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Panasonic Lumix DMC-FT1 review: Panasonic Lumix DMC-FT1

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Typical Price: $659.00
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The Good HD quality video. Great build quality. Excellent underwater video and images. HDMI output. Face recognition modes.

The Bad Mode dial falls out of place easily. Relatively slow performance.

The Bottom Line For a camera that can cope with everything you throw at it, from a pool party to a safari, the FT1 is rather good at its job. Expect excellent quality HD video and great photos, if you can look past the slightly slow performance times.

Visit manufacturer site for details.

8.0 Overall

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It's difficult to come up with a polite description for the appearance of the range of rugged cameras that have appeared over the past few months. First we saw the Tough 8000 from Olympus which was brick-like and didn't exactly strike a chord in the heart of aesthetes. Then, Canon's PowerShot D10 appeared and just from looking at the pictures, it looks like the curious offspring of a submarine and a blue whale.

Meccano or Lego? (Credit: Panasonic)

Describing the Panasonic FT1 is a similarly curious task — we'd liken it more to a Lego brick thanks to its bright colours and screws that are positioned on each corner on the front plate. Speaking of colours, you can get this go-most-places-but-don't-forget-to-read-the-care-instructions-otherwise-you-void-your-warranty camera in orange, blue, green or silver. There's a thin flash unit nestled close to the centre of the camera, and the square and smooth lens unit sits to the right when looking at it face-on. Unlike the Olympus, there is no lens cover that slides over the lens when the camera is powered off.

This camera definitely looks and feels sturdy, thanks to its construction — the aforementioned screws, the brushed alloy at the front, and the reinforced flaps that protect the SDHC and battery slot, as well as the external output slot on the side.

Main controls are relegated to three buttons at the top — power, shutter and zoom rocker, and at the back an array of four-way buttons and a mode dial look after everything else. Of particular interest is the one-touch record button which, just under the mode dial, allows you to begin taking movies immediately.


There is a reason that Panasonic is touting this camera as a hybrid, because it successfully pairs a competent still image camera with HD video functionality. Rather than being a token inclusion to increase the specifications and up the asking price, the FT1's video taking is (so far) the best we've seen on a still compact camera. Using a format known as AVCHD Lite, a proprietary format based off AVCHD (used in many camcorders) and jointly developed by Panasonic and Sony, the FT1 is capable of recording in 720p. With an HDMI port on the side of the camera, and included software to transcode the resulting video files, the implementation here is as fully fledged as we'd expect.

The sensor on the FT1 hits a relatively standard maximum of 12 megapixels, while the Leica lens reaches 4.6x at full extension, and is 28mm at its widest end. As for the all-important statistics, the FT1 is waterproof to 3 metres, shockproof from 1.5 metres, and also dustproof. Note that the camera can only be immersed in water for up to 60 minutes at any one time, and as with all rugged cameras, there are special care instructions that need to be followed before and after you use your camera in the extremes.

Face recognition mode adds a splash of novelty to the FT1. In intelligent auto mode, the camera can recognise certain registered faces and then optimise the exposure accordingly. In practice it was a little fiddly as you have to enter a name and birth date on the camera for each subject.

Performance and image quality

Click through to the photo gallery to see the pictures taken with the FT1. (Credit: Alexandra Savvides/CBSi)

One of the most immediate performance issues with the FT1 came from turning the camera on, as the power button was recessed quite firmly into the top of the casing. Start-up time was around 1.5 seconds, but shot-to-shot time averaged around 4 seconds. Overall performance was definitely better than the pre-production we got our hands on in Singapore.

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