Education for Filmmakers
Language
The CineD Channels
Info
In Full Frame mode at 25 fps, the Panasonic LUMIX S5 II achieves a maximum Dynamic Range of 12.4 stops (SNR=2) in 3840x2160 resolution, H.265, ISO 640, and V-Log.
See results of all tested modes below:
In APS-C mode, at 24 fps, the Panasonic LUMIX S5 II can achieve a minimum Rolling Shutter result of 14.3 ms in 3840x2160 resolution, H.264.
Found a bug or data that doesn’t add up? Is something not displayed correctly? Report a bug or send us feedback HERE
Only results for frame rates 23.98p - 30p are counted in this ranking. Results for optional sensor crop modes and high frame rates are not included.
The target of the CineD Lab Tests is to establish an independent base reference benchmark which allows direct comparison of Dynamic Range between the various cameras on the market.
The Dynamic Range of a camera can be simplistically defined as the ratio of the maximum and minimum luminance that a camera can capture.
Experience shows that for movie cameras a Signal-to-Noise-Ratio of 2 (SNR=2) is a conservative approach leading to “usable” shadow detail.
In addition to the Signal-to-Noise Ratio of 2 (SNR=2) result, our tests also output a result for the Signal-to-Noise-Ratio of 1 (SNR=1), which is defined as the threshold value for dynamic range measurements by the ISO 15739:2003 standard.
Please refer to this article to see exactly how we test and measure Dynamic Range as part of our standardized Lab Tests:
The target of the CineD Lab Tests is to establish an independent base reference benchmark which allows direct comparison of Rolling Shutter between the various cameras on the market.
Most modern digital cameras don’t capture an entire frame all at once. Instead, they scan the image line by line very quickly. If during this readout-process, a subject moves, it could cause artifacts during playback.
Global Shutter on the other hand captures the entire scene at a single instant in time, and not line-by-line.
We are using our 300Hz strobe light to get the sequence of black and white bars, typical for the read-out nature of Rolling Shutter sensors.
We take a lot of time to go through each and every single possible mode that a camera can record. Every combination is then carefully collected and added to the database.
Recording Modes result from the combination of the active sensor mode, resolution, aspect ratio, and codec, and they directly affect how many frames per second can be recorded.
We also show the data rate, sampling, bit- depth, file format, and which media type they can be recorded on.
In addition to providing all the in-depth data of all possible Recording Modes, we go to great lengths and also give you real-world information about how long each Recording Mode can be recorded until your memory card is full.
Most cameras can record in various resolutions and sensor modes, which directly translate into a different sensor area being recorded.
Cameras can capture different resolutions and frame rates using clever methods like oversampling, pixel-binning, line-skipping, and more. Depending on the used method, the recorded sensor area changes when switching resolutions.
We record all available Recording Formats and calculate the effective sensor crop of each format, compared to the full sensor size.