Panasonic LUMIX DMC-FZ300 Review

Back in 2012, when Panasonic released the LUMIX FZ200, it sent the camera world into frenzy. With a constant f/2.8 aperture across its 25–600mm focal length, it was the camera that ruled the superzoom category. This year, the company has released a new successor in the form of the FZ300. I was excited to see what it had in store this time around.

Features

In its latest iteration, Panasonic has included a 1/2.3-inch 12MP BSI CMOS sensor (also present in the FZ200), along with the latest Venus Engine image processor, thus resulting in an increase in the ISO value to 6400. It also features a new 3-inch 1.04M tilt and swivel touchscreen, and an improved OLED EVF with a 2.36M dot viewing and an increase in magnifi cation to 0.7x.

But the real pièce de résistance of the FZ300 is its 4k video and stills feature. You can record 4k video at 30fps and 24fps with full-time AF, manual controls, zebra stripes, ‘cinelike’ gamma, all at a bit rate of 100Mbps. You can also shoot 4k in four different exposure modes—Program AE, Aperture Priority, Shutter Priority and Manual Exposure. Users can grab 8MP stills from the video footage too, a feature you will only fi nd in high-end video cameras and in the higher priced Sony cameras like the Alpha 7R Mark II. That’s not all. You can also shoot 4k stills in three different modes—4k Burst, 4k Start/Stop and 4k Pre-burst. 

The 4k Burst and the 4k Start/Stop mode lets you shoot stills at 30fps. Both let you record images continuously for almost 30 minutes. However, in the 4k Pre-burst, the camera shoots stills (30fps) one second before and one second after you press the shutter. After recording the images, the camera presents the photographs in the form of a camera roll. You can then scroll forward or backward and select the image you want. Out of these two modes, I liked the burst and the pre-burst options the best. The 4k Burst is a good option to use when you know what your subject is going to do next, while the 4k Pre-burst is great if you are unsure about your subject’s next move. 

The FZ300 also features a 5-axis Hybrid OIS system, only when shooting 1080p video or one of a lesser resolution, and a 2-axis stabilisation for stills. The camera can capture 12fps with single AF and 6fps in continuous AF too.

Additionally, at the side of the lens is a button which lets you select between the AF Macro and Macro Zoom option. The former lets you shoot the subject from as close as 1cm from the lens, by rotating the zoom lever upmost to wide. The latter lets you shoot from the same distance, but uses 3x
digital zoom to further enlarge the subject. Although the file size is not affected, there is a visible decline in quality in the latter. There is also a customisable rotating dial above the AF button to control shutterspeed and aperture, or to focus when you select the AF or MF option. 

The FZ300 lets you shoot RAW in all the modes, even in the Intelligent Auto mode, which wasn’t previously available in the FZ200. The camera is also capable of releasing the mechanical shutter at maximum 1/4000 sec at the wide end, 1/3200 sec at telephoto end and at 1/16000 with the electronic shutter. Other features include focus peaking, hot shoe, an external flash, Wifi with no NFC, and does slow motion video recording at 120fps at 1280x720 pixels.

this image was shot at the telephoto end, after locking focus on the subject. the amount of detail retained by
the camera’s lens is quite spectacular. exposure: 1/500 sec at f/5 (ISO 400)

Handling

In terms of design, the FZ300 is weathersealed and features a deeper right grip, thus giving you a better hold of the camera. There are also four customisable Fn buttons on the camera. 

Just like its predecessor, the FZ300’s 24x zoom can be controlled by using the zoom rocker on the top right side of the camera and the lever present on the lens barrel. While I was testing both, I noticed that after zooming into the subject using the zoom rocker, I could also simultaneously zoom out using the lever. This feature is useful when shooting video, especially when you want to have a smooth transition while zooming in and out of the subject. Both the zoom options are customisable to allow you to stop at the preset focal length, every time you turn off and turn on the camera.

Where you had to press a button to switch between the camera’s EVF and LCD, the EVF on the FZ300 works based on eye sensitivity. Depending on your usage, you can also use the button to disable either. The rubber cup around the EVF was slightly bigger as well, and prevented any light from entering it.

Photographs shot on the wide end of the camera, such as this one, are quite sharp, even at the corners.
exposure: 1/200sec at f/4 (ISO 800)

Performance

The JPEG engine in the FZ300 is not on  par with the RAW output produced by the camera. The images possessed quite a bit of compression of artefacts. Even the burnt out areas of the photograph seemed more pronounced and spread out in the JPEGs than in the RAW format, thus making it one of the weaker links of the camera. 

However, the RAW output of the FZ300 is good. In postprocessing, I was able to recover a decent amount of detail from the highlights and shadows. Also, the images produced from the wide end of the lens is very sharp. Although there is a slight softness on the corners of the photograph, it does not take away from the overall quality of it. The same can be said for the camera’s performance on the telephoto end as well. Also, despite the nano coating of the lens, the images had fl are and in some cases, there was purple fringing too. 

Coming to the ISO performance, the FZ300 produces usable images at up to ISO 2000, despite the presence of quite a bit of luminance and colour noise. However, this can be taken care of in postprocessing but up to a certain extent. The AF system too, did an overall good job in establishing focus, despite a few instances where it was a little slow when zoomed to the telephoto end.

Camera Specification & Noise Test

Conclusion

Constant aperture, 4k video and photo  modes make the FZ300 an exciting proposition. However, if you are not a 4k enthusiast and would rather go for more zoom, the Canon PowerShot SX60 HS (does not have f/2.8 constant aperture, but is cheaper) is a good option. But if you are worried about the limitations of the sensor size and fi nd yourself shooting a lot in low light conditions, then the FZ1000 with the 1-inch sensor is the camera you should go for. Then again, the FZ300 is a good and affordable purchase as it gives you a good enough zoom, 4k video and a constant aperture, all at an affordable price.

FINAL RATINGS

Features
f/2.8 across focal lengths, optical IS, a tilt and swivel LCD, 4K video, sharp lens, EVF, fl ash, WiFi, hot shoe.   18/20

Performance
Good AF, along with good low light performance.   36/40

build Quality
Aluminium body with weathersealing.   13/15

ergonomics
LCD with touchscreen, deep right grip on camera, easy to access and customisable function buttons and dials.   18/20

Warranty & support
One year warranty, limited service network.   3/5

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