In summary
The Panasonic Lumix DC-S1II provides a good balance between stills and video capabilities, giving professional content creators all (or almost all) the tools they need to produce high-quality content for distributing across the media landscape. It doesn’t matter whether you’re looking to capture images that can be printed at A2 (or even larger) size or video for sharing in its original format or in formats for playback on TV sets or the screens of portable devices. This camera will be able to handle it.
It should suit a wide range of photographers and videographers, particularly those who shoot a mix of stills and video, such as wedding and event photographers. Photo journalists would also find it handy for sports and action photography and videography, thanks to its weather-resistance and eight f-stops of built-in stabilisation.
Full review
Announced on 14 May, 2025, the Panasonic Lumix DC-S1II adds a lower-resolution (and slightly more affordable) second-generation option to Panasonic’s S1 range of full-frame mirrorless cameras. Designed for professional photographers and videographers, the S1II has the same body structure as the Lumix DC-S1RII, which we reviewed in March 2025.
While its 24.1-megapixel effective resolution is lower than the 44.3 megapixels offered by the S1RII, the two cameras share many features, such as the high-res EVF with cooling vents on each side, fully-adjustable monitor and dual CFexpress/SD media slots. Consequently, the S1II has a lot to offer to well-heeled photo enthusiasts who require advanced imaging and video capabilities. It has also been released with a new Lumix S 24-60mm f/2.8 (S-E2460GC) lens, which is reviewed separately.
Angled view of the Panasonic Lumix DC-S1II camera with the Lumix S 24-60mm f/2.8 kit lens. (Source: Panasonic.)
The release of the S1II comes roughly five years after the original S1 was released and technology continues to move along in the interim. Shortly after the Lumix DC-S1II was launched, on 24 June, 2025, Panasonic upgraded the camera’s firmware to Version 1.1. which can be downloaded here. The new firmware adds the following improvements:
1. Wi-Fi connection with Capture One and wired LAN connection using a USB Ethernet adapter are now supported.
2. An Activation feature has been added to enable users to add ARRI LogC3 support to the Photo Style settings using the separately sold upgrade software key DMW-SFU3A.
3. Deep-focus images can now be generated through focus stacking by compositing images taken at multiple focal points.
4. An option to automatically perform pixel refresh has been added to the menu.
5. The colour of the AF frame can now be changed.
6. The frame marker function has been expanded to display up to three frame markers at the same time.
7. Compatibility with OM Digital Solutions Co., Ltd. flash units has been improved.
Other improvements have been made to enhance operational stability. New cameras purchased from July should come with the updated firmware already installed.
What’s New?
By upgrading the XQD slot to CFexpress and replacing the conventional 24-megapixel CMOS card in the original DC-S1 with a partially-stacked CMOS chip, Panasonic has enabled the new camera to support faster burst speeds for stills capture and higher video bit rates for internal ProRes recording as well as speedier card flushing.
Support for the 10-bit HEIF file format has also been added, along with the ability to record HLG (Hybrid Log-Gamma) images that encompass a wider range of brightness and detail than images and videos with the regular standard dynamic range. Panasonic has also added a new, cropped 2.4:1 movie, along with new frame marker settings that allow users to overlay multiple aspect ratios on the monitor or EVF screen for more precise framing when creating content with various aspect ratios.
The S1II also supports open-gate 6K video at up to 30p as well as full-width 5.9K or 4K at up to 60p and 4K video at up to 120p with a slight frame crop. 5.1K 50p high-speed recording includes a new full width 50p Cinemascope recording mode and supports internal RAW recording.
For stills shooters, the new camera offers fast burst shooting at full resolution with frame rates up to 70fps with the electronic shutter plus an extended H+ (High Speed Plus) continuous shooting mode at approximately 10fps with the mechanical shutter, the latter blackout-free shooting providing. The new 96MP multi-shot mode includes in-camera frame combination and motion correction settings.
The S1II also gains a built-in fan to support extended recording times. Upgrading the camera’s computer interface to USB-C with UVC support allows owners of the camera to use it as a webcam. A new pre-release recording mode enables 1.5 seconds
RAW video can be recorded via the HDMI port while the camera is also recording an optional proxy internally. In addition, users can also back up a card to an external SSD via the USB-C port
Subject detection AF has been improved with better eye and face detection, along with greater AI-driven tracking accuracy for people. A new ‘Urban Sports’ detection mode has been added to the Human category to capture the dynamic movements in sports like breakdancing, skateboarding and parkour.
Built-in stabilisation can provide up to eight stops of shake correction, while a newly developed cropless E.I.S. video distortion correction mode stabilises clips without cropping the angle of view. During video recording, you can use the Boost I.S. (Video) function to provide additional (electronic) correction, if required.
A dedicated [Anamorphic (Video)] setting is available for use when anamorphic lenses are fitted to the camera for recording wider angles of vide with video recordings. Other enhancements include support for wireless timecode synchronisation in clips shared over Bluetooth plus the ability to switch the direction of manual focusing rings or assign a custom function to them.
The addition of the optional XLR2 adapter will add support for 4-channel and 32-bit float audio recording. A firmware update, to be released later in the year, will allow users to add Arri Log C3 to their options in the Creative Video mode. It will require a paid key costing around AU$250.
Who’s it For?
The S1II provides a good balance between stills and video capabilities, giving professional content creators all (or almost all) the tools they need to produce high-quality content for distributing across the media landscape. It doesn’t matter whether you’re looking to capture images that can be printed at A2 (or even larger) size or video for sharing in its original format or in formats for playback on TV sets or the screens of portable devices. This camera will be able to handle it.
It should suit a wide range of photographers and videographers, particularly those who shoot a mix of stills and video, such as wedding and event photographers. Photo journalists would also find it handy for sports and action photography and videography, thanks to its weather-resistance and eight f-stops of built-in stabilisation.
Build and Ergonomics
As noted, the body of the S1II is identical to the DC-S1RII and includes that camera’s built-in cooling fan. Constructed mainly from magnesium alloy with weather-resistant sealing, it has dual media slots for CFexpress Type B and the various SD card options.
Front panel of the S1II with no lens fitted. (Source: Panasonic.)
The Leica L-mount covers almost half of the front panel and the grip is deep enough to suit users with medium to large hands. Between the lens mount and the grip are the same two buttons, the top one doing double duty as a depth of field preview and programmable function (Fn) button, with the lower the lens release button.
A secondary (and customisable) video recording button has been added on the opposite side of the lens mount. Above it you’ll find a self-timer/AF-assist light and a tally lamp that glows when video is being recorded.
The top panel of the S1II with no lens fitted. (Source: Panasonic.)
Most of the controls are on the top panel. The shutter button sits well forward on the grip with three buttons behind it providing direct access to white balance, ISO and exposure compensation settings. It’s surrounded by the front dial. A red movie recording button is located just behind them, with the rear dial further back.
The mode dial has a locking button and is stacked atop the power on/off switch. It has the standard iA, P, A, S and M shooting modes plus five Custom settings. Left of the EVF housing is another stacked dial which carries the drive mode settings atop the Stills / Movie / Slow&Quick mode selector. Like the mode dial, it has a locking button.
This angled view shows the articulated rear monitor of the S1II. (Source: Panasonic.)
A fully articulated, tiltable rear screen covers most of the rear panel. Above it to the left of the EVF housing are an operational lock button plus the standard playback button.
The rear panel of the S1II with the monitor screen reversed. (Source: Panasonic.)
To the right are the focus mode selector with central AF mode button, followed by the AF On button. Below the AF On button is the joystick control with the Q (quick menu) button a little further down. The regular control dial /arrow pad sits below it, with the Cancel and Delete buttons at the bottom of the panel.
The body design continues to follow the configuration set on the S1RII, with the dual-slot memory card compartment on the right side panel and the left side panel housing the main interface ports. The built-in fan has outlet vents on either side of the EVF housing to reduce the risk of the camera overheating during extended recording times.
The battery compartment is accessed via the base of the camera and accepts the same DMW-BLK22 high-capacity battery as the S1RII and both S5 models. Adjacent to the battery compartment is the connector port for the optional DMW-BG2 battery grip, which accepts a second battery to double the recording time. A rubber cover on this lid protects the DC coupler.
Sensor and Image Processing
The 24-megapixel sensor in the S1II is a new CMOS chip that Panasonic describes as ‘partially stacked’. This means only parts of the sensor area – normally the top and bottom – contain stacked circuitry. Nikon uses this technology in the Z6 III because it delivers some of the performance benefits of a stacked sensor with respect to readout speed at a potentially lower cost.
For a fully-stacked sensor, the array of light-detecting photodiodes is physically separated and stacked on top of the processing circuitry. This allows for very fast data readout which, in turn, supports faster autofocusing plus higher frame rates for burst capture and video recording at high resolutions. Rolling shutter effects are also reduced.
Partially-stacked sensors can deliver some of the performance benefits of a stacked sensor at a potentially lower cost. This is one reason the S1II costs more than its sibling, the S1IIE, which was released as an alternative with a conventional, non-stacked sensor.
The new sensor also inherits the hybrid autofocusing system launched with the Lumix S5II -along with the updated image processor, which was co-developed with Leica. Together, they can capture greater colour depth and detail in image and video recordings along with up to 14 stops of dynamic range.
Panasonic claims the new sensor and processor can support high-speed continuous shooting of up to 70 frames per second in the SH burst shooting mode, along with pre-burst shooting at the same rate for up to 1.5 seconds before the shutter button is fully pressed. They also underpin the camera’s ability to record high frame rate recording at up to 60 fps with 5.8K resolution or 120 fps at 4K size.
Otherwise, the new camera offers most of the same image sizes, compression and aspect ratios and raw file options as other Panasonic 24-megapixel cameras – although it also lets users choose between 8-bit JPEG and 10-bit HEIF file formats. You get four image sizes for JPEG and HEIF files – L, M S and XS – in each of the standard aspect ratios (3:2, 4:3. 16:9, 1:1) plus Large only for the two ‘unconventional’ aspect ratios (65:24 and 2:1).
Panasonic’s RW2.RAW format is also supported, at 14-bit depth for most settings but reducing to 12 bits during burst recording. Raw files are always recorded at L size with a 3:2 aspect ratio.
The S1II also offers two High Resolution mode settings, 96M and 48M, which capture frame sizes up to 12,000 pixels wide and 8000 pixels deep, depending on the aspect ratio selected. These large frame sizes are achieved by combining a series of frames (typically 8) recorded in a rapid sequence while the image sensor is shifted in tiny increments.
Users are given a choice between two shooting modes, handheld or tripod, the latter disabling the IBIS. They can also delay the time from when the shutter button is pressed to when the recording sequence starts in order to allow residual shaking to settle when the camera is tripod mounted.
Motion blur processing provides a choice between whether moving subjects are recorded as ab after-image in the end result of corrected. Choosing the latter means handheld shots can only be recorded at 48M size.
Video
The Lumix S1II is the first in its class to offer Open Gate 5.1K recording at up to 60 fps (50 fps for PAL system users). In addition, 5.8K footage can be recorded at up to 60p, while DCI 4K supports frame rates up to 120p (NTSC) or 100p (PAL).
A new Cinemascope widescreen video format (2.4:1) is available in various frame rates including up to 50p without cropping. The table below summarises the video frame sizes, frame rates and file formats available for PAL system users.
| Record quality | Frame size | Aspect ratios | Frame rates (PAL format) | Compression ratios |
| 6K | 5952 x 3968 | 3:2, 2.4:1 | 50P, 25p | HEVC |
| 5.8K | 5888 x 3312 | 16:9, 17:9. 3:2 | 50p, 25p | HEVC |
| 4.8K | 4800 x 3600 | 4:3 | 50p, 25p | HEVC |
| 3.3K | 3328 x 2496 | 4:3 | 50p, 25p | AVC & HEVC |
| C4K | 4096 x 2160 | 17:9 | 50p, 25p | AVC & HEVC |
| Cs4K | 4096 x 1728 | 2.4:1 | 50p, 25p | AVC & HEVC |
| 4K | 3840 x 2160 | 16:9 | 50p, 25p | AVC & HEVC |
| FHD | 1920 x1080 | 16:9 | 200p, 100p, 50p, 25p | AVC & HEVC |
Users can choose between the MP4 and MOV file formats and Apple ProRes is available in some recording modes. The MP4 format only supports 4K 50p/25p and FHD 50p/25p, while the MOV and ProRes formats support the full range of frame sizes and rates when recording to the CFexpress Type B card.
The S1II also provides users with the option to apply a look-up table (LUT) file that was registered in the LUT Library to the V-Log Photo style to save time when colour grading recorded footage. It can be a quick way to achieve a desired ‘look’ and can be useful when working in teams for synchronising the appearance of recordings from different cameras. Settings can be saved for future use in My Photo Style.
Front and rear tally lamps are provided to let subjects and the user know when the camera is actually recording. There are also input jacks for attaching headphones and microphones.
The latter can be attached via the camera’s hot shoe to improve live soundtrack recordings. It also accepts the optional DMW-XLR2 adapter, which enables the camera to use a commercially available XLR microphone for 32-bit float recording and four-channel audio recording.
Software
The S1II is compatible with the same software applications as other Panasonic cameras at a similar level. These include the Capture One image editor; Frame.io for workflow management, cloud sharing and collaboration; the LUMIX Lab smartphone application, which allows LUTs to be loaded directly into the camera and streamlines post-production and LUMIX Flow, which connects the camera to a smartphone, allowing it to be used as an external monitor to facilitate production workflows.
Both LUMIX Lab and LUMIX Flow were updated recently, with LUMIX Lab gaining HEIF compatibility. LUMIX Flow gains a wireless connection, waveform, vectorscope and false colour functions and the ability to mirror a monitor view.
Aside from that, the software bundle is largely unchanged and includes Lumix Netowrk Setting Software, Webcam Software (Beta), Lumix Tether, PHOTOfunSTUDIO 10.1 PE and Lumix HLG Photo. Raw files from the new camera can be converted into editable formats with Adobe Camera Raw, our preferred raw file converter.
Performance
The Lumix S 24-60mm f/2.8 lens supplied with the review camera is reviewed separately and is a good companion for the S1 II. Size- and functionality-wise, the ‘standard’ zoom range of this lens creates a great walk-around kit for general shooting stills or video.
Test shots in JPEG format had natural-looking colour rendition and nicely constrained saturation, both factors confirmed in our Imatest tests. Raw files were easily converted into 16-bit TIFF format with Adobe Camera Raw (our preferred converter). There was plenty of scope for editing the resulting files.
The best JPEG images in our tests comfortably exceeded expectations for the camera’s 24-megapixel sensor across most of the frame, including towards the frame’s edges. Equivalent ARW.RAW files converted with ACR provided resolution that was slightly higher overall.
Resolution held up very well across the review camera’s sensitivity range, with a gradual fall-off for both JPEGs and RW2.RAW files as sensitivity was increased. The graph below shows the results of our tests across the camera’s default sensitivity range.
Our low light tests were particularly challenging as the scene had an extremely wide brightness range. To expose the brightest areas without loss of detail while retaining shadow detail was almost impossible so we opted for a compromise exposure of +0.7EV.
We found a small amount of noise in shadowed areas at ISO 100, with slightly more at ISO 800. In both cases, the resulting shots could be classed as ‘usable’. However, with further increases of sensitivity noise became increasingly visible and by ISO 6400 noise was visibly, although not particularly obvious.
Shots taken with higher ISO settings were visibly noise-affected, although we fund very little image softening. Colour reproduction remained constant throughout the sensitivity range and was generally quite close to the subject’s normal range.
Test shots showed the camera’s auto white balance to be capable of performing well when faced with a variety of light sources that included both natural and artificial lighting. All the images we shot were rendered virtually cast-free.
The IBIS (in-body image stabilisation) system was impressive since may of our test shots were captured hand-held in very low light levels, as you can see from some of the sample images below. This system enabled smooth video recording with the camera hand-held, which is another benefit.
Video quality was as good as we expected from a Panasonic camera and the S1 II provides a wealth of recording modes to suit both enthusiast and professional users. The ability to overlay different aspect ratios on the screens (EVF and monitor) is a stand-out convenience feature of this camera that should endear it in particular to solo vloggers. You can also get the camera to display a centre mark on the frame.
We didn’t see any evidence of rolling shutter effects or focus breathing, although the latter would be difficult to detect with the lens we had for this review. However, we did encounter a few instances of inaccurate focus tracking while recording some video clips.
The updated autofocusing system also performed almost flawlessly focusing almost instantaneously in both the AF-S and AF-C modes. It appeared able to track moving subjects, both in bright daylight and in low light levels. Improved subject detection capabilities and increased customisation bring it into line with competing cameras from other manufacturers.
For our timing tests we used a Lexar 128GB CFexpress card, which is rated for 1750MB/s. The review camera took less than one second to power up ready for shooting and the average capture lag was effectively negligible, regardless of whether the shots were pr-focused. Shot-to-shot times averaged 0.3 seconds, which is about as fast as we could keep pressing the shutter button.
Both JPEGs and RW2.RAW files were processed almost instantaneously as were RAW+JPEG pairs. Because of the high buffer capacity, we opted to use a 10-second burst to measure continuous shooting times.
In the high-speed continuous shooting mode, the review camera recorded 180 Large/Fine JPEG frames in 1.8 seconds, which equates to 10 frames/second. There was no change in burst speed when swapping to raw file capture and, in both cases, processing the burst took approximately 25 seconds.
With the pre-capture mode, the camera can store up to 1.5 seconds of frames that are pre-recorded before the shutter button is fully pressed. With the highest frame rate, 70 fps when the electronic shutter is used, that’s 105 frames before you even start shooting the subject, so you need to be sure the buffer memory can handle the huge data flow. We fund the 10 fps setting to be much more practical.
Conclusion
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SPECS
Image sensor: 35.8 x 23.8 mm partially-stacked CMOS sensor with 26.8 million photosites (24.1 megapixels effective). Primary colour filter plus anti-reflection coating
Image processor: Venus Engine with L2 technology.
Lens mount: L-Mount
Image formats: Stills: JPEG (DCF, Exif 3.0), RAW, HEIF; Movies: MOV (H.264/MPEG-4 AVC, H.265/HEVC, Apple ProRes, Apple ProRes RAW), MP4 (H.264/MPEG-4 AVC, H.265/HEVC)
Audio: MOV: LPCM (2ch 48kHz/24-bit, 96kHz/24-bit) (4ch 48kHz/24-bit, 96kHz/24-bit); MP4: AAC (2ch 48kHz/16-bit)
Image Sizes: Stills (3:2 aspect ratio) 6000 x 4000, 4272 x 2848, 3024 x 2016, 1920×1280 plus 12000 x 8000 and 8496 x 5664 High Resolution modes: Movies (PAL system): 6K at 3:2, 24p 200Mbps (4:2:0 10-bit LongGOP) (H.265/HEVC, LPCM); 5.9 K at 16:9, 50p/25p, C4K and 4K at 100p/ 50p, 25p, FHD at 200p/100p/50p/25p; ProRes at 5.8K (5760×3040) and 4.8K (4800×3600) 25p; C4K and 4K at 50p/25p; FHD at 100p/50p/25p; Slow & Quick recording modes available.
Aspect ratios: 4:3, 3:2, 16:9, 1:1, 65:24, 2:1
Image Stabilisation: In-camera 5-axis IS (Centre: 8.0-stops, Periphery: 7.0-stops) plus Dual I.S. 2 support
Dust removal: Image sensor shift type
Shutter (speed range): Mechanical shutter (1/8,000 to 60 seconds plus Bulb; Electronic shutter: 60 to 1/16,000 second; flash sync at 1/125 second
Exposure Compensation: +/-5EV in 1/3EV steps (+/-3EV for movies)
Exposure bracketing: 3, 5, 7 frames in 1/3, 2/3 or 1 EV step, max. +/-3 EV, single/burst
Other bracketing options: Aperture, Focus, White Balance
Self-timer: 2 or 10 seconds delay plus 10sec, 3 images and Custom settings
Interval recording: Yes, for time-lapse and stop motion animation
Focus system: Hybrid Phase Detection AF/Contrast AF system with DFD technology, 779 PD points, 315-area contrast selection
AF selection: Tracking / Full Area AF / Zone (Horizontal/Vertical) / Zone / 1-Area+ / 1-Area / Pinpoint; Automatic Detection for Human / Animal / Car / Motorcycle (except when Pinpoint is set).
Focus modes: AFS (Single) / AFC (Continuous) / MF
Exposure metering: 1728-zone multi-pattern sensing system with Multiple, Centre-weighted average, Spot and Highlight Weighted metering patterns
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure plus Custom 1, 2, 3, 4, 5 / Photo/Video/S&Q switch
Photo Style modes: Standard / Vivid / Natural / L. Classic Neo / Flat / Landscape / Portrait / Monochrome / L. Monochrome / L. Monochrome D / L. Monochrome S / LEICA Monochrome / Cinelike A2 / Cinelike D2 / Cinelike V2 / Like709; other options require Upgrade Software Key
Picture adjustments: Contrast / Highlight / Shadow / Saturation / Colour Tone / Hue / Filter Effect / Grain Effect / Colour Noise / Sharpness / Noise Reduction / Dual Native ISO / ISO / WB / LUT / LUT 1 / LUT 2 / LUT Opacity / LUT 1 Opacity / LUT 2 Opacity
Filter modes: Expressive / Retro / Old Days / High Key / Low Key / Sepia / Cross Process / Bleach Bypass
Movie recording aids: Time code / Colour bars (SMPTE / EBU / ARIB) / Test tone / LUT and HLG view assist / Anamorphic de-squeeze display / False Colour / Wave form monitor / Vectorscope / Knee control / Red REC Frame Indicator / Streaming Blue Frame Indicator
Colour space options: sRGB and Adobe RGB
ISO range: Auto, ISO 100-51200 plus extensions to ISO 50 and ISO 204800 in 1/3 or 1 EV steps; Dual Native ISO supported
White balance: AWB, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x 4), Colour temperature setting (x 4); AI-AWB can be set when RAW processing
Flash: External flashguns only
Flash modes: Auto* / Auto/Red-eye Reduction* / Forced On / Forced On/Red-eye Reduction / Slow Sync. / Slow Sync./Red-eye Reduction / Forced Off (*For iA only)
Flash exposure adjustment: +/- 3EV in 1/3EV steps
Sequence shooting: Max. 10 frames/sec. with mechanical shutter; 70 fps with electronic shutter SH Speed Priority;
Buffer capacity: More than 300 Large/Fine JPEGs, > 200 RAW or RAW+JPEG files; >180 HEIF images
Storage Media: Dual slots for CFexpress Type B and SD, SDHC, SDXC cards (UHS-I / UHS-II UHS Speed Class 3 standard compatible)
Viewfinder: OLED Live View Finder with approx. 5.76 million dots, 100% FOV, 0.78x magnification, 21 mm eyepoint, display speed of 120/60 fps, eye sensor
LCD monitor: Free-angle tilting 3-inch TFT LCD monitor with static touch control and approx. 1.84 million dots, 100% FOV
Weather sealing: Magnesium alloy body with dust-, splash- and freeze-resistant design
Interface terminals: USB Type-C (USB 10Gbps), HDMI Type A, 2.5 mm remote terminal, 3.5 mm jacks for external microphone / external audio device
Wi-Fi function: Built-in Wi-Fi (RTMPS with support for USB tethering) 2.4GHz and 5GHz bands; Bluetooth v5.0 (Bluetooth Low Energy)
Power supply: DMW-BLK22E 7.2V, 2200mAh, 16Wh rechargeable Li-ion battery; CIPA rated for approx. 350 shots/charge with monitor, 310 shots/charge with EVF when using CFexpress card
Dimensions (wxhxd): Approx. 134.3 x 102.3 x 91.8 mm (excluding protrusions)
Weight: Approx. 800 grams with battery and card
Distributor: Panasonic Australia
TESTS
Based on JPEG files recorded with the Lumix S 24-60mm f/2.8 lens.
Based on RW2.RAW files recorded simultaneously and converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
All shots taken with the Lumix S 24-60mm f/2.8 lens.
30-second exposure at ISO 100, f/3.5, 58mm focal length.
15-second exposure at ISO 800, f/5.6, 58mm focal length.
10-second exposure at ISO 6400, f/11, 58mm focal length.
2-second exposure at ISO 12800, f/16, 58mm focal length.
1-second exposure at ISO 25600, f/16, 58mm focal length.
1/2-second exposure at ISO 51200, f/16, 58mm focal length.
25mm focal length, ISO 100, 1/80 second at f/8.
Stabilisation test; 29mm focal length, ISO 160, 1/8 second at f/5.6.
Stabilisation test; 60mm focal length, ISO 320, 1/8 second at f/8.
Dynamic range test; 32mm focal length, ISO 100, 1/800 second at f/7.1.
37mm focal length, ISO 100, 1/30 second at f/7.1.
43mm focal length, ISO 100, 1/80 second at f/7.1.
60mm focal length, ISO 100, 1/60 second at f/3.5.
47mm focal length, ISO 100, 1/25 second at f/5.
60mm focal length, ISO 400, 1/50 second at f/5.6.
60mm focal length, ISO 400, 1/60 second at f/8. (From RW2.RAW file.)
24mm focal length, ISO 160, 1/8 second at f/8.
24mm focal length, ISO 200, 1/60 second at f/9.
24mm focal length, ISO 2500, 1/8 second at f/6.3.
24mm focal length, ISO 800, 1/125 second at f/5.6.
60mm focal length, ISO 100, 1/125 second at f/4.
24mm focal length, ISO 100, 1/50 second at f/5.6.
60mm focal length, ISO 100, 1/125 second at f/7.1.
Still frame from MP4 4K/50p video recording at 90Mbps.
Still frame from MP4 4K/25p video recording at 27.5Mbps.
Still frame from MP4 FDH/50p video recording at 28Mbps.
Still frame from MOV C4K/50p video recording at 600Mbps.
Still frame from MOV C4K/25p video recording at 150Mbps.
Still frame from MOV 4.8K/50p video recording at 300Mbps.
Still frame from MOV 6K/50p video recording at 300Mbps.
Still frame from MOV 4K/50p video recording at 200Mbps.
Still frame from MOV FHD/100p video recording at 150Mbps.
Additional image samples can be found with our review of the Lumix S 24-60mm f/2.8 lens.
Rating
RRP: AU$5,299 (body only); $6,899 (with S-E2460GC 24-60mm kit lens)
- Build: 9.0
- Features: 9.0
- Ease of use: 8.8
- Autofocusing: 8.9
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.0
- Video quality: 9.0
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