The Panasonic Lumix S5 is the smallest and lightest full-frame mirrorless camera that Panasonic have released so far. It's intended to be a cheaper all-round hybrid camera with features that will appeal to both photographers and videographers alike.
It's much smaller than the S1, S1R and S1H full-frame cameras, and actually about the same size as the popular GH5 model, which has a comparatively tiny Micro Four Thirds sensor. Note that Panasonic still have plans to release a GH6 model, so the new S5 isn't meant to be a direct replacement.
While the video-centric S1H proved to be a big hit for Panasonic, the stills-focused S1 model wasn't as nearly as successful, hence the release of the new S5.
The Panasonic S5 features a 24.2 megapixel CMOS sensor with an expanded ISO range of 50-204,800, the latest Venus image processing engine, a free-angle 3.0-inch touchscreen LCD with 1.84m-dot resolution, and a 2.36m-dot OLED electronic viewfinder.
It offers UHD 4K/60p video recording with 4:2:0 10-bit colour internally to the SD card using an APS-C crop, or 4K/30p internal recording with 4:2:2 10-bit color using the full-frame, both for up to 30 minutes. In addition 4K/30p and 1080/60p with 8-bit colour can both be recorded without any time limit.
The full V-Log profile is already pre-installed on the Panasonic S5, while HDR (High Dynamic Range) video recording in 4K is also possible. You can switch between NTSC/PAL modes at any time, and Anamorphic 4K is included, as is automatic dual native ISO.
External microphone and headphones are supported via dedicated 3.5mm ports and recording to an optional external recorder is possible via the HDMI Type D port.
A standout feature is the High Resolution mode, which allows the Panasonic S5 to capture 96-megapixel equivalent photos by rapidly taking 8 separate images and combining them into one.
Other key features of the Panasonic Lumix S5 include a 6.5-stop Dual Image Stabilizer, 5fps continuous shooting with full-time auto-focusing or 7fps without, 60 fps continuous shooting when using 6K or 4K Photo modes, an improved 225-area DFD autofocus system offering an acquisition speed of 0.08 sec that works down to -6EV low-light, and Eye AF mode and animal recognition driven by Artificial Intelligence Technology.
The weatherproof Lumix S5 has a thumb-controlled AF joystick on the rear, dual SD XC memory card slots, Bluetooth 4.2 and 5GHz/2.4GHz Wi-Fi connectivity, and USB charging.
Main rivals include the Sony A7 III, Sony A7C, Canon EOS R and the Nikon Z6.
The Panasonic S5 is priced at £1799 / $1999 body only or £1999 / $2299 with the S 20-60mm f/3.5-5.6 kit lens, and it will start shipping in late September 2020.
Panasonic have so far concentrated on the mid to high end of the mirrorless camera market with the release of the Lumix S1, S1R and S1H models, but now they're seeking to widen the appeal of their L-mount system by releasing the smaller, lighter and crucially cheaper S5 model.
Measuring 132.6 x 97.1 x 81.9 mm and weighing 630g body only, it's significantly more compact than the next model up the range, the S1, which in comparison measures 148.9 x 110.0 x 96.7 mm and weighs 899g.
Indeed, the new Panasonic S5 is even smaller and lighter than the perennially popular Lumix GH5, a Micro Four Thirds model which measures 138.5 x 98.1 x 87.4 mm and weighs 725g. Even with a battery and card fitted, the S5 still only tips the scales at 712g.
In terms of its competitors, the S5 is a little heavier than all of them, but comparable in overall size, with the exception of the ground-breaking Sony A7C.
If you were previously intrigued by the Lumix S-series but were put off by the relatively large size of the S1 bodies, then the S5 is definitely small and light enough to reignite your interest in the range.
Whichever way you cut it, the Lumix S5 is a remarkably small and compact full-frame camera, and one that thankfully doesn't sacrifice the overall handling experience to achieve that reduction.
Indeed, comparing the S5 side-by-side with the larger S1, the two cameras look very similar at first glance.
They both utilise a familiar DSLR style with the viewfinder in the centre, a large tactile hand grip, and a healthy array of logically placed controls.
Pleasingly, despite the reduction in asking price, the new Panasonic S5 still retains the tank-like build quality and weather-proof exterior shared by the other Lumix S-series cameras. Its magnesium alloy full die-cast dust and splash-proof body has all its main seams tightly sealed against moisture ingress. Phew!
Similarly, the S5 continues to offer the same dual image stabilisation system (in-body IS and lens IS) that's employed by the S1- series for more effective, shake-free shooting when handled in lower lighting conditions. This provides a whopping 6.5-stops of compensation, putting the S5 right at the top of its particular class.
At the heart of the Lumix S5 is the same sensor that's also found in the more expensive S1 and S1H models. This offers 24.2 effective megapixels from its 25.28MP full frame sensor, and is aimed at next generation photo and video creators, says its manufacturer.
Panasonic certainly haven't cut any corners in terms of the S5's build quality in order to meet the more aggressive price point. This is one of the best mid-range mirrorless cameras on the market in this regard.
The Panasonic S-series adopted Leica’s L lens mount when it was initially launched – something that saw the company enter a collaborative partnership, known as the ‘L-Mount Alliance’, with both Leica and Sigma - and as you'd expect, the new Panasonic S5 is no different in this regard.
Panasonic sent us the S5 with the S 20-60mm f/3.5-5.6 kit lens for review. When we tested this lens a few months ago, we commented that it "is a welcome addition to the L-Mount range. It's versatile, compact and light, handles like a dream and complements a Lumix S1 body well in all areas."
All of those things hold true when using the 20-60mm on the S5 - indeed even more so, as the compact nature of this zoom perfectly matches the more compact S5. It's almost as if the two products were developed alongside each other.
While photographers may bemoan the slight lack of telephoto reach available, videographers and especially vloggers will be delighted by the 20mm wide-angle focal length, which makes it possible to hand-hold the camera at arm's length and still get yourself comfortably in the frame without having to resort to having to using a selfie stick or some other form of extension (or a different lens entirely).
Indeed, we said that "With silent focusing, minimal focus breathing, excellent autofocus and a focal range of 20-60mm, this lens in clearly positioned in the hybrid realm, practically serving photographers and videographers in a wide range of scenarios." And that certainly applies to this lens when used on the Lumix S5, making the extra £200 / $300 for the S5 camera and lens kit something of a veritable bargain.
So the camera body is small, light but still well-built and weather-proof, and the 20-60mm kit lens is a natural partner, especially if you don't already have a vested interest in either Panasonic's S-series or the L-mount system in general.
Turning to the front of the Lumix S5, that wide L lens mount dominates proceedings, along with a hand grip that, while narrower than that typically found on a semi pro DSLR, nevertheless feels just right for the S5’s own shape and build, enabling the camera to be operated with just one hand, even if additionally curling the fingers of your left hand around the lens barrel feels much more comfortable and natural.
With the lower three fingers of your right hand curled around the S1’s grip, your forefinger is free to alternate between rotating the front control dial that sits slightly proud of the grip at its topper-most edge, and the slightly raised and angled shutter release button just atop it, which is responsively spring-y.
Sitting just behind these controls are three small raised buttons, just like on the S1 and S1R. From left to right, these are for manually adjusting white balance, light sensitivity and exposure settings. The Panasonic S5's layout feels ergonomic and its operation – particularly of such key and regularly used features – well thought through.
Unlike the bigger S1-series, there's no top-plate LCD screen on the new Lumix S5. Instead the large shooting mode dial has been moved from top-left on the S1 to top-right on the S5,and there's now a new Burst/Bracketing Shooting dial in its former position.
This smaller but still chunky, roughly ridged and raised dial over at the left hand edge of the camera has 5 different settings, which variously provide quick access to the self-timer, interval shooting, 6K modes, burst shooting and normal single shooting modes.
Underneath the dial is a shiny red ring, just like on the S1-series cameras, which has perhaps been deployed to lend the cameras a more professional air.
Stereo microphones and a vacant hotshoe for an accessory flash are slotted directly on top of the EVF. Interestingly there’s no built-in pop up flash on the Panasonic S5, which is maybe a slightly surprising omission for a beginner-focused camera, but one that's inline with the other Lumix S cameras that have been released so far.
The chunky, roughly ridged and raised shooting mode dial makes it easy to adjust settings from intelligent Auto focus to program, shutter priority, aperture priority or manual pretty quickly.
On the same dial we also get a manual video mode setting, a brand new S&Q setting, and no fewer than three custom modes. In the S(low)&Q(uick) shooting mode, the S5 can capture Full HD video at up to 150fps and 180fps and then play back the videos at 24p, 30p, or 60p.
Unlike the S1-series, there is no dial-unlocking button that needs to be depressed in tandem with a turn of said dial to be able to arrive at your preferred setting. The dial on the Panasonic S5 is pretty difficult to accidentally turn, so we didn't miss the S1's lock button too much.
The on/of switch is more of an actual lever which sits adjacent to the shooting mode dial. This is quite stiff in operation – you almost have to force it – which, to give it a positive spin, means this is a camera that is almost impossible to accidentally activate or deactivate.
Flick this lever to on and the camera is ready to take the first shot just as quickly as your finger can move from it to the shutter release button just in front. There’s no waiting around with the S5 - it’s ready when you are.
The control dial at the front of the handgrip is, incidentally, mirrored by one the size of a five pence piece that sits recessed into the top plate at the back. Here it readily (and again, ergonomically) falls under the thumb of the right hand; thereby continuing to give the impression that the layout has been well thought through, making the Panasonic S1 quickly feel familiar in a new pair of hands.
While holding down, say, the likes of the ISO button, you can once again use this alternative dial to scroll through settings that alter in real time in the electronic viewfinder on the rear LCD screen. You’re not left grappling around trying to find a way to adjust the essentials – the methods to do so are, literally, at your fingertips.
Completing the S5's top-plate is a one-touch movie record button, finished in the same dark red as the ring which sits underneath the drive mode dial. Just like the shutter release button, again this has a nice springy feel to it that makes it easier to locate and activate.
Video recording is one of the areas where the Lumix S5 leaps ahead of its main rivals.
This is the only sub-£$2000 camera currently on the market to offer UHD 4K 60p 4:2:0 10-bit internal video recording, 4:2:2 10-bit internally in any resolution or frame rate, 4K at up to 60p internally, and an anamorphic mode.
There is a slight drawback, as it uses a Super-35mm crop in this particular mode rather than the full-frame, but it's still an impressive achievement at this price-point none-the-less.
There is also an APS-C crop when shooting in Full HD at higher than 60fps and when shooting in the 4K anamorphic mode.
An even higher quality 4K 60p 10-bit 4:2:2 10-bit mode is available if recording via the HDMI port to an external device.
Alternatively, 4K/30p internal recording with 4:2:2 10-bit color using the full-frame of the sensor is also available, which as with the headline-grabbing 4K 60p 4:2:0 10-bit mode has a 30-minute time limit.
If you need to record longer than 30 minutes in one take, then the Lumix S5 can record both 4K/30p and 1080/60p with 8-bit colour for an unlimited amount of time.
High-speed recording is possible via the dedicated S&Q shooting mode, which provides a range of settings in 4K (1-60fps, 30x quick to 2.5x slow) or in FHD (1-180fps, 60x quick to 7.5x slow).
The full V-Log profile is pre-installed on the Panasonic S5 – it's not the light version or a paid upgrade – offering 14+ stops of dynamic range, virtually the same as those of the Panasonic cinema cameras. HDR (High Dynamic Range) video recording in 4K is also possible.
You can switch between NTSC/PAL modes at any time without having to reformat the memory card or power down the camera. A REC Frame Indicator identifies whether the camera is recording or not.
An external microphone and headphones are supported via dedicated 3.5mm ports and recording to an optional external recorder is possible via the micro-HDMI Type D port.
Dual Native ISO is borrowed directly from the S1H and Panasonic's broadcast line of video cameras. This automatically switches between native ISO settings of 640 and 4000 without increasing noise by changing the way the camera reads out the image sensor.
The one drawback on the S5 compared to the S1H is that you can't manually switch between the LOW and HIGH settings, instead relying on the camera to do so at various ISO levels.
A Low ISO circuit provides base sensitivities of ISO 100 for normal use, ISO 640 when V-Log is applied, ISO 400 when HLG is applied, and ISO 200 when Cinelike D2/V2 is applied. A Low Noise circuit provides base sensitivities of ISO 640 for normal use, ISO 4000 when V-Log is applied; ISO 2500 when HLG is applied, and ISO 1250 when Cinelike D2/V2 is applied.
There's no All-Intra codec – LongGOP is used instead - and the S5 uses a Micro HDMI port rather than a standard full-sized one.
If all of that wasn't enough, Panasonic have already publically committed to further improving the S5's video capabilities by the end of 2020.
To further enhance its performance, a firmware update is scheduled which will add Cinema 4K video recording and support RAW video data output to ATOMOS NINJA V over HDMI at a resolution of 5.9K 29.97p/25p, 4K(4128x2176) 59.94p/50p and Anamorphic 3.5K (3536x2656)/50p.
Extra video recording assist functions such as the Vector Scope Display, Master Pedestal Adjustment and SS/Gain Operation will also be added, as well as new L.MonochromeS and L.ClassicNeo Photo Styles.
With lugs for attaching the shoulder strap provided out of the box to be found left and right of the camera, the right-hand flank provides a port protected by a sliding switch that allows for the insertion of two SD-XC cards. Somewhat disappointingly, whilst one slot supports the latest, fastest UHS-II standard, slot 2 only supports the older, slower USH-1 standard, perhaps a concession to achieving the S5's more economical price-tag.
The two ports on the left-hand flank provide a means of connecting a cable release, accessory microphone and headphones, plus USB-C and micro-HDMI leads, rather than a full-sized one, the latter presumably dictated by the size or cost of the camera, or perhaps both.
The rubberized flaps protecting these feel a little flimsier than the rest of the camera, and time will tell whether these become worn and stop adhering so flush-ly over time.
Moving to the rear of the Panasonic S5, again this is button festooned without being over-bearingly so.
The camera’s 3-inch LCD screen with 1.84m-dot resolution is also a touch screen, meaning that you can, if wished, drag the focus area around the screen with your finger or thumb. Alternatively, if you prefer physical controls, you can use the small thumb-operated joystick to the upper-right of the LCD to do the same. Once again it’s just so intuitive.
Instead of the clever but rather convoluted three axis tilting LCD that's featured on the S1 cameras, the new Lumix S5 has a rather more conventional free-angle screen that's hinged on the left-hand side.
This can be tilted all the way out to the side of the camera, turned forwards for selfies and vlogging, and turned towards the back of the camera to help protect it when the camera isn't being used. It's very useful as an aid to shooting video as well as more unusual compositions when you can't always get an eye flush to the viewfinder.
The top-left of the back of the camera is where we find the playback button for reviewing stills and video. There's also a dedicated LVF button alongside it for manually switching between the rear LCD screen and the EVF, which perhaps feels a little redundant given that the camera automatically switches to the EVF when you hold the camera up to your eye (this setting can be turned on and off as desired).
Surrounded by a large, prominent and comfortable eye piece is a 2.36 million dot resolution 0.39" EVF with 0.74x magnification, 60/120fps frame rate, time lag of less than 0.005 second and an eyepoint of approximately 20mm.
Whilst not on a par with the high 5.76 resolution EVF used on the S1 model, which offers a quality claimed as very close to human vision, nevertheless the lower resolution EVF on the S5 is still perfectly fine to look through.
Directly to the right of the EVF is a tactile circular switch for changing the auto-focus mode from single to continuous to manual focus, into which is set the AF area button for selecting one of the eight available AF modes. You can choose from Face/Eye/Body/Animal Detect, Tracking, 225-Area, Zone (Vert/Horz), Vert (Oval), 1-Area+, 1-Area and Pinpoint.
Along with the afore-mentioned AF joystick, the small AF On which can be used for back-focusing completes the S5's very handily-placed collection of focusing controls.
The Panasonic Lumix S5 continues to employ a contrast-based auto-focusing with DFD technology, but Panasonic claims that a brand new algorithm means continuous auto-fousing for both stills and video has been enhanced, specifically for head, face, and eye detection.
Panasonic claim that the tracking performance speed is 2x as fast as previous systems for face and eye detection and 5x as fast for human and animal tracking performance, while its purportedly better at following subjects if they turn their heads.
As with the S-series cameras, we found the new S5 to be fast and responsive in the single AF-S mode for both stills and video, but a little less so in the continuous AF-C mode.
It undoubtedly locks onto the subject more quickly than the S1-series cameras, and also keeps them in focus more reliably as they move around the frame, but the characteristic "pulsing" effect as the DFD system scans back and forth is still evident.
It's certainly not as pronounced as on the S1 or S1H, so much so that Panasonic are planning to roll-out the S5's AF system onto those cameras in a future firmware update (and the S1R too), but the limitations of the contrast based AF mean that the Lumix S5 still lags behind the likes of the Sony A7 III and Canon EOS R6, especially when it comes to continuous AF during 4K video recording.
This being a Panasonic camera, as on its compacts we’re provided with the very useful Quick menu short cut button – located via the button marked with an enigmatic ‘Q’ situated to the right of the LCD - which gives completely customizable quick access to 12 of the camera's key settings.
Menu / set, display and a shared delete/back buttons are also to be found at the rear of the S5, along with a familiar multi-directional control pad, encircled by a scroll wheel for maximum fluidity of operation.
The menu screens are, as expected, comprehensively featured but pleasingly legible and intuitively navigated. That said it was also nice to have the Quick menu feature in order to circumnavigate them when we knew what we wanted and wanted to get to the relevant setting swiftly.
At the base of the camera we find a single screw thread, located directly in line with the central point of the lens mount, for attaching the S5 to a tripod.
Also found here, nestled within the base of the S5’s handgrip is the rechargeable 2,200mAh DMW-BLK22 lithium ion battery. This provides 440 images (rear monitor), 470 images (LVF), 1,500 images (Power Save LVF mode), as measured using stringent CIPA industry standards, surpassing the 380 to 400 shot life of the Lumix S1.
A ‘proper’ charger with its own mains plug is also provided out of the box – or at least was with our fully working review sample - and you can also charge the camera whilst you're out and about by attaching a power-bank to the USB-C port.
All of the sample images in this review were taken using the 24 megapixel Fine JPEG setting, which gives an average image size of around 10Mb.
The Panasonic S5 produced still images of excellent quality during the review period.
This camera produces noise-free JPEG images from ISO 50 all the way up to ISO 6400, with significant noise first appearing at ISO 12800. The faster settings of 25600 and 51200 display quite a lot of noise, but they're still fine to use for making smaller prints and web images. You should avoid using the expanded ISO 102400 and 204800 settings if possible.
The Lumix S5 proved to very capable in low-light, with the maximum shutter speed of 30 seconds and the Bulb mode allowing you to capture enough light in all situations and the camera's -6EV rating successfully auto-focusing even in near-dark conditions.
Post Focusing is a great feature while the Intelligent D-range mode and HLG mode are effective features for capturing more detail in both the shadows and highlights.
The High Resolution Mode is capable of creating 96 megapixel images, while the wide range of Photo Styles and Filters allow you to quickly and easily customise the look of the camera's RAW and JPEG images, respectively.
ISO sensitivity can be set between ISO 50 and ISO 204800 in full-stop increments. Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and RAW on the right.
The Panasonic S5 has 2 different JPEG image quality settings available, with Fine being the highest quality option. Here are some 100% crops which show the quality of the various options, with the file size shown in brackets.
The Panasonic S5's maximum shutter speed is 60 seconds and there's also a Bulb option for exposures up to 30 minutes long, which is excellent news if you're seriously interested in night photography. The shot below was taken using a shutter speed of 30 seconds at ISO 200. The camera takes the same amount of time again to apply noise reduction, so for example at the 30 second setting the actual exposure takes 60 seconds.
Post Focus is a function that enables you to select the in-focus area after shooting simply by touching it on the LCD screen. The first three images show the effects of switching between the three memory cards.
The Panasonic Lumix S5's High Resolution Mode combines 8 shots into a 96 megapixel image to create a super high-resolution photo. The resulting Raw files are 165Mb in size! We found during testing that selecting Mode 2 in the Motion Blur Processing sub-menu produced the sharpest images.
The Panasonic S5's Intelligent D-range setting adjusts the exposure to record more detail in the highlights and shadows, with three strengths available - Low, Standard and High - and an Auto setting.
The Panasonic Lumix S5's Multiple Exposure mode combines up to four different pictures to create one composite image.
The Panasonic S5 has two native HLG modes for high dynamic range presentation - 4K (3232x2160 pixels) and Full (5984x4020 pixels). The Hybrid Log Gamma mode is designed for display on the latest Panasonic HLG-compliant 4KTV via a HDMI cable connection, offering 3x more dynamic range than a standard image. Pictures taken with the HLG modes can be saved as HSP files as well as in JPEG and RAW formats.
Panasonic's Photo Styles are preset combinations of different sharpness, contrast, saturation and noise reduction settings. The 9 available Photo Styles are shown below in the following series, which demonstrates the differences. There are also some Custom options so that you can create your own looks.
The Panasonic S5 has an extensive range of creative Filters with 22 different options on offer.
This is a selection of sample images from the Panasonic S5 camera, which were all taken using the 24 megapixel Fine setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.
1/60s · f/8 · ISO 100 20mm (35mm) Download Original
1/60s · f/8 · ISO 100 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/125s · f/5.6 · ISO 100 20mm (35mm) Download Original
1/800s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/500s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 125 51mm (35mm) Download Original
1/160s · f/5.6 · ISO 100 47mm (35mm) Download Original
1/60s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/60s · f/11 · ISO 320 20mm (35mm) Download Original
1/60s · f/11 · ISO 400 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 1250 60mm (35mm) Download Original
1/60s · f/11 · ISO 4000 20mm (35mm) Download Original
1/60s · f/11 · ISO 2500 60mm (35mm) Download Original
1/60s · f/11 · ISO 1600 60mm (35mm) Download Original
1/200s · f/5.6 · ISO 100 39mm (35mm) Download Original
1/60s · f/5.6 · ISO 1600 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 1000 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download Original
1/320s · f/8 · ISO 100 20mm (35mm) Download Original
1/60s · f/8 · ISO 500 20mm (35mm) Download Original
1/250s · f/8 · ISO 100 60mm (35mm) Download Original
1/60s · f/11 · ISO 400 20mm (35mm) Download Original
1/100s · f/11 · ISO 100 34mm (35mm) Download Original
1/125s · f/11 · ISO 100 60mm (35mm) Download Original
1/160s · f/5.6 · ISO 100 51mm (35mm) Download Original
1/125s · f/8 · ISO 100 60mm (35mm) Download Original
1/200s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 1250 60mm (35mm) Download Original
1/160s · f/5.6 · ISO 100 50mm (35mm) Download Original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download Original
1/100s · f/8 · ISO 100 20mm (35mm) Download Original
1/60s · f/8 · ISO 160 60mm (35mm) Download Original
1/100s · f/11 · ISO 100 60mm (35mm) Download Original
1/60s · f/8 · ISO 100 20mm (35mm) Download Original
1/60s · f/8 · ISO 160 60mm (35mm) Download Original
1/60s · f/8 · ISO 100 60mm (35mm) Download Original
1/125s · f/8 · ISO 100 20mm (35mm) Download Original
1/125s · f/8 · ISO 100 20mm (35mm) Download Original
1/80s · f/8 · ISO 100 41mm (35mm) Download Original
1/160s · f/8 · ISO 100 60mm (35mm) Download Original
1/60s · f/11 · ISO 500 60mm (35mm) Download Original
1/100s · f/11 · ISO 100 60mm (35mm) Download Original
1/60s · f/8 · ISO 250 20mm (35mm) Download Original
1/80s · f/8 · ISO 100 20mm (35mm) Download Original
1/100s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/125s · f/8 · ISO 100 25mm (35mm) Download Original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download Original
The Panasonic S5 enables users to capture RAW and JPEG format files. We've provided some Panasonic RAW (RW2) samples for you to download (thumbnail images shown below are not 100% representative).
1/60s · f/8 · ISO 100 20mm (35mm) Download original
1/60s · f/8 · ISO 100 60mm (35mm) Download original
1/60s · f/5.6 · ISO 100 60mm (35mm) Download original
1/125s · f/5.6 · ISO 100 20mm (35mm) Download original
1/800s · f/5.6 · ISO 100 60mm (35mm) Download original
1/500s · f/5.6 · ISO 100 60mm (35mm) Download original
1/60s · f/5.6 · ISO 125 51mm (35mm) Download original
1/160s · f/5.6 · ISO 100 47mm (35mm) Download original
1/60s · f/5.6 · ISO 100 60mm (35mm) Download original
1/60s · f/11 · ISO 320 20mm (35mm) Download original
1/60s · f/11 · ISO 400 60mm (35mm) Download original
1/60s · f/5.6 · ISO 1250 60mm (35mm) Download original
1/60s · f/11 · ISO 4000 20mm (35mm) Download original
1/60s · f/11 · ISO 2500 60mm (35mm) Download original
1/60s · f/11 · ISO 1600 60mm (35mm) Download original
1/200s · f/5.6 · ISO 100 39mm (35mm) Download original
1/60s · f/5.6 · ISO 1600 60mm (35mm) Download original
1/60s · f/5.6 · ISO 1000 60mm (35mm) Download original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download original
1/320s · f/8 · ISO 100 20mm (35mm) Download original
1/60s · f/8 · ISO 500 20mm (35mm) Download original
1/250s · f/8 · ISO 100 60mm (35mm) Download original
1/60s · f/11 · ISO 400 20mm (35mm) Download original
1/100s · f/11 · ISO 100 34mm (35mm) Download original
1/125s · f/11 · ISO 100 60mm (35mm) Download original
1/160s · f/5.6 · ISO 100 51mm (35mm) Download original
1/125s · f/8 · ISO 100 60mm (35mm) Download original
1/200s · f/5.6 · ISO 100 60mm (35mm) Download original
1/60s · f/5.6 · ISO 1250 60mm (35mm) Download original
1/160s · f/5.6 · ISO 100 50mm (35mm) Download original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download original
1/100s · f/8 · ISO 100 20mm (35mm) Download original
1/60s · f/8 · ISO 160 60mm (35mm) Download original
1/100s · f/11 · ISO 100 60mm (35mm) Download original
1/60s · f/8 · ISO 100 20mm (35mm) Download original
1/60s · f/8 · ISO 160 60mm (35mm) Download original
1/60s · f/8 · ISO 100 60mm (35mm) Download original
1/125s · f/8 · ISO 100 20mm (35mm) Download original
1/125s · f/8 · ISO 100 20mm (35mm) Download original
1/80s · f/8 · ISO 100 41mm (35mm) Download original
1/160s · f/8 · ISO 100 60mm (35mm) Download original
1/60s · f/11 · ISO 500 60mm (35mm) Download original
1/100s · f/11 · ISO 100 60mm (35mm) Download original
1/60s · f/8 · ISO 250 20mm (35mm) Download original
1/80s · f/8 · ISO 100 20mm (35mm) Download original
1/100s · f/5.6 · ISO 100 60mm (35mm) Download original
1/125s · f/8 · ISO 100 25mm (35mm) Download original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download original
This is a sample movie at the quality setting of 3840x2160 pixels at 60 frames per second. Please note that this 9 second movie is 219Mb in size.
This is a sample movie at the quality setting of 3840x2160 pixels at 30 frames per second. Please note that this 15 second movie is 290Mb in size.
This is a sample movie at the quality setting of 3840x2160 pixels at 60 frames per second. Please note that this 10 second movie is 120Mb in size.
This is a sample movie at the quality setting of 3840x2160 pixels at 30 frames per second. Please note that this 10 second movie is 112Mb in size.
This is a sample movie at the quality setting of 4096x2160 pixels at 50 frames per second. Please note that this 21 second movie is 555Gb in size.
This is a sample movie at the quality setting of 4096x2160 pixels at 25 frames per second. Please note that this 20 second movie is 283Gb in size.
The new Lumix S5 may be the cheapest camera in Panasonic's full-frame lineup, but in many ways it's also the most appealing, especially if you regularly shoot a mix of stills and video.
Where the S1H scored highly on video and the S1R on out-and-out resolution, the more sensibly specced S1 ultimately proved to be something of a miss rather than a hit for the all-round audience that it was aimed at. Too big and heavy, too slow at autofocusing, and too expensive came the cry from would-be buyers.
Enter stage left the new Panasonic S5, which successfully address all of those key concerns and more, coming across like a full-frame GH5 or a mini-S1H, depending on your viewpoint.
Smaller and lighter even than the GH5 with its tiny Micro Four Thirds sensor whilst offering most of the core specifications of the much more expensive S1H, the new Lumix S5 is probably the camera that the S1 should have been. Panasonic are adamant that the S1 will continue to be sold at its full RRP, but we can't see too many reasons to choose it over the S5.
Especially as the S5 out-performs its bigger brother in many ways, with a better video system, fully-articulated screen, more confident AF, much lighter and more compact body, and a great kit lens.
As with every camera, there are a few notable caveats to be aware of with the S5, most notably the slow 5fps burst shooting speed, slightly dated viewfinder, the micro HDMI port, and Panasonic's continued use of the DFD contrast-based AF system, which is undoubtedly better than ever before, but still not as good as the phase-detection based competition.
Overall, though, the new Panasonic S5 is a compelling mid-teir camera that punches well above both its weight and its price-tag. It deserves to give the likes of the Sony A7 III, Canon EOS R and Nikon Z6 more than a run for their money (and yours), and is a deserved winner of our Highly Recommended award.
Listed below are some of the rivals of the Panasonic S5.
The EOS R is Canon's first ever full-frame mirrorless camera, joining the likes of Sony, Nikon and Panasonic. Can it beat its main rivals, and is it a real alternative to a more traditional DSLR? Find out now by reading our in-depth Canon EOS R review, complete with full-size sample images, videos and more...
The EOS R6 is the best ever Canon mirrorless camera - there, we said it! If you want to find out why, carry on reading our in-depth Canon EOS R6 review, complete with full-size sample photos and videos.
The Canon EOS RP camera follows hot on the heels of last year's EOS R model, offering full-frame mirrorless tech and 4K video recording at an even more affordable price-point than before. Find out just what the cheapest full-frame mirrorless camera on the market is capable of by reading our in-depth Canon EOS RP review, complete with full-size sample JPEG and RAW images, videos and more...
The Nikon Z6 mirrorless camera is the sensible little brother of the flagship Z7 model, offering less megapixels, fewer AF points and faster continuous shooting at a much lower price point. Is this the best balanced mirrorless camera on the market? Find out now by reading our in-depth Nikon Z6 review, complete with full size JPEGs, Raw files and movies...
The Panasonic S1 is the more sensibly specced and sensibly priced sibling of the flagship S1R full-frame mirrorless camera. It lowers the number of megapixels whilst upping the video capabilities, promising a more well-rounded camera at a more affordable price-point. Does the new Lumix S1 have what it takes to compete with the likes of the Sony A7 III, Nikon Z6 and Canon EOS R? Read our detailed Panasonic S1 review to find out...
The new A7 III is the most affordable Sony full-frame camera in the Alpha range, but as our in-depth review reveals, it's far from being the most basic. Find out why we think this is the best camera of 2018 (so far at least) by reading our in-depth Sony A7 III review...
Sony are attempting to turn the camera world on its head by creating a new 35mm full-frame camera that's the same size and weight as one with a smaller APS-C sensor. Have they succeeded with the new Sony A7C, and is it a great camera in its own right? Find out now by reading our Sony A7C review complete with full-size sample photos and videos.
Reviews of the Panasonic S5 from around the web.
Despite its compact size, the Lumix S5 shares the impressive 24MP CMOS sensor housed in the Lumix S1, but with improved AF. It also has a tough weather-resistant body and delivers up to 6.5-stops of image stabilisation with compatible lenses. Its standout features include class-leading dynamic range and 4K video recording, as well as 96MP high resolution RAW+JPEG capture. It’s tough to beat in this category. Read the full review »
The Lumix S5 is a very appealing mid-range full-frame mirrorless camera that finally gives the Lumix S system and L-mount in general the attention they deserve. A competitive body price of 1800 pounds or 2000 dollars gets you a 24 Megapixel full-frame sensor with very clean results and an optional boost in detail with its high-res composite mode. Read the full review »
The new Panasonic S5 mirrorless camera is smaller and lighter than the popular GH5, but with a full-frame sensor rather than a much smaller Micro Four Thirds one!
It even has exactly the same 24.2 megapixel sensor as the much more expensive S1H model.
The Lumix S5 offers 4K 60p 4:2:0 internal video recording (with small crop), making it the only sub-£2000 camera to offer this.
Internal 10-bit video is available with a 30 minute time limit, tested at 40-degrees (almost double the temperature of some rivals).
You can then re-record for another 30 mins straight-away, and so on. In 8-bit, there is no recording time limit at all.
The full V-Log profile is pre-installed on the Panasonic S5 – it's not the light version or a paid upgrade – offering 14-stops of dynamic range.
You can switch between NTSC/PAL modes at any time without having to reformat the memory card or power down the camera.
The Panasonic Lumix S5 still uses contrast-based auto-focusing with DFD technology, but Panasonic claim that a brand new algorithm means that Face/Eye/Head AF is greatly improved.
There's no All-Intra codec – LongGOP instead - and the S5 uses a Micro HDMI port rather than a standard one.
Anamorphic 4K is included, as is automatic dual native ISO (you can't manually turn this feature on and off though). 4:3 Anamorphic mode is recorded in super-35mm crop mode.
There's a free-angle LCD screen on the back, 6.5 stops of in-body image stabilisation, and dual SD card slots
The Panasonic S5 can shoot 96 megapixel jpegs or raw files in the clever hi-resolution mode.
There are now 7 different 4K 10-bit cameras in Panasonic's extensive line-up. The S1H actually outsold the Panasonic S1 in 2019, despite only selling for 6 months rather than 12.
The Sony A7III, Canon EOS R and Nikon Z5 are the S5's main rivals.
The Panasonic Lumix S5 is priced at £1799 body only or £1999 with the 20-60mm f/3.5-5.6 kit lens, and it will ship mid-end September 2020.
In addition, Panasonic have unveiled a new firmware roadmap for the end-2020.
There's also an updated lens roadmap with an 85mm F1.8 lens due to be shipped by November and costing less than $1000. 24mm, 35mm and 50mm F1.8 lenses are the other new additions, along with a 70-300mm F4.5-5.6 telephoto zoom.
The Panasonic LUMIX S5: a new hybrid full-frame mirrorless camera offering stunning image quality and exceptional video performance
Panasonic is delighted to announce the LUMIX S5, a new hybrid full-frame mirrorless camera that achieves excellent performance in both video and photo as well as exceptional flexibility for serious videographers and photographers.
The S5 will be available from the end of September for £1,799.99 for body only, or £1,999.99 for the kit which includes the LUMIX S Series 20-60mm f3.5-5.6 lens. From today until 30th September, Panasonic LUMIX UK are also running a pre-order launch offer of a complimentary DMW-XLR1 microphone adaptor or Sigma 45mm f2.8 lens by redemption*1.
At the heart of the camera, the LUMIX S5 contains a 24.2-megapixel 35mm full-frame CMOS sensor that boasts wide dynamic range and high sensitivity performance. The LUMIX S5 further realises a maximum ISO 51200 of crystal-clear high sensitivity video with the adoption of the Dual Native ISO technology.
The LUMIX S5 is the smallest and lightest S Series camera to date, measuring only 132.6 x 97.1 x 81.9 mm (approx) and with a body-only weight of 630g. This makes the S5 incredibly portable and easy to use for extended handheld shooting.
As a pioneer of hybrid mirrorless cameras, Panasonic LUMIX has the largest line-up of cameras that record 4K 10-bit video*2. The latest member of the family, the LUMIX S5, is capable of 4K 60p/50p 4:2:0 10-bit, and 4K 30p/25p 4:2:2 10-bit internal recording. It is also capable of 4K 60p/50p 4:2:2 10-bit HDMI output. For 4K 30p/25p 4:2:0 8-bit internal recording, there is no time limitation as Panasonic’s exceptional heat dispersion technology enables stable and continuous video recording.
The LUMIX S5 provides 14+ stops of dynamic range, which is as wide as cinema cameras, and V-Log / V-Gamut compatibility with popular VariCam colour science. A variety of recording formats and modes including 4:3 Anamorphic mode, Slow & Quick Motion, 4K/60p interval shooting and 4K HDR are also provided.
The LUMIX S5 also possesses improved high-speed, high-precision AF in both photo shooting and video recording that has been made possible with advanced deep-learning technology featuring real-time detection of the subject such as human eye, face, head and body recognition.
Thanks to a new highly energy-efficient 2,200mAh high-capacity battery, the S5 can capture approximately 470 pictures (using the LVF) / 1,500 pictures (in Power Save LVF mode). It complies with a USB power charging and power supply. Double SD Card slot (UHS-IIx1 and UHS-I x1), 5GHz/2.4GHz Wi-Fi and Bluetooth 4.2 connectivity are also supported. The splash/dust-resistant rugged design provides professionals with high reliability.
The LUMIX S Series full-frame mirrorless camera system adopts the L-Mount system to provide users with a diverse and future-proof range of products from Panasonic, Leica Camera and Sigma. Panasonic now offers four innovative models in the LUMIX S Series of full-frame mirrorless cameras – the S1, the S1H, the S1R, and the new S5. The LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, the LUMIX S1H is designed and developed specifically for film production, and the LUMIX S1R is ideal for taking high-resolution pictures.
The LUMIX S5 packs the essence of these S Series cameras in a more compact, lightweight body. With this line-up, Panasonic is committed to meeting the demands of all creators by challenging the constant evolution of photo/video culture in today's new digital era.
*1 Offer available between 2nd-30th September by redemption. DMW-XLR1 offer available for UK customers only. Terms and conditions apply, visit the website for further details. *2 Of mirrorless interchangeable lens cameras, as of 2 September, 2020.
The LUMIX S5 delivers class-leading video performance and is capable of 4K 60p/50p 4:2:0 10-bit, and 4K 30p/25p 4:2:2 10-bit internal recording up to 30 minutes. It is also capable of 4K 60p/50p 4:2:2 10-bit HDMI output. For 4K 30p/25p 4:2:0 8-bit internal recording, there is no time limit.
To further enhance its performance, a firmware update is scheduled for the LUMIX S5 by the end of 2020. In addition to C4K video recording, the update will support RAW video data output to ATOMOS NINJA V over HDMI at a resolution of 5.9K (5888x3312) 29.97p/25p, 4K(4128x2176) 59.94p/50p and Anamorphic 3.5K (3536x2656)/50p. A variety of video recording assist functions such as the Vector Scope Display, Master Pedestal Adjustment and SS/Gain Operation(SEC/ISO, ANGLE/ISO, SEC/dB) will also be available. L.MonochromeS and L.ClassicNeo are the new options to be added for Photo Style.
The LUMIX S5 delivers 14+ stops of dynamic range, virtually the same as those of the Panasonic cinema cameras, to precisely reproduce everything from dark to bright areas. The ability to capture accurate colours and skin tones is a must for any filmmaker. The LUMIX S5 imports the renowned colour science of Panasonic’s VariCam line-up of cinema cameras, as well as V-Log / V-Gamut.
V-Log renders a very flat image while maintaining all of the colour information, meaning there is more room to play when the images are in post-production. The CMOS sensor of the LUMIX S5 achieves a wide colour gamut known as V-Gamut, which is the S5’s optimum colour space that is wider than BT.2020. V-Log has log curve characteristics that are reminiscent of negative film and V-Gamut delivers a colour space even larger than film. 35 conversion LUTs for VariCam cinema cameras can be downloaded free of charge for use in the LUMIX S5. It is easy to match the colour tone with the footage recorded in V-Log of S1H/S1 and V-Log L of GH5/GH5S. Practical tools like a Waveform Monitor and V-Log View Assist are also available.
With Slow & Quick mode, impressive video slow and quick motion in 4K (1-60fps, 30x quick to 2.5x slow) or in FHD (1-180fps, 60x quick to 7.5x slow)*1 is available. It is possible to use AF*3 to capture the subject in sharp focus in this mode too. It can also be accessed directly using the mode dial.
The HDR (High Dynamic Range) video recording in 4K is also available, which realistically reproduces both light and dark parts of an image. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and the user can now choose Hybrid Log Gamma (HLG) in Photo Style. The HLG*2 Photo mode provides a wider dynamic range to reproduce light and shadow with more natural contrast. The HLG Photos can also be produced as an HSP file*3 with compressed high-brightness signals in its full resolution (5,888 x 3,312, in 16:9) in addition to JPEG/RAW files. The user can playback these vibrant images on the latest Panasonic HLG-compliant 4KTV via HDMI cable connection or other HLG-compliant devices.
In continuous burst shooting, 6K PHOTO*4 makes it possible to capture unmissable moments at 30 fps by extracting the frame with the best timing out of a 6K burst file (in 4:3 or 3:2 aspect ratio) to save as an approximate 18-megapixel equivalent high-resolution photo.
*1 The AF mode switches to MF when the frame rate is set to of 150 fps or more. The angle of view is reduced when the frame rate is set to 180 fps. Recording stops when the continuous recording time exceeds 30 minutes. *2 “HLG (Hybrid Log Gamma)” is an international standard (ITU-R BT.2100) HDR format. *3 “HSP” is an HDR picture format using HLG format video technology. *4 6K PHOTO’ is a high speed burst shooting function that cuts a still image out of a 4:3 or 3:2 video footage with approx.18-megapixel (approx. 6000 x 3000 effective pixel count) that the 6K image manages.
The LUMIX S5 boasts a wide dynamic range and reproduces sharp images with exceptional clarity. Noise is minimised even when shooting at maximum ISO 51200 high sensitivity, making it an ideal camera to use in low-light situations.
The LUMIX S5 features Dual Native ISO sensitivity, a technology that was first introduced in the Panasonic professional cinema camera VariCam line-up. Normally, noise increases as sensitivity rises with a single native ISO image sensor. However, the image sensor with Dual Native ISO in the S5 minimises noise generation by choosing an optimal circuit to use according to the sensitivity before gain processing. As a result, it allows a maximum of ISO 51200 high sensitivity recording. Dual Native ISO gives film creators a greater variety of artistic choices as well as the ability to use less light on set, saving time. The LUMIX S5’s Dual Native ISOs are 640 and 4000.*1
Taking full advantage of its high-resolution sensor, the LUMIX S5 provides a High Resolution mode that faithfully reproduces precise details to be saved as beautiful, highly realistic images not only in RAW but also in JPEG.
Eight consecutive images are automatically shot while shifting the sensor using the Body I.S. (Image Stabiliser) mechanism and synthesised into a 96-megapixel equivalent (12,000 x 8,000-pixel) image by the Venus Engine, which boasts high-speed signal processing. This magnificently high resolution photo is ideal for landscape photography of stationary subjects or fine arts with delicate details using a tripod. However, it can also be used in situations where moving subjects are included in the scene, by switching the sub mode.
The LUMIX S5 integrates the Body I.S. (Image Stabiliser) for powerful handshake correction. Panasonic developed an algorithm that precisely calculates shake information acquired not only from the gyrosensor, but also from the image sensor and accelerometer sensor. This enables more accurate shake detection and compensation, making it possible to use a 5-stop slower shutter speed*2. Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabiliser, 2-axis) in the LUMIX S Series lens the 5-axis Dual I.S.2 compensates for blurring, allowing the use of a 6.5-stop slower shutter speed*3.
It is highly beneficial in telephoto shots and in adverse situations, such as in low-light or one-handed shooting. The 5-axis Dual I.S.2 works for both photo and video recording, including 4K. The Body I.S. compensates for camera movement even when other L-Mount lenses without O.I.S. are used.
With the Live View Composite function, the camera releases the shutter at designated intervals of exposure time and synthesizes the parts with high luminosity to produce a single picture. While the total brightness of each consecutive image is accumulated in bulb shooting, only the target subject and the bright parts of an image are detected and the user can synthesize them carefully while seeing it in live view. This is useful for capturing shots of fireworks or stars in the night sky where the background needs no gain-increase. *1 When recording mode is set to V-Log. The sensitivity varies depending on the recording mode. *2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=60mm when S-R2060 is used. *3 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used. Firmware must be updated to the latest version.
The LUMIX S5 possesses improved high-speed, high-precision AF in both photo shooting and video recording. Combining the Contrast AF with DFD (Depth From Defocus) technology, it focuses on the target in approximately 0.08 sec*1. As a camera that excels in low-light shooting, the LUMIX S5 boasts -6EV*2 luminance detection performance with Low Light AF thanks to the higher sensitivity and optimized tuning of the sensor. With 480 fps max communication speed between the sensor and the lens, users can take full advantage of this high-speed, high-precision AF when a LUMIX S Series lens is used.
The LUMIX S5 also incorporates advanced deep learning technology that detects specific subjects - humans and fast-moving animals, including dogs, cats and birds. Notably for humans, in addition to the eyes, face, and body, the head is also separately recognised by real-time detection technology to provide even more precise focusing. The camera keeps tracking the subject even if they move quickly, turn their back to the camera, tilt their head or move far away. In addition, improvements to DFD technology have enhanced AFC, which enables users to keep tracking small or fast-moving subjects to capture them in crisp focus whenever the shutter is released. *1 11EV, at wide-end with S-R24105 (CIPA) in LVF120 fps setting. *2 At ISO100, F1.4, AFS
The compact LUMIX S5 boasts outstanding mobility while still achieving exceptional performance. To withstand heavy field use, the LUMIX S5 is composed of a magnesium alloy full die-cast body and is splash/dust-resistant*1. With an optimum layout of heat dispersion components, heat is effectively transferred outside which results in stable, continuous video recording for long periods.
The LUMIX S5 has a large LVF (Live View Finder) with a high magnification ratio of approx. 0.74x, as well as a high-precision, high-speed OLED (Organic Light-Emitting Diode) display which features a 2,360K-dot high resolution. Adoption of OLED for the LVF achieves high speed response with minimum time lag of less than 0.005 sec. With an eyepoint of approximately 20 mm, it offers high visibility with comfort for users wearing glasses.
A 3.0-inch free-angle LCD in 3:2 aspect with 1,840K-dot high resolution provides touch control. Composition during recording in various popular aspect ratios such as 16:9, 4:3, 1:1, 4:5, 5:4 and 9:16 can be checked with the Frame Marker function. A REC Frame Indicator identifies whether the camera is recording or not.
The LUMIX S5 has a double SD Memory Card slot - one slot complies with UHS-I and the other with the high-speed, high-capacity UHS-II (Video Class 90).
The camera’s battery can be recharged either via AC or USB according to the user’s convenience.
Compatibility with Bluetooth 4.2 (called BLE: Bluetooth Low Energy) enables constant connection with a smartphone/tablet with minimum power consumption. The settings of a LUMIX S5 camera can also be copied and transmitted wirelessly to other S5 cameras when using multiple S5 camera. Also, Wi-Fi 5-GHz (IEEE802.11ac)*2 is effective in addition to 2.4-GHz (IEEE802.11b/g/n.) This provides secure and stable connection on location for smooth remote control and high-speed data transfer.
*1 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water. *2 5GHz Wi-Fi is not available in some countries.
A variety of accessories can be used for the LUMIX S5 to enhance its usability and convenience. Microphone Adaptor DMW-XLR1 is a plug-in type adaptor for an XLR microphone to record high-quality stereo sound. It is ideal for lip-sync recording and has dedicated switches to allow direct, quick control. MIC, LINE and CONDENSER MICROPHONES are switchable.
Battery Grip DMW-BGS5 allows approximately 940 pictures (using the LVF) / 3000 pictures (in Power Save LVF mode) with an extra battery inside the grip. More accessories such as Remote Shutter (DMW-RS2), DC coupler (DMW-DCC17), Tripod Grip (DMW-SHGR1) are available.
The LUMIX Tether application software enables tethered shooting via USB. Users can control the camera by connecting it to a PC via USB and view the image on a large PC screen while shooting. For live streaming, LUMIX Tether for Streaming (Beta) with LIVE VIEW mode can be used.
The LUMIX Sync application for iOS/Android devices enables photo transmission to a smartphone or a tablet via easy wireless connection. It also allows remote control of the camera using these devices.
• L-Mount is a trademark or registered trademark of Leica Camera AG. • Wi-Fi® is a registered trademark of Wi-Fi Alliance® • The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Panasonic Corporation is under license. • Other trademarks and trade names are those of their respective owners. • Design and specifications are subject to change without notice.
Click on a thumbnail to see the full version.
Ahead of our full review, here are some full-size 24-megapixel JPEG and Raw sample images and 4K videos taken with the brand new Panasonic S5 mirrorless camera.
A gallery of sample photos and videos taken with the Panasonic S5 mirrorless camera.
1/60s · f/8 · ISO 100 20mm (35mm) Download Original
1/60s · f/8 · ISO 100 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/125s · f/5.6 · ISO 100 20mm (35mm) Download Original
1/800s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/500s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 125 51mm (35mm) Download Original
1/160s · f/5.6 · ISO 100 47mm (35mm) Download Original
1/60s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/60s · f/11 · ISO 320 20mm (35mm) Download Original
1/60s · f/11 · ISO 400 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 1250 60mm (35mm) Download Original
1/60s · f/11 · ISO 4000 20mm (35mm) Download Original
1/60s · f/11 · ISO 2500 60mm (35mm) Download Original
1/60s · f/11 · ISO 1600 60mm (35mm) Download Original
1/200s · f/5.6 · ISO 100 39mm (35mm) Download Original
1/60s · f/5.6 · ISO 1600 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 1000 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download Original
1/320s · f/8 · ISO 100 20mm (35mm) Download Original
1/60s · f/8 · ISO 500 20mm (35mm) Download Original
1/250s · f/8 · ISO 100 60mm (35mm) Download Original
1/60s · f/11 · ISO 400 20mm (35mm) Download Original
1/100s · f/11 · ISO 100 34mm (35mm) Download Original
1/125s · f/11 · ISO 100 60mm (35mm) Download Original
1/160s · f/5.6 · ISO 100 51mm (35mm) Download Original
1/125s · f/8 · ISO 100 60mm (35mm) Download Original
1/200s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/60s · f/5.6 · ISO 1250 60mm (35mm) Download Original
1/160s · f/5.6 · ISO 100 50mm (35mm) Download Original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download Original
1/100s · f/8 · ISO 100 20mm (35mm) Download Original
1/60s · f/8 · ISO 160 60mm (35mm) Download Original
1/100s · f/11 · ISO 100 60mm (35mm) Download Original
1/60s · f/8 · ISO 100 20mm (35mm) Download Original
1/60s · f/8 · ISO 160 60mm (35mm) Download Original
1/60s · f/8 · ISO 100 60mm (35mm) Download Original
1/125s · f/8 · ISO 100 20mm (35mm) Download Original
1/125s · f/8 · ISO 100 20mm (35mm) Download Original
1/80s · f/8 · ISO 100 41mm (35mm) Download Original
1/160s · f/8 · ISO 100 60mm (35mm) Download Original
1/60s · f/11 · ISO 500 60mm (35mm) Download Original
1/100s · f/11 · ISO 100 60mm (35mm) Download Original
1/60s · f/8 · ISO 250 20mm (35mm) Download Original
1/80s · f/8 · ISO 100 20mm (35mm) Download Original
1/100s · f/5.6 · ISO 100 60mm (35mm) Download Original
1/125s · f/8 · ISO 100 25mm (35mm) Download Original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download Original
The Panasonic S5 enables users to capture RAW and JPEG format files. We've provided some Panasonic RAW (CR2) samples for you to download (thumbnail images shown below are not 100% representative).
1/60s · f/8 · ISO 100 20mm (35mm) Download original
1/60s · f/8 · ISO 100 60mm (35mm) Download original
1/60s · f/5.6 · ISO 100 60mm (35mm) Download original
1/125s · f/5.6 · ISO 100 20mm (35mm) Download original
1/800s · f/5.6 · ISO 100 60mm (35mm) Download original
1/500s · f/5.6 · ISO 100 60mm (35mm) Download original
1/60s · f/5.6 · ISO 125 51mm (35mm) Download original
1/160s · f/5.6 · ISO 100 47mm (35mm) Download original
1/60s · f/5.6 · ISO 100 60mm (35mm) Download original
1/60s · f/11 · ISO 320 20mm (35mm) Download original
1/60s · f/11 · ISO 400 60mm (35mm) Download original
1/60s · f/5.6 · ISO 1250 60mm (35mm) Download original
1/60s · f/11 · ISO 4000 20mm (35mm) Download original
1/60s · f/11 · ISO 2500 60mm (35mm) Download original
1/60s · f/11 · ISO 1600 60mm (35mm) Download original
1/200s · f/5.6 · ISO 100 39mm (35mm) Download original
1/60s · f/5.6 · ISO 1600 60mm (35mm) Download original
1/60s · f/5.6 · ISO 1000 60mm (35mm) Download original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download original
1/320s · f/8 · ISO 100 20mm (35mm) Download original
1/60s · f/8 · ISO 500 20mm (35mm) Download original
1/250s · f/8 · ISO 100 60mm (35mm) Download original
1/60s · f/11 · ISO 400 20mm (35mm) Download original
1/100s · f/11 · ISO 100 34mm (35mm) Download original
1/125s · f/11 · ISO 100 60mm (35mm) Download original
1/160s · f/5.6 · ISO 100 51mm (35mm) Download original
1/125s · f/8 · ISO 100 60mm (35mm) Download original
1/200s · f/5.6 · ISO 100 60mm (35mm) Download original
1/60s · f/5.6 · ISO 1250 60mm (35mm) Download original
1/160s · f/5.6 · ISO 100 50mm (35mm) Download original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download original
1/100s · f/8 · ISO 100 20mm (35mm) Download original
1/60s · f/8 · ISO 160 60mm (35mm) Download original
1/100s · f/11 · ISO 100 60mm (35mm) Download original
1/60s · f/8 · ISO 100 20mm (35mm) Download original
1/60s · f/8 · ISO 160 60mm (35mm) Download original
1/60s · f/8 · ISO 100 60mm (35mm) Download original
1/125s · f/8 · ISO 100 20mm (35mm) Download original
1/125s · f/8 · ISO 100 20mm (35mm) Download original
1/80s · f/8 · ISO 100 41mm (35mm) Download original
1/160s · f/8 · ISO 100 60mm (35mm) Download original
1/60s · f/11 · ISO 500 60mm (35mm) Download original
1/100s · f/11 · ISO 100 60mm (35mm) Download original
1/60s · f/8 · ISO 250 20mm (35mm) Download original
1/80s · f/8 · ISO 100 20mm (35mm) Download original
1/100s · f/5.6 · ISO 100 60mm (35mm) Download original
1/125s · f/8 · ISO 100 25mm (35mm) Download original
1/60s · f/5.6 · ISO 200 60mm (35mm) Download original
This is a sample movie at the quality setting of 3840x2160 pixels at 60 frames per second. Please note that this 9 second movie is 219Mb in size.
This is a sample movie at the quality setting of 3840x2160 pixels at 30 frames per second. Please note that this 15 second movie is 290Mb in size.
This is a sample movie at the quality setting of 3840x2160 pixels at 60 frames per second. Please note that this 10 second movie is 120Mb in size.
This is a sample movie at the quality setting of 3840x2160 pixels at 30 frames per second. Please note that this 10 second movie is 112Mb in size.
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