LUMIX S1IIE 2: Videography

Create stunning video with LUMIX color science and rich tonal gradation

Enables flexible color grading

14+ stops V-Log/V-Gamut
Supporting 14+ stops V-Log/V-Gamut, this camera faithfully captures everything from shadows to highlights with impressive accuracy, enabling HDR video production with smooth gradation and rich tones. A unified gamma profile across the LUMIX S and G Series supports a streamlined post-production workflow.

A wide range of video recording modes to meet professional production workflows

From ultra-high-resolution 6K 30p 10-bit recording to C4K, 4K, 3.3K, and FHD, the LUMIX S1IIE offers a wide range of video formats to meet a variety of creative demands and shooting styles.

･Depending on the Rec Quality and Slow & Quick setting frame rate settings, the following crop zoom rates are used for recording:
FHD video: Approx. 1.22x (151 fps or higher)
･For FHD video with a Slow & Quick setting frame rate of 151–180 fps, image sensor recording uses 1632x920 pixels.

6K 30p 4:2:0 10-bit (3:2) open gate video recording
Offering open gate recording 6K 30p 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.

Cs4K 60p 4:2:2 10-bit ALL-Intra (2.4:1)
Cs4K 60p 4:2:2 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. In addition, C4K/4K 60p recording is available with no time limit.*

*The recording time varies depending on the shooting format and the operating conditions. It will stop automatically once the internal temperature gets too high.

Proxy video recording
It is also possible to record a low-bitrate proxy file*. 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.

*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 color profile, it adds depth by subtly adjusting the brightness of individual colors, making it ideal for capturing film-like visuals across a variety of shooting scenes.

Additionally, it is now possible to apply Grain Effect* and Color 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.

Cinelike A2 — Capture the cinematic look

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.

Improved mobility achieved through internal RAW video recording

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

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 color 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 Color

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 S1IIE also offers False Color, which displays brightness levels as colors, 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 S1IIE 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.

Anticipating a variety of content aspects

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.

Easily check recording status or standby mode

Streamlined video production management in the app

LUMIX Flow app

From storyboarding to efficient shooting and automatic organization 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.

Download the LUMIX Flow App

Streamlined video production management in the app

Reliable recording even when volume is unstable

32-bit float recording

When used with the XLR Microphone Adaptor DMW-XLR2 (sold separately), the LUMIX S1IIE 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.

DMW-XLR2 Product Page

Reliable recording even when volume is unstable

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 optimized 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 color matching with ARRI’s digital cinema cameras. The image processing of the ARRI LogC3 curve on LUMIX S1IIE has been certified by ARRI for the implementation of this function. The options for Log recording, which provides rich color 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 S1IIE, 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 synchronization via Bluetooth®. By using a Bluetooth®-enabled timecode generator to synchronize 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.

Check the Compatibility Table

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 S1IIE features refined color tuning for a more precise preview of the final result while shooting.

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