Panasonic has announced the new 44.3MP BSI CMOS sensor Lumix S1RII full-frame camera today. The latest version is smaller, lighter, and more video-centric than its predecessor. Panasonic acknowledges that the S1R didn’t hit the mark, and the new Mark II addresses the issues.
It’s good to see Panasonic continue to push the envelope with their full frame cameras as many users want a powerful video-capable mirrorless more than a larger cinema camera. I get it. Gimbals are also advancing, so if you can get a smaller, powerful package, it’s a big win. The big issue is overheating, and Panasonic has addressed this, as well as the camera having a cooling system.
Packing a mirrorless camera with video features is nothing new to Panasonic. The popular GH cameras have better specifications than most mirrorless cameras on the market, but they have one drawback: the Micro Four Thirds sensor. While the format is smaller and the specs are high, I think we have moved on more in sensor size to achieve the look we want with less noise and a more filmic shallow depth of field. The GH cameras still have a place as they are smaller and more affordable all around.
Key features
- 44.3MP Full-Frame CMOS Sensor
- Lightweight Design, 25% Lighter than S1R
- 8K 30p & 4K 120p 10-Bit Video Recording
- 6.4K Open Gate Shooting
- Up to 40 fps Raw Shooting with AF-C/AF-S
- 5.76m-Dot 0.78x-Magnification OLED LVF
- Phase Hybrid AF with AI Tracking
- 8-stop, 5-axis IBIS; Active I.S.
- ISO 80-102400
- Dual UHS-II SD Slots; Wi-Fi & Bluetooth
- NEW Photo/Video/S&Q Switch facilitates easy toggling between photo and video modes
- NEW Shutter Closing Function
- Front/Rear Tally Lamp
- Photo Style Cinelike A2
- Live View Composite
- HDMI Video Data Output
- Compatibility with Adobe Frame.io Camera-to-Cloud
- 8K Open Gate (via future Firmware Update in 2025)
I received a demo camera to play with. I didn’t have enough time to do a full review before releasing it, but the new, smaller, lighter body feels pretty good in the hand, and the new articulating LCD screen gives you a lot of flexibility. I love ProRes for its ease of editing, and Panasonic Lumix cameras have great color. I’ll do more shooting and report back.
New 44.3MP full-frame BSI CMOS Image Sensor
For the S1RII, Panasonic introduces an all-new 44.3MP full-frame BSI CMOS Image Sensor and high-performance engine with L2 Technology that delivers impressive stills and videos with LUMIX’s natural color science. The high-resolution mode allows for handheld shooting at approximately 177MP. With improved video performance, it is the first LUMIX camera to realize 8K video recording at a claimed 14 stops of dynamic range.
The 44.3 megapixel image sensor with an effective pixel count of approximately 44.3 megapixels realizes the highest image quality in LUMIX’s history. In combination with a high-performance engine that achieves faster processing speeds, the sensor is claimed to deliver both high pixel and low-noise texture depiction and a wide normal sensitivity range from a low sensitivity of ISO 80 to a high sensitivity of ISO 51200.
The Open Gate feature has been enhanced, allowing shooting in 6.4K and even up to 8.1K / 7.2K, with a future firmware update scheduled for 2025.
As first for the LUMIX S series, it supports internal recording of 5.8K Apple ProRes RAW HQ / ProRes RAW to a CFexpress Type B card. This makes it possible to record high-quality video data with minimal setup and without using external devices or cables.
The rolling shutter is present, but it is not the best performing I have seen. It varies in different modes I have tested so far. I do need more time to dig into the full performance.
B.I.S Image Stabilization
The Lumix image stabilization system continues to improve, with the LUMIX S1RII achieving 8.0-stop 5-Axis B.I.S. and 7.0-stop 5-Axis Dual I.S in photo mode
In video mode, the camera has B.I.S & Dual I.S, Boost I.S Active I.S, and E.I.S. These are all suitable for various applications such as large shaking, unstable walking shots, using a wide-angle lens, and anamorphic lenses. While the Image Stabilization is really improved, it won’t replace a gimbal, but it sure smoothes out handheld jitters very well, even when using longer lenses.
Dual I.S. 2. The advanced video image stabilization features cropless E.I.S. video distortion correction, reducing peripheral distortion while preserving the original angle of view. This allows for greater flexibility in handheld wide-angle shooting.
- 5-axis
- Center: 8.0-stops, Periphery: 7.0-stops
Panasonic’s in-body Image stabilization, or B.I.S, on the S1RII is impressive. Its performance in video mode fully takes out the jitters. Small hyrbid cameras smashed against your face is tough to get jitter-free shots. Not with the S1RII.
Active I.S. + E.I.S.
- Active I.S. works by combining with E.I.S. (HIGH), it compensates even large shakes such as shooting in running situations.
- E.I.S. compensates for perspective distortion* that occurs during video shooting.
There is also a Crop Mode that corrects perspective distortion , which is more noticeable when shooting at an angle focal length without changing the field of view.
For small walk-in moves, it’s incredibly stable without strange wobble or studdering when panning. It’s truly the best I have experienced, and for handheld shooting, it looks great.
Advanced E-Stabilization
When E.I.S. is ON; it corrects roll blur and perspective distortion. E.I.S. ‘HIGH’ mode is now available when using an anamorphic lens.
Anamorphic IS Options
- A2.0
- A1.8
- A1.5
- A1.33
- A1.30
New Articulating LCD Design
The S1RII’s LCD screen has a few tricks up its sleeve with its multi-positional articulating design. The LCD hinge is attached to a backing plate that pulls away from the camera so it can be adjusted in many angles. Since the LCD can be pulled away from the body, it allows the LCD to flip up and down without hitting inserted cables, such as HDMI, headphones, and audio. It can also give you more tilted angles for shooting overhead to really low, whether flipped to the side or under the EVF.
I like this feature a lot as it’s the most versatile LCD I have ever used, and the design feels very solid with a fair amount of stiffness to hold in position.
Live View Finder
The OLED EVF (organic light-emitting diode) display is bright and sharp, with its 5.76 million-dot resolution and fast response time, not only captures fast-moving subjects but also displays rich gradations of subject detail thanks to its high contrast performance of approximately 10,000:1 or better.
Powering Options
The S1RII can be power-hungry in different modes. It has the same Panasonic DMW-BLK22 Lithium-Ion Battery (7.2V, 2200mAh) used in several Lumix cameras as late as the LUMIX GH5 II.
The new DMW-BG2 Battery Grip will double the runtime as it also houses one extra battery. At the same time, using the internal battery. instead of inserting it into the battery compartment, it connects with pins on the bottom of the body.
DMW-BLK22 Key features
- For Panasonic Lumix S1R II
- Holds DMW-BLK22 Battery
- Extended Grip for Vertical Composition
- Secondary Shutter Release
- Function Buttons and Control Dials
- Splash and Dust Resistant
Camera Controls
The S1RII has a smart layout with three ways to trigger video record. On top is a red trigger button, the main shutter button, and on the bottom left. Wow, is it nice to have so many options?
On the left top is a new Photo/Video/S&Q switch that allows you to toggle between photo and video modes at the touch of a switch.
Under the dial is an Operation Lock lever to prevent unintended operations during shooting.
I like the White balance, ISO, and exposure compensation buttons just above the main shutter button. There is no digging around for these, and the white balance is very quick. Press the button take a balance, the same operation in video as in stills mode.
The Focus Mode lever is for instantaneous switching between Autofocus single, continuous, and manual. Again, it is very nicely laid out. I can pick the camera up with minimal menu scrolling to access key shooting modes.
The camera has a record tally on the front and back, so everyone knows you are rolling! This is especially helpful when self-shooting. How many times did you think you were rolling?
The camera doesn’t have any non-assigned buttons, but you can change many of them to suit your needs. You can also save up to three user settings for quick recall.
Ports and IO
The best news is that the S1RII has a full-sized HDMI port. I’ll take it! From the top down, the camera offers 3.5 mic-in, headphone-in, USB-C port, and the full-sized HDMI. One port I wish it had is for timecode. Maybe something magical can happen with the USB-C?
Keeping it Cool
With so much horsepower under the hood, Panasonic had to devise a way to keep it from overheating. Yes, the dreaded overheating issue will probably be around a lot longer in these hybrid cameras. Still, as technological advancements keep getting components smaller, the heat will also be similar to Apple’s Silicon. Those Mackbook pros run so cool you can actually have it on your lap!
Panasonic engineered the S1RII with a tiny fan inside the top area of the camera just behind the LUMIX logo. It doesn’t make a sound that I can hear, or I just haven’t gotten it to reach a high level of heat yet. In the menu under Thermal Management, you can set the camera’s Recording Max Temperature to Standard or High.
The camera was designed to operate in temperatures as low as -10°C (*3) and verified to operate in temperatures as high as 40°C.
It features a Magnesium alloy frame and the structure is designed to be dustproof and drip-proof, but it does not completely prevent dust and water droplets from entering.
Menu
Video Menu 
Photography Menu
The menu is split into two sections for video and stills, which is great because it makes navigating and changing settings much easier. The layout is clean, and I found it very easy to find categories and settings.
Video Features
I will focus on the key video features of the Lumix S1RII camera. Panasonic states that they made many improvements and added features to the new camera that users asked for. You have to appreciate when a company listens to its customers.
The camera can record
- 8.1K (17:9) 8128×4288 | 8K (16:9) 7680×4320
- Full-Frame 5.9K and C4K/4K video at up to 60fps
- Full Frame C4k/4K video at up to 120fps
- High dynamic range (14 Stop V-Log/V-Gamut)
There will be an 8K Open Gate via a future Firmware Update in 2025.
Dual Native ISO
Dual Native ISO is all the rage these days, and for good reason. It allows you to shoot at higher ISO levels with less noise. The S1RII has Panasonic’s latest engine with L2 Technology. The camera has a Standard ISO range of 80- 51,200 and an Extended ISO range of 40-102,400.
You can set the camera to Auto Lower Limit, Low or High, as well as Sensitivity for video shooting from ISO Auto Lower Limit of 160-25,600 ISO and Auto Upper Limit from Auto – 51,200 ISO.
Synchro Scan
If you ever shoot around computer screens and TV monitors/computer screens, you are familiar with scan issues. It’s a big problem for me as I shoot image spots for our news products in the main studio and around the newsroom. I constantly have to deal with this. This is one main reason I don’t use a hybrid camera. Syncro Scan is an excellent feature for adjusting the scan speed so the monitors look normal, and the S1rII can do just that. I’m unsure how many hybrids offer this, but making the camera more valuable in all environments is a big deal.
Aspect Ratios
You can record in several aspect ratios, including 6.4K 30p 10-bit Open Gate, which takes full advantage of the entire sensor. 16:9, 4:3, 1:1, 17:9 and 9:16 are also avaiable.
The S1RII supports anamorphic capture and includes a de-squeeze display setting for your viewing pleasure.
Media and External Options
The S1RII uses both CFexpress Type B and SD Cards. CFexpress Type B will be needed for RAW and most heavier, less compressed codecs.
The camera supports a wide variety of recording media and is equipped with double slots. Slot 1 is compatible with CFexpress Type B cards, enabling smooth recording of high-speed continuous shooting and high-bit-rate video. In addition, the user can select the recording media most suitable for the application, such as an external SSD.
- Slot 1: CFexpress Type B card
- Slot 2: SD memory card (UHS-I/UHS-II UHS Speed Class 3 / UHS-II Video Speed Class 90)
- External SSD recording
It is nice that you can also use USB-C external drives. I can’t say it enough, but having options is great. Personally, I would rather use cards to stretch out the media in case a card gets corrupted. I understand wanting to use larger, less expensive USB-C SSD drives when shooting larger files.
The camera also uses USB-C to charge the battery; however, you can’t use it while it’s charging. No charger is included.
Internal ProRes and RAW
ProRes isn’t the most efficient codec, but it’s very edit-friendly, and you won’t need to use proxies to work with them. I do prefer the non-proxy workflow. When shooting 4K ProRes 422, you get approximately 1hr and 30 min of recording on a 320GB CFexpress B card.
For all you RAW capture lovers, the Lumix S1RII should satisfy you, as it offers 5.8K ProRes RAW and ProRes HQ RAW internally and to USB-SSD. Just buy larger cards as they are fat files.
ProRes RAW & ProRes RAW HQ Internal Record
- Resolution – 5.8K (17:9) 5760 x 3040
- Frame rate at 59.94Hz – 29.97p / 23.98p
- Frame rate at 50.00Hz 29.97p / 23.98p
- Frame rate at 24.00Hz – 24.00p
ProRes is available in Full Frame, Pixel/Pixel, and APS-C, using 59.94Hz, 50Hz, and 24Hz.
Recording file format
- MOV: H.264/MPEG-4 AVC, H.265/HEVC, Apple ProRes, Apple ProRes RAW
- MP4: H.264/MPEG-4 AVC, H.265/HEVC
(*4) Proxy video recording is available.
(*5) Proxy video recording is available. When Proxy Recording is set to ON, Crop Zoom is not available.
(*6) When Image Area of Video is set to PIXEL/PIXEL, Crop Zoom is not available.
Full Frame ProRes 24P
| [5.8K] 5760×3040 (17:9) | 24.00p, 1.5Gbps (ProRes 422 HQ) (LPCM) 24.00p, 1.0Gbps (ProRes 422) (LPCM) |
| [C4K] 4096×2160 (17:9) | 24.00p, 779Mbps (ProRes 422 HQ) (LPCM) (*4) 24.00p, 519Mbps (ProRes 422) (LPCM) (*4) |
| [4K] 3840×2160 (16:9) | 24.00p, 730Mbps (ProRes 422 HQ) (LPCM) (*4) 24.00p, 487Mbps (ProRes 422) (LPCM) (*4) |
| [FHD] 1920×1080 (16:9) | 120.00p, 908Mbps (ProRes 422 HQ) (LPCM) 120.00p, 606Mbps (ProRes 422) (LPCM) 24.00p, 182Mbps (ProRes 422 HQ) (LPCM) (*4) 24.00p, 121Mbps (ProRes 422) (LPCM) (*4) |
Frame Rates
This camera is packed with frame rate options that vary depending on the resolution and sensor cropping being full frame, S35, Full, Pixel/Pixel. Below are some of the more popular options, but there are so many it’s almost too much to add.
Full Frame 59.94Hz MOV
[8.1K] 8128×4288 (17:9)
| 29.97p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 23.98p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
[8K] 7680×4320 (16:9)
| 29.97p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 23.98p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
[6.4K] 6432×4288 (3:2)
| 29.97p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 23.98p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
[5.9K] 5888×3312 (16:9)
| 59.94p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 47.95p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 29.97p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 23.98p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
[C4K] 4096×2160 (17:9)
| 119.88p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 59.94p, 800Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 59.94p, 600Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 59.94p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
| 59.94p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 59.94p, 150Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
| 47.95p, 800Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) |
| 47.95p, 600Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) |
| 47.95p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) |
| 47.95p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 29.97p, 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 29.97p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
| 29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
| 23.98p, 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
| 23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
[4K] 3840×2160 (16:9)
| 119.88p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 59.94p, 800Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 59.94p, 600Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 59.94p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
| 59.94p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 59.94p, 150Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
| 47.95p, 800Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) |
| 47.95p, 600Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) |
| 47.95p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) |
| 47.95p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 29.97p, 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 29.97p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
| 29.97p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 29.97p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
| 23.98p, 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
| 23.98p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 23.98p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*5) |
[FHD] 1920×1080 (16:9)
| 119.88p, 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) |
| 119.88p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) |
| 119.88p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 59.94p, 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 59.94p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 59.94p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 59.94p, 50Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 47.95p, 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) |
| 47.95p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) |
| 47.95p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| 29.97p, 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 29.97p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 29.97p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 29.97p, 25Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p, 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 23.98p, 25Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (*4) |
Full Frame 24Hz MOV
| [8.1K] 8128×4288 (17:9) 24.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| [8K] 7680×4320 (16:9) 24.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| [6.4K] 6432×4288 (3:2) 24.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| [5.9K] 5888×3312 (16:9) 48.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 24.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| [5.8K] 5760×3040 (17:9) 48.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 24.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
| [C4K] 4096×2160 (17:9) 120.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 48.00p, 800Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 48.00p, 600Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 48.00p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 48.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 24.00p, 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (4) 24.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (5) 24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (4) 24.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (5) |
| [4K] 3840×2160 (16:9) 120.00p, 300Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 48.00p, 800Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 48.00p, 600Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 48.00p, 200Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 48.00p, 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 24.00p, 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (4) 24.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (5) 24.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (4) 24.00p, 100Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (5) |
| [FHD] 1920×1080 (16:9) 120.00p, 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 120.00p, 150Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 120.00p, 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 48.00p, 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) 48.00p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) 48.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 24.00p, 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (4) 24.00p, 100Mbps (4:2:2 10-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (4) 24.00p, 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (4) 24.00p, 25Mbps (4:2:0 8-bit LongGOP) (H.264/MPEG-4 AVC, LPCM) (4) |
Slow And Fast
If you like slomo you have many options from 5.9K to full HD in Slow and Fast mode all in MOV.
Full Frame
[5.9K] 5888×3312 (16:9)
| 29.97p (Maximum output of sensor is 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 23.98p (Maximum output of sensor is 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
[5.8K] 5760×3040 (17:9)
| 29.97p (Maximum output of sensor is 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) 23.98p (Maximum output of sensor is 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) |
[C4K] 4096×2160 (17:9)
| 59.94p (Maximum output of sensor is 120fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 120fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 120fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
[4K] 3840×2160 (16:9)
| 59.94p (Maximum output of sensor is 120fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 120fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 120fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 120fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
[FHD] 1920×1080 (16:9)
| 59.94p (Maximum output of sensor is 120fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 59.94p (Maximum output of sensor is 120fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 120fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 120fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 120fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 120fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
APS-C
[C4K] 4096×2160 (17:9)
| 59.94p (Maximum output of sensor is 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
[4K] 3840×2160 (16:9)
| 59.94p (Maximum output of sensor is 60fps), 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 60fps), 400Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 60fps), 150Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
[FHD] 1920×1080 (16:9)
| 59.94p (Maximum output of sensor is 120fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 59.94p (Maximum output of sensor is 120fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 120fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 29.97p (Maximum output of sensor is 120fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 120fps), 200Mbps (4:2:2 10-bit ALL-Intra) (H.264/MPEG-4 AVC, LPCM) (*4) |
| 23.98p (Maximum output of sensor is 120fps), 100Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM) (*4) |
V-Log & V-Gamut
The S1RII Combines ultra-high resolution 8K video recording performance with 14 stops of wide dynamic range when recording in V-Log/V-Gamut. The LUMIX S and G series feature unified gamma characteristics and look for efficient post-production.
- When Dynamic Range Expansion (Log) is ON: 14 stops
- When Dynamic Range Expansion (Log) is OFF: 13 stops.
- When Dynamic Range Expansion (Log) is in use, the lower limit of ISO sensitivity is set to 400 (Extended ISO sensitivity setting: 200).
- When using Dynamic Range Expansion (Log), movie quality is limited and rolling shutter distortion increases.
- When using Dynamic Range Expansion (Log), power consumption will increase and the battery will be consumed faster. Also, the camera temperature rises faster.
The following functions are not available when Dynamic Range Expansion (Log) is set:
- Video quality with a recorded frame rate exceeding 30.00p
- Video quality with a resolution of 6.4K and a recorded frame rate exceeding 25.00p
- Live crop
Viewing LUT
The camera has Panasonic’s V-LOG, and to make viewing a very flat image, you can select a Viewing LUT to display on the LCD, EVF, and via HDMI to an external monitor.
Realtime LUT’s
Shooting in Log has powerful advantages when the lighting is more varied. The S1RII can use LUTs. In fact, it can overlay two simultaneously and store up to 39. It supports VLT and CUBE. You can also create custom LUTs or download new ones from the Lumix Lab app.
False Color
Panasonic gives the S1RII False Color. From pro shooters to advanced enthusiasts, False Color has been a favorite for nailing exposures. For reference, you can see the color values in a sub-menu. Unfortunately, you can’t add the range key to the bottom of the display.
Frame Markers
Various aspect ratios exist, such as 2.39:1 or 2.35:1 for cinema, 1:1 or 4:5 for social media, etc. The S1RII has a mask function for post-production cropping, allowing for accurate framing while shooting. A total of 10 patterns are available, and custom settings are also possible.
Tally Lamps
Tally lamps mounted on the front and rear of the camera body allow the recording status to be checked from both the subject and photographer’s sides. The brightness and ON/OFF settings for the front and rear lamps can be set individually.
External Recording
8.1K / 7.2K video RAW data output will also be supported. 8K video data can be recorded to an external recorder via a full size HDMI cable. RAW video recording with ATOMOS and Blackmagic Design recorders will streamline the video production workflow and support high-quality video production. The RAW video recording by ATOMOS and Blackmagic Design recorders will streamline the video production workflow and support high-quality video production. Recording proxy files simultaneously is also possible, saving post time without creating them during transfer.
USB
UHD 4K (3840 x 2160) at 29.97 fps
UHD 4K (3840 x 2160) at 25 fps
HD (1280 x 720) at 25/50 fps
HD (1280 x 720) at 29.97/59.94 fps
HD (1280 x 720) at 25/50 fps
Proxy
- Proxy Rec Quality: H / M / L
- Real-Time LUT (Proxy): ON / OFF
When the following functions are being used, proxy recording is not available: [MP4], [Rec Quality] exceeding a resolution of C4K, [Rec Quality] with [4:3] or [3:2] aspect ratio, [Rec Quality] with a high frame rate video, and [Streaming].
Improved Auto Focus
- 779pts PDAF
- Real-time recognition with advanced AI
- 1.6X faster focusing response
- 2X improved human recognition accuracy
- Improved eye/face recognition accuracy
- Advanced detection for a wide range of subjects
- Automatic tracking activation
It’s not a stretch to say the Lumix cameras have not performed as well as Sony and Canon when it comes to Auto Focus. This looks to be changing with the S1RII. It has Phase Hybrid Auto Focus with AI Technology. Phase Detection AF is much more than contrast AF and now Panasonic is entering the higher performance space.
In addition to contrast AF, the LUMIX S1RII employs image phase detection AF. The distance to the subject is calculated by the distance-measuring sensor with high speed and high precision, and the 779 distance-measuring points capture dynamically moving subjects. Combined with real-time recognition AF, the camera delivers excellent AF performance even in scenes where the subject is difficult to distinguish, such as backlit or low-light conditions, or when the subject is small.
Autofocus Priority Object Modes
- Human – Eye/Face/Body or only eye and face
- Animal – Body or Eye and body
- Car – Entire Subject or driver helmet/front area of the car
- Motorcycle/Bike – Entire Subject or Helmet Priority
- Train – First Car or Drivers cabin or front end of train
- Airplane – Entire Airframe or nose of the plane
The S1RII has improved recognition performance by employing AI technology to detect human eyes and faces. In particular, the S1RII’s performance has been greatly improved in scenes where detection was previously difficult, such as when the face is tilted or partially hidden, allowing the camera to focus on the pupil and face with greater precision.
AF Modes
- Tracking / Full Area AF / Zone (Horizontal/Vertical) / Zone / 1-Area+ / 1-Area / Pinpoint
Automatic Detection can be turned ON to switch between Human / Animal / Car / Motorcycle/Bike / Train / Airplane. Except when Pinpoint is set. Target Parts can also be set.
Audio
As mentioned, the S1RII has an internal 32-bit float audio recording option when using the MOV format with the DMW-XLR2 audio interface attached to the hot shoe. It’s powered by the camera directly through the hot shoe and provides two XLR inputs for professional microphones. There is also an additional 3.5mm stereo audio input for alternative mic options.
The 32-bit float format, with its wide dynamic range, can cover both loud and quiet sounds with high resolution, so even in recording environments with large volume fluctuations, high-quality sound sources can be secured without frequent fine gain adjustments. Furthermore, since video and audio are recorded in a single file, editing can be performed smoothly.
DMW-XLR2 Key features
- Connects to S1rII, DC-GH7/GH6 through Hot Shoe
- Provides Two XLR Audio Inputs
- One 3.5mm Stereo Mini Jack Input
- Control Panel with Clear Cover
- Physical Switches & Dials
- Recording at up to 96 kHz, 32-Bit Float
- 48V Phantom Power on XLR or 3.5mm
- Cable Clamp for Wire Management
- Additional Shoe Mount on Top of Unit
- Powered by Camera
It is a bummer that you must use the DMW-XLR2 to get 32-bit float recordings, but compromise is a thing when using a hybrid for video. You will most likely use higher-quality XLR microphones if you need higher quality.
Audio Formats
4ch Audio Recording: OFF
MOV
Linear format: LPCM (2ch stereo 48kHz/24-bit, 96kHz/24-bit) Float format*: LPCM (2ch stereo 48kHz/32-bit, 96kHz/32-bit
*When attaching Φ3.5mm microphone or DMW-XLR2 (sold separately). **When attaching DMW-XLR2 (sold separately).
MP4
Linear format: AAC (2ch stereo 48kHz/16-bit)
4ch Audio Recording: XLR*
MOV
Linear format: LPCM (4ch monaural 48kHz/24-bit)
Float format: LPCM (4ch monaural 48kHz/32-bit)
*When attaching DMW-XLR2 (sold separately).
4ch Audio Recording: XLR*+Camera
MOV
Linear format: LPCM (4ch monaural 48kHz/24-bit, 96kHz/24-bit**)
*When attaching DMW-XLR2 (sold separately). **When attaching Φ3.5mm microphone or DMW-XLR2 (sold separately).
Lumix Flow
The LUMIX Flow assists with storyboard creation, on-site checks during filming, and automatic data organization after shooting to support the video production workflow. ・LUMIX mode: Assists with storyboard creation, on-site checks during filming, and automatic data organization after shooting to support the video production workflow.
- Smartphone mode: Experience the joy of video creation, such as scripting and editing a short drama, documentary video or dance video, with just a smartphone.
- External monitor: Use a smartphone as an external monitor while shooting, allowing you to swiftly change and adjust the camera settings on the mobile device.
Adobe Camera to Cloud
More cameras lately are taking advantage of Frame.io Camera to Cloud and the new S1RII is on-board. With Frame.io Camera to Cloud, the creator’s images and videos are automatically uploaded, backed up, shared, and worked on jointly via the cloud.
A first for Lumix cameras is the ability to use Capture One with tethering.
Popular Comparisons
| | LUMIX S5IIX | LUMIX S1RII | SONY α7R V | SONY α7CR | NIKON Z8 | EOS R5 Mark II |
| Release | 2023 | 2025 | 2022 | 2023 | 2023 | 2024 |
| Price (Body) | $2,199 | $3,299 | $3,899 | $2,999 | $3,999 | $4,299 |
| Image Sensor | FF 24.2MP w/o LPF | FF 44.3MP w/o LPF | FF BSI 61MP w/o LPF | FF BSI 61MP w/o LPF | FF Stacked 45.7MP | FF 45MP |
| High Resolution Mode | 96MP | 177MP | 240MP | 240MP | - | 176MP (Upscaling) |
| HDR (Photo) | - | - | 10-bit HEIF | 10-bit HEIF | 10-bit HEIF | HEIF or RAW |
| Dual Native ISO | Dual Native ISO | Dual Native ISO | - | - | - | - |
Price & Availability
The new LUMIX S1RII will be available in late March for $3,299.99 USD.
Making the Jump to a New System
This is arguably the most challenging decision a camera owner has to face. Over time, you purchase several lenses for your current camera, and the investment in them can be deep. Lenses are forever and camera bodies come and go. We easily spend five times more on lenses than a body, so moving to the L Mount is a huge financial move. Yes, adapters work, but you won’t get the same results in AF when using them. The best way to go is to use native lenses.
It’s a lot to consider and after playing with the S1RII, it has me thinking…
Final Thoughts
The new Lumix S1RII is a very well-equipped mirrorless camera that checks many boxes for the hybrid shooter. Panasonic has struggled in the AF department for some time now, but the S1RII is a big leap forward and shouldn’t be considered a negative anymore. Panasonic, Welcome to the AF party!
The IBIS is very good
I’ve always liked Panasonic color, and they keep the look going with even more options, such as a non-defined Cinelike A2 (ARRI look?) and the included Log modes with in-camera LUT support.
As for audio, once you start using 32-bit float, it’s hard to go back, and having this internally is a big plus. There is no need to use an external audio device or external video recorder with this camera to get high-quality recordings. Many will prefer small files over ProRes and 32-bit float, and you have those options as well. Options are great.
