Panasonic Lumix DMC-GM5 Review

October 22, 2014 | Gavin Stoker |

Introduction
Ease of Use
Image Quality
Sample Images
Product Images
Rating & Conclusion
Main Rivals
Review Roundup
Specifications
Comment
More…

Introduction

The new Panasonic Lumix DMC-GM5 is the smallest compact system camera in the World with a Live View Finder. The DMC-GM5 features a Four Thirds-sized 16 megapixel Live MOS image sensor, 920K-dot touchscreen LCD screen, 1,166-dot equivalent LVF with 0.92x magnification and 100% field of view, built-in Wi-Fi connectivity, a flash hotshoe and supplied external flash, silent electronic shutter with a maximum shutter speed of 1/16000s, Full 60p/50p HD video recording, high-speed Light Speed AF system, focus peaking, RAW support, an ISO range of 125-25600, 5fps burst shooting with tracking AF, and 22 Creative Controls. The Panasonic Lumix GM5 comes bundled with the Lumix G VARIO 12-32mm (24-64mm equivalent) f/3.5-5.6 Asph. MEG O.I.S. pancake zoom lens, priced at £699 / $799.

Ease of Use

Do you hanker for a portable yet high-ish performance compact system camera that lives up to the billing by being truly compact? The classic in appearance Lumix DMC-GM5 presently joins the older GM1 – the manufacturer’s smallest CSC on launch – in the line up, rather than immediately replacing it. While not quite as diminutive as its predecessor, handily it is not a great deal larger than a standard fixed lens point and shoot, which in itself is an impressive feat. This means that, potentially, this is an ideal device for slipping into a pocket and retrieving for surreptitious street photography: sometimes size really does matter, as attempts by rivals including Samsung’s NX Mini and Sony’s A5100, both cheaper than the GM5, have also made plain.

With the photo enthusiast in its sights, the Panasonic Lumix DMC-GM5’s resolution remains a respectable rather than opulent 16 megapixels, derived from a Micro Four Thirds ‘Live MOS’ sensor. This is the same core specification as the GM1 offered us, while we’re told this is the exact same sensor as that found in the Panasonic GX7, current range topper amongst the more obviously ‘compact’ styled Lumix G series models (as opposed to the more obviously DSLR-styled GH4). Official measurements are 59.5x36.1x98.5mm – so roughly the size of a pack of playing cards.

This time, like the equally new LX100, the GM5’s design is loosely based on the more identifiably retro design of the decade old LC1, while being smaller and more portable than an actual GX7. It’s only slightly bigger than the GM1 because there has been a viewfinder and hotshoe added this time around, which, while meaning that we lose space for potentially a built-in flash, sees the potential market for this camera arguably expand into enthusiast territory.

Talking of which, what sort of support does the enthusiast get with the Lumix G range? Well, with 22 compatible Panasonic lenses on the market there are a couple of on-launch lens kit options that come with this camera: the GM5L kit is an all-black GM5 body bundled with a Leica 15mm lens. The alternative option features a 12-32mm lens and the camera body in black or what its maker unofficially terms ‘Ferrari’ red. As far as the UK is concerned, and unlike the GM1 on release, there is no Dixons Travel store exclusive this time – so you should be able to track down these variants in most places. Body colours may be neither here nor there to the hardcore photo enthusiast, but then arguably this camera is being sold on its stylistic attributes (almost) as much as performance.

Front of the Panasonic Lumix DMC-GM5

Thankfully a bundled FL70 mini flash is included in the box with both kit options, rather than being an added expense on purchasing the kit. Though on a practical note in providing this as an accessory rather than an integral feature you have to remember to carry the one provided around with you. Suggested retail price for the GM5 with Leica lens is £1,049, with the same camera in red or black with the 12-32mm zoom set at £769 on launch, though at the time of writing you can currently find the latter option for around £699, with £949 being asked for the Leica lens kit.

A major difference between the Panasonic Lumix DMC-GM5 and the GM1 however is the inclusion of an electronic viewfinder (EVF) – allegedly completely new here, which boasts a whopping 1665K-dot resolution, complete with fingernail-operated side switch for dioptric adjustment. Said feature obviously immediately gives the GM5 greater appeal to traditionalists who like to compose with the camera held at eye level rather than peering down at a screen. The view through it is reasonably clear too, though we found the eye sensor a little sensitive, in that a movement of a finger when handling the camera is enough to set it off. Admittedly this is a minor irritation, relieved by a manual press of the LVF/Fn2 button alongside which ensures you can have the EVF always on, the LCD always on, or naturally the sensor active so the camera automatically switches between the two.

According to Panasonic this is the world’s smallest CSC with a live viewfinder on launch, here offering 100% field of view and 0.92x magnification. Like the competing Olympus E-PL7 (which doesn’t have the built-in viewfinder) we also get a touch screen LCD at the back of the GM5, which is a claimed 50% brighter than previously, without necessitating a higher power consumption into the bargain. The screen is pleasantly responsive too, and to be honest we found ourselves utilising it much more than the viewfinder as a result. What with the manufacturer’s electronic background, it’s no surprise to discover that NFC, Wi-Fi and QR technologies are additionally supported by the camera for the distribution of images. As we download our images to a desktop Mac via the tried ‘n’ tested card reader tradition, it’s not such a big issue for us, but it’s a set of features that each manufacturer has to at least be seen to be offering nonetheless.

Rear of the Panasonic Lumix DMC-GM5

There are further details about the Panasonic Lumix DMC-GM5 well worth noting, including the fact that it features a 240fps AF drive that can deliver a blink-and-you’ll-miss-it 0.06 second auto focus response. Burst frame rate has also marginally improved over the 5fps performance of the GM1; it’s now 5.8fps on the GM5. We also get face and eye detection along with eye sensor AF – whereby the camera starts focusing as soon as your eyeball comes level with the EVF. A further adjustment on this model is that Creative Control digital filter effects have been combined with ASM modes, so more ‘skillful’ users now have access in those modes – while there is also the ability to use filter effects when shooting panoramas. Progressive video capture is now offered as opposed to interlaced (1920x1080 pixels, 60P), plus ISO sensitivity now starts out at a lower ISO100 rather than ISO125.

We had the GM5 kit in black with the 12-32mm lens in to look at, providing the equivalent of a wide angle 24-64mm in 35mm terms – meaning that we had to get reasonably close to our subject/s at all times. Though a maximum aperture here of f/3.5, running up to f/5.6 at the telephoto end is nothing special in terms of brightness, it’s nevertheless standard spec for the basic kit zoom, and we were still able to achieve attractive bokeh-like effects when shooting close ups at the widest angle. It’s worth noting also that since the lens is retractable in order to ensure maximum compactness, it first has to be turned by hand to maximum wide angle setting before shooting can begin, as is also the case with Olympus’ own standard kit issue pancake zoom. This inevitably adds a couple of seconds onto the time it takes from grabbing the camera out of a bag and pocket and the user being able to take the first shot – so you start to more keenly pre-empt when you might need it for that photo opportunity.

One thing that the smaller form factor of the Panasonic Lumix DMC-GM5 has necessitated is the lack of a handgrip. Yes, there is a very subtle, pseudo leather effect finish to the lower three quarters of the face plate, well hidden on the black model, but clearer on the red; yet we found this didn’t really aid our grasp. Ditto the very small thumb rest and subtly curved edge to prevent slippage that’s provided top right of the back plate. It’s there, but it doesn’t really achieve a lot. If you want a nice, meaty handgrip, buy a big, meaty camera. What is more prominent and with a roughened tactile surface is the release button for the lens – the most noticeable feature on the faceplate apart from the Micro Four Thirds lens mount itself, with a teeny porthole for the self timer/AF illumination lamp being the other. Being small and compact the GM5 doesn’t shout its presence, and that may be an advantage to those wanting more natural candid shots.

Top of the Panasonic Lumix DMC-GM5

The top plate of the GM5 gets slightly more interesting. Here we have a covered hotshoe for the accessory flash provided in the box, plus not one but operational two dials, thereby giving a subtle design nod to rangefinder-type cameras. It’s a welcome touch that focus modes get their own dial on the top plate to ape the switch found at the front of DSLRs: here we get the standard choices of single shot or continuous AF, along with a manual option, though the 12-32mm lens option doesn’t actually feature a manual focus ring.

Adjacent to this dial is a raised shutter release button surrounded by an on/off switch, with a forward facing lip to provide some purchase for the pad of the forefinger. Flick this to ‘on’ and almost instantly – provided you’ve already unfurled the kit lens – we’re up and running with an almost DSLR-like response time. A half squeeze of the shutter release and the image relayed on screen or viewfinder momentarily softens before coming back into sharp relief. Press down fully to take the shot and the contrast AF system does its work; in less than two seconds a full resolution, least compression JPEG image is committed to removable SD memory card (there is no internal capacity). Couple this with the simultaneous capture of a raw file and there’s barely an additional slow down.

We also find a familiar bottle top style shooting mode dial atop the top plate, situated at the far right and thereby making for easy operation with a combination of forefinger and thumb. There are no fewer than 10 shooting options provided here. Naturally we get the creative quartet of program, shutter priority, aperture priority and manual shooting modes. Added to these on the same wheel is the other reliable regular of intelligent Auto for purely point and shoot operation with consistent results that require little if any tweaks straight out of the camera. In terms of on-board digital filters, the GM5 offers an impressive palette too. We get the Panasonic regulars of the saturation boosting ‘Expressive’ option along with Sepia – but there are degrees of image ageing provided by further ‘Retro’, ‘Old Days’ Monochrome, Dynamic Monochrome (more contrast-y), and Rough Monochrome – the latter for if you’re attempting grainy signature black and whites like the photographer Anton Corbjin – plus even ‘silky’ monochrome. High key and low-key effects are additionally possible, while we also get HDR type options in Impressive Art plus separate High Dynamic mode. Cross processing, toy and miniature effects along with star and – our personal favorite – sunshine filter like effects help round out the package. There is enough here certainly to play with to at least make something creative and salvageable out of potentially dull shooting conditions on an overcast day.

The Panasonic Lumix DMC-GM5 in-hand

Another twist of the dial to access the scene modes and here we have 23 possibilities to choose from – with monochrome making an appearance yet again alongside the usual night shooting, landscape and adult, child and pet portrait modes. A twist to the next setting, moving clockwise around the dial, and we arrive on panorama mode – which is here handily self stitching, meaning it’s a case of literally point and shoot again. We do however get one custom setting and a manual video operation mode adjacent to one another, for those who prefer to dial in personal preference settings rather than just blaze away. Incidentally Panasonic’s proprietary Photo Style settings can be accessed in video mode as in regular stills modes. With the ‘Standard’ setting the default option as far as the look goes, Vivid, Natural and Monochrome are further options here, as well as specific Scenery, Portrait and a Custom option. Contrast, sharpness, noise reduction, and saturation can further be adjusted for each of these individual settings – users provided with a on screen slider for the purpose. Again, there is the ability to be as hands-on or hands-off as you desire.

The back of the GM5 is unsurprisingly dominated by the camera’s LCD screen, with small viewfinder ranged to the left of the backplate for use with the right eye, thereby handily avoiding the nose butting up against and smearing the 3-inch, 921K dot LCD, as most often happens on a DSLR or CSC. The screen is, once again with Panasonic, a touch screen. As we have grumbled in the past, some of the monitor icons presented are a tad small – but at least we have hard keys both above and to the right hand side of the screen to offer up the possibility of a ‘best of both worlds’ type operation. A shame perhaps for some – particularly the selfie shooters out there – that the screen is fixed/non-angle adjustable, unlike say the Sony A5100 or Samsung NX Mini – but arguably this is a more serious proposition than either of those.

A case in point, above the main screen we have two possible user-attributable function buttons to act by way of a short cut, though Function 1 is preset as a means to control the switching between LCD and EVF, as already detailed. The second adjacent button is the means by which as a default the camera’s Wi-Fi connections are established: here a QR code is presented on the backscreen to be scanned by your smartphone, should you wish to set it up as a remote or a viewfinder for the camera. There is also the ability to establish a direct connection with a TV set or external monitor, or send images to another device whilst recording, or transfer pre-captured shots, should one wish. Next up on the GM5’s backplate, and still above the screen, are playback button and a DSLR/CSC-like command wheel for scrolling through menu options or alternatively enlarging portions of the image in review mode (whereby it acts as a zoom lever).

Side of the Panasonic Lumix DMC-GM5

To the right of the screen, controls are again familiar, yet physically tiny. We get a set of cross keys with the familiar menu/set button in their midst, flanked by means of adjusting ISO, white balance, capture speeds and AF modes (face/eye detection, AF tracking, 23-area and 1-area). Self-timer options vary between 10 and two seconds meanwhile. Above the cross keys and to the right where it sits near the camera’s edge is a red record button for video. Give this a press and recording begins near instantly, with focus automatically adjusting if you swap subjects mid filming, no matter whether you had the top plate dial set to single shot or continuous AF. There is stereo sound for video also, courtesy of two pin prick-like microphones set just in front of the top plate hotshoe. Luckily twisting the zoom barrel when recording doesn’t appear to be picked up unduly on the audio.

The bottom two controls on the GM5’s backplate are for Panasonic’s usual ‘Quick Menu’ feature – again it’s another operational short cut – which doubles up as a delete button in playback mode. Adjacent to this we have a self explanatory display button for activating or deactivating the screen display, as well as calling up a very useful level gauge – another modern DSLR-like feature for this consumer compact. The Quick Menu meanwhile gives us direct access to the Photo Style settings mentioned earlier, as well as video quality and frame rate settings and AF modes. It’s also here that we can directly access metering – with multi zone, centre weighted or spot metering offered – adjust exposure compensation (+/- 3EV) – and scroll through ISO sensitivity. As you will probably have guessed, this makes for a camera that is intuitive enough in use that anyone who is trading up from a snapshot camera, or stepping down from a DSLR, will be able to pick up and start using straight away without reference to a manual.

With a speaker to one side of the Panasonic Lumix DMC-GM5 and a flap protecting HDMI output at the other, the base of this Panasonic is given over to a screw thread for tripod attachment range at the mid point of the base of the lens mount, plus the standard shared compartment for both lithium ion rechargeable battery and SD card slot. Battery life for the GM5 used in conjunction with our 12-32mm lens is 210 shots per charge if biasing use of the rear plate LCD or a marginally improved 220 images if utilizing the live view finder/EVF – both a according to CIPA standards. That’s not exactly much improved over the non-interchangeable lens point and shoot camera that at first glance this Panasonic resembles. But will its resultant images transcend its modestly minimalist looks and small form factor to suggest a bigger camera and illustrate a better than expected performance? Read on to find out...

Image Quality

All of the sample images in this review were taken using the 16 megapixel Fine JPEG setting, which gives an average image size of around 7Mb.

Buy any camera from the likes of Panasonic or Sony and we know pretty much what we are going to get as a default: bright, colour-rich images with plenty of saturation straight out of the camera, with the result that standard JPEGs require very little if anything in the way of post processing straight out of the camera. We can literally point and shoot and get perfectly acceptable images – no messing about. Perhaps what the Panasonic offers more than anything is the choice of how we shoot – eye up to the viewfinder or holding the Panasonic Lumix DMC-GM5 at arm’s length to take a shot, with differing results, though the limited zoom lens reach (if we’re talking the bundled 12-32mm at least) means that we have to get in fairly close and personal whatever we’re shooting in order to fill the frame.

Whatever the setting exposures are even with the Panasonic Lumix DMC-GM5 left to its own defaults, and though there may be the spectre of purple pixel fringing rearing its head between areas of contrast in an image on occasion, this is only on really close inspection, when you’re actively seeking fault. There is a little distortion and a touch of the fish-eye type effect at maximum wideangle setting on the 24mm equivalent lens, but again this is only really noticeable when deliberately seeking it out.

In terms of low light shooting, yes we are getting image noise the higher we creep up the scale but even at top whack ISO25600 equivalent we’re not getting totally unusable results. And this despite the smaller Four Thirds sensor at the heart of this model when compared to the typical APS-C chip in competing electronics brands including Sony and Samsung.

Noise

There are 8 ISO settings available on the Panasonic Lumix DMC-GM5. Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and RAW on the right:

JPEG	RAW
ISO 200 (100% Crop)	ISO 200 (100% Crop)


ISO 400 (100% Crop)	ISO 400 (100% Crop)


ISO 800 (100% Crop)	ISO 800 (100% Crop)


ISO 1600 (100% Crop)	ISO 1600 (100% Crop)


ISO 3200 (100% Crop)	ISO 3200 (100% Crop)


ISO 6400 (100% Crop)	ISO 6400 (100% Crop)


ISO 12800 (100% Crop)	ISO 12800 (100% Crop)


ISO 25600 (100% Crop)	ISO 25600 (100% Crop)

Sharpening

Here are two 100% crops which have been Saved as Web - Quality 50 in Photoshop. The right-hand image has had some sharpening applied in Photoshop. The out-of-the camera images are a little soft at the default sharpening setting, and benefit from further sharpening in a program like Adobe Photoshop. You can also change the in-camera sharpening level by tweaking the Photo Styles, with five different settings available.

Original (100% Crop)	Sharpened (100% Crop)

Flash

The flash settings on the Panasonic Lumix DMC-GM5 are Auto, Auto/Red-eye Reduction, Forced Flash On, Slow Sync./Red-eye Reduction and Forced Flash Off. These shots of a white coloured wall were taken at a distance of 1.5m.

Flash Off (24mm)	Flash On (24mm)


Flash Off (64mm)	Flash On (64mm)

And here are some portrait shots. As you can see, neither the Flash On setting or the Red-Eye Reduction option caused any amount of red-eye.

Flash On	Flash On (100% Crop)


Red-eye Reduction	Red-eye Reduction (100% Crop)

Night

The Panasonic Lumix DMC-GM5's maximum shutter speed is 60 seconds and there's also a Bulb option for exposures up to 4 minutes long, which is excellent news if you're seriously interested in night photography. The shot below was taken using a shutter speed of 1/15th seconds at ISO 6400. The camera takes the same amount of time again to apply noise reduction, so for example at the 15 second setting the actual exposure takes 30 seconds.

Night	Night (100% Crop)

Sample Images

This is a selection of sample images from the Panasonic Lumix DMC-GM5 camera, which were all taken using the 16 megapixel Fine JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

Ratings (out of 5)
Design	4.5
Features	4.5
Ease-of-use	4.5
Image quality	4.5
Value for money	4

TYPE		Type	Digital Single Lens Mirrorless camera
		Recording media	SD Memory Card, SDHC Memory Card, SDXC Memory Card (Compatible with UHS-I standard SDHC / SDXC Memory Cards)
		Image sensor size	17.3 x 13.0 mm (in 4:3 aspect ratio)
		Lens mount	Micro Four Thirds mount
IMAGE SENSOR		Type	Live MOS Sensor
		Total pixels	16.84 Megapixels
		Camera effective pixels	16.00 Megapixels
		Color filter	Primary color filter
		Dust reduction system	Supersonic wave filter
RECORDING SYSTEM	Recording file format	Still image	JPEG (DCF, Exif 2.3), RAW, MPO (When attaching 3D lens in Micro Four Thirds system standard)
	Recording file format	Motion picture	AVCHD (Audio format: Dolby Digital 2ch), MP4 (Audio format AAC 2ch)
	Aspect ratio		4:3, 3:2, 16:9, 1:1
	Image quality		RAW, RAW+Fine, RAW+Standard, Fine, Standard/MPO+Fine / MPO+Standard (with 3D lens in Micro Four Thirds system standard)
	Color Space		sRGB, AdobeRGB
	File size(Pixels)	Still Image	[4:3] 4592x3448(L) / 3232x2424(M) / 2272x1704(S) / 1824x1368 (When attaching 3D lens in Micro Four Third system standard)/[3:2] 4592x3064(L) / 3232x2160(M) / 2272x1520(S) / 1824x1216 (When attaching 3D lens in Micro Four Third system standard)/[16:9] 4592x2584(L) / 3840x2160(M) / 1920x1080(S) / 1824x1024 (When attaching 3D lens in Micro Four Third system standard)/[1:1] 3424x3424(L) / 2416x2416(M) / 1712x1712(S) / 1712x1712 (When attaching 3D lens in Micro Four Third system standard)
		Motion picture1(MP42:NTSC area)	[Full HD] 1920x1080 60p, 28Mbps (sensor output is 60fps)/[Full HD] 1920x1080 30p, 20Mbps (sensor output is 30fps)/[HD] 1280x720 30p, 10Mbps (sensor output is 30fps)/[VGA] 640x480 30p, 4Mbps (sensor output is 30fps)
		Motion picture1(MP42:PAL area)	[Full HD] 1920x1080 50p, 28Mbps (sensor output is 50fps)/[Full HD] 1920x1080 25p, 20Mbps (sensor output is 25fps)/[HD] 1280x720 25p, 10Mbps (sensor output is 25fps)/[VGA] 640x480 25p, 4Mbps (sensor output is 25fps)
		Motion picture1(AVCHD3:NTSC area)	[Full HD] 1920x1080 60p, 28Mbps (sensor output is 60fps)/[Full HD] 1920x1080 60i, 17Mbps (sensor output is 60fps)/[Full HD] 1920x1080 60i, 24Mbps (sensor output is 30fps)/[Full HD] 1920x1080 24p, 24Mbps (sensor output is 24fps)
		Motion picture1(AVCHD3:PAL area)	[Full HD] 1920x1080 50p, 28Mbps (sensor output is 50fps)/[Full HD] 1920x1080 50i, 17Mbps (sensor output is 50fps)/[Full HD] 1920x1080 50i, 24Mbps (sensor output is 25fps)/[Full HD] 1920x1080 24p, 24Mbps (sensor output is 24fps)
	Continuous recordable time (Motion picture)		AVCHD [FHD/60i, FHD/50i]: Approx. 80 min (rear monitor), 80 min (LVF) with H-FS12032/AVCHD [FHD/60i, FHD/50i]: Approx. 90 min (rear monitor), 90 min (LVF) with H-X015/AVCHD [FHD/60i, FHD/50i]: Approx. 90 min (rear monitor), 90 min (LVF) with H-FS35100
	Actual recordable time (Motion picture)		AVCHD [FHD/60i, FHD/50i]: Approx. 40 min (rear monitor), 40 min (LVF) with H-FS12032/AVCHD [FHD/60i, FHD/50i]: Approx. 45 min (rear monitor), 45 min (LVF) with H-X015/AVCHD [FHD/60i, FHD/50i]: Approx. 45 min (rear monitor), 45 min (LVF) with H-FS35100
WiFi FUNCTION		WiFi	IEEE 802.11b/g/n, 2412 MHz - 2462 MHz (1-11 ch), Wi-Fi / WPA / WPA2, Infrastructure mode
		NFC	No
		QR Code Connection	Yes
VIEWFINDER		Type	Live View Finder (1,166K dots)
		Field of view	Approx. 100%
		Magnification	Approx. 0.92x / 0.46x (35mm camera equivalent) with 50 mm lens at infinity; -1.0 m-1
		Eye point	Approx. 17.5 mm from eyepiece lens
		Diopter adjustment	-4.0 - +4.0 (dpt)
		Eye sensor	Yes
		Eye sensor adjustment	High / Low
FOCUS		Type	Contrast AF system
		Focus mode	AFS (Single) / AFF (Flexible) / AFC (Continuous) / MF
		AF mode	Face/Eye Detection / Tracking / 23-Area / 1-Area / Pinpoint/(Full area touch is available)
		AF detective range	EV -4 - 18 (ISO100 equivalent)
		AF assist lamp	Yes
		AF lock	Set the Fn button in custom menu to AF lock
		Others	One Shot AF, Shutter AF, Half Press Release, Quick AF, Continuous AF (during motion picture recording), Eye Sensor AF, AF+MF, MF Assist, Touch MF Assist, Focus Peaking, Touch AF/AE Function, Touch Pad AF, Touch Shutter
EXPOSURE CONTROL		Light metering system	1728-zone multi-pattern sensing system
		Light metering mode	Multiple / Center Weighted / Spot
		Metering range	EV 0 - 18 (F2.0 lens, ISO100 equivalent)
		Exposure mode	Program AE, Aperture Priority AE, Shutter Priority AE, Manual,
		ISO sensitivity (Standard Output Sensitivity)	Auto / Intelligent ISO / 100 (Extended) / 200 / 400 / 800 / 1600 / 3200 / 6400 / 12800 / 25600 (Changeable to 1/3 EV step)/(Up to ISO3200 in motion picture recording)
		Exposure compensation	1/3 EV step ±5EV (±3EV for motion picture)
		AE lock	Set the Fn button in custom menu to AE lock
		AE bracket	3, 5, 7 frames in 1/3, 2/3 or 1 EV Step, Max. ±3 EV, single/burst
WHITE BALANCE		White balance	Auto / Daylight / Cloudy / Shade / Incandescent / Flash / White Set 1, 2 / Color temperature setting
		White balance adjustment	Blue/Amber bias, Magenta/Green bias
		Color temperature setting	2500-10000K in 100K
		White balance bracket	3 exposures in blue/amber axis or in magenta/green axis
PANORAMA SHOT		PANORAMA SHOT	Yes
SHUTTER		Type	Electronically-controll focal-plane shutter / Electronic shutter
		Shutter speed	Still image: Time (Max. 60 second), 1/16,000 - 60/Motion picture: 1/16,000 - 1/25
		Self timer	10sec, 3 images / 2sec / 10sec
SCENE GUIDE		Still image	Clear Portrait / Silky Skin / Backlit Softness / Relaxing Tone / Sweet Child's Face / Distinct Scenery / Bright Blue Sky / Romantic Sunset Glow / Vivid Sunset Glow / Glistening Water / Clear Nightscape / Cool Night Sky / Warm Glowing Nightscape / Artistic Nightscape / Glittering Illuminations / Handheld Night Shot / Clear Night Portrait / Soft Image of a Flower / Appetizing Food / Cute Dessert / Freeze Animal Motion / Clear Sports Shot / Monochrome
SCENE GUIDE		Motion picture	Clear Portrait / Silky Skin / Backlit Softness / Relaxing Tone / Sweet Child's Face / Distinct Scenery / Bright Blue Sky / Romantic Sunset Glow / Vivid Sunset Glow / Clear Nightscape / Cool Night Sky / Warm Glowing Nightscape / Artistic Nightscape / Handheld Night Shot / Clear Night Portrait / Appetizing Food / Cute Dessert / Freeze Animal Motion / Clear Sports Shot / Monochrome
BURST SHOOTING		Burst speed	Mechanical shutter: H: 5.8 frames/sec (with AFS), 5 frames/sec (with AFC, in 1-area-focusing AF mode), M: 4 frames/sec (with Live View), L: 2 frames/sec (with Live View)/Electronic shutter: SH: 40 frames/sec, H: 10 frames/sec, M: 4 frames/sec (with Live View), L: 2 frames/sec (with Live View)
BURST SHOOTING		Number of recordable images	7 images (When there are RAW files with the particular speed.)/Unlimited consecutive shooting (Except for the SH mode. When there are no RAW files. Depending on the capacity of the memory card.)/39 images (SH mode. When there are no RAW files.)/(depending on memory card size, battery power, picture size, and compression)
FLASH		Flash type	TTL external flash (Bundled), GN10.0 equivalent (ISO 200・m) , GN7.0 equivalent (ISO 100・m)
		Flash Mode	Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, Slow Sync., Slow Sync./Red-eye Reduction, Forced Off * For iA, iA+ only.
		Synchronization speed	Less than 1/50 second
		Flash output adjustment	1/3EV step ±3EV
		Flash synchronization	1st. Curtain Sync, 2nd Curtain Sync.
FUNCTION BUTTON		Fn1, Fn2, Fn3, Fn4, Fn5, Fn6, Fn7	Wi-Fi / LVF/Monitor Switch / Preview / One Push AE / Touch AE / Level Gauge / Focus Area Set / Zoom Control / Cursor Button Lock / Photo Style / Filter Select / Aspect Ratio / Picture Size / Quality / AFS/AFF / Metering Mode / Highlight Shadow / .Dynamic / i.Resolution / HDR / Shutter Type / Flash Mode / Flash Adjust / Ex. Tele Conv. / Digital Zoom / Stabilizer / Sensitivity / White Balance / AF Mode/MF / Drive Mode / Snap Movie / Motion Pic. Set / Picture Mode / Silent Mode / Peaking / Histogram / Guide Line / Zebra Pattern / Monochrome Live View / Rec Area / Step Zoom / Zoom Speed / Touch Panel / Restore to Default
REAR MONITOR		Type	TFT LCD monitor with static touch control
		Monitor size	3-inch / 16:9 aspect / Wide viewing angle
		Pixels	Approx. 921k dots
		Field of view	Approx. 100%
		Monitor adjustment	Brightness (13 levels), Contrast (13 levels), Saturation (13 levels), Red-Green (21 levels), Blue-Yellow (21 levels)
CREATIVE CONTROL		Still image	Expressive / Retro / Old Days / High Key / Low Key / Sepia / Monochrome / Dynamic Monochrome / Rough Monochrome / Silky Monochrome / Impressive Art / High Dynamic / Cross Process / Toy Effect / Toy Pop / Bleach Bypass / Miniature Effect / Soft Focus / Fantasy / Star Filter / One Point Color / Sunshine
CREATIVE CONTROL		Motion picture	Expressive / Retro / Old Days / High Key / Low Key / Sepia / Monochrome / Dynamic Monochrome / Impressive Art / High Dynamic / Cross Process / Toy Effect / Toy Pop / Bleach Bypass / Miniature Effect / Fantasy / One Point Color
LIVE VIEW		Digital zoom	2x, 4x
		Extra Tele Conversion	Still image: Max. 2.4x (Aspect ratio sets at 16:9. Not effective with L size recording. Magnification ratio depends on the recording pixels and aspect ratio.)/Motion picture: 2.4x (FHD), 3.6x (HD), 4.8x (VGA)
		Other functions	Level Gauge, Real-time Histogram, Guide Lines (3 patterns), Highlight display (Still image / motion picture), Zebra pattern (Still image / motion picture)
DIRECTION DETECTION FUNCTION		Direction Detection Function	Yes
PHOTO STYLE		Still image and motion picture	Standard / Vivid / Natural / Monochrome / Scenery / Portrait / Custom
CREATIVE VIDEO MODE		Exposure Mode	Program AE / Aperture-Priority / Sutter-Priority / Manual Exposure
PLAYBACK		Playback function	Normal playback, 30-thumbnail display, 12-thumbnail display, Calendar display, Zoomed playback (Max. 16x), Slideshow (All / Picture Only / Video Only / 3D / Category Selection / Favorite, duration & effect is selectable), Playback Mode (Normal / Picture / Video / 3D Play / Category / Favorite), Location Logging, Clear Retouch, Title Edit, Text Stamp, Video Divide, Time Lapse Video, Stop Motion Video, Resize, Cropping, Rotate, Rotation Display, Favorite, DPOF Print Set, Protect, Face Recognition Edit, Picture Sort, Delete Comfirmation
MOTION PICTURE FUNCTION		Flicker reduction	[1/50] / [1/60] / [1/100] / [1/120] / OFF
IMAGE PROTECTION / ERASE		Protection	Single / Multi, Cancel
IMAGE PROTECTION / ERASE		Erase	Single / Multi / All / Except Favorite
PRINT		Direct Print	PictBridge compatible
INTERFACE		HDMI	microHDMI TypeD / VIERA Link/Video: Auto / 1080p / 1080i / 720p / 480p (576p in PAL system)/Audio: Stereo
		USB	USB 2.0 High Speed Multi
		Audio video output	Monaural Type, NTSC/PAL, NTSC only for North America/*Check the website of the Panasonic sales company in your country or region for details on the products that are available in your market.
		Microphone	Stereo, Wind-cut: OFF / Low / Standard / High / AUTO
		Speaker	Monaural
LANGUAGE		OSD language	Japanese, English, German, French, Italian, Spanish
POWER		Battery	Li-ion Battery Pack (7.2V, 680mAh, 4.9Wh) (Included)/Battery Charger
POWER		Battery life (CIPA standard)	Approx. 210 images (rear monitor), 220 images (LVF) with H-FS12032/Approx. 210 images (rear monitor), 220 images (LVF) with H-X015/Approx. 210 images (rear monitor), 220 images (LVF) with H-FS35100
DIMENSIONS / WEIGHT		Dimensions (W x H x D)	98.5 x 59.5 x 36.1 mm / 3.88 x 2.34 x 1.42 inch (excluding protrusions)
DIMENSIONS / WEIGHT		Weight	Approx. 211g / 0.46 lb (SD card, Battery, Body)/Approx. 180g / 0.40 lb (Body only)/Approx. 281g / 0.62 lb (SD card, Battery, H-FS12032 lens included)/Approx. 326g / 0.72 lb (SD card, Battery, H-X015 lens included)/Approx. 346g / 0.76 lb (SD card, Battery, H-FS35100 lens included)
OPERATING ENVIRONMENT		Operating temperature	0℃ to 40℃ (32°F to 104°F)
OPERATING ENVIRONMENT		Operating humidity	10%RH to 80％RH
STANDARD ACCESSORIES		Software	PHOTOfunSTUDIO 9.6 PE (Windows XP / Vista / 7 / 8)/SILKYPIX® Developer Studio 4.2 SE (Windows XP / Vista / 7 / 8, Mac OS X v10.5 / v10.6 / v10.7 / v10.8)/LoiLoScope (trial version) (Windows XP / Vista / 7 / 8)
STANDARD ACCESSORIES		Standard accessories	DMC-GM5K Kit/Flash, Flash Storage Bag, Hot Shoe Cover, Battery Pack, Battery Charger, USB Connection Cable, Shoulder Strap, DVD-ROM, AC Cable, Lens Cap/ Depends on the country or region.
INTERCHANGEABLE LENS-1	Lens Name		LUMIX G VARIO 12-32mm / F3.5-5.6 ASPH. / MEGA O.I.S.
	Lens Construction		8 elements in 7 groups (3 aspherical lenses, 1 ED lens)
	Nano Surface Coating		-
	Mount		Micro Four Thirds mount
	Optical Image Stabilizer		Yes (MEGA O.I.S.)
	Focal Length		f=12-32mm (35mm camera equivalent 24-64mm)
	Aperture Type		7 diaphragm blades / Circular aperture diaphragm
	Maximum Aperture		F3.5(Wide) - F5.6(Tele)
	Minimum Aperture		F22
	Closest Focusing Distance		0.20m/0.66ft (at focal lenghts 12-20mm) / 0.30m/0.98ft (at focal lenghts 21-32mm)
	Maximum magnification		Approx. 0.13x / 0.26x (35mm camera equivalent)
	Diagonal Angle of View		84°(Wide) to 37°(TELE)
	General	Filter Size	37mm / 1.5in
		Max. Diameter	φ55.5mm / 2.2in
		Overall Length	Approx. 24mm / 0.94in (from the tip of the lens to the base side of the lens mount)
		Weight [g]	Approx. 70g (excluding lens cap, lens rear cap )
		Weight [oz]	Approx. 2.47oz (excluding lens cap, lens rear cap )
NOTE			*1 Use a card with SD Speed Class with "Class4" or higher.
NOTE			*2 Motion picture can be recorded continuously for up to 29 min 59 sec or up to 4 GB.
NOTE			*3 Motion picture can be recorded continuously for up to 29 min 59 sec (in Europe and some Asian areas.)

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