Combining all of the bells and whistles of an enthusiast compact — except the manual exposure controls, that is — with the simplicity of its Intelligent Auto functions, the ZS3 is targeted to appeal to tech-savvy shooters and relative newbies alike. From a design standpoint, this model may be more “general audience” than “enthusiast,” but the ZS3’s impressive zoom lens and well-rounded set of features will undoubtedly attract a fair amount of attention from serious shooters looking for serious zoom in a compact package.
The twist this time around is that Panasonic has continued to expand the HD video capture capabilities of its compact ultrazoom line. With movie shooting performance that claims to rival that of a camcorder in addition to everything it does as a still camera, Panasonic’s looking to make a one-two punch with the “hybrid” ZS3 concept.
Our experience with other Lumix models has left us never quite knowing what to expect from a Panasonic compact in our lab testing, but the ZS3 held up at least as well as expected — with shutter response that’s nominally slower than some competitors, but still plenty fast in practice, and auto focus speed that holds its own.
Shutter Lag (press-to-capture, pre-focused)
|Casio Exilim EX-FH20
|Olympus SP-565 UZ
|Canon PowerShot SX200 IS||0.03|
|Fujifilm FinePix S100FS
|Panasonic Lumix DMC-ZS3||0.05|
AF Acquisition (press-to-capture, no pre-focus)
|Fujifilm FinePix S100FS||0.31|
|Canon PowerShot SX200 IS||0.48|
|Casio Exilim EX-FH20
|Olympus SP-565 UZ||0.62|
|Panasonic Lumix DMC-ZS3||0.68|
|Casio Exilim EX-FH20||40||30 fps?|
|Panasonic Lumix DMC-ZS3||3||2.5 fps|
|Fujifilm FinePix S100FS||3||1.3 fps|
|Olympus SP-565 UZ||4||1.2 fps|
|Canon PowerShot SX200 IS
* Note: Continuous shooting framerates are based on the camera’s fastest full-resolution JPEG continuous shooting mode, using the fastest media type available (300x CF, SDHC, etc.). “Frames” notes the number of captures recorded per burst before the camera stops/slows to clear the buffer.
? Note: The Casio Exilim FH20 has no continuous shooting capabilities at full resolution (9 megapixels). It is, however, capable of shooting at 30 fps at a slightly reduced 8 megapixels. Given this relatively high resolution, we have included the FH20’s continuous shooting numbers in our comparison.
Per usual, we tested the camera with its default AF settings to get the baseline numbers seen above. Some tweaking of the available combinations of AF settings, though (single-area high-speed mode, Quick AF disabled), actually provided response closer to half a second from press to capture under our studio lights.
True to form, Panasonic provides a seemingly infinite number of AF settings combinations: there are five area modes, as well as a (noisy) Quick AF setting which sets the camera to search for focus continuously, eats up battery power, and provides inconsistent results at best when it comes to improving speed. You’ll likely find it fit to skip most of these functions, as at least a couple of them serve essentially redundant functions. We’d like to take (yet another) moment, however, to praise Panasonic’s AF tracking function: in my experience, at least, its practical applications may be limited, but the system is able to follow whatever moving subject you lock it onto well enough to provide some enjoyment in just watching it work.
Like other Lumix models, the ZS3 features a pair of image stabilization modes, allowing for either shoot-only stabilization (which begins to stabilize when the shutter release is half-pressed), or continuous stabilizer operation. Performance was good to excellent, with the lens-shifting stabilizer providing enough of a speed boost to make the ZS3’s telephoto reaches usable in most cases ? assuming you have a decent quantity of light and a steady hand, that is.
The ZS3’s flash is powerful for a compact, with a range of roughly 15 feet at wide angle. At the same time, recycle times are snappy enough for back to back flash shooting, assuming you don’t need full power for each shot.
Flash exposure was dead-on accurate most of the time. Shooting indoors with the flash, you’ll find that the lens casts a shadow at full wide angle (as seen in the sample shot above), though this isn’t a problem once you move much beyond the full-wide stop.
Battery life with the ZS3’s proprietary lithium-ion pack proved to be quite excellent in the field: a little more than two hours on the charger and the battery was ready to go, and surprised us by consistently living up to the nearly 300-shot advertised performance assuming we used the video function sparingly.
A new 12x, 25-300mm equivalent Leica-branded zoom lens graces the ZS3, replacing the 28-280mm variant that Panasonic used on its last round of compact ultrazooms. Lumix’s Leica optics have rarely failed to impress us, and at the large level, the ZS3’s glass is no exception. If the ZS3 has one key selling point and distinguishing feature, having outrageous wide-angle to solid telephoto range in a camera this pocketable is it.
And the fact the ZS3’s optics are sharp and largely distortion-free throughout the range makes the ZS3’s versatility look even better.
Edge-to-edge sharpness is good to very good throughout the range. Likewise, whatever the Leica/Lumix team have done to control color fringing in this eight-group/double-aspherical/double-ED optic seems to have paid off. Thumbing back through my test shots, I wasn’t able to dig up any particularly objectionable fringing, even in contrast boundary areas.
At f/3.3-4.9, the ZS3’s lens isn’t particularly fast at the wide end. But it makes up for whatever perceived speed deficiencies exist with wider maximum apertures at full telephoto than many of its full-size ultrazoom rivals offer. No doubt the lens’s considerable physical size compared to what you’ll find on many compacts is to thank for that.
Zoom speed is snappy when shooting stills, with comfortable toggle switch providing plenty of fine adjustment for dialing in your shot framing. In the interest of building a competent still/video hybrid with the ZS3, Panasonic also opted to allow for zooming while capturing video — though it’s worth noting that, presumably in the interest of controlling motor noise, the zoom moves very slowly while you’re filming.
For most still cameras, video capabilities are generally thought of as a nice add-on, but really little more: if a still camera also happens to take nice video, great, but if it doesn’t, most users won’t be too concerned. With the new ZS models, Panasonic is looking to turn this paradigm on its head by building a camera that looks, feels, and operates like a traditional digital still model, but brings most of the firepower of an HD camcorder to the table as well.
As noted, the ZS3 captures 720p video, and gives the user two choices for recording formats: the extremely smooth and high-quality AVCHD Lite codec, or a traditional MPEG option. We spent a lot of time playing with both 720p options, and were generally impressed in both cases. If the ZS3’s video capture truly disappointed us in any one area, though, it was in the usability of the camera’s 60 fps AVCHD files: at the moment, you’ll be hard pressed to find a consumer video editing application that knows what to do with the ZS3’s variant of this format.
If you just want to view your AVCHD movies, you’ll do just fine with an HDMI cable and an HDTV. The direct-playback results are impressive to be sure, and the difference between MPEG and AVCHD files (besides the latter’s much more efficient memory consumption) is visually subtle but definitely noticeable. For viewing the files on a PC — there’s no Macintosh support yet — Panasonic has also included an updated version of its clunky PhotoFunStudio HD software. On our test machine, at least, the software wasn’t always so keen on finding AVCHD videos on a memory, and assuming it’s able to find your movies, the most you can do in this case is cut the footage down and output it for DVD playback. If you’re looking for file conversions or even basic, Windows Movie Maker-style video editing, you won’t find it here.
Which brings us back to the camera’s 720p MPEG option. The files are cumbersome, and overall video smoothness takes an appreciable hit, but if you want to be able to manipulate your videos after the fact in a consumer-grade video editing application — or even upload them to YouTube — you’ll likely end up back in this format anyway.
Even without the quality and file-size benefits of AVCHD, the ZS3’s MPEG video is arguably as good as what you’ll get from a low-cost consumer camcorder, with the added benefit of 720p resolution. Even better, the camera provides a top-mounted stereo mic that largely addressed one of our biggest gripes with the TZ5’s video performance: muddy, canned audio. Just make sure to keep your fingers clear of the top deck while shooting and you’ll be fine.
Our video samples showed excellent color, strong contrast, and camcorder-grade audio. Having use of the ZS3’s full zoom range sweetens the deal further, making the camera an excellent tool for grabbing short videos of kids’ sporting events or wildlife. In high-contrast situations (i.e. outdoors on a sunny day) we also noted some mild banding in video captures — a sort of flare-like phenomenon that we couldn’t reproduce when shooting stills.
On balance, no, it’s not as comfortable or easy to manage as a dedicated camcorder, and we’re keeping our fingers crossed that the current limitations on AVCHD Lite will get sorted out in the near future. Beyond those two concerns, however, the ZS3 largely lives up to its “hybrid device” marketing hype, providing overall video-capture functionality and usability that’s strong enough to potentially swing a purchasing decision in Panasonic’s favor.
In terms of overall image look, the ZS3’s default settings will get you about as close to “neutral” as you’ll get from a point-and-shoot these days.
Neither vivid nor subdued, contrasty nor washed out, the ZS3’s shots have a look that’s round and warm without looking overprocessed. Indeed, at times color reproduction was a bit pale ? the camera’s actual output being somewhat less saturated than what you’ll get on the ZS3’s display.
Likewise, while the camera’s Normal Picture mode gives the user the standard range of control over metering options, I spent more time in the ZS3’s Intelligent Auto setting, and found its metering choices in this mode to be surprisingly smart ? again, showing a nice balance and a preference for preserving highlights. Even with all of its advanced processing power, the camera’s decision making wasn’t perfect: typically tough scenes will still occasionally trip it up, as in the shot below.
That said, I found myself leaning hard on the exposure compensation less than is usually the case with a small-sensor camera ? certainly less than with the contrasty-heavy, clip-happy Canon SX200 that is the ZS3’s most direct competitor.
For those looking for something beyond the default processing look, the ZS3 offers vivid…
…as well as natural preset options. A pair of generally less-than-useful warm and cool presets are also available. Given the ZS3’s likely appeal with enthusiasts, though, I can’t help but wish it had the film simulation options from Panasonic’s more advanced cameras — or that it at least made the processing presets, which are buried several pages into the main menu, easier to access.
Indoors under incandescent light, the ZS3’s auto white balance performs slightly worse than the average for this class. There’s also no fluorescent preset, which seems like an odd omission (though we should note that AWB did just fine under a few different shades of fluorescent lighting in our testing).
Noise has been a sore spot for Panasonic’s Lumix line, the manufacturer’s small-sensor models having developed something of a reputation for showing more noise and smudged out detail than their competitors. Yet again this time around, better processing claims to help the ZS3 make headway against this stigma, but in general, the shots tell a slightly different story.
ISO 80, 100% crop
ISO 100, 100% crop
ISO 200, 100% crop
ISO 400, 100% crop
ISO 800, 100% crop
ISO 1600, 100% crop
What we see is what’s become the norm for cameras in this resolution class, with acceptably clean (though, under careful analysis, still rather grainy) shots at ISO 80 and 100, a decided escalation in noise between ISO 200 and 400, and extremely compromised fine detail at ISO 800 and beyond. In fairness, the ZS3’s samples don’t look any worse than those from its SX200 rival — though we weren’t exactly impressed with the Canon’s performance in this regard either. What they do show is slightly less noise reduction, and more actual noise (especially color noise) than we often see these days.
On balance, in spite of all the talk of continued improvements in noise control processing, the ZS3’s shots show incremental betterment at best compared to what we saw from the TZ cameras, and pixel peepers making large prints may well find anything shot above modest ISOs with this camera simply unacceptable. That said, we felt that the camera’s overall performance in this area was on par with most others we’ve looked at lately, and shouldn’t bother casual shooters so long as they’re not routinely shooting at ISO 1600.
Additional Sample Images