, ISO 100, 4.5-108mm in 34mm (189mm equiv.)

Macro: 4.67MB, Program, 1/60, f2.8, ISO 400, 4.5-108mm at 4.5mm (25mm equiv.)

Interior: 4.78MB, Programmed, 1/60, f2.8, ISO 100, 4.5-108mm at 4.5mm (25mm equiv.)
Interior: 4.83MB, Programmed, 1/10, f2.8, ISO 1600, 4.5-108mm at 4.5mm (25mm equiv.)

And now let's move on to the conclusions.

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Panasonic Lumix FZ200 - conclusions

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Panasonic's flagship Lumix FZ200 superzoom marks a turning point for the FZ series and perhaps even the superzoom market in general. Instead of continuing to push for a longer focal length range with a more powerful zoom, Panasonic has taken time out and focused on other improvements. As a result, the Lumix FZ200 has a fixed f2.8 lens as its key feature.

You know that as the focal length increases, the aperture value steadily decreases, which allows less light to enter through the hole and forces you to use high ISO values ​​or slow shutter speeds. But all this has a negative effect on image quality and does not allow you to freeze actions, for example, for sports photography and wildlife. Many consumers buy superzooms for this purpose, hoping to use their powerful zoom for sports and wildlife, but in the end they are mainly suitable only for static objects. The FZ200, with its constant f2.8 aperture, coupled with excellent image stabilization, fits the bill perfectly.

While most other manufacturers continue to offer a mostly low resolution EVF, the FZ200 is equipped with a 1300k-dot EVF that provides comfortable detailed viewing and outperforms similar models from other manufacturers in this price range. Nearby is only Fujifilm HS30 EXRs, whose viewfinder has 920k dots. The 12.1-megapixel sensor on the FZ200 has been improved. The camera produces high-quality JPEG images and lets you shoot in RAW format. New High Speed ​​Motion Video and miniature mode have been added to the existing HD video capabilities.

The FZ200 may not claim to be the "largest", "longest" or "smallest" super zoom, but it does feature a fast lens and is backed by a set of features that will be appreciated by those users who are willing to go beyond the main features of the range. zoom and megapixels.

Compared to Canon PowerShot SX50HS

Panasonic Lumix FZ200 and Canon PowerShot SX50 HS have a number of similarities in appearance, let's start with that. They are both exactly the same in size and weight, and also have a very similar style, especially considering the "square top" of the SX50 HS. Both cameras have 12-megapixel sensors and offer shooting in RAW files in addition to JPEG mode. Despite the difference in specifications, their articulated LCD screens are similar in size and have the same 460k-dot resolution. They also offer a similar range of manual, semi-automatic and fully automatic exposure modes.

But, despite the similarities, there are many differences between them, and we will start with the most obvious. PowerShot SX50HS twice the zoom range of the Lumix FZ200. Wide-angle they start at similar 24mm and 25mm respectively, but the SX50 HS extends to 1200mm while the FZ200 is limited to 600mm. Compared to the SX50, the FZ200's range looks modest, but 600mm is enough to get close to most things. Although the SX50 is useful for photographing small objects that are far away, such as birds. Speaking of lenses, note the fixed aperture of f2.8, compared to F3.4-6.5 on the SX50 HS. Not only does this make the FZ200 more capable in low light with a two-stop advantage over the SX50 HS when zoomed in, but it means that shallower depth of field can be achieved with this camera, for example for portraits.

Although their screens are similar, the electronic viewfinder is Lumix FZ200 has a higher resolution than the SX50 HS and delivers a brighter, more detailed picture and, ultimately, a more comfortable viewing experience. The FZ200 has a button to switch between the screen and the viewfinder, adding more functionality than the SX50 HS.

The FZ200 has more physical control than the SX50 HS and more customization options. It has at least three programmable Fn function keys, as well as a switch between focus modes. There is also a dedicated button for selecting continuous shooting mode and the FZ200 offers a wide range of continuous shooting.

Both cameras have a dedicated video button and can use optical zoom while recording video. Lumix offers better 1080p50/60 video quality than 1080p24 on the SX50 HS. While video lovers especially appreciate 24fps, the FZ200 provides 50/60P mode with high quality slow motion playback at 25/30fps. Both offer two slow motion video modes, but with the FZ200 it's HD resolution compared to VGA on the SX50 HS. Both cameras have a standard hot shoe and also have a built-in flash, but the FZ200 is additionally equipped with a connector for connecting an external microphone.

In terms of image quality, there are also differences between the two models. In addition, the SX50 HS can now shoot in RAW format along with JPEG. Finally, depending on your geographic location, the PowerShot SX50 HS will cost you up to about 25 percent less than the Lumix FZ200.

Price factor aside, the choice comes down to which features are most important to you. Canon gives you the ultimate in zoom with exciting creative modes and versatile video recording options. But in many ways, the FZ200 is still more geared towards the enthusiast. The lens clearly lacks Canon's range, but its aperture offers more options for sports, wildlife, low-light photography and out-of-focus backgrounds. Its viewfinder is better than on the SX50 and offers more customization options. If these benefits outweigh the coverage of zoom, then you've made your choice.

You can get acquainted with the Canon PowerShot SX50 HS in more detail in the review, which is dedicated to this superzoom.

Panasonic Lumix FZ200 - Conclusion

Lumix FZ200 is the flagship superzoom from Panasonic, which fully justifies its title. If you're looking for the ultimate zoom range, there are plenty of other models out there that outperform the FZ200's 24x zoom. And if you're the kind of consumer who judges super zoom solely on its range, then chances are you wouldn't have met you on this page. Zoom is just one aspect of what the FZ200 has to offer. Plus, a 600mm focal length will be more than enough for most people. The FZ200 has additional benefits that will delight consumers.

A long lens is useless in low light, but the FZ200 allows you to use it with a constant aperture of f2.8. In stadiums, at dusk, or on overcast days, you'll shoot better quality shots with the FZ200 at ISO 200, while with the Canon SX50 HS you'll need to say ISO 800. In addition, the FZ200 has a button to switch between the viewfinder and the screen. Add to that a wide range of video options with external microphone connectivity, a wide range of exposure modes, creative filter effects, great customization options, physical control and very good time offline work. Lumix FZ200 deserves to be recommended to the consumer.

One last thing to note is that Pansonic also makes more affordable versions of the FZ200. These are the Lumix FZ60 / FZ62 models with the same 25-600mm zoom range, but lack the 16.1MP MOS sensor and many of the features of the FZ200, such as the constant f2.8 maximum aperture, high-resolution electronic viewfinder, screen rotation, shooting in RAW file format, hot shoe interface, microphone input and 1080p60/50 video. The list of feature cuts may seem long, but keep in mind that the FZ60/FZ62 is also priced at a little over half that of the FZ200.

Positive points :
Constant f2.8 aperture throughout the entire zoom range.
The effectiveness of the Power OIS image stabilization system 6 stops.
0.2-inch electronic viewfinder with 1300k dots.
3-inch 460k-dot articulated LCD.
HD slow motion and miniature video mode.

Adjustable viewfinder with eyecup

The 1,266,000-dot equivalent color viewfinder can be adjusted for added convenience. The large eyecup provides comfort for all eyes.

2-channel XLR audio input connectors

The HC-X1000 is equipped with 2-channel XLR audio input jacks for recording from an external microphone or line. It is also equipped with a +48 V phantom power supply. This allows you to use professional high-performance microphones for sound recording. High Quality.

3.5" LCD slide-out touch screen

The LCD display serves as a screen with high resolution in 1152 thousand points and a touch panel for menu settings. When not in use, it stows away in the front handle for increased mobility and safety. It also rotates vertically 270 degrees for easy shooting at tricky angles and auto-interviews.

Triple control ring

Despite the compact body of the HC-X1000, features such as the focus ring, zoom ring and iris ring on the lens meet professional needs. This allows you to work with the camera quickly and intuitively.

ND filter

ND filters are built into the lens to suppress incident light. You can select a filter (1/4, 1/16, 1/64 or OFF) that suits the shooting conditions. This is convenient, for example, when you want to shoot at slow shutter speeds in bright daylight.

Long exposure (ND filter 1/64)

LED light ring

The LED light ring allows people to easily check that recording is in progress, making shooting smoother. The user can turn the backlight on or off.

12.06.2014 24669 Tests and reviews 4

Panasonic has unveiled a new camera, the Lumix DMC-FZ1000, which at first glance is very similar to Sony's Cyber-shot DSC-RX10 - significant zoom, 20MP 1" MOS sensor, but instead of Sony's 24-200mm EGF, Panasonic achieves focal lengths from 25 up to 400mm equivalent.To cope with this huge range, the FZ1000 lens provides a change in maximum aperture from F2.8 to F4.0 when zooming in. Well, if you remember the FZ50, which offered a similar zoom and aperture range, then the predecessor has a much smaller sensor 1/1.8".

When the RX10 was introduced, it stood alone at this stage in the market, as an expensive but extremely flexible camera that seemed to be equally designed for stills and video. The launch of the FZ1000 pushed Sony aside, signaling that camera makers in every niche won't leave the competition alone. At the same time, $899 / £749.99 for the FZ1000 at launch is more than a third lower than the Sony camera.

What does the FZ1000 offer besides a relatively large sensor and a fast superzoom lens? First of all, the use of a quad-core Venus IV processor, which enables the FZ1000 to record 4K video (QFHD 4K: 3840x2160, up to 30 fps in MP4 format), which is the first time possible for a camera costing less than $ 1000. The manufacturer claims focusing speed at 0.09 sec. fast camera readiness time of 0.66 sec.

In addition, the Panasonic LUMIX DMC-FZ1000 camera has a built-in flash, a hot shoe for connecting an external flash, and a built-in Wi-Fi 802.11b/g/n wireless module. The device allows you to change the sensitivity in the range of ISO 125-12800 (ISO 80-25600 in advanced mode), manually control exposure and white balance.

Main characteristics:

• 20.1-megapixel 1" MOS sensor
• 25 - 400mm (equiv.) F/2.8-4.0 Leica lens, 15 elements in 11 groups, including 4 ED and 5 aspherical lenses
• filter thread diameter 62 mm
• 5-axis stabilization system "Power OIS"
• XGA OLED electronic viewfinder with 2.36 million dots
• 3" 920k dot swivel LCD
• 4K (3840x2160) video 30p, 100Mbps, MP4
• HD video 1920 x 1080 (60p, 60i, 24p) and 1280 x 720 (30p)
• 3.5 mm stereo microphone jack
• 12 fps burst shooting at full resolution
• HDMI output
• WiFi with NFC
• 360 frames per charge (CIPA standard)

Comparison Panasonic Lumix DMC-FZ1000

The FZ1000's only real competitor, as we mentioned above, is the Sony RX10, which is also trying to offer flexible zoom plus high photo and video quality in one package. We also include in comparison table the current flagship of the Panasonic DMC-FZ200 superzoom line.

	Panasonic DMC-FZ1000	Sony DSC-RX10	Panasonic DMC-FZ200
Sensor	20.1MP MOS	20.2MP BSI-CMOS	12.1MP MOS
Sensor area (mm2)
Equivalent lens focal length	25-400mm	24-200mm	25-600mm
Maximum aperture value	F2.8-4.0	F2.8	F2.8
Minimum aperture value	F 7.6-10.8	F7.6	F15. five
Video recording format	AVCHD,MP4	AVCHD,MP4	AVCHD,MP4
Maximum video resolution	3820x2160	1920x1080	1920x1080
Bitrate (for 1080p)	28Mbps (1080p60)	28Mbps (1080p60)	28Mbps (1080p60)
Battery Life (FPS, CIPA)
Built-in ND filter	No		No
Dimensions (WxHxD)	137 x 99 x 131 mm	129 x 89 x 120 mm	588 g

The first thing you will notice about the camera design is that the FZ1000 is quite a large camera. The combination of a large sensor and a large, fairly fast lens means it's closer to the size of a mid-range DSLR than your typical compact superzoom. The build quality is also similar to a mid-range DSLR - it's hard plastic, the camera is well made and feels solid without being overly heavy. The dimensions of the FZ1000 allowed it to have a large comfortable grip, which is also unusual for Superzoom cameras.

The Panasonic LUMIX DMC-FZ1000 has a 3-inch 921k-dot swivel display and a 2.36 million-dot OLED electronic viewfinder that uses a 4:3 aspect ratio. Next to the viewfinder, there is a diopter adjustment wheel for the viewfinder and a flash trigger on the left.

The top panel of the camera has two dials for mode switches (which is rare for compact cameras), two of the five customizable Fn buttons, plus a dedicated video recording button. There is also a built-in flash, a hot shoe for connecting an external flash, and a pair of stereo microphones. The zoom lever is located around the shutter button. Nothing unusual.

There are two switches on the lens barrel on the right: one switches between zoom and manual focus using the lens ring, and the second is responsible for turning on and off the 5-axis stabilization system "Power OIS".

The FZ1000 has a pop-up built-in flash that has a maximum range of 13.5m at wide angle and 9.5m at telephoto (at Auto ISO). This flash can be used to wirelessly control up to three groups of external flash units.

An external microphone is supported and connected to the camera via a 3.5 mm port under a flap on the left side panel, and external interface jacks - a wired remote control, HDMI and USB composite video output - on the right panel and also under a flap.

The back of the FZ1000 hosts three more of the five customizable Fn buttons. The FZ1000 camera menu is set by default to the Fn3 button. Further down, you'll also find the familiar playback, focus mode, and rear control dial buttons.

The battery used is the same as in the FZ200: DMW-BLC12PP. Its place in the compartment is closed by a lid on the bottom panel.

Preliminary conclusions

The FZ1000 makes a positive first impression - it's a flexible camera with a large sensor that promises image quality never seen before with Superzoom. Autofocus is very fast. One of the key advantages is the high-speed continuous shooting mode. Let's wait for the tests of the new sensor combined with Leica optics from the DxOMark laboratory, and we hope that they will not disappoint us. We tested a pre-production copy of the Panasonic FZ1000, so we cannot comment on the image quality with absolute certainty.

The FZ1000 is clearly aimed at video enthusiasts. Unfortunately, these features are not as comprehensive as you might think. The company limited the FZ1000 to a relatively small number of video options.

One of the drawbacks is the lack of a built-in ND filter. Luckily, the lens is threaded, so this problem is fairly easy to fix.

With fast autofocus, a large sensor, significant zoom and 4k video, the FZ1000 will be an interesting market contender for the Sony RX10 at a much lower cost than the Panasonic.

The Panasonic Lumix FZ1000 can rightly be called a superzoom, while the Sony RX10's 8x zoom deserves a stretch. The Panasonic FZ1000 lens is quite complex and consists of 15 elements in 11 groups, including four ED glass lenses and five aspherical elements. Of course, the lens also includes an image stabilizer, moreover, a five-axis one that works in both photo and video modes.

There is something interesting to tell about the camera shutter. First, the shutter is here combined type. A fully mechanical shutter is capable of working out shutter speeds from 1/4000 s to 60 s. In the camera settings, you can select an electronic silent shutter and in this case the shutter speed limit is 1/16000 s. Bulb mode available with maximum duration 120 s. The Sony RX10's shutter is noticeably simpler, although the lack of ultra-fast shutter speeds is offset by the presence of a neutral density filter. It is worth noting another point - the minimum allowable shutter speed changes with an increase in EGF. Quite unexpectedly, starting with the 32 mm EGF, the minimum shutter speed is the same 1/3200 s as the Sony RX10. This is true for a mechanical shutter. In addition to noiselessness and ultra-fast shutter speeds, the electronic shutter allows you to shoot bursts at a frequency of 50 frames per second, however, in a resolution of only 5 megapixels.

Another point where the FZ1000 outperforms its closest competitor is video capabilities. We didn't expect to see superzoom 4K video recording, at least not so soon. There are still very few cameras capable of recording ultra-high resolution video, but superzoom has suddenly become one of them. Lumix FZ1000 can record video in 3840x2160 resolution at 30 frames per second and 100 Mbps bit rate. Of course, Full HD/60p, HD/60p and lower resolutions are also supported. In addition, there is a slow motion mode - Full HD videos can be shot at 120 frames per second. Video length is limited to 30 minutes, and for MP4 video is also limited to 4 gigabytes of storage space on the memory card. Keep in mind that to record 4K video, you will need a memory card no worse than UHS-I Speed ​​​​Class 3. During video recording, you can fully use the zoom, however, the zoom speed in this case is noticeably reduced. Exposure settings are also available for manual mode. It is worth noting that 5-axis stabilization is available when shooting video in Full HD resolution and below, and for 4K, shake compensation occurs only in four axes. Stereo sound is recorded using the built-in microphone, but it is possible to use an external better microphone thanks to the 3.5 mm jack.

The Panasonic Lumix FZ1000 offers an unusual feature for extracting 4K photos directly from video. We can say that in this case the camera turns into a machine for the production of images with a frequency of 30 frames per second and a resolution of 8.3 megapixels. But it is worth noting that not all frames selected from the video have the right to life. Still, the shooting rate is low and some of the frames are blurry, but when watching a video, this is imperceptible.

And one more important nuance. To record 4K video, not the entire sensor area is used, but only its central part, corresponding to a resolution of 3840x2160 pixels. Thus, the sensor works in 1.48x crop mode, which means that the equivalent focal length changes to the range of 37-592 mm. But for Full HD video, the entire area of ​​\u200b\u200bthe matrix is ​​already used, and a 1920x1080 frame is obtained by pixel binning and downsampling.

Let's briefly dwell on other shooting modes. Traditionally, Panasonic offers a solid set of artistic filters and shooting scenarios. There is a panoramic shooting function and a Handheld Night Shot mode, in which the camera takes several frames in a row with a low shutter speed and low ISO, and then glues them together into one shot. There are as many as 25 pre-installed scenarios, 22 artistic filters, and a creative video shooting point has been separately placed on the mode selector. Creative video shooting involves applying artistic filters specifically to the video. You can choose a filter before shooting, and the result definitely has the right to life. In addition, through the camera menu, the interval shooting mode and the mode for creating frame-by-frame animation of motion (similar to animated GIF) are activated.

Wireless features have become commonplace in most cameras. In this regard, the Panasonic FZ1000 is no surprise. We have seen and experienced all these possibilities before. There is an NFC module for quickly establishing a connection with a smartphone and tablet. It is preferable to use this method, otherwise you will have to manually enter the password WiFi networks, which is created by the camera itself. To remotely control the camera, change settings, and transfer pictures over the air, you will need to install the free mobile Panasonic Image App. It already supports the new superzoom.

You can control the camera remotely in a more old-fashioned way by plugging the wired remote control into the appropriate jack. This method has one indisputable plus - the camera does not consume energy for Wi-Fi communication.

Test shots, videos, battery life

Turning to the test shots, we traditionally start with an assessment of the image quality in the entire range of the matrix light sensitivity. Recall that for this we shoot from a tripod at night, and the test scene is illuminated by a 40 W incandescent lamp. The change in ISO value occurs in steps of one stop (with the exception of the first step, since it would be unreasonable to count in steps of 1 EV from a value of 80 units).

Thanks to the use of small sensors, as in digital compacts (or "soap dishes"), it became possible to create lenses with an impressive focal range (in terms of a 35mm equivalent) while maintaining relatively modest dimensions. As a result, such a class of cameras as ultrazooms (or superzooms) appeared - universal solutions for performing a wide range of photo tasks: from macro to portrait and landscape shooting. But, as a rule, such cameras cannot boast of fast lenses, but are limited to f / 5.6-6.5 aperture at the long end. This was true until the introduction of the Panasonic LUMIX DMC-FZ200 in 2012, the first ultrazoom with a constant aperture of f/2.8 over the entire zoom range.

In this review, we will get acquainted with the update of the flagship superzoom - PanasonicLUMIXDMC- FZ300. Using his example, let's try to figure out what new the Japanese manufacturer can offer and how interesting its product is compared to competitors. To begin, let's take a closer look at technical specifications novelties:

Manufacturer and model		PanasonicLUMIXDMC- FZ300
Type, class		Digital camera, super zoom
light receiving element		1/2.3" (6.16 x 4.62 mm) BSI CMOS sensor; 12.1 MP effective pixels
CPU
Lens		LEICA DC VARIO-ELMARIT, fixed, f = 4.5 - 108 mm, (35 mm film equivalent: 25 - 600 mm), 24x optical zoom, aperture f/2.8-8.0
Lens device		14 elements in 11 groups
Image stabilization		5-axis optical HYBRID O.I.S. +
		Face Detection / Eye Detection / Tracking / 49 Points / Multipoint Configurable / 1 Point / Pinpoint (full area coverage available)
Exposure metering mode		Intelligent multi-point, center-weighted, spot
Light sensitivity
		mechanical + electronic
Exposure range		1 / 4000 - 60 s (mechanical shutter) 1 / 16,000 - 1 s (electronic shutter)
		Integrated, coverage range 30 cm - 8.8 m
Continuous Shooting
Image save format		JPEG (DCF/Exif2.3) / RAW, DPOF
Permission		4000 x 3000 (12 M) (L) / 3264 x 2448 (8 M) (M) / 2048 x 1536 (3 M) (S) 4000 x 2672 (10.5 M) (L) / 3264 x 2176 (7 M) (M) / 2048 x 1360 (2.5 M) (S) 4000 x 2248 (9 M) (L) / 3840 x 2160 (8 M) (M) / 1920 x 1080 (2 M) (S) 2992 x 2992 (9 M) (L) / 2448 x 2448 (6 M) (M) / 1920 x 1920 (3.5 M) (S)
		3840x2160, 1920x1080, 1280x720, 640x480
		Swivel, LCD, 3", resolution 1040k dots, aspect ratio 3:2
Viewfinder		Electronic, color, OLED-matrix, 0.39", resolution 1440 thousand dots, 100% frame coverage (magnification 0.7x)
	Microphone	Built-in stereo microphone
		Built-in mono
Data carriers
Interfaces		micro-HDMI (Type D), micro-USB, mini-jack 3.5 mm, micro-jack 2.5 mm (for remote control)
Communication options		802.11b/g/n Wi-Fi (2.4GHz)
Battery		Lithium-ion, replaceable, Panasonic DMW-BLC12E (1200 mAh)
Charger		Input: 100 - 240 VAC e.g. at 50/60 Hz Output: 8.4V DC e.g. 0.65 A
		Protection against moisture and dust
		131.6 x 91.5 x 117.1mm
		691 g (with battery and data carrier)
Official guarantee		12 months
Products webpage

Delivery, equipment

The camera comes in a fairly large package, which has a nice dark design and fairly good information content. In addition to several images, on its faces you can find a list of the main characteristics and capabilities. A number of recommended accessories are also reported.

Inside, you can find a charger with a detachable power cable, a battery, documentation, a software CD, as well as a lens cap, a shoulder strap and a cable for connecting to a PC (the last three were absent in this trial copy).

Appearance, arrangement of elements

Like most superzooms, the Panasonic LUMIX DMC-FZ300 is made in a pseudo-SLR form factor and is very similar to the Panasonic LUMIX G series system cameras: a massive design, chopped edges, an abundance of controls, a protruding viewfinder and a large lens. The device looks solid and quite expensive, which emphasizes its semi-professional orientation. Unlike the Panasonic LUMIX DMC-FZ200, the design of the novelty has become more rigorous, and some elements have changed their location and purpose. So, the control dial has moved from the back wall to the top face. The focus mode switch ("AFS", "AFC" and "MF") was combined with the autofocus and autoexposure lock button, while the macro mode selection and manual focus control wheel are located on the left side of the lens. The key for switching between the screen and the viewfinder is located to the left of the viewfinder and any other function can be assigned to it (it is programmable). And the drive mode button has changed to another programmable one and swapped places with the video recording button.

The main part of the camera's design is made of high-quality plastic with a characteristic, slightly rough pattern. Only the fixed part of the lens is metal. The case has acquired dust and moisture protection, so you can safely shoot while traveling, caught in the rain or other bad weather, without the risk of damaging the camera.

The build quality is beyond praise: the parts fit perfectly and resemble a monolithic product, without any hint of play and third-party sounds during operation. The dimensions and weight (132 x 92 x 117 mm and 691 g) of the Panasonic LUMIX DMC-FZ300 have grown in comparison with its progenitor (125 x 87 x 110 mm and 537 g), but this does not prevent it from being quite comfortable to carry the camera on the shoulder or neck , and in a compact bag or backpack.

The ergonomics of the device should satisfy both novice photographers and the most demanding users. All the necessary analog controls are provided, which are complemented by a touch screen. All this allows you to quickly change key parameters shooting without resorting to searching through the system menu. In addition, the functionality of the levers on the lens and around the shutter button is duplicated and is responsible for zooming (zooming). In fact, the second hand is reserved only for switching auto focus modes, manual focus control, switching the Live View mode and working with the touch screen. The control dials (knurled, rotate 360˚) are characterized by moderately tight and smooth running. They are located in good places, which are easy to reach without fear of dropping the camera from your hands.

A pleasant impression is left by a large and rather comfortable handle with a recess for the middle finger, as well as a comfortable stop for the thumb. In addition, all this is covered with a large rubber pad with a leather-like texture. It is very convenient to operate the camera with one hand, although its weight begins to remind of itself rather quickly. By the way, the metal tripod socket is noticeably shifted away from the optical axis of the lens, so when the camera is mounted on a tripod, the compartment with the memory card and batteries is blocked.

Lens

The hallmark of the camera is a non-replaceable LEICA DC VARIO-ELMARIT lens with a focal range from 4.5 to 108 mm (35 mm film equivalent: 25 - 600 mm at a frame ratio of 4:3 or 30 - 720 mm at a ratio of 1:1) and constant aperture of f/2.8 over the entire range of focal lengths. As mentioned above, most competitors cannot boast of such a fast lens, but are limited to f / 5.6-6.5 aperture at the long end. This leads to the fact that even in cloudy weather on such cameras you have to overestimate the ISO value to get a normally exposed frame, which in turn is fraught with the appearance of unnecessary artifacts. So such a "light" and high-quality optics can be safely written down in the treasury of the Panasonic LUMIX DMC-FZ300 advantages.

The lens design consists of 14 elements in 11 groups (5 aspherical lenses / 9 aspherical surfaces / 3 extra-low dispersion lenses / 1 lens with Nano Surface coating). It also uses an iris diaphragm that can be covered down to f/8 for stills and up to f/11 for video. In addition to 24x optical zoom, there is a 4x digital zoom, supplemented by 2x intelligent iZoom (minimizes the appearance of artifacts when zooming). The total magnification is 48x, which in 35mm film equivalent reaches a focal length of 2400mm. These characteristics are more than enough for most everyday tasks. Separately, it is worth noting the very effective 5-axis optical image stabilization HYBRID O.I.S. +, designed to combat the effects of micro-shake hands and prevent smearing in low light.

If you do not take into account the metal casing of the lens, then its main part is made of smooth plastic, which, when the camera is off, protrudes by 4.5 mm and contains a thread for installing a complete lens hood. When the camera is turned on, it moves out by 16 mm, and in the extreme position - by 56 mm. For greater convenience, I would like to see the designations of focal lengths on the lens barrel, which would make it possible to more clearly control the shooting process.

There is no thread for the filter, but it is possible to use a teleconverter and macro lenses through a special adapter. Two speeds are available while zooming. In the first case, the zoom is very quiet and smooth, while in the second it is fast and noisier, although the overall noise level is within the normal range. The focusing process is absolutely silent.

Display, viewfinder

The Panasonic LUMIX DMC-FZ300 is equipped with a 3-inch (7.5 cm) LCD screen with a typical 3:2 aspect ratio. Its resolution is approximately 1,040,000 dots (i.e. 720 x 480 pixels). It is exactly the same as the popular Panasonic LUMIX G7 system camera, and is characterized by high detail, natural flowers and good viewing angles. The brightness level is sufficient for working on a sunny day (12 levels of adjustment are available in manual or automatic mode). There is a good anti-reflective filter. If necessary, you can adjust all the basic display parameters - contrast, saturation, tone of color channels (all in 12 adjustment points).

The display unit is equipped with a folding design in all axes (horizontally - 180°, and vertically - about 250°). This allows you to conveniently shoot from a variety of angles (top-bottom) and even take self-portraits. There is a touch substrate that allows you to quickly select the focus point, take pictures with one touch, call additional function buttons and perform a number of other familiar actions. Everything works properly.

The digital viewfinder (0.39 inches) with a magnification factor of 0.7x (the same is used in the Panasonic LUMIX G7) and 100% frame coverage is based on an OLED matrix with a resolution of 1,440 thousand dots. The aspect ratio is 4:3. It is quite convenient to sight: excellent color reproduction, comfortable viewing angles, high detail, no strobe and no delay visible to the eye. Switching from the display to the viewfinder and back - a little less than 0.5 s (occurs automatically thanks to the proximity sensor).

Interface, opportunitiessettings

Camera Panasonic LUMIX DMC-FZ300 received a fairly convenient and very functional interface. In spite of short description available functions and settings, it takes a little time to get used to their location and to understand their purpose. The main settings menu is presented as a vertical scrolling list (5 rows - photo, video, user, parameter and playback settings). The design is quite pleasant and, if desired, one of the color schemes can be configured.

There are a large number of controls on the body of the device, including on the lens, which should definitely appeal to experienced photographers. In addition, as many as nine keys can be reprogrammed (four physical ("Fn1" - "Fn4") and five touch ("Fn5" - "Fn9")) at your discretion - not every professional SLR can boast of such. For direct selection of the focus point, the left button on the round multi-function joystick or a simple touch on the touch screen is responsible. There is also a couple of quick settings menus: full-screen via the "DISP" button and quick ("Q.MENU") using the "Fn3" button.

In the "Live View" mode, the screen displays all the necessary information, including a number of auxiliary settings. For example, 2-axis electronic level, grid, touch control zoom and metering point selection.

It should be noted that the camera was tested with firmware version 2.0. But there is already firmware ver. 2.1 , which fixed the display of the focus area during continuous shooting in 4K Photo mode. We also offer a more visual video on camera control capabilities.

Hardware, functionality

The Panasonic LUMIX DMC-FZ300 is based on a 1/2.3" (6.16 x 4.62 mm) BSI CMOS sensor with an effective resolution of 12.1 MP. most compact cameras, as well as in some smartphones.The latest generation proprietary processor Venus Engine IX is responsible for processing the signal from the sensor and overall performance.

The process of switching on and taking the first shot takes less than a second (0.85 s on average), which is a very good result, considering that the camera still needs to prepare the zoom lens. The speed of command processing, as well as transitions between modes, is at a fairly high level. The camera is capable of shooting at sensitivity values ​​in the ISO 100 - 6400 range, which has grown slightly compared to the Panasonic LUMIX DMC-FZ200.

The burst rate of the Panasonic LUMIX DMC-FZ300 is very high - up to 60 fps. But it has its own nuances: 60 fps (“HS” mode) is shot only at a resolution of 3 megapixels, only in JPEG and only 60 frames at a time. Other modes: 12 fps ("H"), 6 fps ("M") and 2 fps ("L") - are removed before the buffer is full in full resolution for both JPEG and RAW. The data buffer paired with a memory card when shooting in the "H" mode is very good: JPEG - about 100 frames before the start of a gradual drop in speed, in RAW - exactly 25 frames; in RAW + JPEG - 21 frames.

The camera is equipped with two shutters: mechanical (with shutter speeds of 1/4000 - 60 s) and electronic (1/16 000 - 1 s), which allows you to shoot without problems in very bright weather with an open aperture. There is a mode of automatic switching between shutters.

Panasonic LUMIX DMC-FZ300 is equipped with contrast autofocus: 49 points using proprietary technology DFD (Depth From Defocus), which involves measuring the depth of field obtained from the defocused area. Initially, DFD appeared in the Panasonic LUMIX DMC-GH4 video directional camera and proved to be very good, significantly outperforming conventional contrast focusing in terms of speed and accuracy. With manual focusing, it is possible to increase the aiming area and highlight the sharp edges of the object (focus peaking).

The built-in flash has a folding design, but without the possibility of directing the light flux (for example, to the ceiling). Its working range covers 30 cm - 8.8 m. There is also a central sync contact ("hot shoe") for connecting external accessories.

Among the communication interfaces, there is only a built-in 802.11b/g/n Wi-Fi module. To work with mobile devices(Android or iOS) you need to install the Panasonic Image App. Without exaggeration, this is one of the best mobile applications for cameras with which we happened to work. The user has access to remote control of almost all shooting parameters, including all kinds of filters, effects, adding geolocations, creating collages, video surveillance and instant uploading to various services.

The Panasonic LUMIX DMC-FZ300 model implements both familiar modes (“P”, “A”, “S”, “M”, intelligent auto “iA” and its improved version “iA +”), as well as several additional ones: “C” (Custom), Panorama Mode, Scene Selection, and Creative Control.

QualityImages

Examples photography cameras

Camera photography examplesPanasonic LUMIX DMC- FZ300 at 25, 600, 1200 and 2400 mm

Panoramic camera examplePanasonic LUMIX DMC- FZ300

With its versatile zoom lens, the Panasonic LUMIX DMC-FZ300 is perfect for any scenario: macro, portrait, landscape, and distant subjects. Fast optics (f / 2.8 over the entire range of focal lengths) allows you not only to blur beautifully the background, but also to shoot in low light conditions without the need to overestimate the ISO, of course, given the very modest size of the sensor.

The resulting frames are characterized by pleasant color reproduction and good detail at close and medium distances. However, when the subject is taken away, the detailing drops a little, and both atmospheric conditions and some features of the image transmission through the lens block already affect here. In addition, the constantly active operation of the noise reduction system, the intensity of which is best kept at a minimum value, can noticeably spoil the quality of the material.

During shooting, the automation shows itself well, selecting adequate parameters for exposure and white balance, depending on the situation, including in relatively difficult lighting conditions. By the way, the autofocus system in sufficient light shows excellent performance, including tracking and face recognition by a smile. In more difficult conditions and without the use of a backlight, the camera may move a little and refuse to aim at the subject, displaying the “LOW” icon.

The 5-axis optical stabilization system deserves forest reviews, which provides sharp shots even at the maximum focal length or when handheld burst shooting at a shutter speed of 1/5 s, and sometimes at 1/2 s. As mentioned above, the camera has everything for complete control of shooting parameters, including all sorts of scene modes and effects that will help the photographer express himself.

Camera photography examplesPanasonic LUMIX DMC- FZ300 with ISO 100, 200, 400, 800, 1600, 3200 and 6400

Camera photography examplesPanasonic LUMIX DMC- FZ300 with noise reduction adjustment: -5 to +5.

Our traditional test results show that the Panasonic LUMIX DMC-FZ300 can shoot at ISO 800 (for JPEG). The resulting frames are quite suitable for home printing on small formats. You can shoot at ISO 1600 (for RAW), but with post-processing. In extreme cases, ISO 3200 can also be used, but ISO 6400 can no longer be recommended, since the image noticeably loses quality, especially when using noise reduction.

Panasonic LUMIX DMC- FZ300 at 1080p at 30 FPS and valuesISO from 100 to 6400

An example of a daytime video recording from a cameraPanasonic LUMIX DMC- FZ300 in 4K (3840 x 2160)at 25 FPS and valuesISO from 100 to 6400

An example of a daytime camera shotPanasonic LUMIX DMC- FZ300 at 4K resolution (3840 x 2160) at 25 FPS

Traditionally, Panasonic's strong point is video recording. The tested model was no exception, capable of shooting video from maximum resolution 3840 x 2160 (4K) in MP4 format and 1920 x 1080 (Full HD) in AVCHD / MP4 format, however, only at 25 fps and 50 fps, respectively. In the first case, the total bitrate reaches 100 Mbps, and in the second - 25 Mbps. Sound is recorded in stereo. It's pretty good, but the mics can blow out even in light winds.

Video in 4K format pleases with high detail, tenacious autofocus and a fairly smooth picture. Thanks to less aggressive noise reduction algorithms (than in photo mode) and fast optics, you can get an acceptable picture even at relatively high ISO values. You can take 8MP photos while recording video. In spite of official information that the 5-axis stabilization system is not available in the "4K VIDEO" mode, our tests showed good stabilization of micro-shake during video shooting (electronic stabilization may be working). Video in 1080p is almost in no way inferior, except for the detail. For better sound quality, it is better to use an external microphone. The only thing missing from the camera is a headphone jack. By the way, when shooting video, semi-automatic P / A / S modes are available, as well as fully manual mode"M" with the ability to change the settings (focus, shutter speed, aperture, ISO, etc.) during shooting.

Offline work

The Panasonic LUMIX DMC-FZ300 is powered by a Panasonic DMW-BLC12E lithium-ion battery with a capacity of 1200 mAh (7.2 V; 8.7 Wh). According to official data, his resource should be enough for 360 frames. In real conditions, everything will depend on the intensity of work with the camera. For example, we managed to shoot about 380 frames and 5 minutes of 4K video - a very good result.

The package includes a compact charger Panasonic DE-A80, which restores the battery charge in approximately 1.5 hours. There is no USB charging option, which would be useful on the go.

Results

Without a twinge of conscience, we can safely say that the update of the ultrazoom line has received a worthy heir. Judge for yourself PanasonicLUMIXDMC- FZ300 - one of the most interesting representatives of this class of cameras, combining Japanese quality and excellent functionality. As before, we have a solid appearance, just great ergonomics with the ability to individually adjust almost every control, and now dust and moisture protection. The highlight of the camera is the unique high-aperture LEICA DC VARIO-ELMARIT zoom lens with a focal range of 4.5 to 108 mm (35 mm film equivalent: 25 - 600 mm) and a constant aperture of f/2.8 throughout the zoom range, which is excellent for for filming a variety of scenes. The arsenal of new items also includes a high-quality swivel screen with touch controls and an excellent OLED viewfinder. During testing, the 5-axis optical image stabilization HYBRID O.I.S. + proved to be excellent, which allows you to get sharp shots even at long focal lengths. The same can be said about the contrast autofocus - high accuracy and speed in most cases.

The quality of the image captured by the Panasonic LUMIX DMC-FZ300 is at the level of most modern compacts. You can easily shoot at ISO 800 (for JPEG) or at ISO 1600 (for RAW), but with post-processing. In fairness, we note that you expect higher quality and detail from a camera of this level. But this is a price to pay for versatility and relative compactness - to achieve such a wide range of focal lengths is possible only when using modest matrices (1 / 2.3 "size). On the other hand, in order to cover such a range of focal lengths, you will have to buy several lenses for a system camera, the price of which will definitely be higher than the tested camera.

The video capabilities of the camera are also commendable. With a combination of 24x zoom and the ability to record 4K video at 25 fps or 1080p at 50 fps, you can easily replace an inexpensive camcorder. The overall picture pleases with high detail, tenacious autofocus, sufficient smoothness and good stereo sound (in calm weather). If necessary, you can connect an external microphone. In general, there is everything that a novice videographer needs.

Bottom line, if you're looking for an all-in-one photo and video solution that allows you to capture anything and everything in the path of your lens, the Panasonic LUMIX DMC-FZ300 is a good choice.

Advantages:

• solid appearance;
• convenient and ergonomic case with an abundance of controls and flexible options for their settings;
• protection against dust and moisture;
• high quality performance;
• high-quality swivel display and excellent OLED viewfinder;
• universal lens LEICA DC VARIO-ELMARIT with a focal range of 4.5 to 108 mm (35 mm film equivalent: 25 - 600 mm) and a constant aperture of f/2.8;
• good implementation of the contrast autofocus system;
• effective 5-axis optical image stabilization system HYBRID O.I.S. +;
• implementation of a large number of software functions and modes;
• good quality video content, including 4K at 25 fps and 1080p at 50 fps;

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