PANASONIC LUMIX S1 IIE
E-CLASS LUMIX?
IT’S ALL ABOUT THE LENSES One major hurdle for potential Panasonic buyers is that few will have lots of L-Mount lenses. There’s also lots of competition from other brands at a similar price to the £1899/$2498 Lumix S1 IIE, where creators are likely to already have some Canon, Sony or Nikon glass. Sony’s A7 IV, Canon’s EOS R6 II and Nikon’s Z 6III are all in the same price bracket and relatively recent. For a bit more money, there’s Nikon’s ZR which is primarily a cinema camera that isn’t ideal for all-round use as it has no EVF. But the Sony A7 IV, Canon EOS R6 II and Nikon Z 6III are all direct rivals as similar all-rounder mirrorless models, and none have a semi-stacked sensor for speed. If you want that speed, you need the Lumix S1 II. But if you can spend that much, the new Sony A7 V and Canon R6 III would come into consideration – or even the Canon C50 cine cam. It’s a packed market with some great tech. For creators who shoot a mix of video and stills, the 24.2-megapixel sensor of the S1 IIE is often the more practical option. It produces smaller files, faster readout speeds and smoother video performance while still delivering more than enough resolution for most photographic work. In short, the S1R II is best suited to photographers first, videographers second. The S1 II is the flagship speed machine and the S1 IIE sits neatly between them – arguably the most balanced hybrid camera in Panasonic’s current line-up.
The biggest difference between the S1 II and E models lies in their sensors. The Lumix S1 II contains a faster semi- stacked full-frame sensor designed to deliver very high burst rates and faster readout speeds. That enables features like ultra-fast stills shooting and reduced rolling shutter when using the electronic shutter or recording high-frame-rate video. The S1 IIE instead houses a more traditional 24.2-megapixel BSI CMOS sensor – which is closely related to the one found in the Lumix S5 II. While it doesn’t match the flagship’s speed, it still offers excellent image quality, strong dynamic range and reliable performance for both stills and video. For the majority of filmmakers and hybrid shooters, the slower readout isn’t a deal breaker. Where the two cameras are much
“The S1 IIE houses a more traditional 24.2-megapixel BSI CMOS sensor”
external ProRes Raw output. For many different types of productions, this level of recording flexibility is far more important than headline frame rates. In-body stabilisation is another area where both models benefit from Panasonic’s long-standing expertise. Autofocus performance is similarly strong as both use the same Phase Hybrid AF system with subject detection and tracking modes. Where the S1 II still pulls ahead is its speed. It can shoot faster still bursts and provides higher-frame- rate video modes, making it better suited to demanding sports or wildlife photography. The faster sensor also aids in reducing rolling shutter in some scenarios. However, those benefits come with a higher price. If your work doesn’t require the absolute fastest capture speeds, the S1 IIE offers nearly the same filmmaking capabilities in a more affordable package. The Lumix S1R II takes a different approach again, focusing on resolution with a higher-megapixel sensor aimed at photographers who need maximum detail for commercial, landscape or studio work. While the S1R II still offers strong video capability, its emphasis is clearly on still image quality rather than hybrid filmmaking performance.
closer is in their core
filmmaking features. The S1 IIE still
offers 6K open gate recording, which can capture the entire 3:2 sensor area. Additionally,
COMPARE THE MARKET (From below left) The Canon R6 III, Lumix S1 II and Nikon ZR cost more than the S1 IIE and offer faster speed or cine handling
both cameras support internal ProRes, high-bit- rate 10-bit codecs and
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