Stunningly lifelike motion with higher frame rates and richer gradation
Enables flexible colour grading
15 stops V-Log/V-Gamut*
The LUMIX S1II introduces Dynamic Range Boost** to the LUMIX S Series for the first time***. It combines two types of image data at each pixel: one prioritises saturation using the sensor’s low ISO circuit, and the other prioritises low noise using the high ISO circuit. This results in beautiful video with smooth gradation, rich tones, and a balance of low noise and high saturation.
This enables 15 stop V-Log/V-Gamut recording*, which is the highest ever for LUMIX cameras***. It handles complex lighting conditions such as scenes that mix indoor lighting and sunlight while preserving highlights and shadows. A unified gamma profile across the LUMIX S and G Series supports a streamlined post-production workflow.
*Dynamic Range Boost ON: 15 stops. Dynamic Range Boost OFF: 14+ stops
**When using Dynamic Range Boost, video image quality and ISO sensitivity are restricted and there will be an increase in rolling shutter distortion.
***As of May 2025, among Panasonic’s digital cameras.
A wide range of video recording modes to meet professional production workflows
Designed for creators with a vision, this camera comes packed with advanced video recording formats. Thanks to a newly developed partially stacked CMOS sensor with high-speed readout, it supports open gate 6K 30p (3:2) and 5.1K 60p (3:2) recording, C4K/4K 120p high frame rate video, along with oversampled 4K video that delivers exceptional resolution and low noise. It opens up new creative possibilities for filmmakers and content creators.
6K 30p / 5.1K 60p 4:2:0 10-bit (3:2) open gate video recording
Offering open gate recording 6K 30p 4:2:0 10-bit (3:2) and 5.1K 60p 4:2:0 10-bit (3:2), this model allows for flexible post-production cropping while maintaining image quality. This ensures compatibility with a wide range of social media platforms and client needs. RAW video output via HDMI is also supported.
C4K/4K 60p 4:2:2 10-bit ALL-Intra
The LUMIX S1II also offers recording modes for high-end editing. C4K/4K 60p 4:2:2 10-bit ALL-Intra recording combines a huge amount of information with enhanced resolution through oversampling, delivering exceptional video quality. Additionally, C4K/4K 30p recording is available without any time limit*³, and it also supports 5.9K 60p 4:2:0 10-bit (16:9) and 5.8K 60p 4:2:0 10-bit (17:9) video recording.
C4K/4K 120p 4:2:0 10bit / FHD 240p 4:2:2 10bit*¹ *²
C4K/4K 120p 4:2:0 10-bit high frame rate video recording allows you to create slow-motion video with audio by converting the frame rate using non-linear editing software. For the first time*⁴ in the LUMIX S Series, FHD 240p 4:2:2 10-bit recording is also supported*¹ *².
Proxy video recording
It is also possible to record a low-bitrate proxy file*⁵. Simultaneously recording a proxy file that is linked with the original video recording greatly improves the efficiency of post-production work, such as data transfer and editing. Proxy files can also be recorded to the internal memory card even during RAW video data output.
*1 Depending on the Rec Quality and Image Area of Video settings, the following crop zoom rates are used for recording:
When Image Area of Video is FULL: C4K video (120p/100p): Approx. 1.17x, 4K video (120p/100p): Approx. 1.24x, FHD video (240p): Approx. 1.21x
When Image Area of Video is APS-C: 3.3K video (120p/100p): Approx. 1.06x
Depending on the Rec Quality and Slow & Quick setting frame rate, the following crop zoom rates are used for recording:
When Image Area of Video is FULL: FHD video: Approx. 1.21x (181 fps or higher)
When Image Area of Video is APS-C: FHD video: Approx. 1.14x (121 fps to 150 fps) / Approx. 1.44x (151 fps or higher)
*2 Image sensor recording uses 2482x930 pixels.
*3 The recording time varies depending on the shooting format and the operating conditions. It will stop automatically once the internal temperature gets too high.
*4 As of May 2025, among Panasonic’s digital cameras.
*5 Proxy video recording is not possible for MP4, exceeding a resolution of C4K, 4:3 or 3:2 aspect ratio, high frame rate video.
Cinelike A2 — Capture the cinematic look
The photo style "Cinelike A2" delivers a cinematic look with rich tonal gradations and a wide dynamic range. Based on a natural colour profile, it adds depth by subtly adjusting the brightness of individual colours, making it ideal for capturing film-like visuals across a variety of shooting scenes.
Additionally, it is now possible to apply Grain Effect* and Colour Noise* to videos, expanding the options for a "ready-to-use" look straight out of the camera.
*Adjustable settings vary depending on the Photo Style mode.
Improved mobility achieved through internal RAW video recording
ProRes RAW HQ / ProRes RAW footage can be recorded directly to a CFexpress Type B card inside the camera body itself. This means you can capture the moment with minimal setup and no need for external devices or cables, offering greater mobility for one-man operations and small-scale shoots. It can also handle a variety of other situations, such as shooting with a gimbal or in confined spaces, giving you more creative freedom.
･Apple and ProRes are trademarks or registered trademarks of Apple Inc. in the United States and/or other countries.
RAW video data output
Open gate 6K 30p (3:2) RAW data video can be output via HDMI for external recording. Recording in ProRes RAW with ATOMOS recorders or in Blackmagic RAW with Blackmagic Design recorders streamlines the production workflow and supports high-quality video creation.
Supported Recorder Models
・ATOMOS: NINJA V, NINJA V+, NINJA, NINJA ULTRA, SHOGUN CONNECT, SHOGUN, SHOGUN ULTRA
・Blackmagic Design: Blackmagic Video Assist 12G HDR
*When recording in C4K 120p/100p, 4.8K 60p/50p or 5.7K 60p/50p, constant bitrate 5:1 or less is recommended for SSD recording and 8:1 or less for SD card recording.
Blackmagic Video Assist 5" 12G HDR, Blackmagic Video Assist 7" 12G HDR
*DaVinci Resolve or DaVinci Resolve Studio is required to play back and DaVinci Resolve Studio to edit Blackmagic RAW data.
*Please refer to the Blackmagic Design website for the information on the corresponding firmware version of Blackmagic Video Assist 5” 12G HDR and Blackmagic Video Assist 7” 12G HDR.
*All functions may not be available depending on the situation.
ATOMOS devices "Ninja V" / "Ninja V+" / "Ninja" / "Ninja Ultra" / "Shogun" / "Shogun Ultra" / "Shogun Connect"
*All functions may not be available depending on the situation.
*Please check here for compatible firmware versions of external recorders.
https://panasonic.jp/support/global/cs/dsc/connect/index.html
*"Ninja V" "Ninja" "Shogun" does not support some RAW video data.
*Software that supports Apple ProRes RAW is required to edit RAW video recorded.
*A LUT (Lookup table) exclusively designed for RAW video is available on the following customer support website to make the same colour grading as V-Log/V-Gamut.
https://panasonic.jp/support/global/cs/dsc/download/lut/s1h_raw_lut/
Robust video production assistance and scalability
Full range of assist functions including False Colour
LUMIX cameras come equipped with a comprehensive set of video assist tools, including Waveform (WFM), Vector Scope, Luminance Spot Meter, and Histogram. In addition to these features, the LUMIX S1II also offers False Colour, which displays brightness levels as colours, providing even more reliable support for your shooting needs.
Anticipating a variety of content aspects
Frame Marker
There are various aspect ratios, such as 2.39:1 and 2.35:1 for cinema, and 1:1 and 4:5 for social media. The LUMIX S1II is equipped with a mask function designed for post-production cropping, allowing you to shoot with precise framing. A future firmware update* will increase frame aspect ratio options from 10 to 17 and enable simultaneous display of up to three frames.
*Firmware update scheduled for 2025.
Easily check recording status or standby mode
Front/rear tally lamp
The tally lamps mounted on the front and rear of the camera body allow both the person behind the camera and those in front to see the recording status. The rear tally lamp also functions as a card access light. You can adjust the brightness and turn each of these lamps on and off individually.
Streamlined video production management in the app
LUMIX Flow app
From storyboarding to efficient shooting and automatic organisation of shooting files, this app supports the entire workflow for scenario-based video production. What's more, you can connect your camera and smartphone via the app using USB or Wi-Fi and use your smartphone as an external monitor, making checking monitors and framing much more convenient.
Reliable recording even when volume is unstable
32-bit float recording
When used with the XLR Microphone Adaptor DMW-XLR2 (sold separately), the LUMIX S1II delivers 32-bit float recording. With its wide dynamic range, the 32-bit float format can cover everything from small to large sounds with high resolving power. Therefore, even in recording environments with large fluctuations in volume, you can ensure high-quality sound sources without having to frequently make sound recording level adjustments. Furthermore, video and audio are recorded in a single file, making editing work much more efficient.
16-bit / 24-bit linear recording
Manual sound recording level adjustment required depending on the environment.
32-bit float recording
No need for sound recording level adjustment in most recording environments.
Dual AD converters
16-bit / 24-bit linear recording: Processed with a single AD converter after adjusting the sound input level.
32-bit float recording: Processed with dual AD converters optimised for large and small sound input levels.
Advantages when gain increasing in editing
16-bit / 24-bit linear recording: Increasing the volume during editing reduces resolution.
32-bit float recording: Increasing the volume during editing maintains resolution.
Advantages when gain decreasing in editing
16-bit / 24-bit linear recording: Reducing the volume during editing leaves the audio waveform distorted.
32-bit float recording: Reducing the volume during editing preserves the audio waveform.
More flexibility for cinema use
ARRI LogC3 recording
With a future firmware update*, users will be able to use the ARRI LogC3** which enables colour matching with ARRI’s digital cinema cameras. The image processing of the ARRI LogC3 curve on LUMIX S1II has been certified by ARRI for the implementation of this function. The options for Log recording, which provides rich colour information and a wide dynamic range, have been expanded to include ARRI LogC3 in addition to the conventional V-Log, further improving LUMIX’s workflow compatibility.
*Firmware update scheduled for 2025.
**The DMW-SFU3A software upgrade key (sold separately) is required to activate the ARRI LogC3.
･ARRI LogC3 is a Log gamma developed by ARRI and used in ARRI digital cinema cameras. Please note: ALEXA 35 uses ARRI LogC4.
･On the LUMIX S1II, ARRI LogC3 can be used for 10bit recording in video mode.
･ARRI is registered trademarks of Arnold & Richter Cine Technik GmbH & Co. Betriebs KG.
Timecode sync via Bluetooth®
For the first time* in a LUMIX camera, this model supports timecode synchronisation via Bluetooth®. By using a Bluetooth®-enabled timecode generator to synchronise the initial timecodes of multiple cameras, video clips can be easily aligned on the timeline during non-linear editing, significantly improving editing efficiency.
*As of May 2025, among Panasonic’s digital cameras.
HLG View Assist
HLG View Assist allows accurate gradation and exposure checks on the camera's monitor or viewfinder, as well as on external monitors that do not support HLG. The LUMIX S1II features refined colour tuning for a more precise preview of the final result while shooting.
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