Panasonic Lumix S1 IIE review

What is the Panasonic Lumix S1 IIE?

Panasonic has been building one of the most user-friendly full-frame ecosystems around with cameras that prioritise strong colour, image stabilisation, high-end video tools and sensible ergonomics over an extreme spec sheet. The Lumix S1 IIE follows this philosophy. 

As the more affordable version of the impressive S1 II, it is designed to deliver the workflow and handling the majority of image makers rely on while leaving the more specialist, speed-focused tricks – such as stills at 70fps – to its pricier sibling. 

When you pick up the S1 IIE, it is immediately clear Panasonic is aiming the product at the enthusiast and pro shooter market. The body is the same as its big brother’s: substantial, with a deep grip and a control layout that feels made for long days rather than quick unboxing videos. At 795g with battery and card, it’s on the heavy side for this class, with a chunky build. 

But that bulk pays dividends in stability – especially when paired with Panasonic’s great in-body stabilisation – and usability. Buttons are spaced and shaped like Panasonic expects you might be using gloves or wanting to work fast, and that you know what you are doing and what settings you want to change. There is also an active-cooling design baked into the architecture that contributes to the camera’s slightly larger footprint in a bag, but also helps its reliability for longer recording. 

The rear monitor is a tilt-and-free-angle design, which is handy for hybrid shooters who alternate between tripod framing, gimbal work and shooting stills at awkward angles. 

Panasonic Lumix S1 IIE sensor

A 24.2-megapixel full-frame BSI CMOS sensor is at the heart of the S1 IIE. This has almost identical resolution to – but is not the same as – the newer, faster semi-stacked sensor in Panasonic’s S1 II. The E model’s sensor is based on the older one from the Lumix S5 II. 

This 24-megapixel resolution remains a sweet spot. It offers just enough detail for serious stills, without ballooning file sizes or compromising readout as much as higher-megapixel chips can. 

Panasonic’s colour science is a major part of the pitch, and the S1 IIE leans into that, especially for creators who want pleasing skin tones straight out of camera or a dependable starting point for grading. 

Dynamic range claims can get fuzzy across different brands, but what matters in practice is flexibility and the cleanliness of shadows at usable ISOs. The S1 IIE supports V-Log and uses dual native ISO with base ISO pairs that change depending on profile – most notably, V-Log lists base ISOs of 640 and 4000. That’s exactly the sort of spec videographers care about, as it informs how you light scenes and where you can push exposure without the image falling apart.

If you’ve followed Panasonic’s progress in the last few years, you’ll know autofocus has been the make-or-break topic. The S1 IIE uses Phase 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.

Panasonic Lumix S1 IIE video tools

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 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. 

Panasonic Lumix S1 IIE stabilisation

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. 

Conclusion

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.

panasonic.co.uk