ISSUE 126
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shutter or overheating. For the highest- quality options, utilise the CFexpress Type B media, while lower-bit-rate recording uses the second card which is SD. With a standard sensor that gives a slightly slower readout speed than the S1 II, the E model can’t match very high frame rates and there are more rolling shutter artefacts. Compared to the S1 II, both shoot at 6K/30p open gate and 6K/60p in 2:4:1 for anamorphic lenses. But while the S1 II shoots 5.9K at 60p and 4K at 120p, the S1 IIE drops to a maximum of 5.9K/30p and can only manage 120p at Full HD rather than 4K. For most creators, however, that isn’t a problem and the video files are full of rich detail. There’s such depth of colour that you are free to push and pull it around in the grade as much as you want. Stabilisation strength Stabilisation is a long-running Lumix advantage, and the S1 IIE continues that. Enhanced in-body stabilisation and Panasonic’s cropless electronic stabilisation approach allows distortion correction without cropping the field of view, which is important for wide- angle handheld work. So, the S1 IIE is a credible handheld camera for stills and video work – especially for events, documentary, corporate and creator content – without also needing extra support gear. Essentially, the S1 IIE uses all the latest handling and features of the S1 series but with the non-stacked sensor of the S5 II. You’re also buying into Panasonic’s L-Mount ecosystem, which is now mature and strong but still different from the gravitational pull of Sony E or Canon RF for some shooters. The S1 IIE makes most sense for hybrid creators who need serious stills plus robust video options without rigging a cinema set-up; event and wedding shooters who value reliable AF, stabilisation and flexible codecs for filmmaking; and filmmakers who want internal ProRes options and open gate flexibility for social deliverables. If your work is primarily shooting high-speed sports, or you need the very fastest readout and highest frame-rate options Panasonic offers, the Lumix S1 II will be the better fit. However, as a dependable, do-everything body that feels built for long shoots and modern delivery formats, the Lumix S1 IIE is arguably the smarter buy.
scenarios – especially if you’re not relying on the very fastest readout for distortion-free e-shutter action. The S1 IIE is quick, but it’s not trying to replace a specialist sports body. It’s trying to be the camera you can take on any job and still get the shots you need – and 30fps is hardly slow. The S1 IIE can record stills to a 10- bit HEIF file via the HLG high dynamic range setting, which can also be paired with LUT colour modes. This lets you get HDR images straight out of camera without having to process Raws. But of course, for the best control and quality you can always shoot Raw and process the files how you like. The results are excellent. Colours are natural, and there are lots of in-camera style options if you want a straight-out-of-camera shot that’s trendy and usable. Dynamic range is excellent, retaining everything from detail in shadows to super-bright highlights. There is lots of fine detail and texture even at high ISO settings, with very little noise. In terms of stills quality, the S1 IIE is no compromise compared to the S1 II. A creator-first toolbox Video spec is where the S1 IIE starts to look like a serious bargain. First, there is 6K/30p open gate recording in a 3:2 aspect ratio, which is gold for creators delivering in multiple formats – square, horizontal, vertical, you name it. You can capture once and reframe later without losing the look.
Then there’s the codec support. The specs list ProRes 422 and ProRes 422 HQ options at multiple resolutions and frame rates, plus ProRes Raw and ProRes Raw HQ. Internal ProRes means you don’t need to export files to an external monitor, and that matters. For more conventional delivery, the S1 IIE also has robust H.264 and H.265 recording, including high-bit-rate All- Intra options at 10-bit 4:2:2 for certain modes. There’s support for Arri LogC3 via an upgrade software key that will appeal to shooters trying to match the legendary Arri colours. Frame-rate-wise, it offers 4K up to 60p and Full HD high-speed options up to 180fps. Caveats include a narrowed angle of view at the highest frame rates and MF-only operation at 150fps and above. Those are production-friendly, realistic choices rather than marketing numbers that collapse under rolling
BRIDGE CAMERA The 24-megapixel sensor might not be the latest, superfast stacked type but it gives great colours and low noise
Verdict The Panasonic Lumix S1 IIE is a confident hybrid camera that combines a sensible 24.2-megapixel full-frame sensor, phase hybrid AF, strong stabilisation, open gate 6K and genuinely practical internal codecs. All wrapped in a body that prioritises handling and reliability. Features 24/25 With phase detection AF, ProRes Raw internal recording, 6K video and 30fps stills, it has a lot to offer Handling 24/25 It’s just the right side of chunky, and Panasonic makes its very comprehensive menus easy to navigate Performance 23/25 Not the fastest frame rates for stills or video but the images and footage are low noise with natural colours Value for money 24/25 It’s in a competitive market but provides stunning performance and features for a good price Overall 95/100 If you don’t need the ultimate speed of the Lumix S1 II, the Lumix S1 IIE offers the same package of performance for less Pros A more affordable do- everything camera with stunning video spec Cons No stacked sensor technology means it’s not a speed monster
PERFECT PANA The latest Lumix cameras set the standard for ergonomics, as all the controls are well placed and chunky
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