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Panasonic Lumix G95 Mirrorless Camera w/ 12-60mm OIS Lens + Acc Bundle
$698
$998
30% off
+ Free S&H & Moreat Adorama
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Adorama has Panasonic Lumix G95 Mirrorless Camera with 12-60mm OIS Lens + Accessory Bundle on sale for $697.99. Shipping is free (shown in the cart, select "Super Saver" shipping).
Thanks to Deal Editor iconian for finding this deal.
Adorama also has additional Panasonic Lumix G95 Mirrorless Camera Bundles (Various) on sale for $697.99. Shipping is free.
The 1st Bundle Includes:
Thanks to Deal Editor iconian for finding this deal.
Adorama also has additional Panasonic Lumix G95 Mirrorless Camera Bundles (Various) on sale for $697.99. Shipping is free.
The 1st Bundle Includes:
- SanDisk 64GB Extreme PRO UHS-I U3 SDXC Memory Card
- CLAR 160 Phantom Series Bi-Color On Camera LED Light
- H&A VideoMini HA-CVM Compact On-Camera Microphone (Comica CVM-
- Slinger Alpine 160 Multi-Device Shoulder Bag
- ProOPTIC Complete Optics Care and Cleaning Kit
- Green Extreme USB 2.0 Multi Card Reader, SD, Mini SD, microSD, Memory Stick (MS)
Editor's Notes
Written by Corwin | Staff- About this deal:
- The Panasonic Lumix G95 Mirrorless Camera with 12-60mm OIS Lens + Accessory Bundle is $300 lower (30% savings) than the list price of $997.99.
- Refer to the forum thread for additional details and discussion.
- About this product:
- The first bundle listed has a rating of 4.8 stars from 14 reviews.
- About this store:
- To view Adorama's return policy click here. -Corwin
Community Notes
About the Poster
Deal Details
Community Notes
About the Poster
Adorama has Panasonic Lumix G95 Mirrorless Camera with 12-60mm OIS Lens + Accessory Bundle on sale for $697.99. Shipping is free (shown in the cart, select "Super Saver" shipping).
Thanks to Deal Editor iconian for finding this deal.
Adorama also has additional Panasonic Lumix G95 Mirrorless Camera Bundles (Various) on sale for $697.99. Shipping is free.
The 1st Bundle Includes:
Thanks to Deal Editor iconian for finding this deal.
Adorama also has additional Panasonic Lumix G95 Mirrorless Camera Bundles (Various) on sale for $697.99. Shipping is free.
The 1st Bundle Includes:
- SanDisk 64GB Extreme PRO UHS-I U3 SDXC Memory Card
- CLAR 160 Phantom Series Bi-Color On Camera LED Light
- H&A VideoMini HA-CVM Compact On-Camera Microphone (Comica CVM-
- Slinger Alpine 160 Multi-Device Shoulder Bag
- ProOPTIC Complete Optics Care and Cleaning Kit
- Green Extreme USB 2.0 Multi Card Reader, SD, Mini SD, microSD, Memory Stick (MS)
Editor's Notes
Written by Corwin | Staff- About this deal:
- The Panasonic Lumix G95 Mirrorless Camera with 12-60mm OIS Lens + Accessory Bundle is $300 lower (30% savings) than the list price of $997.99.
- Refer to the forum thread for additional details and discussion.
- About this product:
- The first bundle listed has a rating of 4.8 stars from 14 reviews.
- About this store:
- To view Adorama's return policy click here. -Corwin
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DFD - Depth from Defocus is Panasonic's advanced version of Contrast Detect Autofocus
In mirrorless cameras Contrast Detect autofocus takes the image captured on the sensor and then moves the focus forwards or backwards and then looks at the image to see if the image gets blurrier or sharper. Once the sharpest image is detected, then the image is in focus. How far the lens has to focus to get into focus is not really known, so the algorithm has to "hunt" with the focus to correctly figure out how to keep the image in focus. For video this results in the video getting more blurrier on a moving object and then snapping into focus every so often. It is VERY, VERY noticeable and annoying.
Panasonic's, DFD improves on this by looking at how each of their Panasonic lenses get blurrier as things move towards or away from the camera and storing that information, so the camera can hopefully focus in the correct direction, thus reducing the amount of blur when an object moves out of focus. This information helps a lot, but still results in some "hunting" to reach final focus, and sometimes it gets the focus direction wrong, but is no worse than "normal" contrast detect. It's "better" than only non lens specific contrast detect. But it requires you to purchase only Panasonic lenses to be effective. Also the big thing is that it's still not as effective as on sensor Phase Detect autofocus used in almost all the other Mirrorless cameras (including the Olympus, or now OM System, cameras that compete directly with the G95.)
To implement sensor phase detect autofocus, it requires that an image sensor have some of its area devoted to the phase detect elements, so reduces the amount of pixels that collect light for the image on the sensor and because of the regular pattern of how these phase detect spots are distributed on the sensor, it can result in banding in extreme low light conditions. It's also more expensive and complex to manufacture. However, over the years, process improvements have made it easy enough to integrate into most sensors for a reasonable price, so now it's quite common, even in camera sensors in cell phones. The distinct advantage to using phase detect autofocus is that the camera can tell exactly how much the object is out of focus by and in which direction, so the camera can immediately instruct the lens to focus to the right focus point without any hunting. So for video, with a well implemented phase detect algorithm, moving objects that are locked on for autofocus, never really ever get blurry. This results in much, much less distracting blurriness and sharpness transitions with the moving subject in videos. Sony and Canon have the best autofocus tracking for moving objects, but are now followed very closely by Olympus and Nikon. I don't really follow Fuji, so don't know how they fit in. Also the manufacturers have pretty much solved the "banding" issues by using algorithms to process the banding out. So that's why cameras with phase detect autofocus systems are recommended for shooting video with fast moving subjects.
So Panasonic has stuck with sensors that don't "waste" sensor space with non-photo light catching phase detect elements on them. But as a result have unacceptable (by most) video autofocus performance with fast moving subjects in video. For stills, it doesn't matter as much since it takes a fraction of a second more to focus, and the increase in blurriness while finding the sharpest focus point is not recorded like in video.
Also one may wonder why a lot of professionals use the Panasonic GH-5 and GH-6, etc for video work even though they "only" have contrast detect autofocus. It's because they use those cameras for mostly static shots where they have the focus points of where their subjects are located planned out prior to each sequence, so they don't use autofocus at all and most probably use manual focus lenses anyways. Also they use the other videographer friendly features that Panasonic has integrated into those cameras that are useful to their professional workflow because Panasonic has a professional video camera division that has manufactured cameras for TV production and other uses for dozens of years. Panasonic has used that expertise to add professional friendly video features into the GH series of their mirrorless cameras.
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I've had point and shoots over the years and missed a lot of moments because of the autofocus lag. I'm actually looking for a camera for vacation.
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I want to be to able to zoom in on a play and see his moves and edit them for highlights for recruitment. My Galaxy S20 has 4k video and it looks decent but I want better and not spend too much.
DFD - Depth from Defocus is Panasonic's advanced version of Contrast Detect Autofocus
In mirrorless cameras Contrast Detect autofocus takes the image captured on the sensor and then moves the focus forwards or backwards and then looks at the image to see if the image gets blurrier or sharper. Once the sharpest image is detected, then the image is in focus. How far the lens has to focus to get into focus is not really known, so the algorithm has to "hunt" with the focus to correctly figure out how to keep the image in focus. For video this results in the video getting more blurrier on a moving object and then snapping into focus every so often. It is VERY, VERY noticeable and annoying.
Panasonic's, DFD improves on this by looking at how each of their Panasonic lenses get blurrier as things move towards or away from the camera and storing that information, so the camera can hopefully focus in the correct direction, thus reducing the amount of blur when an object moves out of focus. This information helps a lot, but still results in some "hunting" to reach final focus, and sometimes it gets the focus direction wrong, but is no worse than "normal" contrast detect. It's "better" than only non lens specific contrast detect. But it requires you to purchase only Panasonic lenses to be effective. Also the big thing is that it's still not as effective as on sensor Phase Detect autofocus used in almost all the other Mirrorless cameras (including the Olympus, or now OM System, cameras that compete directly with the G95.)
To implement sensor phase detect autofocus, it requires that an image sensor have some of its area devoted to the phase detect elements, so reduces the amount of pixels that collect light for the image on the sensor and because of the regular pattern of how these phase detect spots are distributed on the sensor, it can result in banding in extreme low light conditions. It's also more expensive and complex to manufacture. However, over the years, process improvements have made it easy enough to integrate into most sensors for a reasonable price, so now it's quite common, even in camera sensors in cell phones. The distinct advantage to using phase detect autofocus is that the camera can tell exactly how much the object is out of focus by and in which direction, so the camera can immediately instruct the lens to focus to the right focus point without any hunting. So for video, with a well implemented phase detect algorithm, moving objects that are locked on for autofocus, never really ever get blurry. This results in much, much less distracting blurriness and sharpness transitions with the moving subject in videos. Sony and Canon have the best autofocus tracking for moving objects, but are now followed very closely by Olympus and Nikon. I don't really follow Fuji, so don't know how they fit in. Also the manufacturers have pretty much solved the "banding" issues by using algorithms to process the banding out. So that's why cameras with phase detect autofocus systems are recommended for shooting video with fast moving subjects.
So Panasonic has stuck with sensors that don't "waste" sensor space with non-photo light catching phase detect elements on them. But as a result have unacceptable (by most) video autofocus performance with fast moving subjects in video. For stills, it doesn't matter as much since it takes a fraction of a second more to focus, and the increase in blurriness while finding the sharpest focus point is not recorded like in video.
Also one may wonder why a lot of professionals use the Panasonic GH-5 and GH-6, etc for video work even though they "only" have contrast detect autofocus. It's because they use those cameras for mostly static shots where they have the focus points of where their subjects are located planned out prior to each sequence, so they don't use autofocus at all and most probably use manual focus lenses anyways. Also they use the other videographer friendly features that Panasonic has integrated into those cameras that are useful to their professional workflow because Panasonic has a professional video camera division that has manufactured cameras for TV production and other uses for dozens of years. Panasonic has used that expertise to add professional friendly video features into the GH series of their mirrorless cameras.
I recently upgraded to the GH6 and still have kept my g85 around. Gh6 is a massive improvement all around but the 4k of the g85 is just fine for most use cases. Highly recommend!
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DFD - Depth from Defocus is Panasonic's advanced version of Contrast Detect Autofocus
In mirrorless cameras Contrast Detect autofocus takes the image captured on the sensor and then moves the focus forwards or backwards and then looks at the image to see if the image gets blurrier of sharper. Once the sharpest image is detected, then the image is in focus. How far the lens has to focus to get into focus is not really known, so the algorithm has to "hunt" with the focus to correctly figure out how to keep the image in focus. For video this results in the video getting more blurrier on a moving object and then snapping into focus every so often. It is VERY, VERY noticeable and annoying.
Panasonic's, DFD improves on this by looking at how each of their Panasonic lenses get blurrier as things move towards or away from the camera and storing that information, so the camera can hopefully focus in the correct direction, thus reducing the amount of blur when an object moves out of focus. This information helps a lot, but still results in some "hunting" to reach final focus, and sometimes it gets the focus direction wrong, but is no worse than "normal" contrast detect. It's "better" than only non lens specific contrast detect. But it requires you to purchase only Panasonic lenses to be effective. Also the big thing is that it's still not as effective as on sensor Phase Detect autofocus used in almost all the other Mirrorless cameras (including the Olympus, or now OM System, cameras that compete directly with the G95.)
To implement sensor phase detect autofocus, it requires that an image sensor have some of its area devoted to the phase detect elements, so reduces the amount of pixels that collect light for the image on the sensor and because of the regular pattern of how these phase detect spots are distributed on the sensor, it can result in banding in extreme low light conditions. It's also more expensive and complex to manufacture. However, over the years, process improvements have made it easy enough to integrate into most sensors for a reasonable price, so now it's quite common, even in camera sensors in cell phones. The distinct advantage to using phase detect autofocus is that the camera can tell exactly how much the object is out of focus by and in which direction, so the camera can immediately instruct the lens to focus to the right focus point without any hunting. So for video, with a well implemented phase detect algorithm, moving objects that are locked on for autofocus, never really ever get blurry. This results in much, much less distracting blurriness and sharpness transitions with the moving subject in videos. Sony and Canon have the best autofocus tracking for moving objects, but are now followed very closely by Olympus and Nikon. I don't really follow Fuji, so don't know how they fit in. Also the manufacturers have pretty much solved the "banding" issues by using algorithms to process the banding out. So that's why camera s with phase detect autofocus systems are recommended for shooting video with fast moving subjects.
So Panasonic has stuck with sensors that don't "waste" sensor space with non-photo light catching phase detect elements on them. But as a result have unacceptable (by most) video autofocus performance with moving objects in video. For stills, it doesn't matter as much since it takes a fraction of a second more the focus, and the increase in blurriness while finding the sharpest focus point is not recorded like in video.
Also one may wonder why a lot of professionals use the Panasonic GH-5 and GH-6, etc for video work even though they "only" have contrast detect autofocus. It's because they use those cameras for mostly static shots where they have the focus points of where their subjects are located planned out prior to each sequence, so they don't use autofocus at all and most probably use manual focus lenses anyways. Also they use the other videographer friendly features that Panasonic has integrated into those cameras that are useful to their professional workflow because Panasonic has a professional video camera division that has manufactured cameras for TV production and other uses for dozens of years. Panasonic has used that expertise to add professional friendly video features into the GH series of their mirrorless cameras.
If money is no concern, I would go with a Sony a7iv. Sony has fast focus and great low light capabilities.If you want cinema like look, Fujifilm X-T4 is great.
I don't have any of these cameras, but I am researching and looking forward to buy Sony a7iii or Sony a7iv.
Panasonic has great colors and cinematic picture quality, but they are no good for sports.
For shooting highlights this camera should be more than enough. Lenses are affordable too.
i don't know at what level you are at when it comes to cinematography, and you will hear this quite often, but if you are getting started, the content of what you're filming, and telling your story should be your main focus instead of your gear.
Also lights and lenses do most of the heavy lifting, so learn to light things up properly and when different lenses might be needed, oh and invest in a gimbal (Crane 2s is a decent entry level one, make sure to watch the tutorials though lol).
The only thing a FF sensor will do is give you a shallower DOF and some better low light performance.
To get a shallow DOF you will need to use ND filters during the day.
Almost any camera out today will do 24p and 30p regardless if its micro 4/3 or full frame. If you really want full frame the cheapest Panasonic solution would be the S5. But most amateur film makers are shooting on Panasonic micro 4/3 not full frame, or they shoot on Sony a7 full frame cameras or Black Magic if they truly want a more organic looking image.
If I was starting out, I'd go to the EOSHD forums and read up to figure out what I want. With Micro four thirds you get way better in body image stabilization, because it is much easier to stabilize a small sensor. IBIS is essential if you will be hand holding. You also get a huge amount of lenses you can use, both vintage and modern.
I have an Panasonic S1r. I can easily get a "film look", even though my camera is designed for high rez stills. And I had a Canon T2i, Canon 60D, Sony a6500, they can all achieve a good enough film look @ 24p with nice vintage lenses. The main difference is ergonomics, stabilization, rolling shutter performance, and other features that make it easier/harder to shoot with. The majority of the look will come from the lens and grading.
The only thing a FF sensor will do is give you a shallower DOF and some better low light performance.
To get a shallow DOF you will need to use ND filters during the day.
Almost any camera out today will do 24p and 30p regardless if its micro 4/3 or full frame. If you really want full frame the cheapest Panasonic solution would be the S5. But most amateur film makers are shooting on Panasonic micro 4/3 not full frame, or they shoot on Sony a7 full frame cameras or Black Magic if they truly want a more organic looking image.
If I was starting out, I'd go to the EOSHD forums and read up to figure out what I want. With Micro four thirds you get way better in body image stabilization, because it is much easier to stabilize a small sensor. IBIS is essential if you will be hand holding. You also get a huge amount of lenses you can use, both vintage and modern.
I have an Panasonic S1r. I can easily get a "film look", even though my camera is designed for high rez stills. And I had a Canon T2i, Canon 60D, Sony a6500, they can all achieve a good enough film look @ 24p with nice vintage lenses. The main difference is ergonomics, stabilization, rolling shutter performance, and other features that make it easier/harder to shoot with. The majority of the look will come from the lens and grading.
The iPhone 12 Pro Max (x2) covers everything for now. HDR/colors are better and only a slight loss of depth of field.
so semi unique situation/question here.. I want to be able to film my daughter playing lacrosse for a highlight video (she has D1 aspirations and her stats point that direction as well)... the thing that makes it unique is that she is a goalie so I am curious how well this would work for that considering I'll be setting it up on a tripod and leaving it pointed at her/the goal area and crease end of the field and not changing anything until after halftime when i switch ends... I don't mind spending a decent amount of money however that doesn't = the 2k-2.5k for some of the camera's mentioned here (single dad and just built a new house so yeah not quite yet on that one).... I want the video to look good/at least semi pro... and would love 4k60 but might not have that option unless there is somewhere a tad lower than the Sony ones mentioned
TLDR: want to do lacrosse highlight vid for daughter to show to D1 coaches... unique is daughter is goalie and cam will stay fixated on her/her end... suggestions?
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so semi unique situation/question here.. I want to be able to film my daughter playing lacrosse for a highlight video (she has D1 aspirations and her stats point that direction as well)... the thing that makes it unique is that she is a goalie so I am curious how well this would work for that considering I'll be setting it up on a tripod and leaving it pointed at her/the goal area and crease end of the field and not changing anything until after halftime when i switch ends... I don't mind spending a decent amount of money however that doesn't = the 2k-2.5k for some of the camera's mentioned here (single dad and just built a new house so yeah not quite yet on that one).... I want the video to look good/at least semi pro... and would love 4k60 but might not have that option unless there is somewhere a tad lower than the Sony ones mentioned
TLDR: want to do lacrosse highlight vid for daughter to show to D1 coaches... unique is daughter is goalie and cam will stay fixated on her/her end... suggestions?
but you'd need a huge sd card, a camera that doesn't overheat, camera with no recording length restrictions, a dedicated power supply and a good telephoto lens.
4k60 is tough. probably have to find a micro 4/3rds camera.
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