Panasonic FZ2000 Camera

The Panasonic FZ2000 has a one inch, 20.1 megapixel ‘Mos’ sensor – the same physical chip size found in Nikon’s ‘1’ system or Sony’s rival RX10 bridge model – plus a Leica branded lens comprised of 16 lenses in 11 groups with a nine aperture diaphragm. The latter provides a focal length the equivalent of an ultra wide angle 24-480mm in 35mm terms, translating as a 20x optical zoom, which features hybrid 5-axis image stabilisation to help prevent image blur from camera shake. It also features an inner zoom structure, which means that it doens't extend any further when you change the focal length, and uses a guide-pole mechanism and coreless DC motor which allows for smooth zooming. The FZ2000's lens can be set to zoom at variable speeds using the Fn1 and Fn2 buttons, from fast to very slow, with an extra option to start/end zooming more gradually. 

The MOS sensor greatly increases the camera's burst shooting options, with a fastest setting of 12fps when using the mechanical shutter or an incredible 50 full-resolution images when using the electronic shutter for up to 100 (JPEG) / 30 (RAW) images (although both focus and exposure are fixed at the first frame). Slower modes of 7fps and 2fps complete with AF Tracking are also available.

Other notable features include a 2,359K dot OLED EVF and 1040K dot, 3-inch ‘free angle’ LCD screen. That lens reach, prominent electronic viewfinder, tilting screen and a decent sized handgrip have all resulted in a slightly chunky camera. While the chunkiness might dissuade some, others will be glad to at least feel they’re getting their money’s worth. There is also the point to be made that the FZ2000 weighs around a third of what a DSLR kit with an equivalent lens might , so portability here is still key. It’s also worth mentioning that the lens’ maximum f/2.8 aperture – running to up to a still respectable f/4.5 at extreme telephoto – in conjunction with the 1-inch sensor should give us DSLR-like ‘bokeh’ effects.

Providing the hands-on feel for those who want it, the FZ2000’s zoom lens can be controlled via the regular zoom lever surrounding the shutter release button, as on any point and shoot compact. Alternatively this can be done by turning the generously-wide ring on the lens barrel, with the focus automatically adjusted by turning the narrower lens control ring. Also found on the lens barrel are three configurable Function buttons, along with the ND Filter switch. The latter controls the three neutral density filters that are built into the lens, marked 1/4, 1/16 and 1/64, with each filter blocking out 2,4 and 6 stops of light respectively. There's also an Off setting and an Auto setting, which lets the camera take control. The lens even has a 67mm thread for use with filters.

From all angles the Panasonic FZ2000 certainly looks like it means business, which is reassuring given the high price tag. The mottled finish and leather effect padding will cause most observers to suspect you’re wielding a DSLR from a distance, and as you’d imagine, it handles a lot like one too. The large-ish, bright and clear electronic viewfinder with a prominent eye relief means that we just about get away with avoiding our nose smearing up against the main monitor screen, though the larger and more flexible screen is what we most naturally found ourselves using when setting up or reviewing shots.

Unsurprisingly, that large Leica branded glass lens dominates proceedings here with its 24-480mm focal range and aperture range stretching from a bright/fast f/2.8 to a perfectly acceptable f/4.5 at the telephoto end. Interestingly on this camera, the default still image ratio is now 3:2, which gives us the full 20.1 effective megapixel image. If you want to opt for the 4:3 ratio usually provided as the standard on a digital camera, this results in a resolution squeeze down to 17.5 megapixels. Naturally there’s the ability to capture Raw files or Raw files and JPEGs in combination. Since the latter option barely affected writing speed in the slightest, we chose it as our own personal default setting for the Panasonic.

To help with the ability to hold the Panasonic FZ2000 nice and steady at maximum zoom, there's a comfortably moulded handgrip around which we were able to wrap three fingers, leaving our forefinger to hover expectantly over the shutter release button. The latter sits atop the handgrip, tilting forward at an ergonomic angle, encircled by a zoom lever. New to the FZ2000 is a finger-operated control dial, which again adds to the DSLR-like feel of the camera.

Situated just behind this are two further buttons on the top plate. To the right we find a dedicated video button and on the left the fourth function button, marked ‘Fn4’. By default this accesses the comprehensive Exposure Compensation settings, but drill into the menu screens and it’s possible to manually attribute a wide variety of functions to such buttons, of which there are no less than 7 in total, including the ability to call up Panasonic’s Photo Style settings (the default factory option, seemingly), a level gauge – also summoned up by a press of the ‘display’ button – or alter the aspect ratio, just for starters. In fact, on this model there are 11 screens’ worth of user-attributable options, with four options presented on each, so the customization of said controls certainly feels almost limitless.

Unsurprisingly, that large Leica branded glass lens dominates proceedings here with its 24-480mm focal range and aperture range stretching from a bright/fast f/2.8 to a perfectly acceptable f/4.5 at the telephoto end. Interestingly on this camera, the default still image ratio is now 3:2, which gives us the full 20.1 effective megapixel image. If you want to opt for the 4:3 ratio usually provided as the standard on a digital camera, this results in a resolution squeeze down to 17.5 megapixels. Naturally there’s the ability to capture Raw files or Raw files and JPEGs in combination. Since the latter option barely affected writing speed in the slightest, we chose it as our own personal default setting for the Panasonic.

To help with the ability to hold the Panasonic FZ2000 nice and steady at maximum zoom, there's a comfortably moulded handgrip around which we were able to wrap three fingers, leaving our forefinger to hover expectantly over the shutter release button. The latter sits atop the handgrip, tilting forward at an ergonomic angle, encircled by a zoom lever. New to the FZ2000 is a finger-operated control dial, which again adds to the DSLR-like feel of the camera.

Situated just behind this are two further buttons on the top plate. To the right we find a dedicated video button and on the left the fourth function button, marked ‘Fn4’. By default this accesses the comprehensive Exposure Compensation settings, but drill into the menu screens and it’s possible to manually attribute a wide variety of functions to such buttons, of which there are no less than 7 in total, including the ability to call up Panasonic’s Photo Style settings (the default factory option, seemingly), a level gauge – also summoned up by a press of the ‘display’ button – or alter the aspect ratio, just for starters. In fact, on this model there are 11 screens’ worth of user-attributable options, with four options presented on each, so the customization of said controls certainly feels almost limitless.

On the FZ2000 the selectable shooting modes include the expected intelligent Auto setting and palette-like icon indicating creative controls. The Panasonic has eight screens’ worth of digital effects on board selectable in this mode. The next shooting option discovered with a further turn of the mode dial is the scene settings, of which there are 25 here, and finally, a panorama option. Moving around the shooting mode wheel we find a Custom setting, followed by a dedicated mode for video. There's the choice of 30, 25 or 24 frames per second capture speed in QFHD 4K quality (3840x2160 pixels) in the MP4 format, and a cinematic 4096x2160 pixel / 24fps option in the MOV format. Bit rate is an impressive 200Mbps (ALL-Intra) or 100Mbps (IPB) with 4:2:0 8-bit colour, there is no time limit on the recording duration, and you can output to an external monitor or recorder via an optional micro HDMI cable simultaneously while recording video. There's even an optional paid software upgrade for the FZ2000 for V-Log L video recording, just like on the preofessional DMC-GH4 camera. You can also extract a still image from a 4K sequence via the dedicated 4K button on the rear of the camera, ending up with the equivalent of an 8 megapixel photo at 30fps.