In summary
Like its predecessor, the Lumix S1RII is targeted at professional photographers although, where the S1R was more of a stills camera, the S1RII is a genuine hybrid that does equally well for stills and video. Professionals who shoot a mix of stills and video, such as wedding and event photographers as well as fashion photographers will find a lot to like in the new camera.
Thanks to significant improvements in processing speeds, AF subject recognition and tracking and image stabilisation, it would also make a good choice for sports and action photography and videography. In-body IS is rated for eight f-stops under the new 2024 CIPA Standardised testing, while a cropless E.I.S. function provides digital stabilisation without cropping the field of view by using lens correction information to smooth out shaky footage when recording video with Lumix L-mount lenses.
Full review
Announced on 25 February the Lumix S1RII is equipped with a new 45.9-megapixel BSI CMOS sensor that delivers an effective resolution of 44.3 megapixels and is capable of 8.1K 25p full-width video recording as well as 5.8K RAW video recording plus 6.4K Open Gate. In this second-generation model with hybrid CD/PD autofocusing, updated subject recognition and tracking algorithms have made the new camera more competitive with its peers. Video capabilities have also been boosted, enabling 8.1K recording at 8128 x 4288 pixels with a 1.89:1 aspect ratio as well as 5.8K, 4K at both 1.89:1 and 16:9 aspect ratios. Also available are a 6.2K open gate mode at 3:2 and a 4.7K at 4:3 aspect ratios.
Angled view of the Panasonic Lumix DC-S1RII camera with the Lumix S 24-105mm f/4 MACRO O.I.S. kit lens. (Source: Panasonic.)
The release of the S1RII comes six years after the original S1R was released, along with its lower-resolution sibling, the DSC-S1. We reviewed the S1R in May, 2019. The resolution of the new sensor in the Mark II camera is a little less than its predecessor’s but the new camera’s sensor is faster, enabling it to support continuous shooting at up to 40 fps.
The new camera’s body is also smaller and lighter than the original S1R. measuring 134.3 x 102.3 x 91.8 mm and weighing 795 grams, compared with 148.9 x 110.0 x 96.7 mm and 898 grams for the S1R. We reviewed the camera with the Lumix S 24-105mm f/4 MACRO O.I.S. lens, which is offered with the camera as a kit option.
Who’s it For?
Like its predecessor, the Lumix S1RII is targeted at professional photographers although, where the S1R was more of a stills camera, the S1RII is a genuine hybrid that does equally well for stills and video. Professionals who shoot a mix of stills and video, such as wedding and event photographers as well as fashion photographers will find a lot to like in the new camera.
Thanks to significant improvements in processing speeds, AF subject recognition and tracking and image stabilisation, it would also make a good choice for sports and action photography and videography. In-body IS is rated for eight f-stops under the new 2024 CIPA Standardised testing, while a cropless E.I.S. function provides digital stabilisation without cropping the field of view by using lens correction information to smooth out shaky footage when recording video with Lumix L-mount lenses.
Build and Ergonomics
The smaller body of the S1RII appears to be based upon the S5II 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 S1RII 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 S1RII with no lens fitted. (Source: Panasonic.)
Most of the controls are on the top panel, which has a similar layout to the original S5, although the grip is somewhat deeper. The shutter button is positioned well forward on the group 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.
The rear panel of the S1RII with the monitor reversed. (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. 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.
This illustration shows the dual card slots on the S1RII. (Source: Panasonic.)
On the right side of the camera body is the memory card compartment, which has a locking sliding cover. Slot 1 is designed for CFexpress Type B cards, while slot 2 accepts SD cards and can support UHS-II cards. Users can select Relay Recording, Backup Recording or Allocation Recording modes. A small LED near the upper edge of the card compartment glows when a card is in use. Direct recording to an SSD via USB-C is also supported.
The interface ports on the S1RII with their covers removed. (Source: Panasonic.)
The left side panel houses the main interface ports and has four compartments, each with a flexible rubber cover. The top compartment holds the socket for the optional microphone. Below it is the headphone socket, followed by the USB-C and HDMI ports.
The S1RII uses the same DMW-BLK22 high-capacity battery as both S5 models and is smaller than the battery supplied with the original S1R. It is CIPA rated for approximately 350 shots/charge when the monitor is used for framing shots, 280 shots/charge with the EVF or up to 50 minutes of movie recording. The camera is supplied with a very neat, compact charger – but you must supply your own USB-C cable.
The base plate has a metal-lined tripod socket, which is located in line with the lens axis. Adjacent to the battery compartment is the connector port for the optional DMW-BG2 battery grip. The battery compartment is located in the usual position with its lid opening towards the back of the camera. A rubber cover on this lid protects the DC coupler.
Sensor and Image Processing
The sensor in the S1RII has slightly lower resolution than the 47-megapixel chip used in the original S1R and having dual conversion gain with two read-out modes. One mode includes a capacitor in the data path to increase the electron storage capacity for bright, high-DR conditions, while the other disengages the capacitor to boost the signal in dim lighting. In auto DR mode, the switch between them takes place at around ISO 400 but manual settings are provided for users who require them.
The 35.8 x 23.9 mm chip has a 3:2 native aspect ratio that yields a maximum frame size of 8144 x 5424 pixels, with images of up to 16,288 x10,848 pixels recordable in the High Resolution mode. Panasonic doesn’t publish details of the image processor used in this camera.
Native ISO sensitivity settings in the S1RII for both stills and movies range from 80 to 51200, with extensions to ISO 40 and ISO 102400 available. Dual Native ISO settings are identical in Auto mode but max out at ISO 800 in the Low mode and have a minimum of ISO 400 in the High mode.
Like its predecessor, the S1RII records raw files in Panasonic’s proprietary RW2.RAW file format. RAW+JPEG capture is supported and users can choose between fine and standard quality settings for the latter. Six aspect ratio settings are available: 3:2 (the default), 4:3, 16:9, 1:1, 65:24 and 2:1, the latter two being panorama formats
Picture sizes will change, depending on whether a ‘full frame’ or APS-C lens is used. The table below shows typical resolutions for the 3:2 aspect ratio for both options.
| Picture Size for Full frame lenses | Resolution | ||
| [L] | 44.2 megapixels | 8144 x 5424 | |
| [M] | 22.5 megapixels | 5808 x 3872 | |
| [S] | 11.4 megapixels | 4128 x 2752 | |
| [XS] | 2.5 megapixels | 1920 x 1280 | |
| Picture Size for APS-C lenses | |||
| [L] | 19 megapixels | 5360 x 3568 | |
| [M] | 9.8 megapixels | 3840 x 2560 | |
| [S] | 4.8 megapixels | 2688 x 1792 | |
| [XS] | 2.5 megapixels | 1920 x 1280 | |
The two panorama formats can only be recorded with the Large [L] image size, with the 65:24 aspect ratio delivering 24.5-megapixel (8144 x 3008 pixel) files and the 2:1 aspect ratio producing 33.2-megapixel (8144 x 4072 pixel) files.
The electronic shutter supports the fastest continuous shooting speeds, with a maximum of 40 fps with AFS, AFC and MF focus modes. The S1RII also provides two ‘burst’ settings that can be used with the mechanical shutter or electronic front curtain shutter: Image Priority and Speed Priority.
As in the S1R, the highest burst rate is nine frames/second (fps) with the AF-S and MF modes. With AF-C recording, the rate drops to seven fps. The buffer memory can store more than 80 JPEG images or more than 70 RW2.RAW images or 60 RAW+JPEG pairs when using an SD Speed Class 3 card.
The S1RII also gains the Real Time LUT function that has been introduced on other recent cameras and enables users to upload different colour and tonal profiles and create new ones in Panasonic’s Lumix Lab app to use in industry-supported workflows. Up to 39 LUTs can be uploaded to the camera.
Tethering support is also available via Capture One software for studio-based photographers.
Video
Thanks to its higher resolution, the S1RII can record 8K video at a higher resolution than the 7680 x 4320 pixels defining the 8K UHD Rec. 2020 (UHDTV) standard. The highest 8K resolution available – 8128 x 4288 pixels – has a 17:9 aspect ratio and this ratio can also be recorded at 5.8K (5760 x 4030) and DCI 4K (4096 x 2160) resolutions.
5.8K footage can be recorded at up to 60p, while DCI 4K supports frame rates up to 120p (NTSC) or 100p (PAL). Regular UHD 8K 16:9 video can also be recorded at 7680 x 4320 with 30p, 25p or 24p frame rates, along with a range of cropped frame sizes.
The new camera offers a much wider choice of video recording options than we can possibly fit into this review so we’ve summarised them in the table below.
| Aspect ratio | Frame size | Available frame rates | File formats |
| 17:9 | 8128 x 4288 | 30p, 25p, 24p | MOV 4:2:0 |
| 5760 x 4030 | 30p, 25p, 24p | ProRes 4:2:2/HQ and RAW/HQ | |
| 60p, 50p, 48p | MOV 4:2:0 | ||
| 4096 x 2160 | 60p, 50p, 30p, 25p, 24p | MOV 4:2:2 and ProRes 4:2:2/HQ | |
| 120p, 100p | MOV 4:2:2 | ||
| 16:9 | 7680 x 4320 | 30p, 25p, 24p | MOV 4:2:0 |
| 5888 x 3312 | 60p, 50p, 30p, 25p, 24p | MOV 4:2:0 | |
| 3840 x 2160 | 60p, 50p, 30p, 25p, 24p | MOV 4:2:2 and ProRes 4:2:2/HQ | |
| 120p, 100p | MOV 4:2:2 | ||
| 3:2 | 6432 x 4228 | 30p, 25p, 24p | MOV 4:2:0 |
| 4:3 | 4736 x 3552 | 60p, 50p, 30p, 25p, 24p | MOV 4:2:0 |
| 30p, 25p, 24p | ProRes 4:2:2/HQ |
The 3:2 aspect ratio setting involves open gate recording, which is provided to make the process of producing clips in different aspect ratios very much easier. This means videographers need only record each clip once with the camera in the landscape orientation, after which editors and producers can crop frame to suit different display platforms. Panasonic has committed to releasing 8.1K and 7.1K open gate capture in a future firmware update for the S1RII.
In most cases, footage recorded at up to 30p will use the full width of the image sensor. Some frame cropping is applied when 60p and 50p recordings are made with further cropping at the faster frame rates of 120p and 100p. DCI and UHD 4K footage can also be recorded at up to 60p with an APS-C format crop.
ProRes 422 and ProRes RAW footage can only be recorded to the CFExpress type B card or to an external SSD, which is connected to the camera via a USB cable. The ProRes 422 option for 8.1K utilises the full sensor width, while the ProRes RAW crops the frame by 1.31x but offers a choice between standard or HQ (high quality) compression.
The HLG (Hybrid Log Gamma) Photo Mode appears to be no longer supported in the new camera but the S1RII gains a new Cinelike A2 colour mode for both stills and video, which records a balance between dynamic range and contrast with a neutral colour tone that results in a film-like appearance. It delivers a softer, flatter tonality than the other Cinelike profiles:
- Cinelike D2, which prioritises dynamic range by recording a very low contrast image with lifted shadows and restrained highlights, and
- Cinelike V2, which prioritises contrast and produces a more contrasty effect that emulates the look of movie film.
Examples from video clips recorded with the three Cinelike profiles offered in the Lumix DC-S1RII camera.
The ProRes 422 profile is also available for video recording. Unlike the previous model, which provided support for ProRes RAW recording via a paid firmware upgrade, the S5IIX comes with full support for ProRes RAW recording over HDMI.
The S1RII is one of the first hybrid cameras with a false colour display option, which is usable in both stills and video modes and displays a monochrome preview that shows which parts of the image are at risk of clipping. It also indicates which areas are exposed at the most appropriate levels for lighter skin tones. Users can also take advantage of professional video features like waveform and vectorscope displays and 32-bit float audio with the optional Lumix XLR2 Microphone Adaptor.
Software
Concurrent with the release of the S1RII, Panasonic has launched a new LUMIX Flow app, which connects the camera to a smartphone, allowing it to be used as an external monitor to facilitate production workflows. The app includes a range of features, from storyboard creation and shooting to on-site checks during filming and automatic data organisation.
The Lumix Flow app allows the user’s smartphone screen to be used as an external monitor for both location and studio shoots.
Also new is the LUMIX Lab smartphone application, which was released for Android and iOS users on 26 February 2025, allows LUTs to be loaded directly into the camera and streamlines post-production, allowing for smoother client deliveries. This free app is also supported in the Lumix S9, S5II, S5IIX, GH7, and G9II cameras.
The S1RII also comes with Frame.io integration, which reduces the physical requirement of uploading files. This enables efficient transfer of photo and video files directly to the cloud to support faster collaboration with colleagues anywhere in the world.
Performance
We were extremely happy with the test shots we took with the Lumix S 24-105mm f/4 Macro O.I.S lens, which was supplied with the camera. Images recorded 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) and there was plenty of scope for editing the resulting files. Video footage recorded in challenging lighting was almost always as good as the stills we shot and, where it fell a little short, the camera provided a good range of adjustments to overcome any problems.
The best JPEG images in our tests comfortably exceeded expectations for the camera’s sensor around the centre of the frame and were only a little lower towards the frame’s edges. Equivalent ARW.RAW files converted with ACR delivered resolution that was well above the expected resolution in both the centre and towards the edges of the frame.
Resolution held up very well across the review camera’s sensitivity range, with a slight decline starting from ISO 1600 for both JPEGs and RW2.RAW files but a more substantial fall-off occurring at ISO 25600. The graph below shows the results of our tests across the camera’s full sensitivity range (extensions included).
Long exposures at night showed no evidence of noise right up to ISO 12800 but slight softening started to appear at ISO 25600. By ISO 51200 noise had become just visible and at ISO 104800 noise was obvious, although images remained fairly sharp. As with the previous model, colour reproduction remained constant throughout the sensitivity range and was generally quite close to the subject’s normal range.
Autofocusing for shooting stills was generally fast and accurate and we found no evidence of hunting in either low light levels or with low-contrast scenes. We noticed some slight focusing lags when shooting video clips, which usually occurred after long focus pulls and were promptly corrected.
Subject identification and tracking were also quick and efficient, including in low light levels. For both stills and video, the camera was able to identify several people in a scene, lock focus onto the closest on and swap quickly when that person left the fame.
Exposure determination was equally fast and accurate – provided the most appropriate metering pattern had been set. The only failures we noticed were related incorrect matching of the metering pattern and dynamic range setting with subject conditions, which is more of a user failure than a fault of the camera.
Our timing tests were carried out with a 128GB Lexar Professional CFexpress Type B card with a write speed rating of 1750MB/s. The review camera took roughly 1.5 seconds to power up ready for shooting. We measured an average capture lag of 0.1 seconds with single-area AF, which was eliminated when shots were pre-focused. Shot-to-shot times averaged 0.3 seconds.
High-resolution JPEGs took just over a second to process on average, while RW2.RAW files were processed in 1.4 seconds and RAW+JPEG pairs in 1.6 seconds. Because of the high buffer capacity, we opted to use a 10-second burst for measuring continuous shooting times.
In the high-speed continuous shooting mode, the review camera recorded 88 Large/Fine JPEG frames in 10 seconds, which is close to nine frames/second. Processing was completed within 14 seconds of the last frame recorded.
There was no change in burst speed when swapping to raw file capture, where the camera paused recorded 56 RW2.RAW files in seven seconds. It took 16 seconds to complete processing this burst. Similar frame rates were recorded with RAW+JPEG capture, but recording paused after 6.7 seconds.
With the 6K/4K burst mode (which uses the electronic shutter) and the 6Ksetting, the camera recorded 63 frames in 1.5 seconds, which is just over the specified maximum for this mode. Processing was completed within 1.8 seconds of the end of the burst.
Conclusion
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SPECS
Image sensor: 35.8 x 23.9 mm CMOS sensor with 45.9 million photosites (44.3 megapixels effective), no low-pass filter
Image processor: Venus Engine
A/D processing: 14-bit (12-bit video)
Lens mount: L-mount
Focal length crop factor: 1x
Image formats: Stills: JPEG (DCF, Exif Ver. 3.0), RW2.RAW, RAW+JPEG; Movies: MOV: H.264/MPEG-4 AVC, H.265/HEVC, Apple ProRes, Apple ProRes RAW; MP4 (H.264/MPEG-4 AVC), H.265/HEVC
Aspect ratios: 3:2, 4:3, 16:9, 1:1, 65:24, 2:1
Image Sizes: For 3:2 aspect ratio stills – 8144×5424(L) / 5808×3872(M) / 4128×2752(S) / 1920×1280(XS) / 16288×10848(XL)* / 11504×7664(LL)* *High Resolution mode; Movies: 8.1K 8128×4288 (17:9), 8K 7680×4320 (16:9), 6.4K 6432×4288 (3:2), 5.9K 5888×3312 (16:9 ), 5.8K 5760×3040 (17:9), C4K 4096×2160 (17:9), 4K 3840×2160 (16:9), [FHD] 1920×1080 (16:9), APS-C / Pixel/Pixel crop available, 4:2:2 10-bit ALL-Intra and 4:2:0 8-bit LongGOP compression available; high-speed recording available for 4K and FHD at max. 120 fps
Movie functions: Slow & Quick Motion, TC/UB, Proxy recording, RAW output via HDMI
Image Stabilisation: Image sensor shift (5-axis, 8 stops centre/ 7 stops periphery) plus Dual IS 2 with compatible lenses (7 stops)
Dust removal: Image sensor shift (shutter closure on/off switch available for lens exchanges to prevent dust settling)
Shutter (speed range): Focal plane shutter rated for approx. 400,000 cycles; 60 to 1/8000 second plus bulb (max. 30 minutes); electronic shutter max. 1/16,000 second for movies
Exposure Compensation: +/- 5EV in 1/3, 1/2 or 1EV steps (+/-3EV for movies)
Exposure bracketing: 3, 5 or 7 frames in 1/3, 2/3 or 1EV steps (max. +3EV)
Other bracketing options: Aperture (3, 5 or all positions in 1EV steps), focus (1-999 frames, 10 levels), white balance (3 frames in B/A or M/G axis)
Self-timer: 2 or 10 seconds delay, 10 seconds delay, 3 images
Interval shooting: Yes for time-lapse and stop-motion animation
Focus system: Phase Detection / Contrast AF with DFD Technology
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
AF detection range: -6 to 18 EV (f/1.4, ISO 100, AFS)
Additional modes: AF-ON, AF-ON: Near Shift, AF-ON: Far Shift, Focus Limiter, Focus Peaking, Focus Frame Moving Speed, Focus/Shutter Priority, Focus Switching for Vert/Hor, AF/AE Lock Hold, AF+MF, MF Assist, MF Guide, Focus Ring Lock, Show/Hide AF Mode, AF-Point Scope, Shutter AF, Half Press Shutter, Quick AF, Eye Sensor AF, Loop Focus Frame, Enlarged Live Display (Video), AFS Behaviour in Video Mode, Touch Shutter, Touch AF/AE Function, Touch Pad AF, Lens Focus Resume, AF Micro Adjustment
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 5 Custom settings and Intelligent Auto mode
Photo style modes: Standard, Vivid, Neutral, Flat, Landscape, Portrait, Monochrome, L.Monochrome, L.Monochrome D, Cinelike A , Cinelike D, Cinelike V, Like 709, V-Log / REAL TIME LUT / Like2100 (HLG) / Like2100 (HLG) Full Range* / My Photo Style 1-4 (5-10)
In-camera effects: Expressive, Retro, Old Days, High Key, Low Key, Sepia, Cross Process, Bleach Bypass; access to LUT library for real time LUT
Other settings: Function buttons, Fn Lever, Level Gauge, Hybrid zoom & Crop zoom for stills and movies, live cropping, SS/Gain operation, Luminance level separately adjustable for 8-bit and 10-bit recordings, 31 steps of Master pedestal level adjustment, SMPTE / EBU / ARIB colour bars and test tone support, LUT and HLG view assist, Anamorphic desqueeze display, False colour support, Wave form monitor / Vectorscope, Knee control in Like709 mode), Red REC Frame Indicator, Streaming Blue Frame Indicator, Time coding
Colour space options: sRGB and Adobe RGB
ISO range: Auto (default): 80 ‐ 51200 plus extension to ISO 40 and ISO 102400 available; adjustable in 1/3 or 1 EV steps; Dual Native ISO supported
White balance: Auto, AWBc, AWBw, Daylight, Cloudy, Shade, Incandescent, Flash, White Set (x 4), Kelvin Temperature adjustments (2500-10000K); plus Blue/Amber, Magenta/Green bias adjustments
Flash: External flashguns only
Flash modes: Auto, Forced-On, Forced-Off, Slow sync.; 1st curtain/2nd curtain synch and red-eye reduction are available
Flash exposure adjustment: +/- 3 EV in 1/3EV steps
Sequence shooting: Max. 40 frames/sec. with electronic shutter and in pre-capture mode, 9 fps with AF-S/MF; 10 fps with AF-C
Buffer capacity: > 80 JPEGs, > 70 RAW files, > 60 RAW+JPEG
Storage Media: Dual slots for CFexpress Type B and UHS-I, UHS-II SD/SDHC/SDXC cards
Viewfinder: OLED LVF with approx 5,760,000 dots with 120fps/60fps refresh rate, 100% frame coverage, 0.78x magnification, 21 mm eyepoint, eye sensor
LCD monitor: Tri-axial tilting 3.2-inch, 3:2 aspect ratio TFT LCD with 1,840,000 dots, static touch control, 100% frame coverage
Status LCD display: Yes
Interface terminals: USB Type-C (10Gbps), HDMI Type A/VIERA Link, 2.5mm remote control jack, 3.5 mm stereo mini jack (microphone), 3.5 mm stereo mini jack (headphone)
Wi-Fi function: Built-in (IEEE 802.11b/g/n 2.4GHz and 5GHz bands ) plus Bluetooth v5.0
Power supply: 7.2V, 2200mAh, 16Wh rechargeable Li-ion battery; CIPA rated for approx. 340 -350 shots/charge with monitor or 280 with EVF (up to 1,1000 shots in PowerSave LVF mode); up to 50 minutes of movie recording
Dimensions (wxhxd): Approx. 134.3 x 102.3 x 91.8 mm (excluding protrusions)
Weight: Approx. 795 grams (body only); 1020 grams with battery and XQD card
Distributor: Panasonic Australia
TESTS
Based on JPEG files recorded with the Lumix S 24-105mm f/4 Macro O.I.S. 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 24-105mm f/4 Macro O.I.S. lens.
40-second exposure at ISO 40, f/4, 50mm focal length.
30-second exposure at ISO 100, f/4, 50mm focal length.
10-second exposure at ISO 1600, f/5.6, 50mm focal length.
6-second exposure at ISO 6400, f/5.6, 50mm focal length.
4-second exposure at ISO 12800, f/8, 50mm focal length.
4 second exposure at ISO 25600, f/11, 50mm focal length.
2-second exposure at ISO 51200, f/16, 50mm focal length.
1-second exposure at ISO 102400, f/16, 50mm focal length.
105mm focal length, ISO 100, 1/25 second at f/5.6.
48mm focal length, ISO 80, 1/200 second at f/5.6.
50mm focal length, ISO 100, 1/10 second at f/6.3.
80mm focal length, ISO 1600, 1/50 second at f/5.6.
63mm focal length, ISO 800, 1/50 second at f/8.
105mm focal length, ISO 400, 1/320 second at f/7.1.
105mm focal length, ISO 320, 1/100 second at f/4.
93mm focal length, ISO 100, 1/250 second at f/4.5.
105mm focal length, ISO 100, 1/320 second at f/4.
70mm focal length, ISO 80, 1/500 second at f/6.3.
78mm focal length, ISO 160, 1/200 second at f/4.
105mm focal length, ISO 400, 1/320 second at f/4.5.
90mm focal length, ISO 200, 1/25 second at f/6.3.
41mm focal length, ISO 400, 1/30 second at f/5.
105mm focal length, ISO 400, 1/100 second at f/11.
Still frame from MOV 8K 17:9 (8128 x 4288) 25p video recording at 279Mbps.
Still frame from MOV 8K 16:9 (7680 x 4320) 25p video recording at 279Mbps.
Still frame from MOV 6.2K 3:2 (6432 x 4288) 25p video recording at 271Mbps.
Still frame from MOV 5.9K 16:9 (5888 x 3312) 50p video recording at 272Mbps.
Still frame from MOV 5.9K 16:9 (5888 x 3312) 25p video recording at 272Mbps.
Still frame from MOV 5.8K 17:9 (5760 x 3040) 50p video recording at 280Mbps.
Still frame from MOV 5.8K 17:9 (5760 x 3040) 25p video recording at 184Mbps.
Still frame from MOV 4.7K 4:3(4736 x 3552) 50p video recording at 277Mbps.
Still frame from MOV 4.7K 4:3(4736 x 3552) 25p video recording at 188Mbps.
Still frame from MOV C4K (4096 x 2160) 100p video recording at 281Mbps.
Still frame from MOV UHD 4K (3840 x 2160) 25p video recording at 180Mbps.
Rating
RRP: AU$5499; $6999 with S-R24105 kit lens
- Build: 9.0
- Features: 9.0
- Ease of use: 8.8
- Autofocusing: 9.0
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.0
- Video quality: 9.0
BUY
