One of the perks of this job is every other day a package arrives with a shiny new gadget inside. Of course, a few weeks later the gadget needs to be packed up and sent back, just as I'm beginning get used to it.

Over the past year I've had countless cameras pass through the mail, all with their own interfaces, lenses, dials and quirks and I've never felt I used any of them to their potential until the Panasonic FZ2500 came along.

To be honest, I was expecting to be disappointed with it. This was not because I thought the camera would be bad, Panasonic's Lumix range are usually stellar. I just assumed a fixed lens camera could never match the images coming from the more versatile cameras like the company's GH4 or G85.

The GH4, in particular, has become the go-to model for independent film-makers, a tiny little powerhouse capable of shooting incredible 4K video.

But the GH4 and G85 are designed for professionals, who never use auto mode, who want dials they can customise for their specific needs. I wish I had the time to do that, but I don't.

The FZ2500 is a camera that feels designed to stay on auto and still produce images as good as its professional siblings. There's no need to worry about what lens you should use, because there's only one available, the one built into the unit.

Stills are far better than most point-and-shoots, and 4K video was stunning. This is the perfect camera for someone like me, who makes the odd corporate video or pamphlet, but wouldn't consider themselves a professional.

It may not have the prestige of its siblings, but after months of cameras making me feel like a dullard, this was the perfect balance of image quality and simplicity. I was quite sad sending it back.