Panasonic FZ2500 –  FZ2000 Review

With the Lumix DMC-FZ2000, Panasonic presents a video flagship: a camera with ambitions to become a 4K video specialist

The Panasonic FZ2500 (FZ2000 in the European Union and in Britain) from Panasonic is a real bridge camera. Not only the fixed lens and the relatively large 1″ sensor, but also the combination of extensive functions from the photo and video area confirm this impression. Despite many automatic systems, the camera is not primarily aimed at the beginner, but rather at the ambitious user, who doesn’t shy away from carrying around a rather bulky camera. In the course of this test report, we have determined how the FZ2000 / FZ2500 will perform in detail.

Short evaluation Of The Panasonic fz2500

Pros

• Very good image quality
• High equipment depth
• Precisely controllable focus
• Extensive video functions

Cons

• Voluminous housing
• Short battery life
• Monitor can only be used to a limited extent in sunny conditions
• Cumbersome geotagging

The Panasonic Lumix FZ2000 / FZ2500 presents itself to the photographer in a rather large housing.

With the Panasonic Lumix FZ2000 / FZ2500, the successor of the Lumix DMC-FZ1000 is in the starting blocks. The super zoom camera with a large 1″ image sensor and 20 megapixels resolution has a new 20x zoom, which covers a small image equivalent focal length range of 24 to 480 millimeters at a speed of F2.8-4.5. Panasonic attaches particular importance to the video functions in this hybrid model, which thus emulates the GH4. For the first time in a compact camera, it has a 4K video recording function of unlimited length, which means that it is even slightly ahead of its big counterpart.

 

In addition to the 7.5 cm backward, rotatable and swivelling touch screen, the Panasonic Lumix FZ2000 / FZ2500 also has an OLED viewfinder with a resolution of 2.36 million pixels that enlarges 0.74 times in 35mm equivalent. The rear monitor of the Lumix FZ2000 / FZ2500 has a touch function. The monitor can also be rotated and folded [Photo: Panasonic]

The Panasonic Lumix FZ2000 / FZ2500 has a 20x optical zoom of the equivalent of 24 to 480 mm focal length, which offers a speed of F2.8-4.5 and an optical image stabilizer. [Photo: Panasonic]

Although the Lumix FZ2000 / FZ2500 is first and foremost a still camera, many features come from camcorders, making the FZ2000 / FZ2500 more of a hybrid than any other digital camera before.

The FZ2000 / FZ2500 is officially the successor of the FZ1000. Instead of 25-400mm F2.8-4 16x zoom, a newly calculated 20x zoom is now used, which has been extended both in the wide-angle and in the telephoto range. It now covers a small image equivalent focal length range from 24 to 480 millimeters, the initial light intensity remains at F2.8, the telelight intensity drops slightly to F4.5. Of course, an optical image stabilizer is just as much on board as the Leica “seal of quality”.

Other special features of the zoom are the internal zoom and focus function, the overall length does not change after switching on. In addition, guide rails in the zoom ensure precise straight-line guidance as with professional video cameras. Blurred images are said to have been reduced by 80 percent compared to the predecessor model. The aperture works with nine lamellas for a smooth blurring process.

Thanks to the use of a galvanometer in the aperture drive, it can react to sudden changes in brightness at lightning speed, just as with professional video cameras. An integrated ND filter also allows brightness to be reduced in various stages with up to -6 EV. For operation, the lens has a multifunction lens ring and a zoom lever.

The rear-exposed 1″ CMOS sensor still achieves a resolution of 20 megapixels. The DFD autofocus should focus within 0.09 seconds and still be able to track the autofocus even at seven continuous shots per second. Without AF tracking, even twelve continuous shots per second can be achieved. The 4K photo functions even allow 30 frames per second at a resolution of 8.3 megapixels and should be able to capture every moment. The post-focus function also allows a shot to be taken in which the sharpness can be shifted later. If desired, the new Focus Stacking function can merge the images into a single image with an extended focus range.

The CMOS sensor of the Panasonic Lumix FZ2000 / FZ2500 resolves 20 megapixels and enables 4K video recording with 30p. [Photo: Panasonic]

Especially the video functions are impressive. Cinema 4K (4,096 x 2,160, 17:9) handles the FZ2000 / FZ2500 with 24 frames per second, QFHD 4K (3,840 x 2,160) with up to 30 frames per second and Full HD with up to 60 frames per second. Professional videographers can choose the frequency between 59.94, 23.98, 50 and 24 Hz. Other professional features include Dolly Zoom, VFR (variable frame rate) and time-lapse and stop motion functions.

In Full HD resolution, the frame rate can be freely selected between 2 and 120 frames per second. Via HDMI an output in 4:2:2 10 Bit is possible, but without parallel internal recording. This only works with 4:2:2 8 bit. It is stored in MOV/MP4 format. If required, professional filmmakers can also purchase a paid firmware update with V-Log L video recording. A 3.5 mm stereo microphone connector is just as much missing as a 3.5 mm headphone output for live sound control.

The FZ2000 / FZ2500’s 7.5-centimetre touchscreen at the rear has a resolution of over a million pixels and can be tilted 180 degrees sideways and rotated 270 degrees to view it from any angle. Thanks to built-in WLANs, the Lumix can also be remote-controlled via app including live image transmission. Wireless picture transmission on smartphones and tablets is also no problem. The OLED viewfinder achieves 0.74x magnification compared to 35mm, which is similar in size to the viewfinders of full-frame DSLRs. The viewfinder delay is only 0.01 seconds. Thanks to the large exit pupil of 20 millimetres, the viewfinder should also be suitable for spectacle wearers. The OLED viewfinder not only offers a high resolution of 2.36 million pixels, but also a large contrast ratio of 10,000:1.

When switched off, the zoom of the Panasonic Lumix FZ2000 / FZ2500 folds up. Once it has been extended, it does not change its length during zooming or focusing. [Photo: Panasonic]

The lens of the Panasonic Lumix FZ2000 / FZ2500 has a variable ND filter. In addition, the straightening of the lenses during zooming ensures higher image sharpness during video recording. [Photo: Panasonic]

The ready-to-operate FZ2000, which includes a lithium-ion battery and SD card weighing just under one kilogram, has both an integrated pop-up flash and a TTL system flash shoe on which Micro Four Thirds compatible system flash units can be operated. In addition to the intelligent automatic mode, there are also scene modes, semi-automatic modes and a manual mode available as shooting modes. The ISO sensitivity can be adjusted between ISO 125 and 12,800, with activated extension ISO 80, 100 and 25,600 are also available.

Ergonomics and Workmanship Of The Panasonic FZ2500

If you are looking for a small and handy camera, the Panasonic Lumix FZ2000 / FZ2500 is the wrong choice. With dimensions of approximately 138 x 102 x 135 mm and a ready-to-operate weight of 996 grams, the camera is even larger than an Olympus OM-D E-M1 with 12-40 mm lens. The main reason why the FZ2000 / FZ2500 is so big is the combination of a photo sensor and a zoom lens.

The sensor used is a 13.2 x 8.8 millimeter 1″ CMOS backlit with 20.1 megapixels effective resolution. This is “supplied” with light by an 8.8-176 mm lens with a small image equivalent focal length of 24-480 mm. This 20x zoom lens with Leica seal has a speed of F2.8-4.5 and an optical image stabilizer.

The design of the lens enables focal length adjustment and focusing after switching on, without the lens moving in or out as usual. The focal length adjustment of the lens offers another surprise. On the one hand it can be adjusted either by the small zoom lever on the shutter release or by a ring on the lens. When using the ring around the lens, the photographer notices how precisely the focal length can be adjusted. The reason for this is the guide rails in the lens, which ensure straight guidance.

Usually such a technology is to be found rather in high-quality video cameras, since the construction is clearly more complex, but brings advantages with focus shifts and zoom drives with itself. Another slightly smaller ring on the lens is used for manual focusing when it is activated. A special feature of the lens is the built-in three-stage “switchable” gray filter with ¼, 1/16 and 1/64. This allows the light reduction without having to let exposure times become too fast or to close the aperture so much that diffraction blur occurs.

Despite its size, the panasonic FZ2500 (FZ2000) fits very well in the hand thanks to the well-proportioned and rubber-reinforced handle; nevertheless, the camera literally screams for two-handed operation.

On the one hand, to have the camera safely under control and on the other hand, to have all the adjustment elements on the top of the camera and on the lens under control. Like a system camera with interchangeable lenses, the FZ2000 / FZ2500 features a large mode dial, dials and function buttons, as well as a dedicated “drive” dial for single-shot, self-timer, continuous shooting and more. The above-mentioned trigger is ergonomically positioned on the handle.

In addition, the stereo microphone is located directly in front of the TTL flash shoe on the top of the camera. The built-in flash folds mechanically out of the front part of the upper housing at the push of a button and sits quite far in front and also quite high. Both prevent the lens from shading at close range.

Furthermore, there are three additional function keys on the front of the lens and a switch for the aforementioned multi-stage gray filter.

On the back of the camera, the 7.5 cm (3″) touchscreen with a resolution of almost one million pixels is movably mounted. Thanks to the swivel and swivel mechanism, it can be aligned in all directions and can thus be used conveniently for selfies and frog perspectives. For protection, I also rotate the screen towards the camera body. In the test, the monitor reached a maximum luminance of 729 cd/m².

This is not a bad value actually, but in high ambient light it is only sufficient to detect something else. In order to present the photographer with a differentiable monitor image, a little more brightness would be desirable.

Apart from the monitor, the camera has an electronic viewfinder with a resolution of 2.36 million pixels. While the viewfinder’s frame rate is not bad, it does not prevent “streaking” when you pan quickly and move objects in medium light to dark environments. A proximity sensor automatically switches between the viewfinder and the monitor. In addition, the brightness, contrast and color settings of the monitor and viewfinder can be adjusted independently of each other. The viewfinder offers a large viewfinder image with a 0.74x magnification (related to 35mm) and can still be viewed quite well through glasses.

In addition, the photographer can set the LiveView’s frame rate to either 30 or 60 frames per second.

Further easily accessible function keys, switches and the obligatory omnis selector with preassigned quick selection functions complete the functional elements on the camera. The keys offer a pleasant feeling of pressure. The pressure point at the shutter release for the autofocus is very light and the release itself is pleasantly tight, so that the difference between the two states is quickly recognizable.

The large lens of the Panasonic FZ2000 / FZ2000 offers the photographer a very good light intensity and is optically corrected.

The zoom of the Lumix FZ2000 / FZ2500 takes place in the tube of the camera. The extension length does not change when zooming and focusing. [Photo: Panasonic]

The memory cards used are cards with SD form factor and SDHC, SDXC and UHS-I technology. The memory card slot door is located on the right side of the handle, directly under the cable remote connector.

On the opposite side there are three soft plastic flaps for covering the connections. In addition to separate 3.5 mm jack plugs for connecting a stereo microphone or stereo headphone, the FZ2000 / FZ2500 also has a micro HDMI and USB interface (the latter without charging function for the battery). Not visible from the outside is the WLAN connectivity of the FZ2000 / FZ2500.

On the underside of the camera there is the battery compartment and the tripod thread in the optical axis. Fortunately, the distance from the tripod thread to the battery door is large enough to be able to dive the battery without any problems with the quick-release plate mounted. The battery is a DMW-BLC12E with 7.2 Volt and 1,200 mAh.

Why Panasonic doesn’t fall back on a larger battery, even though the battery life is not bad with 350 shots according to the CIPA standard, we can’t explain ourselves, especially as there would be enough space for a larger battery in the large case. The camera is very energy-hungry, especially for video recordings, and so the photographer should better have a second battery in his pocket for longer photo tours.

With the operating concept of the Lumix FZ2000 / FZ2500, Panasonic focuses on accessibility for beginners and complexity for ambitious photographers and filmmakers. The camera allows complete operation of the menus and settings via omnisector or touch screen.

During recording, the touchscreen serves as a convenient way to select recording functions, such as setting autofocus measuring points, of which there are 49, effect overlays or activating other functions. In addition, there are a total of seven configurable function keys “Fn” on the camera, as well as five more “virtual” function keys on the touchscreen display. All function keys are preset with important functions, but can be configured by the photographer with other functions.

The main menu of the camera is very extensive and sorted into different categories. Depending on the operating mode selected, more or less options are available, but the camera does not “embezzle” a function, but instead greys it out. This clearly shows the photographer that there is a function but it is not available in the selected mode.

Equipment And Features

As already mentioned, the camera is primarily aimed at ambitious photographers and videographers, but even beginners can get started with the camera. Thus, while beginners are pleased with the iA+ automatic scene mode control and the iISO sensitivity setting, ambitious photographers fall back on the program, time or aperture control or even the manual mode. In addition, the various scene mode programs can also be selected outside the automatic motif control. There is even a separate point on the main rotary switch for this. In addition, different image characteristics can be selected and individualized via brightness, contrast, color and more. Additional special effects can be applied to the recording, adding even more individual charm that makes Instagram so popular. A total of eight of these special effects are available.

The tripod thread of the Lumix DMC-FZ2000 is in the optical axis, but unfortunately not in the center of gravity of the camera. [Photo: Panasonic]

On the right side, the Lumix DMC-FZ2000 is rather reserved with controls, but here sit the convenient handle and the memory card compartment integrated into it. [Photo: Panasonic]

In addition to these fast effects, however, the camera can do much more and a “jump” into the depths of the menus reveals that the FZ2000 is a highly customizable tool. Apart from the individual function key mapping, ambitious photographers and videographers can even save three preset memories with the settings that are important to them. This ensures that the camera is adapted to the situation.

Adding more to the “usual” photo functions and resolutions, Panasonic cameras have been offering 4K photo functions for some time. This includes the 4K continuous shooting function and the 4K preburst function. In the latter case, the camera permanently records images, but only saves the image at the time of shutter release and 30 images each of them and afterward.

The most interesting 4K recording function, however, is the post-focus function, which even has its own selection point reserved on the second dial. With this function, the camera records a series of images in which the focus point moves further and further back. After recording this series, the photographer in the camera can select a focus point in the image and the camera will save it. However, the photographer cannot only choose one picture, but several from this series.

In addition, this image series can be merged as a whole (focus stacking), so that a very large focus range is created, or only a partial range is “calculated” in order to create a specific focus range.

No half measures await the photographer when it comes to white balance. In addition to the “usual suspects” of the presets, four measured white balances can be stored and four memory locations are available for direct color temperature input in 100 degrees Kelvin steps. As usual with bridge cameras, the FZ2000 / FZ2500 has a fold-out flash with a guide number of 11 measured by us at ISO 100 and 1-meter distance. The camera also has a TTL flash shoe for system flash units.

The characteristic of the illumination is as expected and decreases up to the image corners and an entire aperture step. As with a system camera, the flash setting functions are far-reaching. There is a long-term synchronization, you can flash at the end of the exposure and correct the flash output in TTL mode up and down. The flash output can even be set manually in 22 steps and the integrated flash also functions as a master control unit for corresponding external flash units from Panasonic and Olympus (compatible with Micro Four Thirds).

Three flash groups can be controlled centrally from the camera on four channels. Since the FZ2000 / FZ2500 has a central shutter, it also flashes with all mechanical exposure times (up to 1/4,000 second).

Autofocus is one of the most important elements of a modern camera, so it’s no surprise that the FZ2000 / FZ2500 features a dedicated focus selector switch on the rear panel, with the AF and AE Lock buttons in the centre. The FZ2000 / FZ2500 has a contrast autofocus with DFD technology. The Depth From Defocus technology, or DFD for short, is able to significantly increase the autofocus speed by including the bokeh in the focus determination. The camera compares the background blur of the images on the sensor and uses a complex algorithm to determine how blurred the image is and in which direction and, above all, how far the focus must change.

At the end the contrast autofocus starts and only the fine adjustment has to be done. The photographer can use a total of 49 autofocus measurement fields in various ways and also configure them. It is even possible to save previously created patterns of the measuring fields. In addition, the touch screen has been integrated into the autofocus operation, so that the photographer only has to tap on the image area and the camera places the focus there. There is also traditional face recognition and tracking, where the photographer specifies an image object that the camera attempts to hold in focus.

This function works best when the object is well lit and stands out from its surroundings. As usual with contrast autofocus systems, the speed depends significantly on the subject contrast and the focal length used. In our test, we determined a shutter release delay with autofocus of 0.16 s in the wide-angle range and 0.29 s in the telephoto range. The pure shutter release delay was 0.04 s in the wide-angle and telephoto range.

On the left side of the FZ2000 / FZ2500 there is the switch of the built-in gray filter as well as further function keys and the different connections of the camera. [Photo: Panasonic]

If one wants or has to do without the autofocus, the camera also offers support for this project in the form of the already mentioned handy focus ring. In addition, there is a configurable focus peaking function as well as a flexibly positionable focus magnifier, which can either be seen as an image within an image or displayed across the entire monitor or viewfinder.

The FZ2000 also cuts a good figure in terms of video recording with a maximum resolution of 4,096 x 2,160 or 3,840 x 2,160 pixels and 30 frames per second. In addition to this 4K resolution, the camera can of course also record 1,080p at a maximum of 60 frames per second.

In addition, the resolutions are available in different bit rates for different quality requirements. As the recording format, the videographer can select AVCHD and MP4 as well as MOV to prepare the video for its intended use. If the camera user feels called upon to do so, he or she can also expose videos with automatic aperture or aperture control as well as completely manually. A small light balance then indicates whether the image is overexposed or underexposed, as in photo mode. In addition, the FZ2000 / FZ2500 has a so-called “Zebra” function.

This displays overexposed image areas with a hatch so that the videographer can see if the overexposures are in an area relevant to the scene. As usual with cameras with advanced video functions, the FZ2000 / FZ2500 also reduces the zoom speed in video mode, so that less annoying noise is recorded by the internal microphone. However, this can only be avoided completely if an external microphone is used. In this case, the FZ2000 / FZ2500 has a 3.5 mm jack plug socket as mentioned above and a 3.5 mm headphone socket for monitoring the sound.

It almost goes without saying that the level of the microphone in the camera can be adjusted and also displayed in the viewfinder or on the monitor. Other professional video features make it clear that Panasonic designed the FZ2000 / FZ2500 for more than just a fast family video on the beach.

However, this should not discourage the videography beginner, because the FZ2000 / FZ2500 also has an automatic program as well as selectable and customizable image styles in the video area. These allow certain recording characteristics, such as brightness, contrast and color, to be globally adjusted and thus to carry out the recording without the need for subsequent video software. In addition, six different special effects can be activated. These range from light-flooded high-key to gloomy bleach bypass effects and, when properly selected, provide expressive visual support for the shot.

As far as connectivity is concerned, Panasonic is very well positioned with all higher-quality cameras. The FZ2000 is no exception.

The camera can either be connected to an app installed on a smart device or integrated into an existing WLAN network structure. However, an NFC function is not available. The camera including LiveView can be remote controlled from the app. But even without a smart device, the FZ2000 / FZ2500 can be triggered remotely via a cable release.

In addition, position data can be transferred from the smart device to the camera. An ad hoc network is simply set up between the smart device and the camera, and the position data recorded by the app is transmitted. The camera then assigns the position data to the respective images via the recording time. As simple as this sounds, it is only in theory, because unfortunately the app doesn’t show on the main screen if the logging of the position data is active.

The assignment of the position data in the camera depends on the number of images to be processed. Unfortunately, the camera doesn’t show any information about the current status, so the photographer doesn’t know if the camera is doing anything and how long he might have to wait. If an error occurs, the process must be restarted. Fortunately, the data does not have to be transferred again, the camera stores it temporarily. A permanently installed GPS module or an economical permanent Bluetooth connection would make geotagging much easier.

Picture quality Of The Panasonic FZ2500

In laboratory tests, the Panasonic Lumix FZ2000 / FZ2500 showed a tendency towards images sharpened by the image processor in all focal length ranges. The edge darkening in the strongest case is only 18 percent and occurs in the wide angle at aperture 11. The edge darkening in the telephoto area, on the other hand, is virtually non-existent. The chromatic aberration is virtually invisible in the wide-angle range and it will be difficult to detect chromatic aberrations in the medium focal length range. Only in the telephoto range do these become visible in the upper aperture ranges. The resolution of the camera is very good and reaches the highest value in the wide-angle range with almost 53 line pairs per millimeter. As the f-number increases and the focal length increases, the resolution decreases.

The battery and memory card compartment of the Panasonic Lumix FZ2000 / FZ2500 in detail. [Photo: Panasonic]

The signal-to-noise ratio is the ratio of the picture signal to the noise signal. The larger the distance measured in dB, the better. The critical limit is considered to be 35 dB, since the noise here is unacceptably superimposed on the image signal. With the FZ2000 / FZ2500, this limit is reached at about ISO 2,400. This is a good result for a 1″ camera. The photographer has to be prepared for loss of detail from ISO 1.600, as here the internal noise reduction starts to eliminate fine image details together with the noise. However, even in very high ISO ranges, the loss of detail is not so great that it can be described as strong.

With just over eleven f-stops, the input dynamics are very high and remain very constant even in high ISO ranges, only dropping below ten f-stops from ISO 12,800. The tonal value transfer also clearly shows that the JPEG files are intended for immediate use (Shoot to Print). The output tonal range shows good values up to just under ISO 1,600, after which it slowly decreases continuously. The color fidelity of the camera doesn’t show any big surprises, because the Shoot-to-Print character is recognizable here as well. Cyan, for example, is somewhat softened in saturation to better represent a blue sky and red tones are more strongly reproduced. The mean color deviation is small through the bench away.

Bottom line For The Panasonic FZ2500

The conclusion of the Lumix FZ2000 / FZ2500 is not easy to draw. On the one hand the camera is not a pure photo camera and on the other hand no pure video camera. It is a hybrid between both camera types and this is how Panasonic calls it.

The image quality is at a very high level, although the lens loses resolution in the telephoto range. There are no half measures in the equipment and the camera offers the photographer and videographer a very wide and at the same time a great depth of functions.

The handling is structured and well thought-out, but above all adaptable. Even with the speed there is no reason for complaint. One thing should be clear to the owner of the camera, however, and that is that the full potential of the camera is unleashed only outside the automatic systems. The FZ2000 / FZ2500 is a camera that rightly bears the term “bridge camera”, as it represents the connection of a well-equipped system camera with a compact camera. The only real disadvantage is the resulting size, because the camera cannot be described as small and compact.

Panasonic FZ2500 / FZ2000 Datasheet