Panasonic CP+2025 Interview: Micro Four Thirds insights, Full-Frame Strategy, and LUMIX Lab
posted Wednesday, May 7, 2025 at 7:16 PM EDT
I had a chance to meet with Panasonic's Toshiyuki Tsumura, the Executive Vice President and Director of their Imaging Solution Business Division at CP+2025 - basically the person in charge of the LUMIX line of Micro Four Thirds and full-frame cameras and lenses.
Panasonic has a long history in digital imaging now, and their current products span the full range from a renewed consumer all-in-one compact model to full-frame mirrorless cameras with exceptional video capabilities derived from the company's decades-long involvement in the professional video market.
With such a broad range and a recent, unexpected focus on software and workflow, I was glad for the chance to spend some time with Tsumura-san at the recent CP+2025 show to hear his perspective on where the company is and where they're going.
with their latest S1R Mark II full-frame mirrorless camera.
Ed. note: In the following, all questions were answered by Tsumura-san, except for a comment from Ryota Shimamoto, Manager, Imaging Business Unit, Panasonic Entertainment & Communication Co. Ltd., as noted below. The dialog is paraphrased and based on a combination of written answers, Tsumura-san’s replies as translated by an interpreter and a transcribed and translated version of his original Japanese.
What's the future for compact cameras?
It seems that the compact camera market is showing some resilience. I was interested to see you release the ZS99—essentially a ZS80 with an improved processor and AF algorithms but without the EVF. Many were disappointed to see the EVF go, and I was surprised that the new model is nearly identical in size and only 5 grams lighter. Did the EVF really weigh just 5 grams, or were there other internal changes that offset the weight savings?
Thank you for your attention to our compact cameras. The ZS99 (TZ99 outside North America) is targeted at general users who want to be able to capture beautiful photos and videos from wide-angle to telephoto in one device for travel and everyday use, as well as intermediate camera users who want a versatile second camera that’s easy to carry. With its optical 30x zoom and 20MP sensor, it lets you easily capture photos and videos that can’t be captured with a smartphone, and makes it possible to quickly share them on social media, meeting the expectations of social media users.
Regarding the EVF, we decided not to include it after reviewing current customer needs and considering the availability of compact devices that align with the ZS (TZ) series concept, but we are confident that features like tripod grip support will allow for a more casual shooting style.
In terms of weight, the removal of the EVF has reduced weight, but there has been a slight increase in weight due to the switch to USB Type-C and some structural changes, resulting in a total reduction of 5g. While attention is being drawn to mirrorless cameras, we will continue to steadily improve compact cameras while keeping an eye on market needs.
[Ed. Note: The reference to “compact devices that align with the ZS (TZ) concept” is to smartphones, which obviously don’t have EVFs either. The feeling was that target users of the camera are perfectly comfortable shooting with just an LCD, so an EVF would add only marginal value for them.]
The fact that you released the ZS99 partly answers this, but how are sales trends looking for your compact cameras? How large a part do you see them playing in Panasonic's future sales?
CIPA announced that the total shipment of digital cameras in 2024 showed a growth of +15% in value. Among them, compact cameras showed a significant increase of +32% in value, maintaining a market share of 12% in the camera market. Our compact cameras are also following the same trend.
As you know, many people enjoy taking photos and videos with their smartphone cameras and sharing them on social media or with friends. Of these, there are some people who regularly take photos and videos with their smartphones but who also have needs that can’t be satisfied by the smartphone’s camera. This has led to a resurgence in demand for certain compact cameras recently. We will continue to pay attention to and quickly respond to our customer’s needs. The ZS99 is an example of this.
Lens strategy and recent lens announcements
Any doubts about your commitment to Micro Four Thirds have surely been put to rest over the last two years with the release of the G9 II, GH7, and most recently the G97, along with updates to two key lenses. I'd like to start with the lenses: The new 100-400mm has the same number of elements and groups as the previous model—does it use the same optical formula? Given its support for teleconverters and extended macro capability, I suspect there are differences, but the identical optical layout suggests otherwise.
The lens configuration itself hasn’t changed. The 100-400mm lens is designed to showcase the total compactness, lightweight, and mobility advantages of the Micro Four Thirds system when combined with the body. By adding support for a teleconverter, it now allows for handheld ultra-telephoto shooting equivalent to 1600mm in 35mm terms. Additionally, this lens was already capable of half-macro (1:2) shooting before the renewal, but with the new teleconverter support, it can now go all the way to 1:1 macro shooting when the teleconverter is attached.
We also made improvements in the operability of the zoom ring, extended its low-temperature resistance down to -10°C, and enhanced AF tracking performance during zooming in conjunction with the PDAF support of the G9 II.
[Ed. Note: The specs for the original 100-400mm lens didn’t specifically call out a lower temperature limit. Minus 10 degrees C (14 degrees F) is pretty darn chilly!]
There's been speculation about improved camera-to-lens communication with the new 100-400mm, and some users report better focus tracking while zooming. Others had complained about a loss of sharpness with the older model when Dual IS was enabled with certain bodies. Has Dual IS improved in this version due to better communication, and are there other performance enhancements?
Regarding AF tracking during zooming, we have evolved control communication between the G9 II (a PDAF compatible model) and the 100-400mm lens, improving AF speed and accuracy in AFC mode for still photography and AF during video recording. This control improvement is not only applicable to the new 100-400mm lens but also to the old 100-400mm through an in-market firmware update, and similar support is being provided for other compatible zoom lenses. We hope users will take advantage of it!
[Ed. Note: This is interesting, that the improved focus-control communications with the G9 Mark II are also available to users of the original 100-400mm with an upgrade to the lens firmware. It seems this is for the G9 Mark II only though, likely due to its latest-generation hardware.]
The 35-100mm f/2.8 II also shares its optical layout with the earlier model, but the new version carries the Leica branding, which the original did not. What optical changes were made to earn the Leica designation?
The 35-100mm lens further suppresses the occurrence of ghosts and flares due to a revision of the internal structure of the barrel, clearing LEICA's standards with a compact size yet high optical performance, achieving high image quality throughout the zoom range. It also boasts high video performance, accommodating exposure changes while zooming with a micro-step aperture and focus ring control (non-linear/linear). Users have highly praised it as a newly reborn lens.
Micro Four Thirds strategy: What's behind the G97?
Turning to camera bodies, the GH7 and G9 II both use PDAF, while the G97 relies on DFD. That makes it a significant step down in autofocus performance, but it's also much more affordable. Can you talk about your strategy for the G97? Who is its target customer, and what do you see as their upgrade path within the Lumix ecosystem?
First of all, the G97 is about introducing new users to LUMIX — especially people who are coming from smartphones, or just getting into photography or video for the first time.
The appeal is LUMIX’s ease of use - things like the user interface, accurate color rendering, etc. The G97 really includes all of that. Once someone uses it even once, we believe they might go one of two ways.
One is changing or upgrading the lens. Maybe they’d like to move to something brighter — a lower F-number lens — or try out a telephoto for shooting different kinds of subjects.
The other direction is upgrading the camera body. Higher-end models naturally have better image sensor quality and faster burst shooting, so in that sense we want to encourage moving up to a Micro Four Thirds model for things like better continuous shooting performance – so that’s another path G97 buyers could take. On the other hand, if they want to improve the quality of their work at higher sensitivities [higher ISOs], we have a path for them to move to full-frame mirrorless models with the same user experience.
So… yeah, step by step, they can get more into the system — starting with lenses, then maybe the body — and that’s how we’d like to support their growth as users.
Is the lack of PDAF in the G97 a matter of manufacturing cost or is it more about product differentiation?
Whether PDAF is something for higher-end cameras — or whether it’s about product differentiation — that’s something we’ve thought about.
To be honest, the biggest factor is cost. Developing new sensors involves significant investment, so it becomes difficult to offer them at a reasonable price for customers. That’s really the main issue.
Now, as for our DFD autofocus, for still image use, it really doesn’t have any major disadvantages. In video use, though, there are some cases where it falls a bit short. When considering those kinds of use cases, we would recommend increasing your budget and choosing a model like the G9 Mark II that supports PDAF.
For users focused more on still photography, though, we believe it’s also important to have affordable options — and that’s why we’re offering both types of AF technology.
So we offer both types of cameras as options - and whether they’re here in Tokyo or around the world, we hope customers will look at both choices and consider which is best for them. - And of course we’ll continue evaluating how best to meet all of their needs going forward.
Is there competition between small full-frame and Micro Four Thirds models?
Your full-frame lineup has also been very active, with updates to both S5 models, the introduction of the S9, and a range of new lenses. The S9 stands out as an unusually compact full-frame body—smaller than some of your MFT models. How do you see ultra-compact full-frame bodies positioned against your MFT line? Do you see a model like the S9 competing with some of your MFT line?
Looking at Micro Four Thirds first, the main idea there is that it’s a system that allows for extremely compact design. Even with zoom lenses, it still allows for handheld use. So, in terms of everyday portability, Micro Four Thirds is a good fit.
On the other hand, if you narrow the use case even more — just for travel, for example — in those situations, we think about using fixed-lens designs instead of interchangeable lenses, to provide the best user experience tailored to that purpose. [Ed. note: Obviously talking about the recently announced ZS/TZ-99.]
On the other hand, people who want full-frame tend to be those who place a high value on artistic expression and image quality; for those people, there are a significant number who just wouldn’t be satisfied unless it’s full-frame. Even for that group though we also believe it’s important to offer products that are very compact in size, despite being full-frame.
We think that by offering a range of choices to match the different needs and expectations of each group of customers, it ultimately leads to greater satisfaction for end users.
As for the G97, when you asked whether it’s targeted at younger users, I said yes.
But I’d also like to add that — as I just mentioned — the characteristics of the system are quite different from full-frame.
So we’re also seeing customers who already own a full-frame camera from another brand, and they’re buying a Micro Four Thirds model as a second camera — specifically for use cases where they want to attach a telephoto zoom, for example. We see that kind of user as another important secondary target for the G97, and I think it’s worth mentioning that here.
[Ed. Note: This is an interesting point, that one market for MFT bodies and lenses are full-frame users from other brands who want the compact reach of a tele zoom on an MFT body. For an occasional wildlife shooter, something like a Panasonic Lumix 100-300mm f/4-5.6 II Power O.I.S lens ($649 US) on a G97 body ($847 US with its 12-60mm kit lens) or even a very nice older used body like the G85 or GX9 for less than $500 on eBay would give you 600mm equivalent reach and very decent IS performance, since both bodies support Panasonic’s Dual I.S. II with their latest firmware.]
Why the delay for external 8K recording with the S1R Mark II?
One day before CP+ started, you announced the S1R Mark II. Can you tell me more about this model and why it takes time for certain features like 8K recording to be available through firmware updates rather than at launch?
Shimamoto-san: We actually can already record 8K video internally with H.265 and can record up to 5.96K RAW internally. As you mentioned, a future firmware update is planned and my understanding is that it will enable 8K RAW video output to an external recorder. RDE: Since it’s just a matter of firmware, I’m curious why it takes longer to release.
Tsumura-san: It has to do with connecting to devices from external partners, we need to coordinate the compatibility. Because we need to coordinate with other companies, the timing for external recording formats isn’t up to Panasonic alone, we’re dependent on their scheduling as well.
[Ed. note: This was something I had wondered about for a long time, ever since the release of the S1R and S1H. Once I heard the reason for it, the reason was obvious.]
What does the LUMIX Lab software app show about future strategy?
The LUMIX Lab app is very interesting to me and appears to mark a significant new focus for Panasonic. It seems like a true missing-link app, deeply integrating serious cameras with smartphones and social media. Initially, it was purely LUT-focused but has since absorbed all the camera control functions of Lumix Sync. The focus on color manipulation and control seems key, though. What does LUMIX Lab show about Panasonic's future strategy?
Smooth integration with smartphones is going to be extremely important for our users in the future, so how quickly and easily we can enable that is a high priority across our entire product line. We also place great importance on color science at LUMIX, and we want to expand the world of photography as a way for users to express their own personal style through color.
With this in mind, we released LUMIX Lab last year, with the concept of letting high-quality content creation with mirrorless cameras be able to be done “quickly and easily, from shooting to posting”. It includes features that let users enjoy real-time LUTs in addition to the image transfer functions found in traditional apps. The transfer speed of shooting data has also significantly improved, allowing for smooth connection and transfer, making it easy to share not only photos but also short videos as well.
We’ve expanded into a space where users can download color profiles from creators, or create their own within the app. LUMIX Lab is an important tool, aimed at further increasing camera demand by enabling collaboration with smartphones. Going forward, we want to continue evolving this application as an important part of the entire LUMIX lineup.
Originally, LUMIX Lab's focus seemed to be on users creating their own custom LUTs, but lately, I've been seeing more about downloadable pre-made LUTs. Why did you build this LUT functionality into a smartphone app rather than incorporating it directly into your cameras?
When we surveyed creators, one strong need that came up was the desire to share their work right after shooting — when their passion and instincts are still fresh. We realized that there are really two major needs: One is instant sharing, and the other is taking time to go home, edit carefully, and produce a polished result.
The first group — the users who want immediacy — we felt we hadn’t been supporting well enough. So we decided that addressing their needs through a smartphone app would be the best approach. It also made sense to have it on smartphones from a network perspective, to make it easy for people to exchange LUTs with other users online. We want to create an environment where the smartphone-native generation can easily capture and share.
For the second group, though, those who want to edit over time, we’re also supporting that — for example, through integration with Frame.io for teams working together and doing their editing in the cloud. So we’re designing products to support both workflows: the instant-share approach and the more deliberate editing path.
[Ed. Note: This is very interesting, with LUMIX Lab, they’ve built a platform for people to be able to share and, most significantly, sell their custom LUT profiles. This is creating the same sort of market that’s existed around Photoshop for years now, where professionals and other influencers have sold packages of filters and color adjustments, so end users can easily achieve a wide range of custom “looks”. That all happened in post-production and required an expensive software (Adobe’s Creative Cloud suite) to make use of them. Now smartphone-centric creators can do the same with just a free app and their Panasonic cameras.]
With integrated camera control, LUTs, and live streaming support, the app seems geared toward streamers, YouTube creators, and content producers. Was that your primary target audience? What does LUMIX Lab show about Panasonic's longer-term strategy?
LUMIX's target audience is really very broad — everyone from social media users sharing everyday moments to serious photographers and filmmakers. LUMIX Lab isn't just about smartphone compatibility for social media users, though that's important. It's also evolving as a creative tool that gives photographers and filmmakers more freedom in how they create their images, especially through LUTs.
As I just mentioned, though, we've developed other solutions for the more professional users as well. Our LUMIX Flow app is meant to support the production workflow. It can transfer XML files during the editing phase and automatically create folders and organize files within them, making post-processing much easier. It also integrates with Frame.io for cloud editing.
Flow supports the process even before editing begins — from planning to shooting, with coordination between the camera and the smartphone app. Every cut can be managed in the app, and then only the good ones are sent to Frame.io, the rest are ignored. Previously, picking out good takes from all the video cuts was extremely labor-intensive. Now we’ve created an app that does it automatically.
This shows that our long-term strategy is about supporting both types of workflows — the immediate sharing that social media demands as well as the more deliberate production process that professionals need. We recognize that many creators actually need both capabilities at different times, and we're building tools to support that full range of needs, regardless of the user.
[Ed. note: To clarify, the LUMIX Flow app doesn’t decide on its own which cuts are good or bad. That tagging is done by users in the app during the shooting session. The app is connected to the camera and the cameraman or a producer can tag each cut as “OK”, “KEEP” or “BAD” as they’re recorded. Only the OK and KEEP cuts are sent on to Frame.io for use in editing. I’ve barely dabbled in video production myself, but the task of sorting through dozens of similar-but-slightly-different clips on the computer to decide which are good and which are bad was always a massive, time-consuming PITA. The ability to manage and tag clips in the moment as you were shooting would have been a huge time saver.]
Conclusion
It was great to be able to spend some time with Tsumura-san and learn a bit about Panasonic's plans going forward; it's an encouraging picture.
On the purely "consumer" side of things, it's been interesting to see the renewed interest in compact cameras like the newly-updated ZS-99 (TZ-99 outside the US). Reeling from the initial impact of smartphones on the compact camera market, it seems manufacturers might have abandoned the form factor too quickly. (Or perhaps users were a bit too quick and manufacturers followed suit, with users only now realizing that there are things a digicam can do that their phones still can't.) However we arrived here, I'm happy to see Panasonic bring the updated ZS/TZ-99 to market.
Following a trend I've seen from other manufacturers, Panasonic has brought out new versions of two of their most popular Micro Four Thirds lenses. They've retained the same basic optical formulas but enhanced the lenses in other ways. For the 100-400mm, this included teleconverter compatibility, better macro focusing, better zoom ring operability and better AF while zooming (at least with the G9II body) as well as an enhanced low-temperature rating. The 35-100mm's improvements include full compatibility with Panasonic's most advanced Dual I.S. 2 system, significantly less ghosting and flare due to a restructured lens barrel interior and micro-stepping aperture control for better video shooting.
The new G97 body is both a solid entry point for new users to the LUMIX ecosystem as well as a lower-cost second body for users of their higher-end models. While it's a relatively incremental upgrade over the G95, it keeps the product current as a good way for new users to become familiar with the LUMIX platform.
The big news in my mind, though, isn't a camera or lens but rather the release of Panasonic's now fully-capable LUMIX Lab smartphone app, aimed at online creators and complementing their more mature LUMIX Flow app for professional and team-based users. LUMIX Lab creates not just a platform but a market for users and influencers to share and sell custom cinematic looks, akin to what Photoshop plugins did for still photography. It also provides a seamless experience for creators who want to go directly from shoot to sharing, with their own uniquely expressive color and tonal effects baked in.
On the "professional" side, the LUMIX Flow app bridges production planning, shooting and post-production, letting producers manage video clips right from the point of capture, tagging good takes for automatic organization into folders for the editing team to use. Even in small productions, the ability to hand your selects off to the editor without handwritten notes or the need to scrub through endless footage after the fact is a huge leap in efficiency.
Overall, under Tsumura-san's leadership, I see in Panasonic a company that's come to grips with the broad scope of its market and is stepping outside its traditional gear-only roots to address users' real needs regardless of their workflow or level of sophistication. With a solid range of offerings for novice to pro users, from compact cameras to Micro Four Thirds and Full-Frame models, their LUMIX Lab and LUMIX Flow applications bring real user benefits across the board. Congrats on this and I'm looking forward to their continued evolution from here.
What do you think? Leave your thoughts below and I'll be happy to reply and discuss with you.