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Panasonic Lumix DC-S5

35mm AF digital mirrorless camera

Specification

Production details
Announced:September 2020
System: Leica L (2015)
Imaging plane
Maximum format:35mm full frame
Mount and Flange focal distance:Leica L [20mm]
Imaging plane:35.6 × 23.8mm CMOS sensor
Resolution:6000 × 4000 - 24 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:60 - 1/8000 + B
Sensor-shift image stabilization:Yes
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:714g
Dimensions:132.6x97.1x81.9mm

Manufacturer description

Newark, NJ – (September 2, 2020) Panasonic is delighted to announce the new LUMIX S5, a new hybrid full-frame mirrorless camera that achieves both excellent performance in photo/video and stunning mobility for serious photographers and videographers.

At the heart of the camera, the LUMIX S5 contains a 24.2-megapixel 35mm full-frame CMOS sensor that boasts a wide dynamic range and high sensitivity performance. The LUMIX S5 further realizes recording maximum ISO 51,200 crystal-clear high sensitivity video with the adoption of the Dual Native ISO technology.

As a pioneer of photo/video hybrid mirrorless cameras, LUMIX has the largest lineup of cameras that record 4K 10-bit video[*1]. As the latest member of the family, the LUMIX S5 is capable of 4K 60p/50p4:2:0 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 4:2:0 8-bit internal recording, there is no time limit. Panasonic’s exceptional heat dispersion technology delivers stable, long-time video recording. The LUMIX S5 provides 14+ stops of dynamic range, which is as wide as those of cinema cameras, and V-Log / V-Gamut compatibility with popular colorimetry called “VariCam Look.” 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 boasts high-speed, high-precision AF (Auto Focus) in both photo shooting and video recording that are made possible with advanced deep-learning technology featuring real-time detection of the subject’s type and features such as human eye, face, head and body.

Combining the Body I.S. (5-axis) in the camera and the O.I.S. (Optical Image Stabilizer, 2-axis) in the LUMIX S Series lens, the 5-axis Dual I.S.2 prevents blurred images with the use of a 6.5-stop[*2] slower shutter speed. The splash/dust-resistant rugged design provides professional photographers with high reliability.

To enhance the photographic experience, the 96-megapixel High Resolution Mode (JPEG/RAW), Live View Composite function and HLG Photo mode are available.

Thanks to the high energy efficiency and a new 2,200mAh high-capacity battery, it can capture approximately 470 pictures (using the LVF) / 1,500 pictures (in Power Save LVF mode). Power and charging are possible via the USB-C port. Double SD Card slot (UHS-IIx1 and UHS-I x1), 5GHz/2.4GHz Wi-Fi and Bluetooth 4.2 connectivity are also supported. 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 Digital Single Lens Mirrorless cameras – the S1R, the S1, the S1H, and the new S5. The LUMIX S1R is ideal for taking high-resolution images, the LUMIX S1 is an advanced hybrid camera for high-quality photos and videos, and the LUMIX S1H is designed and developed specifically for film production. The LUMIX S5 packs the essence of these conventional S Series cameras in a compact, lightweight body. With this lineup, Panasonic is committed to meeting the demands of all creators by challenging the constant evolution of the photo/video culture in today's new digital era.

*1 *Of mirrorless interchangeable lens cameras, as of September 2, 2020.

*2 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm when S-E70200 is used. Firmware must be updated to the latest version.

High image quality even in high sensitivity photo/video and Dual I.S. to suppress virtually any type of blurring

The LUMIX S5 contains a 24.2-megapixel 35mm full-frame CMOS sensor (35.6 mm x 23.8mm). The LUMIX S5 boasts a wide dynamic range and reproduces sharp images with exceptional clarity. Noise is minimized even when shot at maximum ISO 51,200 high sensitivity. It is an ideal camera to use especially in low-light situations.

The LUMIX S5 features Dual Native ISO sensitivity, the 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 minimizes noise generation by choosing an optimal circuit to use according to the sensitivity before gain processing. As a result, it allows a maximum ISO 51,200 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 the 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 RAW but also in JPEG. Eight consecutive images are automatically shot while shifting the sensor using the Body I.S. (Image Stabilizer) mechanism and synthesized into a 96-megapixel equivalent (12,000 x 8,000-pixel) image by the Venus Engine, which boasts high-speed signal processing. This high-resolution photo is ideal for landscape photography of stationary subjects or artwork 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 Stabilizer) for powerful handshake correction. Panasonic developed an algorithm that precisely calculates shaky movements sensed by the gyro sensor, 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 Stabilizer, 2-axis) in the LUMIX S Series lens, the 5-axis Dual I.S. 2 the correction power is maximized to allow 6.5-stop slower shutter speed[*3]. It is highly beneficial in telephoto shots and in adverse situations, such as in low-light or with 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 new 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, 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

Exceptional video recording performance for cinema-quality film creation

As a pioneer of photo/video hybrid mirrorless cameras, LUMIX has the largest lineup[*1] of cameras that record 4K 10-bit video. As the latest member of the family, the LUMIX S5 is capable of 4K 60p 4:2:0 10-bit, and 4K 30p 4:2:2 10-bit internal recording up to 30 minutes. It is also capable of 4K 60p4:2:2 10-bit HDMI output. For 4K 30p 4:2:0 8-bit internal recording, there is no time limit. It will comply with RAW video output to ATOMOS NINJA V over HDMI as well as C4K video recording with the future firmware update (which will be detailed in Chapter 6).

Dynamic range measures the luminance range that a digital camera can capture. The LUMIX S5 delivers 14+ stops of Dynamic Range, which are virtually the same as those of the Panasonic cinema cameras, to precisely reproduce everything from dark to bright areas. The ability to capture accurate colors and rich skin tones is a must for any filmmaker. The LUMIX S5 imports the renowned colorimetry of the VariCam lineup of cinema cameras. The LUMIX S5 contains V-Log/V-Gamut capture to deliver a high dynamic range and broad colors. V-Log renders a very flat image while maintaining all of the color information within the image. This means that there is a greater level of play when the images are put through post-production processes. The CMOS sensor of the LUMIX S5 achieves a wide color gamut known as V-Gamut, which is the S5’s optimum color space and achieves a color space that is wider than BT.2020. V-Log has log curve characteristics that are somewhat reminiscent of negative film and V-Gamut delivers a color 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 color 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 video in 4K(1-60fps, 30x quick to 2.5x slow) or in FHD (1-180fps, 60x quick to 7.5x slow) is available. It is possible to use AF[*2] 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 reproduces both the bright parts and dark parts of an image, making it appear as if seen in person. 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[*3] 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[*4] 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.

For more continuous burst shooting, 6K PHOTO[*5] 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 Of mirrorless interchangeable lens cameras, as of September 2, 2020

*2 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.

*3 “HLG (Hybrid Log Gamma)” is an international standard (ITU-R BT.2100) HDR format.

*4 “HSP” is an HDR picture format using HLG format video technology.

*5 6K PHOTO’ is a high speed burst shooting function that cuts a still image out of a 4:3 or 3:2 video footage with approx.18-megapixel (approx. 6000 x 3000 effective pixel count) that the 6K image manages.

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

The LUMIX S5 boasts 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. Allowing maximum 480 fps communication speed between the sensor and the lens, users can take full advantage of this high-speed, high-precision AF when LUMIX S Series lens is used.

The LUMIX S5 also incorporates an advanced deep learning technology that detects specific subjects like humans and fast-moving animals. Notably for humans, the head is separately recognized from the eye, face and body by real-time detection technology to provide even more precise focusing. The camera continually tracks an individual even if they move quickly, turn their back to the camera, tilt their head or move far away from the camera. On the other hand, improvements to the DFD technology has enhanced AFC, which also enables users to keep tracking small or fast-moving subjects to capture them in crisp focus.

*1 11EV, at wide-end with S-R24105 (CIPA) in LVF120 fps setting.

*2 At ISO100, F1.4, AFS

Reliable basic performance and expandability for creative freedom

The LUMIX S5 boasts outstanding mobility yet excels in basic performance and expandability. 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 a long time.

The LUMIX S5 has a large LVF (Live View Finder) with a high magnification ratio of approx. 0.74x. High-precision, high-speed OLED (Organic Light-Emitting Diode) display features 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. The 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 cameras. Wi-Fi 5-GHz (IEEE802.11ac) [*2] also is effective in addition to 2.4-GHz (IEEE802.11b/g/n.) This provides secure and stable connection on location for smooth remote control and high-speed data transfer.

*1 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

*2 5GHz Wi-Fi is not available in some countries.

Optional accessories and application software

A variety of accessories can be used for the LUMIX S5 to enhance its usability and convenience. Microphone Adaptor (DMW-XLR1) is a plug-in type adaptor for an XLR microphone to record high-quality stereo sound. It is ideal for lip-sync recording. Dedicated switches 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.

Application software LUMIX Tether enables tethered shooting via USB. Users can control the camera by connecting it to a PC via USB. It lets them 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.

Future Firmware Update

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, it 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.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best

According to lens-db.com; among lenses designed for the same maximum format and mount.

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.