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What you need to know about Panasonic's Lumix DMC

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Panasonic Lumix DMC is the company's best bridge super-zoom camera to date. Everyone benefits from the 20x / 24-480mm zoom range, larger viewfinder and articulated touchscreen, but movie shooters will adore having unlimited 4k recording, 10-bit HDMI output, smooth internal zooming and a built-in ND filter adjustable by 2, 4 or 6 stops.

 With so many enhancements and improvements over its predecessor, it's hard not to enthuse over the Lumix FZ2000 / FZ2500 which packs in a huge range of features at a very competitive price. As a high-end camera I do wish it had weather-sealing, but it doesn't hold it back from earning a Recommended award. Compare closely with the Sony RX10 series.

As with most other Panasonic cameras – certainly its most recent generations – it offers both 4K video and 4K photo. In fact, the company says that this camera is aimed at videographers as well as photographers.

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The FZ2500 / FZ2000 is capable of shooting at 12fps continuously, although this drops to 7fps should you want the autofocus system to keep a lock on moving subjects. When using the electronic shutter, however, it’s possible to boost this to 50fps at the camera’s maximum resolution.

Battery life is rated at around 350 images when using the LCD and 270 images when using the viewfinder, although you can typically extend it by adjusting your power management settings. Helpfully, you can also charge the camera through its USB 2.0 port, which is great if you happen to be by your computer or if you’ve misplaced your charger. This is also handy for travel and holidays – ideal applications for the FZ2500 / FZ2000 – as you can travel without a bulky charger.

panasonic lumix gm1 screen
The camera’s five-axis image stabilisation system is clearly effective, and makes a significant difference to keep things steady at the telephoto end. Furthermore, the dual axis levelling function is perhaps one of the better systems of its kind, clear enough to show that the camera is level without posing an obstruction to details in the scene.
Another change Panasonic has made from the FZ1000 is an increase to the viewfinder’s magnification, from 0.70x to 0.74x (in 35mm terms). This places it at the same level as many compact system cameras and some DSLRs, and its performance is very good in both good lighting and more demanding conditions. Details are clear, while noise and artefacts are both low, and the feed is nice and fluid.
The new touchscreen on the FZ2500 / FZ2000 is a massive help too, particularly when you’re using the LCD screen for composition, and even more so when it’s pulled away from the camera and used down low or up high.

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