Panasonic Lumix S52X -- 6K ProRes HQ on a budget

These days, when it comes to cameras, we are spoiled for choice.

After researching it for weeks, I finally pulled the trigger and ordered a Panasonic Lumix S52X (or "S5iiX", or "S5 IIX", etc.). It has an L lens mount, and supposedly the same/similar 6K full-frame sensor as Blackmagic's 6K full-frame cameras. However, the S52X doesn't have an OLPF or built-in NDs.

In addition to being a competent 24MP mirrorless RAW/JPEG stills camera (which can shoot stills at up to 96 megapixels each via sensor shifting), it also has an unusually wide range of video recording features. It can record 10-bit 6K ProRes 422 HQ to an external SSD. It also has many H264 & H265 modes. Open gate & cropped modes. It can record BRAW when used with a Blackmagic Video Assist. Apparently it has very good 5-axis stabilization.

With its latest firmware update its autofocus appears to work quite well. It has a built-in EVF & LCD. It can record 96khz 24-bit audio. Panasonic sells an optional XLR audio adapter for it. Its fullsize HDMI port can output clean 10-bit HD or 4K. Its lightweight 740g/1.6 pound body sips very little power (5w) via an internal battery or any external USB-C PD source. On-screen tools such as waveform, vectorscope, zebras, peaking, etc. V-Log and custom LUTs. WiFi & Bluetooth. An internal fan prevents overheating.

I paid $2060 (a limited-time deal from Hunts Photo & Video) including the very nice Lumix 20-60mm lens, free shipping, and Panasonic's 3-year warranty. After it arrives next week I'll report back with my hands-on reactions.

I received my Panasonic Lumix S5iiX camera last week (and I love it!), and today Blackmagic drastically lowered the price of the Cinema Camera 6K! What a great time to be alive!

There are advantages & disadvantages to the CC6K compared to the Lumix S5iiX:

• Both cameras have the same/similar 24 megapixel full-frame, dual-ISO 6K sensor.

• Both cams have an L-mount lens mount, and can use the same lenses.

• The S5iiX has excellent continuous autofocus & manual focus aids. The CC6K has temporary AF & manual focus aids.

• The S5iiX has 5-axis in-body sensor stabilization. The CC6K does not.

• The CC6K has an internal OLPF filter permanently mounted on the sensor. The S5iiX does not. An OLPF eliminates moire/color artifacts visible in extremely-fine, high-contrast details in both video & stills.

• The S5iiX can shoot 24 megapixel RAW/JPEG stills, and can shoot RAW/JPEG stills at up to 96 megapixels via sensor-shift. This hi-res feature works extremely well for relatively static scenes (such as certain landscapes & product shots). Due to its high resolution, its 96MP stills don’t have visible moire artifacts. The CC6K maximum stills resolution is 24 megapixels.

• The CC6K weighs almost twice as much as the S5iiX.

• The S5iiX can record up to 6K 10-bit H265 & H264 internally & externally (to SSD), and up to 6K 10-bit ProRes HQ externally to SSD, and up to 6K 12-bit BRAW externally to a Blackmagic Video Assist monitor/recorder. The CC6K can record up to 6K 12-bit BRAW internally & externally to SSD (no ProRes).

• The S5iiX HDMI port can output 10-bit 4K or HD video to an external monitor. The CC6K HDMI port outputs 10-bit HD only.

• The S5iiX includes both a bult-in EVF and a 3” tilt/swivel LCD. The CC6K includes a built-in 5” tilt LCD (its EVF is a $500 option, and its tilt LCD doesn’t swivel).

• The CC6K has 2 mini-XLR audio input ports with phantom power support. The S5iiX has a 1/8” stereo mini jack audio input port (its dual XLR option costs $395 and supports 96khz 24-bit audio).

• The S5iiX can power or quick-charge from any standard USB-C “PD” supply. The CC6K uses its own AC adaptor or 12V source, or can trickle charge from USB-C.

• The CC6K has the best menu UI in the world, period. The S5iiX menu UI is more complicated/confusing, but is more versatile & can be customized/simplified.

• The S5iiX and LUMIX lenses have a 3-year manufacturers warranty. The CC6K has a 1-year manufacturers warranty.

I probably missed something, but the above are what first come to my mind.

I suspect the reason Blackmagic lowered the price on the CC6K is because BMD got a big discount on the sensor from the manufacturer (Sony?), and possibly because CC6K sales slowed significantly when they announced their PYXIS box camera (which has very similar features & yet costs more). But those are just my guesses.

I think both cams are great, but I’m still glad I bought the S5iiX. Its features & lower weight are a better match for my needs. And I got a _really_ good bundle deal on the LUMIX lens(es) included with my S5iiX (final total: $2,119 with 2 batteries, a Lumix S 20-60mm f3.5-5.6 lens, and Lumix S 50mm f1.8 lens). And I bought a $49 SmallRig cage for it.

Horses for courses. More thoughts later; gotta run & go shoot 96MP stills with my S5iiX! Cheers.

Thanks for the summation. That's very comprehensive.

I've been hemming and hawing over the Pyxis vs CC6K vs S5iix. It's a tough choice, the only thing I wish the BM cameras had was IBIS. Yet, with gyro stabilization, it seems that's less important, perhaps. The other thing is low light. I don't shoot at night much but I do shoot a lot at sunset through twilight.

Now, the current sale on the CC6K is adding convection to my decision making process. I haven't upgraded my video setup since I bought the OG Pocket on the $495 sale back in the day. I own the 5" 12G VA which means I could record BRAW if I went with the Panny. I do feel like there is something about BM and the ease of menu use that feels like it would be similar to the old Pocket if I went with the CC6K. I own a Sony A7RIV for stills so the Panny being more of a hybrid isn't that appealing. I have a full complement of Voigtlander glass for Sony so not switching there. The real push for a new video setup is that the battery connector for the Pocket broke so I can only use batteries (ugh) and I've had some issues with SD cards that used to work not working any longer which was solved by recording to the VA, but that connector is...worrisome. Feels like it's time.

Perhaps ye olde coin toss will make the decision for me. But I like how you think and understand the choice you made.

Although I really & truly miss my now-sold Pocket 4K camera, I'm really enjoying my Lumix S5iiX camera.

Here are a few random images from a MOPAR dragstrip car race event I shot yesterday with the S5iiX:
https://l-mount-forum.com/community/thr ... #post-9756

Scroll up on that page to see the rig I configured for the day.

My friend Sam & his S5iiX were there with me. We've barely begun sifting through all the video clips & 96MP stills we shot.

It was >100F and INSANELY NOISY, but we wore lots of hearing & sun protection, drank LOTS of water, and both we and our gear survived. It's amazing how much fun one can have shooting video despite trying circumstances! Cheers!

Peter, thanks for sharing. What did you use for capturing audio?

Peter, thanks for sharing. What did you use for capturing audio?

It's all detailed in that thread (scroll up).

I bought a used Panasonic DMW-XLR1 audio input adapter for my S5iiX. It can record up to 24-bit, 96KHz to h265 or ProRes video (up to 4 audio tracks; 2 XLRs + the 1/8" mini-jack). I recorded "XY" stereo via a pair of MXL-606 mics, and depending on how close I was standing to the _LOUD_ race cars, I enabled the mics' -20db PAD switch, and/or the -20db PAD switches on the DMW-XLR1 adapter. The only EQ I used yesterday was the 16Hz high-pass switches on the adapter. The resulting audio recording is undistorted and sounds wonderful!

(The new version of the adapter, the DMW-XLR2, enables 32-bit float, but currently only works with the GH7, not the S5iiX. Panasonic hasn't indicated if a future firmware update could make it compatible with the S5iiX.)

Sam also used his Tascam portable audio recorder (I don't know the model) to record 32-bit float. We don't know yet if we'll need it.

Thanks for the additional information about your recent audio recordings. That’s what interested me given your subjects. Off-camera 32bit float should be the safer option used as your partner did, but great your 24bit techniques worked well too.

... • The S5iiX can shoot 24 megapixel RAW/JPEG stills, and can shoot RAW/JPEG stills at up to 96 megapixels via sensor-shift. This hi-res feature works extremely well for relatively static scenes (such as certain landscapes & product shots). Due to its high resolution, its 96MP stills don’t have visible moire artifacts. The CC6K maximum stills resolution is 24 megapixels. ...

Correction: I'm circling back to my earlier post here to correct my error. After having used my S5iiX for a few months, I've noticed really bad color moire artifacts in some of the 96MP photos I've taken with it. My apologies for my earlier blanket statement.

Over on the L-Mount forum I show a recent example of this issue, and also how I was able to (mostly) repair the photo using Pixelmator Pro (probably any good modern photo editing software could be used to produce similar or better results).
https://l-mount-forum.com/community/thr ... #post-9914

So, no surprise: An OLPF like the one in the Cinema Camera 6K is a very good thing to have! The S5iiX doesn't have an OLPF, and sometimes that's a PITA. Cheers!