The full-frame mirrorless camera market just got more competitive. On May 13, 2025, Panasonic officially unveiled two groundbreaking cameras that signal their serious commitment to dominating the hybrid video space.
The Panasonic Lumix S1 II and S1 IIE represent the company’s most ambitious push yet into the professional camera market. These aren’t just incremental updates—they’re complete reimaginings of what a hybrid camera can be, with video capabilities that rival dedicated cinema cameras.
Having spent 15 years in professional photography and videography, I’ve seen camera manufacturers make bold promises before. But after analyzing the specifications and early hands-on reports, these cameras might actually deliver on the hybrid dream that so many have chased.
The S1 II stands out as Panasonic’s flagship with its partially stacked 24.1MP sensor, capable of shooting 6K video at 60p and 4K at 120p. Meanwhile, the S1 IIE offers many of the same core features in a more accessible package, making professional-grade performance available to a broader audience.
What makes these cameras particularly interesting is Panasonic’s approach: they’re not just competing on specifications, but on ecosystem strength through the L-mount alliance with Sigma and Leica, creating a compelling alternative to Sony and Canon’s proprietary systems.
Panasonic’s Bold Move into Premium Territory
Panasonic’s announcement marks a significant shift in their market positioning. With the S1 II priced at $3,199, they’re directly challenging Sony’s A7S III and Canon’s EOS R5 Mark II in the premium segment—a bold move that shows renewed confidence in their video capabilities.
But this isn’t just about launching new cameras. It’s about Panasonic declaring themselves as serious players in the professional space, backed by technological innovations like the partially stacked sensor in the S1 II and the Phase Hybrid AF system that promises to address previous autofocus concerns.
The timing is strategic too. With the hybrid video market exploding and content creators demanding more from their equipment, Panasonic is positioning themselves as the brand that truly understands the needs of hybrid shooters who refuse to compromise between stills and video quality.
What’s particularly impressive is how Panasonic has managed to pack cinema-level features into relatively compact bodies. The ability to shoot ProRes RAW internally, support for 32-bit float audio with an XLR adapter, and the inclusion of ARRI Logic compatibility shows they’re listening to professional filmmakers.
The announcement also included a new LUMIX S 24-60mm F2.8 lens, demonstrating Panasonic’s commitment to expanding the L-mount ecosystem with practical optics that appeal to working professionals who need versatility without sacrificing quality.
Technical Deep Dive: What’s Under the Hood?
At the heart of the S1 II lies a partially stacked 24.1MP full-frame CMOS sensor—a significant technological leap that enables faster readout speeds and superior video performance. This advanced sensor architecture allows the S1 II to achieve specs that were previously impossible in a hybrid camera body.
The S1 IIE uses a more conventional 24.1MP sensor, but don’t mistake it for a compromise. It still delivers impressive 6K 30p video capabilities and maintains many of the premium features found in its more expensive sibling, making it an attractive option for those who don’t need the absolute cutting edge.
Partially Stacked Sensor: An advanced sensor design with dedicated high-speed memory layers that enable faster data readout, reduced rolling shutter, and improved video performance compared to traditional sensors.
Both cameras feature Panasonic’s new Phase Hybrid AF system, combining the best of phase-detection and contrast autofocus. Early reports suggest this is a massive improvement over previous Panasonic systems, with reliable face detection and subject tracking that finally puts them on par with competitors.
The 8-stop 5-axis I.S. (Image Stabilizer) continues Panasonic’s tradition of class-leading stabilization. Forum discussions repeatedly mention how “shockingly good” the stabilization is, with some users claiming it provides steadier footage than dedicated gimbals for many shooting scenarios.
For video professionals, the codec support is impressive: internal ProRes RAW recording up to 4.2Gbps, 10-bit 4:2:2 color, and V-Log/V-Gamut color profiles that provide 15+ stops of dynamic range in Dynamic Range Boost mode. This is cinema camera territory in a hybrid body.
Video Capabilities That Redefine Hybrid Shooting
The video capabilities of these cameras deserve special attention. The S1 II offers 5.1K 60p open gate recording—using the full sensor area for maximum flexibility in post-production. This means you can shoot with various aspect ratios in mind or reframe your shots without quality loss.
Both cameras support 4K 120p recording for dramatic slow-motion effects, though the S1 II achieves this with less crop (1.2x) compared to many competitors. The open gate 6K 30p mode on the S1 II provides incredible detail and post-production flexibility.
What’s particularly noteworthy is the inclusion of professional audio features rarely seen in hybrid cameras. With the optional XLR adapter, these cameras can record 32-bit float audio—eliminating worries about clipping and ensuring perfect audio capture every time.
The video autofocus system has been completely redesigned. While spot tracking still needs work according to early reviewers, the face and eye detection performance is described as “rock solid” and “finally competitive” with Sony’s offerings.
For filmmakers, the ARRI Logic compatibility is a game-changer. This allows the cameras to communicate with professional wireless focus systems like the Teradek Cube, bringing true cinema workflow capabilities to a more accessible platform.
S1 II vs S1 IIE: The Critical Differences
Choosing between these two models comes down to understanding their key differences and your specific needs. The S1 II is clearly aimed at professional videographers and hybrid shooters who need the absolute best performance.
The primary differences start with the sensor. The S1 II’s partially stacked sensor enables 70fps burst shooting (versus 30fps on the S1 IIE) and superior video performance with less rolling shutter. This matters most for sports photographers and those shooting fast-moving video content.
Video capabilities diverge significantly too. The S1 II offers 6K 60p recording and 5.1K 60p open gate, while the S1 IIE is limited to 6K 30p and 5.1K 30p. For most content creators, 30p is sufficient, but professionals working on high-end productions will appreciate the S1 II’s capabilities.
| Feature | Lumix S1 II | Lumix S1 IIE |
|---|---|---|
| Sensor Type | Partially stacked 24.1MP | Standard 24.1MP |
| Max Video Resolution | 6K 60p, 5.1K 60p open gate | 6K 30p, 5.1K 30p open gate |
| Burst Shooting | 70fps with pre-capture | 30fps with pre-capture |
| Price | $3,199 | $2,499 |
| Best For | Professional videographers | Enthusiast hybrid shooters |
The $700 price difference reflects these capabilities. For professionals whose work depends on having the best video performance, the S1 II is worth every penny. But for photographers who dabble in video or content creators who don’t need 60p 6K, the S1 IIE offers tremendous value.
Build quality is identical between both models, with weather sealing that rivals professional cinema cameras. Both use the same robust magnesium alloy construction and feature the same excellent ergonomics that Panasonic is known for.
Autofocus Performance: The Good and The Limitations
Autofocus has historically been Panasonic’s weak point, but these new cameras represent significant progress. The Phase Hybrid AF system combines 779 phase-detection points with contrast AF for improved reliability and speed.
Face and eye detection work impressively well according to early testers. One reviewer noted that “face detect autofocus now works reliably” after previous generations struggled with consistency. This is crucial for both photographers and videographers who depend on accurate focus for their work.
However, it’s not all perfect. The spot tracking feature, which allows you to track a specific point in the frame, is described as “completely unusable” by multiple reviewers. This is disappointing, as competitors like Sony have nailed this feature years ago.
The new Urban Sports mode shows promise for action photography, using AI to predict movement patterns. While not as sophisticated as Sony’s Real-time Tracking, it’s a step in the right direction and should be adequate for many sports photography needs.
For videographers, the autofocus performance is more than adequate for most situations. Smooth transitions between subjects, reliable eye tracking for interviews, and predictable behavior make it a solid choice for documentary and wedding videography.
The L-Mount Ecosystem: Growing Strength
One of Panasonic’s strongest advantages is the L-mount alliance with Sigma and Leica. This partnership creates a robust ecosystem that competes with Sony’s E-mount and Canon’s RF-mount systems, but with more competitive pricing and cross-brand compatibility.
Native lens options continue to expand, with Panasonic’s own S Pro series offering professional-grade optics, Sigma providing affordable alternatives, and Leica delivering premium options for those with bigger budgets. The variety means there’s something for every budget and shooting style.
Third-party support is improving too. Godox has embraced the L-mount with flash systems that work seamlessly with these cameras, addressing one of the historical concerns about adopting the system. This is crucial for event photographers who depend on reliable lighting solutions.
The lens mount’s design allows for full-frame coverage while maintaining compatibility with APS-C lenses if needed. This flexibility makes it attractive for professionals who might own multiple camera systems or want the option to use adapted lenses.
What’s particularly exciting is the roadmap of upcoming lenses. Both Sigma and Panasonic have announced multiple new lenses for 2025, including fast primes and versatile zooms that will further strengthen the ecosystem’s appeal to professionals.
Real-World Performance: What Users Are Saying
Early adopters and reviewers have had mostly positive things to say about these cameras. The consensus is that Panasonic has delivered on their video promises while maintaining excellent stills performance.
The build quality receives universal praise. Professional photographers appreciate the weather sealing, ergonomic design, and thoughtful button layout. One reviewer described the handling as “intuitive yet highly customizable,” noting how the extensive customization options can be tailored to individual workflows.
Image quality is another standout. The combination of the excellent sensor and Panasonic’s color science produces pleasing results straight out of camera. Video quality, in particular, is being described as “best-in-class for hybrid cameras” with clean 10-bit footage that grades beautifully in post-production.
Battery life remains a concern for heavy video users. While improved compared to previous models, extended video sessions will require multiple batteries or external power solutions. This is common across mirrorless systems but worth noting for those planning all-day shoots.
The electronic viewfinder (EVF) deserves special mention. At 5.76 million dots, it’s one of the best in the business, second only to Sony’s a9III. Reviewers consistently praise its clarity and refresh rate, making it excellent for both photography and video work.
Market Impact: Changing the Competitive Landscape
Panasonic’s entry into the premium segment with these cameras is forcing competitors to respond. The combination of professional video features, competitive pricing for the S1 IIE, and a growing lens ecosystem creates a compelling alternative to established options.
Sony, in particular, faces pressure on their A7S III, which has long dominated the low-light video space. The S1 II’s superior dynamic range and advanced video features give it an edge for certain professional applications, potentially eroding Sony’s market share.
For Canon and Nikon, these cameras reinforce the importance of strong video capabilities in full-frame mirrorless bodies. As video continues to dominate content creation, manufacturers who neglect hybrid performance risk losing market share to brands like Panasonic that prioritize both mediums equally.
The pricing strategy is particularly interesting. By offering the S1 IIE at $2,499, Panasonic is directly competing with the Sony A7 IV and Nikon Z6 III while providing superior video capabilities. This could force price adjustments across the industry as competitors respond to Panasonic’s value proposition.
Perhaps most importantly, these cameras validate the L-mount alliance strategy. As the ecosystem matures and more lenses become available, the value proposition strengthens, potentially attracting professionals who were previously hesitant to adopt a less established system.
Industry Reactions and Expert Opinions (2025)
The professional photography community has responded positively to these announcements. Many see it as Panasonic finally delivering on their potential and providing genuine competition to the Sony/Canon duopoly.
Professional videographers are particularly excited. Lee Morris from Fstoppers called the S1 II “potentially the world’s best hybrid video camera,” praising its combination of features and image quality. While he noted autofocus limitations, the overall assessment was extremely positive.
Technology reviewers have been impressed by the technical achievements. The inclusion of a partially stacked sensor in a consumer camera body represents a significant milestone, bringing previously professional-only technology to a broader market.
Retailers report strong pre-order numbers, especially for the S1 IIE. The value proposition at the $2,499 price point seems to resonate with enthusiasts and semi-professionals who want professional features without the professional price tag.
The only consistent criticism revolves around the autofocus system. While improved, it’s still not quite at the level of Sony’s latest offerings, particularly for challenging tracking scenarios. However, most agree it’s more than adequate for most professional applications.
Should You Upgrade or Switch to Panasonic?
For existing Panasonic users, especially those coming from S5 II or earlier models, the upgrade is compelling. The combination of improved autofocus, better video capabilities, and a more robust body makes it a worthwhile investment for serious shooters.
Professional videographers working with Panasonic should seriously consider the S1 II. The video capabilities, professional features, and growing ecosystem make it an excellent choice for documentary, wedding, and commercial video work.
Photographers primarily shooting stills might want to consider their options carefully. While the S1 series offers excellent image quality, competitors like Sony and Canon still have advantages in pure photography features, particularly in autofocus tracking for fast action.
For content creators and hybrid shooters, these cameras are almost perfect. The balance of stills and video capabilities, combined with excellent ergonomics and a growing lens ecosystem, makes them ideal for those who refuse to compromise on either medium.
The decision between S1 II and S1 IIE comes down to your specific needs and budget. If you need 60p 6K video, 70fps burst shooting, or the absolute best video quality, the S1 II is worth the extra $700. Otherwise, the S1 IIE offers 90% of the performance for 78% of the price.
The Future of Panasonic and the L-Mount System
These cameras signal Panasonic’s commitment to the professional market and the L-mount system. The alliance with Sigma and Leica is proving to be a smart strategy, creating a credible alternative to proprietary mount systems.
Firmware updates will likely address some of the current limitations, particularly the autofocus tracking performance. Panasonic has a history of supporting their cameras with meaningful updates, so expect continued improvement over time.
The growing lens ecosystem is perhaps the most exciting aspect. With multiple manufacturers contributing to the L-mount system, users benefit from competitive pricing and innovative designs. This third-party support is crucial for long-term system viability.
Panasonic’s focus on video innovation will likely continue. These cameras establish them as serious players in the professional video space, and we can expect future models to push boundaries even further, potentially blurring the lines between hybrid and cinema cameras.
Frequently Asked Questions
What is the main difference between S1 II and S1 IIE?
The S1 II features a partially stacked sensor enabling 6K 60p video and 70fps burst shooting, while the S1 IIE uses a standard sensor limited to 6K 30p and 30fps burst. The S1 II costs $3,199 versus $2,499 for the S1 IIE.
Is the Panasonic S1 II good for video?
Yes, the S1 II is exceptional for video with 6K 60p recording, 5.1K 60p open gate, internal ProRes RAW, 32-bit float audio support, and 15+ stops of dynamic range. Many reviewers consider it one of the best hybrid video cameras available.
Does the S1 II have good autofocus?
The S1 II’s Phase Hybrid AF system is significantly improved, with excellent face and eye detection. However, spot tracking still needs work and isn’t as reliable as competitors. For most photography and video applications, the autofocus is more than adequate.
What lenses work with Panasonic S1 II?
The S1 II uses the L-mount system, compatible with lenses from Panasonic, Sigma, and Leica. This includes Panasonic’s S Pro series, Sigma’s Art and Contemporary lines, and Leica’s premium optics, providing options for every budget.
Is the L-mount system good?
Yes, the L-mount system is excellent and growing rapidly. The alliance between Panasonic, Sigma, and Leica provides a diverse lens ecosystem with competitive pricing and professional-grade optics, making it a strong alternative to proprietary systems.
Final Thoughts: A New Contender Emerges
Panasonic’s Lumix S1 II and S1 IIE represent more than just new camera releases—they signal the emergence of a serious competitor in the professional camera market. With these models, Panasonic has addressed most of their historical weaknesses while doubling down on their video strengths.
For videographers and hybrid shooters, these cameras offer a compelling package that combines professional video features with excellent stills capabilities. The growing L-mount ecosystem adds confidence for long-term system investment.
While the autofocus system isn’t perfect, it’s more than adequate for most professional applications. The combination of superior video quality, excellent build, and competitive pricing (especially for the S1 IIE) makes these cameras worthy of serious consideration.
Panasonic has proven they can compete with the best. These cameras establish them as legitimate contenders in the professional space, offering genuine alternatives to Sony and Canon that excel in specific areas while maintaining overall competence across the board.
The future looks bright for Panasonic and the L-mount system. As the ecosystem continues to mature and firmware improvements address remaining limitations, these cameras will only become more compelling choices for professionals who refuse to compromise between their stills and video needs.