Nyt fra dpreview

When you use DPReview links to buy products, the site may earn a commission.Canon EOS R50 vs R50 V

Canon recently announced the EOS R50 V, a camera aimed at creators looking to shoot high-quality video without spending a ton of money. However, it made similar claims about the original EOS R50, which – unsurprisingly, given the name – the EOS R50 V shares a lot of DNA with. They have the same 24MP APS-C sensor and many of the same features.

So what are the differences between the two, and which one should you buy? We'll aim to break it down in this comparison.

Buy now:

Buy w/ 14-30mm at Amazon.comBuy w/ 14-30mm at B&H PhotoBuy w/ 14-30mm at Canon Design

Even at a glance, it's easy to tell that these cameras are aimed at different audiences. The EOS R50 looks like a small stills camera, with a relatively deep front grip and a prominent hump at the top for the electronic viewfinder and pop-up flash. On the top is a relatively standard stereo microphone.

The EOS R50 V does away with the viewfinder and flash, giving it a much boxier and slightly larger design. Its grip is less prominent, though this has the effect of making it more comfortable to hold when it's facing toward you. There's also a record button on the front, along with a tally light to make it obvious when you're recording, both of which can be quite useful when you're trying to film yourself. It has an upgraded internal microphone, which Canon says has three capsules to help make audio clearer and to reduce noise. We've found it provides decent audio for vlogging, as long as there's no wind.

The EOS R50 V has an extra tripod mount for vertical shooting.

Both cameras have tripod sockets on the bottom, but the EOS R50 V has an additional one on its right side, making it easy to mount it vertically.

Handling / Controls

The EOS R50 has a shutter button towards the front of its grip, right around where your index finger would fall, and its main control dial behind it.

Looking at the back, it has a stills-focused control layout, with a multi-directional controller and buttons for choosing your autofocus area, setting exposure compensation and locking your exposure. The mode select dial lets you choose from the various exposure modes like manual, shutter priority, aperture priority and auto, and has a setting for video. There's also a separate record button on the top plate.

The EOS R50 V, meanwhile, has a decidedly more video-focused layout. The top plate control dial is towards the back of the camera, and the shutter button has been replaced by a record button, which is surrounded by a zoom toggle switch. The mode dial, meanwhile, flips the script from the EOS R50's: stills are relegated to a single position, while the rest of the modes are for video.

The buttons continue the video focus; while some are the same as the EOS R50's, it swaps some photo functions for quick access to white balance, color options and livestreaming modes. The multi-directional controller is swapped out for a spinning dial, though you can still press up, down, left or right to access specific functions. While we typically prefer two top-plate control dials, this rear-mounted one is better than nothing, especially when taking stills. There's also a button on the top that sets the camera to ignore input from the control dials, so you don't accidentally change your settings while vlogging.

Stills capabilities

The two cameras have very similar stills-taking capabilities. Both can shoot Raws and use electronic-first curtain shutter and a mechanical shutter to end the exposure, which eliminates concerns about rolling shutter in stills and gives you more flexibility if you're shooting with flash.

EOS R50 V | RF-S 14-30mm F4-6.3 IS STM PZ | 21mm | F5.6 | 1/1250 | ISO 100

However, the lack of an EVF on the EOS R50 V can make it difficult to judge your exposure and composition in bright sunlight. You also don't have that pop-up flash to help add some light if you need a bit of fill on your subject or are shooting in a darker environment. The default button layout for the EOS R50 is definitely more suited to shooting stills – you don't have to rely on the touchscreen as much – though spending some time to customize your button layout can alleviate that on the EOS R50 V; you can have separate settings for photo and video modes.

Video capabilities

The EOS R50 has a fair number of video capabilities. Its 4K footage is derived from 6K capture, giving it a bit of extra detail, and it has a microphone jack that'll let you record better audio. It can also shoot 10-bit HDR video, though only in the more obscure PQ response curve.

The EOS R50 V builds on top of that, with some pretty substantial additions: instead of topping out at 30fps for 4K, it can shoot at up to 60fps*, though with a substantial 1.56x crop. It also adds the ability to record C-Log 3, which gives you more flexibility to adjust color, lightness and contrast in post, and a headphone jack, so you can monitor the audio you're recording. If that wasn't enough, it includes false color assistance, which helps you nail your exposure by providing an overlay that makes it clear where your image clips and where your skin tones should be.

While both cameras have a microphone port, the EOS R50 V has subtle tweaks that make it easier to use with one. Unlike with the EOS R50, the screen won't run into the cable when you're trying to flip it out and articulate it. The actual display panel has also been moved over, so the microphone jack will mostly block your bezel rather than your preview.

* The 4K modes above 30p aren't based on 6K capture

User Interface

The EOS R50 and R50 V have similar user interfaces, though the latter has some definite upgrades regarding video. It has an updated menu system for selecting your resolution and framerate. Rather than listing all the possible combinations of framerate, resolution, and codec, it allows you to set all three independently. This takes some getting used to, but gives you more control over what codec you want to record in, which can be especially helpful if you want to edit your footage on a less powerful device.

The EOS R50's Q menu for video mode has the same layout as it does for photo mode. The EOS R50 V's Q menu for video is a scrolling list that's a bit easier to use when you're in front of the camera.

The EOS R50 V also has an updated Q menu for video mode, giving you slightly easier access to all your settings, as well as the vlogging-specific features it has. We've found that it's a fair bit nicer for switching your most important settings during a shoot, especially if you're shooting vertically: the on-screen display gains the ability to rotate with the camera. The addition of three custom video modes also makes it particularly easy to quickly switch between resolutions, framerates and other settings without having to dive into the menus.

Ports and Connectivity

The EOS R50 has a USB-C port, microHDMI port, and a 3.5mm socket for attaching an external microphone.

The EOS R50 V has all that and more: it gains a single-pole remote terminal that lets you control the camera from afar and has a faster USB-C port. The EOS R50's USB port runs at USB 2 speeds, while the EOS R50 V's can transfer data at 10Gbps; over 20 times faster. That helps when you're offloading footage, but also has the benefit of making it a more capable webcam: while both can be used to stream video to your computer using the UVC protocol, the EOS R50 tops out at 1080p 30fps, while the EOS R50 V can deliver 4K 30fps*.

The EOS R50 V may also wirelessly transfer photos to your phone faster since it supports 5 GHz Wi-Fi as well as 2.5 GHz. The EOS R50, meanwhile, can only use 2.5 GHz.

* The camera can't draw power from the computer when shooting at 4K, only 1080p, so you will be limited by battery life.

Price and Kit options

Body-only, the EOS R50 V costs $649, $30 less than the EOS R50. If you're looking at the kit options, though, the vlogging-focused model is more expensive; you can get it with the new RF-S 14-30mm F4-6.3 IS STM PZ lens for $849. The EOS R50, meanwhile, comes with the collapsable RF-S 18-45mm F4.5-6.3 IS STM for $799.

While the 18-45mm's wider range makes it a better pick if you're shooting a wide variety of subjects, if you mainly intend to vlog, you'll appreciate the wider field-of-view on the 14-30mm. That's especially true if you plan on features that add crops, such as 60 fps or electronic stabilization; the lens is still wide enough to produce a reasonable frame while vlogging. The powerzoom is also nice to have, especially since it's quiet enough that the camera's internal microphones don't pick it up, and you never have to worry about having to extend it when you're trying to capture a moment quickly.

Conclusion

If you're looking for a camera to mostly shoot stills or mostly shoot video, it's pretty easy to pick between the EOS R50 and EOS R50 V. It's a little trickier if you want to do both; while the latter has a compelling list of video features that aren't available on the former, they do come at the cost of a viewfinder, which can also be useful for videographers (providing they're filming something other than themselves).

EOS R50:

Buy now:

$629 at Amazon.comBuy at B&H PhotoBuy at MPB

However, if you think you'll end up shooting a lot of video, the EOS R50 V has more features and capabilities that will likely come in handy.

EOS R50 V:

Buy now:

Buy w/ 14-30mm at Amazon.comBuy w/ 14-30mm at B&H PhotoBuy w/ 14-30mm at Canon

When you use DPReview links to buy products, the site may earn a commission.

Updated May 1, 2025

By the time you're spending over $2,500, you're looking at getting one of the best cameras around. You should expect it to deliver exceedingly detailed images and capture high-end video, all without having to compromise much on speed for when the action picks up.

For most applications, a camera around $2000 will be more than enough, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.

At this level, there aren't really any bad picks, so if you have any investment at all in the lens system of one company, this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.

Our recommendations:

• Best high-end camera: Canon EOS R5 II
• Another great option: Nikon Z8
• The compact option: Sony a7CR
• High-spec high res: Sony a7R V
• IQ above all else: Fujifilm GFX 50S II
• Best for video: Sony FX3

Best high-end camera: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

The EOS R5 II is one of the most all-around capable cameras we've tested.

Photo: Richard Butler

Buy now:

$3999 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Excellent image quality
• Fast, dependable autofocus
• Good video support tools

What we don't:

• Slight reduction in dynamic range in extreme scenarios
• Tempermental eye control
• Temperature limits in heaviest video modes

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor. The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it. The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps. The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right. It has plenty of video options up to Raw 8K/60p, offering high levels of detail, though it can overheat when shooting in its most impressive modes. Its rolling shutter rates are generally quite good. The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

Read our EOS R5 II Review

See the EOS R5 II Studio Scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Should I still buy the EOS R5?

Short answer: yes. It lacks some of the newer camera's features like eye-controlled subject selection, action priority modes and AI noise reduction, but if those don't matter to you – or aren't worth the $400 MSRP premium of the EOS R5 II – the EOS R5 is still plenty capable in 2024.

Buy now:

Buy w/ 24-105mm f/4 at Amazon.comBuy at AdoramaBuy at B&H Photo Another great option: Nikon Z8

46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video

The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality.

Photo: Richard Butler

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Superb autofocus
• Fast shooting
• Excellent video

What we don't:

• Large, heavy body
• Relatively low-res (though fast) viewfinder
• Not all subject detection modes equally good

The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor. It's an extremely strong competitor compared to the EOS R5 II, but Canon's action sports settings and eye control push it over the edge.

If those things don’t matter much to you, you can pretty much base your decision on whether you prefer Nikon or Canon’s lens lineup. They’re broadly similar, and both brands tightly control which options third-party manufacturers can offer.

The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action. Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and dependable AF make it easy to shoot with. The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it.

Read our Nikon Z8 review

See the Nikon Z8 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. A cheaper option?

At $3300, the Panasonic Lumix S1RII retails for substantially less than the Z8 and EOS R5 II while offering similar resolution, speed and video features. But while we found it to be a quite capable camera, its autofocus UI and performance are a fair bit behind what Canon and Nikon offer, to the point where we'd recommend paying the extra if you think you'll be frequently shooting moving subjects. If you mostly shoot still subjects and/or videos, though, it may well be worth considering for the savings.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The compact option: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here.

Photo: Richard Butler

Buy now:

$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:

• Big camera features in a small body
• Outstanding AF performance
• Auto Framing video mode

What we don't:

• Small, low-res viewfinder
• No joystick control
• No fully mechanical shutter

The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our Sony a7CR initial review

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. High-spec high res: Sony a7R V

61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF

Photo: Richard Butler

Buy now:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon What we like:

• Very detailed Raw files with excellent dynamic range
• Tilt/articulating display suits both photo and video
• Very reliable autofocus, especially for human subjects

What we don't:

• Pixel shift high res and focus stacking require desktop s/w
• Severe rolling shutter for e-shutter and many video modes

The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.

The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 and EOS R5 II offer. It can shoot 8K video but only with a major crop and significant rolling shutter.

The a7R V is an excellent tool for capturing high-resolution images. The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.

As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.

Read our Sony a7RV review

See the Sony a7RV studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Should I still buy a Sony a7R IV?

The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so it's still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which gives the V's footage more editing flexibility.

For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.

IQ above all else: Fujifilm GFX 50S II

51MP CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p

Photo: Richard Butler

Buy now:

$3199 at B&H Photo $3199 at Adorama $3199 at Amazon What we like:

• The most affordable medium-format ILC yet
• Photographer-friendly ergonomics, with lots of customization
• Effective in-body stabilization

What we don't:

• Contrast-detect AF is slower than its peers
• Image quality not signficantly better than the best full-frame
• Eye-detection AF isn't as dependable as rival systems
• Unimpressive video specifications (HD only)

The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

Fujifilm's most affordable medium format camera is a highly attractive option for enthusiasts and professionals alike. The 50S II is the least expensive digital medium format camera ever launched. Image stabilization and precise focus extend its usability far beyond the studio. Speed, autofocus and video aren't its greatest strengths, but it should have major appeal for enthusiast photographers wanting some of the best image quality available.

The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.

Read our Fujifilm GFX 50S II review

See the Fujifilm GFX 50S II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best for video: Sony FX3

12MP full-frame BSI CMOS sensor | Full-width 4K/60p, 120p w/ slight crop | 10-bit 4:2:2 capture

Buy now:

$3898 at B&H Photo $3898 at Adorama $3899 at Amazon What we like:

• Excellent video quality
• XLR top-handle included
• Fan for extended recording

What we don't:

• No DCI video options
• No viewfinder for stills shooters
• No shutter angle option

The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.

The Sony FX3 is an image-stabilized, fan-cooled full-frame video camera designed to shoot UHD 4K footage at up to 120p.

It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.

You may also consider the EOS R5C, which is essentially a video-focused version of the original EOS R5. Compared to the FX3, it gains a fan but omits an image stabilization mechanism, though we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.

Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

When you use DPReview links to buy products, the site may earn a commission.

Updated May 1, 2025

Landscape photography is a demanding medium, requiring cameras with high resolution and dynamic range. When considering what cameras should make it on this list, we look at factors like weather-sealing, battery life and operability on a tripod.

We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.

Our picks:

• Best camera for landscapes: Fujifilm GFX 100S II
• Best for landscapes and more: Panasonic S1RII
• Best camera that's also good for landscapes: Canon EOS R5 II
• The bargain option: Nikon Z7 II
• Best compact option: Fujifilm X-T5

Best camera for landscapes: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

Buy now:

$4999 at Adorama$4999 at B&H Photo What we like:

• Excellent detail capture
• Very high tonal quality
• Ready-to-go JPEG or malleable Raws

What we don't:

• Autofocus not especially fast
• Video prone to rolling shutter

The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which don't come cheap.

While the GFX 100S II has improved autofocus and burst rates compared to its predecessor, its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera for a less expensive resolution boost: Panasonic S1RII

44MP full-frame BSI sensor | 40fps burst shooting with pre-capture | 8K video up to 30p

The S1RII's articulating and tilting screen makes sure you can see your composition no matter what position you have the camera in.

Photo: Mitchell Clark

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Excellent image quality
• Solid ergonomics
• Extensive video features, codecs and resolutions

What we don't:

• Short battery life
• Autofocus tracking and subject detection lag behind competition
• Small buffer

The Panasonic S1RII is a high-resolution full-frame hybrid camera with a BSI 44MP BSI sensor.

The S1RII doesn't have the highest-resolution sensor, but for landscapes, it can make up for that with its quite capable 177MP high-resolution multi-shot mode, which can compensate for some movement and is processed in camera. It's also quite capable for everyday photography, with high burst rates and tons of video features, though it doesn't have the greatest autofocus system for routinely shooting motion and action.

Image quality is very good, with attractive out-of-camera JPEGs that can be heavily customized with Panasonic's open LUT system. Unlike other full-frame options, it can process its multi-shot high-res mode in-camera. The S1RII is very capable, but its autofocus performance lags behind competitors for action and wildlife. It has a comfortable grip and highly customizable controls, and the menus are laid out well for the rare occasions you'll need to use them. The S1RII is very capable camera, especially for video, but the autofocus system and performance make a compelling argument to spend the bit more for one of its competitors if your shooting includes action and movement.

Click here to read our review of the Panasonic S1RII

Click here to see the Panasonic S1RII studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Want higher single-shot resolution?

While Panasonic's high-resolution multi-shot mode is arguably the best in the business, it won't give you much benefit if you're trying to shoot subjects or scenes with motion. With its 60MP full-frame sensor, the Sony a7R V can capture more detail in single-shot mode than the S1RII. Its autofocus system is also more reliable for non-landscape uses, but while it can shoot 8K, it doesn't have the rolling shutter performance or extra video tools the Panasonic offers.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Best camera that's also good for landscapes: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

Photo: Richard Butler

Buy now:

$3999 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Excellent image quality
• Fast, dependable autofocus
• Good video support tools

What we don't:

• Slight reduction in dynamic range in extreme scenarios
• Tempermental eye control
• Temperature limits in heaviest video modes

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor.

If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.

The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right. The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it. The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps. The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

Click here to read our review of the Canon EOS R5 II

Click here to see the Canon EOS R5 II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also consider: the Nikon Z8

The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The bargain option: Nikon Z7 II

45.7MP full-frame sensor | In-body image stabilization | 4K/60p video

Photo: Dan Bracaglia

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:

• Sensor offers some of the best image quality in its class
• Lovely ergonomics
• 4K/60p (with a minor crop)

What we don't:

• Autofocus interface a bit clunky
• EVF not as high-res as competitors
• Customization a bit limited

Nikon's Z7 II is a 45.7MP full-frame, image-stabilized mirrorless camera that shoots up to 10 fps bursts, 4K/60p video with a small crop, and offers some of the best ergonomics in the business.

The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.

The Z7 II's image quality frequently impresses. It'll match its peers in everything except resolution and, in situations where you can use the greater exposure needed for ISO 64, it has an edge in terms of tonal quality. JPEGs are good but we got the best result from the Raw files. To say the Z7 II is a comfortable camera to hold would be an understatement The Z7 II provides plenty of well-placed controls and a large handgrip, despite its relatively compact body. The additional option to add a battery grip with duplicate controls is valuable. We'd like more control over what can be applied to custom buttons and we miss the AF mode control from the front of Nikon's DSLRs, though.

\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.

Click here to read our review of the Nikon Z7 II

Click here to see the Nikon Z7 II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The compact option: Fujifilm X-T5 Photo: Richard Butler

Buy now:

$1699 at Amazon.com What we like:

• Dedicated dial interface shows your settings
• Detailed 40MP images
• Photo-centric design and feature set

What we don't:

• Autofocus prone to false-positives
• Significant rolling shutter in e-shutter mode
• Smaller buffer, lower-spec video than X-H2

The Fujifilm X-T5 is a classically-styled, photo-focused 40MP enthusiast mirrorless camera, based around an image-stabilized BSI sensor.

If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.

The X-T5 produces highly detailed Raw and JPEG files, with the latter benefiting from Fujifilm's array of attractive 'Film Simulation' color modes. A 40MP APS-C sensor means relatively high pixel-level noise but results that are competitive when viewed at a common output size. The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling The X-T5 features dedicated control dials for ISO, shutter speed and exposure compensation, along with a film-era SLR-style low-profile front grip. Its rear screen tilts up and down but also hinges outward for portrait-orientation shooting. Having the X-H2 and X-H2S available to meet the needs of videographers allows the X-T5 to fulfill photographers' desires for stills-centric handling and features. For photographers who enjoy Fujifilm's traditional dial-based controls, there's no more capable body than the X-T5.

Click here to read our review of the Fujifilm X-T5

Click here to see the Fujifilm X-T5 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also consider: the Canon EOS R7

Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.

Buy now:

Buy w/ RF-S18-150mm F3.5-6.3 IS STM at Amazon.comBuy at AdoramaBuy at B&H Photo Why should you trust us?

Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.

Product photos: Mitchell Clark

91%Overall scoreJump to conclusion

The Panasonic Lumix DC-S1RII is the company's latest high-resolution full-frame mirrorless camera, now beefed-up with 8K video capabilities and improved autofocus.

Key features

• Full-frame 44MP dual gain CMOS sensor
• Up to 40fps continuous shooting with pre-burst capture (e-shutter only)
• 8.1K/8K video at up to 30p
• 5.76M dot viewfinder
• Flip-out and tilt rear screen
• ProRes 422 and ProRes RAW capture
• Capture to CFExpress Type B, UHS II SD or external SSD
• Multi-shot high res mode up to 177MP
• 32-bit float audio via optional XLR 2 adapter

The S1RII is available now with a recommended retail price of $3300.

Index:

• What's new
• What's new for video
• How it compares
• Body and handling
• Image Quality
• Autofocus
• Conclusion
• Sample gallery
• Specifications
• Press release

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo

• Feb 25: Initial review published
• Mar 31: Image quality and Autofocus results published
• Apr 23: Autofocus section updated and conclusion added

What's new New sensor

Rather than the 47MP used in the original S1R, or the 61MP chip used in Leica's SL3, Panasonic has opted for a slightly lower resolution but faster sensor for the S1RII.

It features dual conversion gain on which, as usual on Panasonic cameras, you can manually select which of its two readout modes it uses, at intermediate ISO settings. Panasonic doesn't always disclose when it's using BSI technology, but in this instance it has confirmed it.

Its design means it's appreciable slower than the more expensive Stacked CMOS sensors, with an electronic shutter mode that takes 37.5ms (~1/27 sec) to read out in 14-bit mode and 20.2ms (~1/50 sec) in the 12-bit mode used for bursts and other quick-fire shooting modes.

Autofocus

The S1RII represents the second generation of Panasonic cameras to feature phase detection autofocus, with the inherent depth awareness that this brings. The company says it's significantly improved both its subject recognition and its tracking algorithms in the new camera, to bring its performance closer into line with the best of its peers.

The S1RII has algorithms trained to recognize the following subjects:

• Human
• Animal (Dog, Cat, Bird)
• Car
• Motorcycle / Bike
• Train
• Airplane

We're told it should be quicker at finding a subject and better at continuing to track it, even if, for instance, the subject turns away from the camera or is partially obscured. As before, you can choose whether the camera homes-in on specific details, such as the helmet of a motorbike rider, the nose of a plane or the eyes of an animal. Selecting the more precise focus position can lower the system's responsiveness to smaller, faster-moving subjects.

Cinelike A2 color mode

The S1RII gains a new 'Cinelike A2' color mode, in both stills and video modes. It offers a very gentle response, somewhere between the flat, DR-prioritizing Cinelike D2 and the punchy, ready-to-go Cinelike V2 profile.

Panasonic says the A2 mode's color response stems from work they've been doing in recent months. And it's perhaps worth considering which partners Panasonic has been working with, recently, to guess at the significance of the letter 'A' in the name. Unlike the camera's Leica Monochrome mode, any connection isn't made explicit.

Real time LUT

The S1RII gains the Real Time LUT function we've seen on recent Panasonic cameras, letting you create and upload color and tone-modifying profiles in format with a workflow that's already widely supported across the industry. The S1RII allows you to load up to 39 LUTs onto the camera, with the option to combine two LUTs with varying intensity, if you wish.

Additional LUTs can be created or downloaded via Panasonic's Lumix Lab app.

False color

The S1RII becomes one of the first stills/video cameras to include a false color display option. This is a feature common in the video world, giving a mono preview with certain brightness levels highlighted in different colors, to help you recognize which bits of the image are clipped or near clipping and which areas are exposed as mid tones or at a level appropriate for light skin tones. This display can be used in boths stills and video modes.

Capture One tethering

The S1RII becomes the first Panasonic camera that can be shot, tethered, from Capture One, the popular studio software. We're told any decisions about whether to expand support to other models will depend on customer demand.

What's new for video

The 44MP sensor means the S1RII has slightly more horizontal pixels than necessary to deliver UHD 8K (7680 x 4320) footage and a fraction short of what's needed to capture the DCI 8K's 8192 x 4320 resolution. Instead it offers what Panasonic called 8.1K (8128 x 4288), which conforms to the same 1.89:1 aspect ratio as DCI footage.

The degree to which the sensor resolution is suited to 8K capture is unlikely to be coincidental, and the S1RII offers the kind of extensive video feature set that you might expect from the company that brought us the GH series, rather than the pared-back list of options the original S1R brought.

It also includes everything you'd expect from Panasonic: the option to set exposure in terms of shutter angle, waveforms, vectorscopes, filtering or custom lists of video modes, four-channel audio and 32-bit Float audio via the optional XLR2 accessory, support for anamorphic lenses and a tally lamp to let you know you're rolling. The attention to detail goes beyond the addition of a big red button on the front.

Video options: Output
dimensions Frame
Rates Crop MOV ProRes 1.89:1 modes 8.1K 8128 x 4288 30, 25, 24 1.0 4:2:0 – 5.8K 5760 x 4030 30, 25, 24 1.0 422/HQ 30, 25, 24 1.31 – RAW/HQ 60, 50, 48 1.04 4:2:0 – DCI 4K 4096 x 2160 30, 25, 24 1.0 4:2:2 422/HQ 60, 50 1.04 60, 50, 30, 25, 24 1.52 120, 100 1.10 4:2:2 – 16:9 Modes 8.0K 7680 x 4320 30, 25, 24 1.0 4:2:0 – 5.9K 5888 x 3312 30, 25, 24 1.0 – 60, 50, 48 1.11 – UHD 4K 3840 x 2160 30, 25, 24 1.0 4:2:2 422/HQ 60, 50 1.11 60, 50, 30, 25, 24 1.52 120, 100 1.17 4:2:2 – 3:2 Modes 6.2K open gate* 6432 x 4228 30, 25, 24 1.0 4:2:0 – 4:3 Modes 4.7K 4736 x 3552 60, 50, 48, 30, 25, 24 1.65 4:2:0 422/HQ** - Boxes marked green off All-I compression options.
- Red boxes have a ProRes option.
* 8.1K and 7.1K open gate capture promised in future firmware
** ProRes 422/HQ only available up to 30p

The S1RII can also shoot Full HD (1920 x 1080) footage at any of the frame-rates and crops offered in UHD 4K mode, with the additional ability to capture 120 and 100p footage from the APS-C region.

Dynamic Range Expansion

The S1RII gains a DR Expansion mode, letting you capture an additional stop of highlight information in high-contrast situations. This can be activated in any of the movie modes at frame rates up to 30p, and can only be applied when shooting V-Log footage (where the response curve can easily accommodate different levels of DR capture).

Base ISO 2nd gain step Standard color mode ISO 80 ISO 400 Cinelike D2, V2, A2 ISO 160 ISO 800 HLG ISO 320 ISO 1600 V-Log ISO 200 ISO 1000 V-Log + DR Expansion ISO 400 ISO 2000

This is not the same system as the dual readout DR Boost function in the company's 25MP Micro Four Thirds camera. Instead it moves to a higher bit-depth readout, meaning there's a rolling shutter cost to engaging it. It also boosts the minimum available ISO, to prompt the use of a lower exposure, to capture that additional stop of highlights.

Open gate shooting

At launch the S1RII will be able to capture 6.4K footage from the entire 3:2 region of its sensor, downscaled from full-resolution capture.

Open gate shooting lets you choose and adjust your crop during post production. It also makes it possible to frame wide and then take both landscape and portrait video crops if you're trying to deliver to multiple different output platforms.

5.XK at up to 60p, 4K at up to 120p

Like the S5II models, the S1RII gives you the choice of 1.89:1 DCI 4K capture or 16:9 UHD 4K, or 5.9K or 5.8K versions taken from the same capture regions. All four are available as 10-bit footage, with 4K encoded with 4:2:2 chroma precision and the 5.XK modes in 4:2:0.

Footage up to 30p is taken from the full width of the sensor using the full capture resolution, with a slight crop in to give 60p. 4K (in both flavors) is available at up to 120p with the addition of a further slight crop. Line skipping is used to deliver these 100p and 120p modes.

DCI and UHD 4K can also be captured at up to 60p from an APS-C region of the sensor.

UHD DCI Crop Rolling shutter Crop Rolling shutter 8K, 5.xK*, 4K
30/25/24 1.00 24.9ms 1.00 22.4ms 5.xK*, 4K
50/60 1.11 15.4ms 1.04 15.3ms 4K
100/120 1.17 7.3ms 1.10 7.3ms 4K/30 DRExp* 1.00 31.7ms 1.00 29.8ms *8.1K and 5.9K modes give the same results as DCI 4K, 8.0K and 5.8K matches UHD

Tellingly the rolling shutter rate in DR Expansion mode is consistent with the rate of 14-bit stills, which suggests it's based on 14-bit capture, explaining Panasonic's claims of greater dynamic range.

In turn, the 60p output's rolling shutter is consistent with the 12-bit stills readout rate. This stongly implies that the standard 24, 25 and 30p modes, which are slower than this but quicker than 14-bit mode are taken from 13-bit capture.

In addition to the conventional MOV compressed footage, the S1RII also lets you capture various resolutions in either ProRes 422 or ProRes RAW formats, both of which can either be recorded to the camera's internal CFExpress type B card or to an external SSD. ProRes RAW (with a choice of HQ or standard compression levels) is taken from a 1.31x crop of the sensor, whereas the ProRes 422 (again HQ or Std) is derived from the full-width 8.1K capture.

Forthcoming attractions

As usual for Panasonic cameras, the company has already given some details of features that are still being worked-on for the camera, and which it has promised will come in later firmware updates.

At launch the S1RII can capture open gate video footage at 6.4K resolution, but we're told 7.1K and 8.1K (native resolution) will be enabled in a later firmware update.

Similarly, the S1RII can currently output footage at up to 8K over HDMI but will gain the option to output a Raw data stream in 8.1K or 7.2K resolutions, at a later date.

How it compares

The new, more compact S1RII arrives in a market where you can choose between the high resolution Sony a7RV or pay more for the likes of Nikon's Z8 and Canon's EOS R5 II that are both high resolution and fast. The Panasonic occupies something of a middle ground: offering some of the speed of the faster cameras (a higher peak frame rate but with more rolling shutter), but at a lower cost than Canon and Nikon's Stacked CMOS cameras.

We've opted to include the Canon EOS R5 II in this table, but the Nikon Z8 ends up looking very similar in terms of areas of strength, if you were to substitute that in. We've also chosen the DSLR-shaped a7R V from Sony, rather than the smaller, less expensive a7C R, because the larger model more closely resembles the Panasonic in terms of form factor, viewfinder quality, shutter options and screen articulation. But if size and price are your biggest concerns, the a7C R is in the running.

Panasonic Lumix DC-S1RII Canon EOS R5 II Sony a7R V Panasonic Lumix DC-S1R MSRP $3300 $4300 $3900 $3700 Pixel count 44MP 45MP 61MP 47MP Sensor type BSI CMOS Stacked CMOS BSI CMOS FSI CMOS Stabilization
(IBIS / Synced) 8.0 EV /
7.0 EV – /
8.5 EV 8.0EV /
– 6.0 EV /
7.0 EV Max burst rate (Mech / E-shutter) 10 fps / 40 fps 12 fps / 30fps 10 fps / 9 fps / Viewfinder res / mag 5.76M dot OLED / 0.78x 5.76M dot OLED / 0.76x 9.44M dot
OLED 0.9x 5.76x dot OLED / 0.78x Rear screen 3.2" 2.1M dot Tilt + Fully Artic. 3.2" 2.1M dot Fully Artic. 3.2" 2.1M dot Tilt + Fully Artic. 3.2" 2.1M dot two-way tilt Max video resolution

8.1K [1.89:1] / 30p
UHD 8K / 30p
Full-width 5.9K 60p

DCI 8K / 60p
UHD 8K / 60p

UHD 8K / 24p

5K [3:2] / 30p
UHD 4K / 60p

Output options MOV H.264
MOV H.265
ProRes 422
ProRes RAW

MP4 H.264
MP4 H.265
Canon Raw (/Light)

MOV H.264
MOV H.265 MOV H.265
MP4 H.264 Storage formats 1x UHS-II SD
1x CFe B
External SSD 1x UHS-II SD
1x CFe B 2x UHS-II SD / CFe A 1x UHS-II SD
1x CFe B / XQD Flash sync speed 1/250 sec 1/250 sec
1/160 sec 1/250 sec 1/320 sec HDR output options (Stills / Video) - / HLG video HDR PQ HEIF / HDR PQ video HLG HEIF
/ HLG video HLG Photo / HLG video USB USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.1 Gen 1
(5 Gbps) Battery life
LCD / EVF 350 / 300 540 / 250 530 / 440 380 / 360 Dimensions 134 x 102 x 92mm 139 x 101 x 94mm 131 x 97 x 82mm 149 x 110 x 97mm Weight 795g 746g 723g 1,020g

Despite being comfortably less expensive than its immediate peers, the S1RII's specs are competitive across the board. And while its video exhibits a fair bit more rolling shutter than the Stacked-sensor Nikon and Canon models, it significantly out-performs the Sony.

The a7R V's rolling shutter rate of 38ms means it can't deliver 8K/30, whereas the Panasonic can shoot 8K 30 and do so as fast as 24ms. This is respectable but not as impressive as the ∼13 and 14ms that the EOS R5 II and Z8 provide, respectively, from their much more expensive sensors.

Much of whether it's actually competitive, for both stills and video, will come down to whether the autofocus improvements are as significant as Panasonic promises.

Body and handling

The S1RII uses a body based on the smaller S5II series, rather than the more substantial design of the first-gen S1 series cameras. This leaves it both smaller and lighter than its predecessor.

It has the internal fan from the S5II, with two small exhaust ports on either side of its viewfinder hump. This doesn't give quite 'GH series' recording reliability, but still allows the S1RII to record for extended periods.

However, while the body itself is similar in size to the S5II, it has a deeper hand grip, making it more comfortable to use with larger lenses. It maintains a row of three buttons along its top plate, immediately behind the shutter button, but omits the top plate display that the Mark 1 had.

Other losses in the move to the smaller body see the S1RII offer only a single function button between the mount and the hand grip, and the replacement of the two-position switch at the lower corner of the front panel by a large red [REC] button (whose function can be customized).

The S1RII also goes without a flash sync socket, but gains a dedicated Stills/Movie/Slow&Quick switch. Moving the exposure modes to the right of the camera allows the drive mode to be promoted to the top of the left-side dial, making room for shooting mode to occupy the switch underneath. Both mode dials have toggle lock buttons.

The removal of movie mode from the exposure mode dial in turn provides room for five custom positions on the exposure dial, each of which can be customized separately for stills and video custom settings. Position 5 on the dial can be used to access custom banks 5-10, if you wish, giving you a total of up to ten photo and ten video custom setting sets. Thankfully the camera's settings can be saved to a memory card and duplicated across cameras.

Rear screen

On the back of the camera, Panasonic has adopted a similar screen layout to the one Panasonic used on its explicitly video-focused S1H: a fully articulated rear screen mounted on a cradle that tilts up and down. This means that stills shooters can use the tilt mechanism if they want to keep the screen on-axis (and can flip the screen to face inwards for protection, when stowing the camera), but video shooters can extend the screen out and tilt it away from the mic, headphone and HDMI sockets while shooting.

Battery

The S1RII uses the same 15.8Wh DMW-BLK22 battery as the S5II, a significant reduction compared with the original S1R. Despite this, it achieves a CIPA battery rating of 350 shots per charge if you use the rear screen and 300 via the viewfinder. The usual caveats apply to this number: most people get many, many more shots out of a camera than the CIPA rating (between two and three times the rated figure isn't unusual). To put it in context, 350 is a respectable figure and shouldn't leave you caught out during a busy day's shooting, but it doesn't have the confidence-inspiring duration that Sony's a7R V offers.

A new DMW-BG2 battery grip is also available to fit the S1RII. It adds a second battery in the grip, and is designed to allow hot-swapping of batteries: the external battery is used until the battery door is opened, at which point the camera switches to using the internal battery until a new battery is inserted in the grip. The grip also allows the camera to use both batteries simultaneously, for high power-consumption combinations such as capturing high bit-rate video to an external SSD.

Image Quality

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

The results are pretty positive. In terms of detail capture, the S1RII performs as we'd expect, capturing less detail than the 61MP Sony a7R V but with no meaningful difference vs the likes of the Canon EOS R5 II, Nikon Z8 or its own predecessor.

There's a fair bit of moiré visible in various places suggesting there's no anti-aliasing filter. But it's not significantly more pronounced than in most of its rivals, suggesting we were just unlucky that we got to see some artefacts in one of our real-world shooting. If anything, looking around various high-frequency targets in the scene, Panasonic's JPEG engine seems to be doing a pretty good job of suppressing the effects of moiré.

In terms of color rendition the Panasonic looks a lot like its immediate peers, with no significant differences in most colors, compared with its peers. The light skin tone patch is perhaps a fraction more pink than Canon's rendering, but there aren't any nasty surprises: something backed up by our experiences of shooting with the camera.

Noise levels seem competitive at low to moderately-high ISO settings but it looks like noise reduction is being applied to the Raws at the higher ISO settings, with distinct blurring of the noise patterns. JPEG noise reduction strikes a pretty good balance between noise suppression and detail retention, but gets a bit overwhelmed at the highest settings.

Dynamic range

The S1RII's sensor is a modern design with dual conversion gain; it has Panasonic's 'Dual Native ISO' function that lets you decide exactly where the switch in modes happens, but at default settings, it's at ISO 400 that the switch happens. Sure enough, if you brighten an ISO 320 image, you'll see it has slightly more noise than images shot at ISOs above that point, with the same exposure.

The further you venture into the ISOs from that low gain mode, the more noisy you'll find the very deep shadows (this is exactly the read noise that using the higher gain step minimizes). So the widest possible dynamic range is encountered at ISO 80, but if you're tempted to underexpose in low light, to protect highlights, you shouldn't venture below ISO 400.

The S1RII has a lower base ISO than its predecessor, so you can't make a direct comparison (the new camera receives 1/3EV more light), but even with that slight discrepancy, it's results seem comparable. It's a competitive result, even compared with the best of its peers.

High res multi-shot

Shot using hand-held multi-shot mode.

Lumix S 20-60mm F3.5-5.6 | 26mm | F8 | 1/250 sec | ISO 80
Photo: Richard Butler

While we generally haven't found high-resolution multi-shot modes to be particularly useful, they can help you capture a bit more detail in the right circumstances. The S1RII has one of the best implementations of the feature, too, with both tripod and handheld modes and the option to compensate if your subject moves a bit at the cost of resolution in that area. Perhaps most importantly, the processing happens in-camera; you don't have to manually combine the shots later on in desktop software.

It's pretty apparent that the Panasonic Lumix DC-S1RII is built around the IMX366 sensor from Sony Semiconductor. So we see a sensor with dual conversion gain giving lots of dynamic range at base ISO and well-controlled noise once you move to the second gain mode. Its BSI design means its high image quality should be maintained right to the corners of the image, as it means the pixels can reliably receive light from more acute angles than on older FSI sensors.

Autofocus Autofocus operation

The Panasonic S1RII features a revised version of the phase-detection AF system introduced with the S5II cameras. It can detect and track more subjects than the S5II supported at launch, and Panasonic promises it's both quicker to find focus and more tenacious in terms of tracking.

The S1RII's button layout puts all your autofocus controls close at hand.

The interface will be familiar to anyone who's used a Panasonic in the past ten-or-so years: pressing the AF Area button on the back of the camera brings up a row of seven icons representing the different AF areas the camera offers. Pressing upwards on the four-way controller or joystick then lets you choose whether the camera should look for a recognized subject near your chosen AF area. Pressing the 'DISP' button lets you select which subjects the camera looks for.

The S1RII's autofocus menu gives you a lot of options from a single screen.

There's a twist, though: the S1RII can either be set to use its focus tracking system or it can be set to track a recognized subject but, unlike most modern cameras, these are separate functions. The upshot is that if you want to focus on a non-recognized subject for one shot, or the camera fails to find the subject it's supposed to recognize, you'll need to disengage the subject tracking: the S1RII will not fall back to its generic tracking system.

This is disappointing as the S5II has now gained the ability to detect all the same subjects as the S1RII, but its subject recognition is built on top of the generic tracking system, so the camera will fall back to tracking AF, making it more flexible.

AF interface

The interface generally does a good job of managing multiple subjects without overwhelming you with information. In most AF area modes, it'll only draw a box over the recognized subject nearest your selected area. If you move the point over another subject in the scene, it'll instantly snap the box to that subject instead. It's responsive enough that it doesn't feel like you're missing out by not having all the recognized subjects highlighted.

When the S1RII finds faces, it can do a good job of sticking with them. In this scenario, it was able to track someone who started out walking straight-on towards the camera but who ended up at an angle to it without losing track of them or jumping to the person next to them.

Lumix S Pro 24-70 F2.8 | 35mm | F4 | 1/200 | ISO 80
Photo: Mitchell Clark

If you prefer, you can use the 'full area' tracking mode. In this mode, the camera highlights all the recognized subjects, letting you select which one you want to focus on using the joystick or touchscreen. The boxes do jiggle quite a bit, though, and can sometimes flicker on and off, which isn't the most confidence-inspiring user experience and means a tap of the joystick doesn't always select the subject you wanted.

Autofocus performance

Our experiences with the S1RII were distinctly mixed: when the AF system works, it can be very good, but overall, we found it to be appreciably less reliable than we've come to expect from the likes of Canon, Nikon and Sony cameras.

We found the camera's AF Custom Setting Set 3 mode was better at tracking the subject than the defaults, which frequently lost track of it if it changed speed as it approached the camera. The custom setting, which is designed to handle unpredictably moving subjects, increased success in following the subject around, but the camera usually still struggled to keep it in focus as it changed speeds.

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

Standard tracking, AF Custom Setting Set 3

The subject recognition mode is more successful at tracking the subject and keeping it in focus; using AF Custom Setting Set 3 upped this dependability further. While the camera couldn't respond quickly enough to the subject's approach-rate changing to get every shot in focus, unlike the generic tracking it recovered quickly enough to give a good hit rate.

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

Subject recognition mode, AF Custom Setting Set 3

Testing the camera in a variety of settings suggests the S1RII's AF performance varies much more with adjustment of the AF Custom Settings than we've become used to with other brands. Generally, we consider Set 3 to be a good starting point.

Perhaps the most concerning behavior, though, was one we've seen in other recent Panasonic cameras, where very occasionally, tracking AF will fail to find something to focus on at all and will simply present a red flashing box and make no further attempt to focus. This is offputting enough to undermine our faith in the reliability of the camera, probably out of proportion to how often it occurs. Just knowing that the camera will sometimes fail to focus and make you wait a few moments is an unpleasant thought to have lingering in the back of your mind and not something we're used to encountering on a modern camera.

Conclusion

By Mitchell Clark

What we like What we don't

• Excellent image quality
• Solid and highly customizable controls
• Comfortable ergonomics
• Large, responsive viewfinder
• Versatile display with tilting and articulation
• Competitive burst rates and pre-burst options
• In-camera multi-shot provides resolution boost for static subjects
• Solid L-mount lens ecosystem
• Relatively extensive suite of video features, codecs, and resolutions
• Fan allows dependable video recording for extended periods

• Relatively short battery life
• Autofocus tracking still isn't as reliable as its rivals
• Subject detection doesn't fall back to standard tracking autofocus
• Higher rolling shutter rates than Stacked-sensor cameras
• Relatively small buffer given fast burst rates
• In rare instances the AF will fail to focus altogether

The S1RII is very much a hybrid camera and we'll be looking into its video handling and performance at a future date. But for now we're going to assess the stills side of the camera.

Image quality is, as you should expect from a modern camera, very good. The out-of-camera JPEGs are attractive, and the Raws seem to be both detailed and flexible when you process them. The S1RII gains Panasonic's LUT options, giving you essentially endless customization options if you want to develop your own 'look.' And, while we tend to find multi-shot high res modes quite limited in their value, the S1RII has probably the most usable implementation.

A 177MP image, produced using the hand-held multi-shot mode.

Lumix S 20-60mm F3.5-5.6 | 21mm | F8 | 1/500 sec | ISO 80
Photo: Richard Butler

We were also impressed by the S1RII's body and handling. It has a more comfortable grip and retains a good level of direct control and customization without these control points getting too cramped, despite a move away from the large 'professional' style body of its predecessor. It's only really button backlighting that goes missing in the transition, but the updated tilting/articulating screen more than makes up for that, in our opinion.

Our biggest concern with the camera is its autofocus system. While AF tracking is an improvement from previous Panasonic cameras, its performance is still well behind that of its competitors. That's combined with Panasonic's unusual decision to separate general tracking from subject recognition, which makes the camera slower and less dependable to use. The battery life also isn't great, considering its pro-level aspirations, though that can be mitigated with Panasonic's battery grip, which supports hot-swapping.

If the S1RII was everything Panasonic promised it would be, this would be a very different conclusion, especially given just how much cheaper it is than its high-res peers. But while it's a very capable camera, especially for video, the autofocus system and performance make a compelling argument to spend the bit more for one of its competitors if your shooting includes action and movement. While it may be possible to fix some of those issues with firmware updates, at the moment we don't feel the S1RII stands out enough to get one of our awards.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Panasonic Lumix DC-S1RIICategory: Semi-professional Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe S1RII is a hybrid camera that offers solid detail capture, pleasing JPEGs and plenty of video capabilities, but its autofocus system isn't the best for capturing action and movement.Good forHigh quality movie and stills shooting without stacked sensor priceNot so good forShooting action when absolute dependability is required91%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcs1rii","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

The Canon EOS R5 II and the Nikon Z8 are the S1RII's main competitors. They offer similar image quality and hybrid capabilities, though they don't have the excellent tilting/articulating rear display and can't deliver multi-shot high-res images out-of-camera. Both, however, have better battery life, deeper buffers and lower rolling shutter rates for shooting video or stills using the electronic shutter. We also find their autofocus tracking performance to be more capable and user-friendly, as they both fall back to their still quite reliable generic tracking systems when there's no subject to detect. You'll certainly pay for the extra speed and reliability, but it's probably worth it.

Sony's a7R V also has a very capable autofocus system, though it trades speed for even higher resolution. If you're looking to do video or shoot faster-moving subjects, the S1RII is a much better pick, as the a7R V reads out quite slowly. However, it produces even more detailed photos, which may be useful depending on what you're shooting.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.

Product photos: Mitchell Clark

91%Overall scoreJump to conclusion

The Panasonic Lumix DC-S1RII is the company's latest high-resolution full-frame mirrorless camera, now beefed-up with 8K video capabilities and improved autofocus.

Key features

• Full-frame 44MP dual gain CMOS sensor
• Up to 40fps continuous shooting with pre-burst capture (e-shutter only)
• 8.1K/8K video at up to 30p
• 5.76M dot viewfinder
• Flip-out and tilt rear screen
• ProRes 422 and ProRes RAW capture
• Capture to CFExpress Type B, UHS II SD or external SSD
• Multi-shot high res mode up to 177MP
• 32-bit float audio via optional XLR 2 adapter

The S1RII is available now with a recommended retail price of $3300.

Index:

• What's new
• What's new for video
• How it compares
• Body and handling
• Image Quality
• Autofocus
• Conclusion
• Sample gallery
• Specifications
• Press release

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo

• Feb 25: Initial review published
• Mar 31: Image quality and Autofocus results published
• Apr 23: Autofocus section updated and conclusion added

What's new New sensor

Rather than the 47MP used in the original S1R, or the 61MP chip used in Leica's SL3, Panasonic has opted for a slightly lower resolution but faster sensor for the S1RII.

It features dual conversion gain on which, as usual on Panasonic cameras, you can manually select which of its two readout modes it uses, at intermediate ISO settings. Panasonic doesn't always disclose when it's using BSI technology, but in this instance it has confirmed it.

Its design means it's appreciable slower than the more expensive Stacked CMOS sensors, with an electronic shutter mode that takes 37.5ms (~1/27 sec) to read out in 14-bit mode and 20.2ms (~1/50 sec) in the 12-bit mode used for bursts and other quick-fire shooting modes.

Autofocus

The S1RII represents the second generation of Panasonic cameras to feature phase detection autofocus, with the inherent depth awareness that this brings. The company says it's significantly improved both its subject recognition and its tracking algorithms in the new camera, to bring its performance closer into line with the best of its peers.

The S1RII has algorithms trained to recognize the following subjects:

• Human
• Animal (Dog, Cat, Bird)
• Car
• Motorcycle / Bike
• Train
• Airplane

We're told it should be quicker at finding a subject and better at continuing to track it, even if, for instance, the subject turns away from the camera or is partially obscured. As before, you can choose whether the camera homes-in on specific details, such as the helmet of a motorbike rider, the nose of a plane or the eyes of an animal. Selecting the more precise focus position can lower the system's responsiveness to smaller, faster-moving subjects.

Cinelike A2 color mode

The S1RII gains a new 'Cinelike A2' color mode, in both stills and video modes. It offers a very gentle response, somewhere between the flat, DR-prioritizing Cinelike D2 and the punchy, ready-to-go Cinelike V2 profile.

Panasonic says the A2 mode's color response stems from work they've been doing in recent months. And it's perhaps worth considering which partners Panasonic has been working with, recently, to guess at the significance of the letter 'A' in the name. Unlike the camera's Leica Monochrome mode, any connection isn't made explicit.

Real time LUT

The S1RII gains the Real Time LUT function we've seen on recent Panasonic cameras, letting you create and upload color and tone-modifying profiles in format with a workflow that's already widely supported across the industry. The S1RII allows you to load up to 39 LUTs onto the camera, with the option to combine two LUTs with varying intensity, if you wish.

Additional LUTs can be created or downloaded via Panasonic's Lumix Lab app.

False color

The S1RII becomes one of the first stills/video cameras to include a false color display option. This is a feature common in the video world, giving a mono preview with certain brightness levels highlighted in different colors, to help you recognize which bits of the image are clipped or near clipping and which areas are exposed as mid tones or at a level appropriate for light skin tones. This display can be used in boths stills and video modes.

Capture One tethering

The S1RII becomes the first Panasonic camera that can be shot, tethered, from Capture One, the popular studio software. We're told any decisions about whether to expand support to other models will depend on customer demand.

What's new for video

The 44MP sensor means the S1RII has slightly more horizontal pixels than necessary to deliver UHD 8K (7680 x 4320) footage and a fraction short of what's needed to capture the DCI 8K's 8192 x 4320 resolution. Instead it offers what Panasonic called 8.1K (8128 x 4288), which conforms to the same 1.89:1 aspect ratio as DCI footage.

The degree to which the sensor resolution is suited to 8K capture is unlikely to be coincidental, and the S1RII offers the kind of extensive video feature set that you might expect from the company that brought us the GH series, rather than the pared-back list of options the original S1R brought.

It also includes everything you'd expect from Panasonic: the option to set exposure in terms of shutter angle, waveforms, vectorscopes, filtering or custom lists of video modes, four-channel audio and 32-bit Float audio via the optional XLR2 accessory, support for anamorphic lenses and a tally lamp to let you know you're rolling. The attention to detail goes beyond the addition of a big red button on the front.

Video options: Output
dimensions Frame
Rates Crop MOV ProRes 1.89:1 modes 8.1K 8128 x 4288 30, 25, 24 1.0 4:2:0 – 5.8K 5760 x 4030 30, 25, 24 1.0 422/HQ 30, 25, 24 1.31 – RAW/HQ 60, 50, 48 1.04 4:2:0 – DCI 4K 4096 x 2160 30, 25, 24 1.0 4:2:2 422/HQ 60, 50 1.04 60, 50, 30, 25, 24 1.52 120, 100 1.10 4:2:2 – 16:9 Modes 8.0K 7680 x 4320 30, 25, 24 1.0 4:2:0 – 5.9K 5888 x 3312 30, 25, 24 1.0 – 60, 50, 48 1.11 – UHD 4K 3840 x 2160 30, 25, 24 1.0 4:2:2 422/HQ 60, 50 1.11 60, 50, 30, 25, 24 1.52 120, 100 1.17 4:2:2 – 3:2 Modes 6.2K open gate* 6432 x 4228 30, 25, 24 1.0 4:2:0 – 4:3 Modes 4.7K 4736 x 3552 60, 50, 48, 30, 25, 24 1.65 4:2:0 422/HQ** - Boxes marked green off All-I compression options.
- Red boxes have a ProRes option.
* 8.1K and 7.1K open gate capture promised in future firmware
** ProRes 422/HQ only available up to 30p

The S1RII can also shoot Full HD (1920 x 1080) footage at any of the frame-rates and crops offered in UHD 4K mode, with the additional ability to capture 120 and 100p footage from the APS-C region.

Dynamic Range Expansion

The S1RII gains a DR Expansion mode, letting you capture an additional stop of highlight information in high-contrast situations. This can be activated in any of the movie modes at frame rates up to 30p, and can only be applied when shooting V-Log footage (where the response curve can easily accommodate different levels of DR capture).

Base ISO 2nd gain step Standard color mode ISO 80 ISO 400 Cinelike D2, V2, A2 ISO 160 ISO 800 HLG ISO 320 ISO 1600 V-Log ISO 200 ISO 1000 V-Log + DR Expansion ISO 400 ISO 2000

This is not the same system as the dual readout DR Boost function in the company's 25MP Micro Four Thirds camera. Instead it moves to a higher bit-depth readout, meaning there's a rolling shutter cost to engaging it. It also boosts the minimum available ISO, to prompt the use of a lower exposure, to capture that additional stop of highlights.

Open gate shooting

At launch the S1RII will be able to capture 6.4K footage from the entire 3:2 region of its sensor, downscaled from full-resolution capture.

Open gate shooting lets you choose and adjust your crop during post production. It also makes it possible to frame wide and then take both landscape and portrait video crops if you're trying to deliver to multiple different output platforms.

5.XK at up to 60p, 4K at up to 120p

Like the S5II models, the S1RII gives you the choice of 1.89:1 DCI 4K capture or 16:9 UHD 4K, or 5.9K or 5.8K versions taken from the same capture regions. All four are available as 10-bit footage, with 4K encoded with 4:2:2 chroma precision and the 5.XK modes in 4:2:0.

Footage up to 30p is taken from the full width of the sensor using the full capture resolution, with a slight crop in to give 60p. 4K (in both flavors) is available at up to 120p with the addition of a further slight crop. Line skipping is used to deliver these 100p and 120p modes.

DCI and UHD 4K can also be captured at up to 60p from an APS-C region of the sensor.

UHD DCI Crop Rolling shutter Crop Rolling shutter 8K, 5.xK*, 4K
30/25/24 1.00 24.9ms 1.00 22.4ms 5.xK*, 4K
50/60 1.11 15.4ms 1.04 15.3ms 4K
100/120 1.17 7.3ms 1.10 7.3ms 4K/30 DRExp* 1.00 31.7ms 1.00 29.8ms *8.1K and 5.9K modes give the same results as DCI 4K, 8.0K and 5.8K matches UHD

Tellingly the rolling shutter rate in DR Expansion mode is consistent with the rate of 14-bit stills, which suggests it's based on 14-bit capture, explaining Panasonic's claims of greater dynamic range.

In turn, the 60p output's rolling shutter is consistent with the 12-bit stills readout rate. This stongly implies that the standard 24, 25 and 30p modes, which are slower than this but quicker than 14-bit mode are taken from 13-bit capture.

In addition to the conventional MOV compressed footage, the S1RII also lets you capture various resolutions in either ProRes 422 or ProRes RAW formats, both of which can either be recorded to the camera's internal CFExpress type B card or to an external SSD. ProRes RAW (with a choice of HQ or standard compression levels) is taken from a 1.31x crop of the sensor, whereas the ProRes 422 (again HQ or Std) is derived from the full-width 8.1K capture.

Forthcoming attractions

As usual for Panasonic cameras, the company has already given some details of features that are still being worked-on for the camera, and which it has promised will come in later firmware updates.

At launch the S1RII can capture open gate video footage at 6.4K resolution, but we're told 7.1K and 8.1K (native resolution) will be enabled in a later firmware update.

Similarly, the S1RII can currently output footage at up to 8K over HDMI but will gain the option to output a Raw data stream in 8.1K or 7.2K resolutions, at a later date.

How it compares

The new, more compact S1RII arrives in a market where you can choose between the high resolution Sony a7RV or pay more for the likes of Nikon's Z8 and Canon's EOS R5 II that are both high resolution and fast. The Panasonic occupies something of a middle ground: offering some of the speed of the faster cameras (a higher peak frame rate but with more rolling shutter), but at a lower cost than Canon and Nikon's Stacked CMOS cameras.

We've opted to include the Canon EOS R5 II in this table, but the Nikon Z8 ends up looking very similar in terms of areas of strength, if you were to substitute that in. We've also chosen the DSLR-shaped a7R V from Sony, rather than the smaller, less expensive a7C R, because the larger model more closely resembles the Panasonic in terms of form factor, viewfinder quality, shutter options and screen articulation. But if size and price are your biggest concerns, the a7C R is in the running.

Panasonic Lumix DC-S1RII Canon EOS R5 II Sony a7R V Panasonic Lumix DC-S1R MSRP $3300 $4300 $3900 $3700 Pixel count 44MP 45MP 61MP 47MP Sensor type BSI CMOS Stacked CMOS BSI CMOS FSI CMOS Stabilization
(IBIS / Synced) 8.0 EV /
7.0 EV – /
8.5 EV 8.0EV /
– 6.0 EV /
7.0 EV Max burst rate (Mech / E-shutter) 10 fps / 40 fps 12 fps / 30fps 10 fps / 9 fps / Viewfinder res / mag 5.76M dot OLED / 0.78x 5.76M dot OLED / 0.76x 9.44M dot
OLED 0.9x 5.76x dot OLED / 0.78x Rear screen 3.2" 2.1M dot Tilt + Fully Artic. 3.2" 2.1M dot Fully Artic. 3.2" 2.1M dot Tilt + Fully Artic. 3.2" 2.1M dot two-way tilt Max video resolution

8.1K [1.89:1] / 30p
UHD 8K / 30p
Full-width 5.9K 60p

DCI 8K / 60p
UHD 8K / 60p

UHD 8K / 24p

5K [3:2] / 30p
UHD 4K / 60p

Output options MOV H.264
MOV H.265
ProRes 422
ProRes RAW

MP4 H.264
MP4 H.265
Canon Raw (/Light)

MOV H.264
MOV H.265 MOV H.265
MP4 H.264 Storage formats 1x UHS-II SD
1x CFe B
External SSD 1x UHS-II SD
1x CFe B 2x UHS-II SD / CFe A 1x UHS-II SD
1x CFe B / XQD Flash sync speed 1/250 sec 1/250 sec
1/160 sec 1/250 sec 1/320 sec HDR output options (Stills / Video) - / HLG video HDR PQ HEIF / HDR PQ video HLG HEIF
/ HLG video HLG Photo / HLG video USB USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.2 Gen 2
(10 Gbps) USB-C
3.1 Gen 1
(5 Gbps) Battery life
LCD / EVF 350 / 300 540 / 250 530 / 440 380 / 360 Dimensions 134 x 102 x 92mm 139 x 101 x 94mm 131 x 97 x 82mm 149 x 110 x 97mm Weight 795g 746g 723g 1,020g

Despite being comfortably less expensive than its immediate peers, the S1RII's specs are competitive across the board. And while its video exhibits a fair bit more rolling shutter than the Stacked-sensor Nikon and Canon models, it significantly out-performs the Sony.

The a7R V's rolling shutter rate of 38ms means it can't deliver 8K/30, whereas the Panasonic can shoot 8K 30 and do so as fast as 24ms. This is respectable but not as impressive as the ∼13 and 14ms that the EOS R5 II and Z8 provide, respectively, from their much more expensive sensors.

Much of whether it's actually competitive, for both stills and video, will come down to whether the autofocus improvements are as significant as Panasonic promises.

Body and handling

The S1RII uses a body based on the smaller S5II series, rather than the more substantial design of the first-gen S1 series cameras. This leaves it both smaller and lighter than its predecessor.

It has the internal fan from the S5II, with two small exhaust ports on either side of its viewfinder hump. This doesn't give quite 'GH series' recording reliability, but still allows the S1RII to record for extended periods.

However, while the body itself is similar in size to the S5II, it has a deeper hand grip, making it more comfortable to use with larger lenses. It maintains a row of three buttons along its top plate, immediately behind the shutter button, but omits the top plate display that the Mark 1 had.

Other losses in the move to the smaller body see the S1RII offer only a single function button between the mount and the hand grip, and the replacement of the two-position switch at the lower corner of the front panel by a large red [REC] button (whose function can be customized).

The S1RII also goes without a flash sync socket, but gains a dedicated Stills/Movie/Slow&Quick switch. Moving the exposure modes to the right of the camera allows the drive mode to be promoted to the top of the left-side dial, making room for shooting mode to occupy the switch underneath. Both mode dials have toggle lock buttons.

The removal of movie mode from the exposure mode dial in turn provides room for five custom positions on the exposure dial, each of which can be customized separately for stills and video custom settings. Position 5 on the dial can be used to access custom banks 5-10, if you wish, giving you a total of up to ten photo and ten video custom setting sets. Thankfully the camera's settings can be saved to a memory card and duplicated across cameras.

Rear screen

On the back of the camera, Panasonic has adopted a similar screen layout to the one Panasonic used on its explicitly video-focused S1H: a fully articulated rear screen mounted on a cradle that tilts up and down. This means that stills shooters can use the tilt mechanism if they want to keep the screen on-axis (and can flip the screen to face inwards for protection, when stowing the camera), but video shooters can extend the screen out and tilt it away from the mic, headphone and HDMI sockets while shooting.

Battery

The S1RII uses the same 15.8Wh DMW-BLK22 battery as the S5II, a significant reduction compared with the original S1R. Despite this, it achieves a CIPA battery rating of 350 shots per charge if you use the rear screen and 300 via the viewfinder. The usual caveats apply to this number: most people get many, many more shots out of a camera than the CIPA rating (between two and three times the rated figure isn't unusual). To put it in context, 350 is a respectable figure and shouldn't leave you caught out during a busy day's shooting, but it doesn't have the confidence-inspiring duration that Sony's a7R V offers.

A new DMW-BG2 battery grip is also available to fit the S1RII. It adds a second battery in the grip, and is designed to allow hot-swapping of batteries: the external battery is used until the battery door is opened, at which point the camera switches to using the internal battery until a new battery is inserted in the grip. The grip also allows the camera to use both batteries simultaneously, for high power-consumption combinations such as capturing high bit-rate video to an external SSD.

Image Quality

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

The results are pretty positive. In terms of detail capture, the S1RII performs as we'd expect, capturing less detail than the 61MP Sony a7R V but with no meaningful difference vs the likes of the Canon EOS R5 II, Nikon Z8 or its own predecessor.

There's a fair bit of moiré visible in various places suggesting there's no anti-aliasing filter. But it's not significantly more pronounced than in most of its rivals, suggesting we were just unlucky that we got to see some artefacts in one of our real-world shooting. If anything, looking around various high-frequency targets in the scene, Panasonic's JPEG engine seems to be doing a pretty good job of suppressing the effects of moiré.

In terms of color rendition the Panasonic looks a lot like its immediate peers, with no significant differences in most colors, compared with its peers. The light skin tone patch is perhaps a fraction more pink than Canon's rendering, but there aren't any nasty surprises: something backed up by our experiences of shooting with the camera.

Noise levels seem competitive at low to moderately-high ISO settings but it looks like noise reduction is being applied to the Raws at the higher ISO settings, with distinct blurring of the noise patterns. JPEG noise reduction strikes a pretty good balance between noise suppression and detail retention, but gets a bit overwhelmed at the highest settings.

Dynamic range

The S1RII's sensor is a modern design with dual conversion gain; it has Panasonic's 'Dual Native ISO' function that lets you decide exactly where the switch in modes happens, but at default settings, it's at ISO 400 that the switch happens. Sure enough, if you brighten an ISO 320 image, you'll see it has slightly more noise than images shot at ISOs above that point, with the same exposure.

The further you venture into the ISOs from that low gain mode, the more noisy you'll find the very deep shadows (this is exactly the read noise that using the higher gain step minimizes). So the widest possible dynamic range is encountered at ISO 80, but if you're tempted to underexpose in low light, to protect highlights, you shouldn't venture below ISO 400.

The S1RII has a lower base ISO than its predecessor, so you can't make a direct comparison (the new camera receives 1/3EV more light), but even with that slight discrepancy, it's results seem comparable. It's a competitive result, even compared with the best of its peers.

High res multi-shot

Shot using hand-held multi-shot mode.

Lumix S 20-60mm F3.5-5.6 | 26mm | F8 | 1/250 sec | ISO 80
Photo: Richard Butler

While we generally haven't found high-resolution multi-shot modes to be particularly useful, they can help you capture a bit more detail in the right circumstances. The S1RII has one of the best implementations of the feature, too, with both tripod and handheld modes and the option to compensate if your subject moves a bit at the cost of resolution in that area. Perhaps most importantly, the processing happens in-camera; you don't have to manually combine the shots later on in desktop software.

It's pretty apparent that the Panasonic Lumix DC-S1RII is built around the IMX366 sensor from Sony Semiconductor. So we see a sensor with dual conversion gain giving lots of dynamic range at base ISO and well-controlled noise once you move to the second gain mode. Its BSI design means its high image quality should be maintained right to the corners of the image, as it means the pixels can reliably receive light from more acute angles than on older FSI sensors.

Autofocus Autofocus operation

The Panasonic S1RII features a revised version of the phase-detection AF system introduced with the S5II cameras. It can detect and track more subjects than the S5II supported at launch, and Panasonic promises it's both quicker to find focus and more tenacious in terms of tracking.

The S1RII's button layout puts all your autofocus controls close at hand.

The interface will be familiar to anyone who's used a Panasonic in the past ten-or-so years: pressing the AF Area button on the back of the camera brings up a row of seven icons representing the different AF areas the camera offers. Pressing upwards on the four-way controller or joystick then lets you choose whether the camera should look for a recognized subject near your chosen AF area. Pressing the 'DISP' button lets you select which subjects the camera looks for.

The S1RII's autofocus menu gives you a lot of options from a single screen.

There's a twist, though: the S1RII can either be set to use its focus tracking system or it can be set to track a recognized subject but, unlike most modern cameras, these are separate functions. The upshot is that if you want to focus on a non-recognized subject for one shot, or the camera fails to find the subject it's supposed to recognize, you'll need to disengage the subject tracking: the S1RII will not fall back to its generic tracking system.

This is disappointing as the S5II has now gained the ability to detect all the same subjects as the S1RII, but its subject recognition is built on top of the generic tracking system, so the camera will fall back to tracking AF, making it more flexible.

AF interface

The interface generally does a good job of managing multiple subjects without overwhelming you with information. In most AF area modes, it'll only draw a box over the recognized subject nearest your selected area. If you move the point over another subject in the scene, it'll instantly snap the box to that subject instead. It's responsive enough that it doesn't feel like you're missing out by not having all the recognized subjects highlighted.

When the S1RII finds faces, it can do a good job of sticking with them. In this scenario, it was able to track someone who started out walking straight-on towards the camera but who ended up at an angle to it without losing track of them or jumping to the person next to them.

Lumix S Pro 24-70 F2.8 | 35mm | F4 | 1/200 | ISO 80
Photo: Mitchell Clark

If you prefer, you can use the 'full area' tracking mode. In this mode, the camera highlights all the recognized subjects, letting you select which one you want to focus on using the joystick or touchscreen. The boxes do jiggle quite a bit, though, and can sometimes flicker on and off, which isn't the most confidence-inspiring user experience and means a tap of the joystick doesn't always select the subject you wanted.

Autofocus performance

Our experiences with the S1RII were distinctly mixed: when the AF system works, it can be very good, but overall, we found it to be appreciably less reliable than we've come to expect from the likes of Canon, Nikon and Sony cameras.

We found the camera's AF Custom Setting Set 3 mode was better at tracking the subject than the defaults, which frequently lost track of it if it changed speed as it approached the camera. The custom setting, which is designed to handle unpredictably moving subjects, increased success in following the subject around, but the camera usually still struggled to keep it in focus as it changed speeds.

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

Standard tracking, AF Custom Setting Set 3

The subject recognition mode is more successful at tracking the subject and keeping it in focus; using AF Custom Setting Set 3 upped this dependability further. While the camera couldn't respond quickly enough to the subject's approach-rate changing to get every shot in focus, unlike the generic tracking it recovered quickly enough to give a good hit rate.

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

Subject recognition mode, AF Custom Setting Set 3

Testing the camera in a variety of settings suggests the S1RII's AF performance varies much more with adjustment of the AF Custom Settings than we've become used to with other brands. Generally, we consider Set 3 to be a good starting point.

Perhaps the most concerning behavior, though, was one we've seen in other recent Panasonic cameras, where very occasionally, tracking AF will fail to find something to focus on at all and will simply present a red flashing box and make no further attempt to focus. This is offputting enough to undermine our faith in the reliability of the camera, probably out of proportion to how often it occurs. Just knowing that the camera will sometimes fail to focus and make you wait a few moments is an unpleasant thought to have lingering in the back of your mind and not something we're used to encountering on a modern camera.

Conclusion

By Mitchell Clark

What we like What we don't

• Excellent image quality
• Solid and highly customizable controls
• Comfortable ergonomics
• Large, responsive viewfinder
• Versatile display with tilting and articulation
• Competitive burst rates and pre-burst options
• In-camera multi-shot provides resolution boost for static subjects
• Solid L-mount lens ecosystem
• Relatively extensive suite of video features, codecs, and resolutions
• Fan allows dependable video recording for extended periods

• Relatively short battery life
• Autofocus tracking still isn't as reliable as its rivals
• Subject detection doesn't fall back to standard tracking autofocus
• Higher rolling shutter rates than Stacked-sensor cameras
• Relatively small buffer given fast burst rates
• In rare instances the AF will fail to focus altogether

The S1RII is very much a hybrid camera and we'll be looking into its video handling and performance at a future date. But for now we're going to assess the stills side of the camera.

Image quality is, as you should expect from a modern camera, very good. The out-of-camera JPEGs are attractive, and the Raws seem to be both detailed and flexible when you process them. The S1RII gains Panasonic's LUT options, giving you essentially endless customization options if you want to develop your own 'look.' And, while we tend to find multi-shot high res modes quite limited in their value, the S1RII has probably the most usable implementation.

A 177MP image, produced using the hand-held multi-shot mode.

Lumix S 20-60mm F3.5-5.6 | 21mm | F8 | 1/500 sec | ISO 80
Photo: Richard Butler

We were also impressed by the S1RII's body and handling. It has a more comfortable grip and retains a good level of direct control and customization without these control points getting too cramped, despite a move away from the large 'professional' style body of its predecessor. It's only really button backlighting that goes missing in the transition, but the updated tilting/articulating screen more than makes up for that, in our opinion.

Our biggest concern with the camera is its autofocus system. While AF tracking is an improvement from previous Panasonic cameras, its performance is still well behind that of its competitors. That's combined with Panasonic's unusual decision to separate general tracking from subject recognition, which makes the camera slower and less dependable to use. The battery life also isn't great, considering its pro-level aspirations, though that can be mitigated with Panasonic's battery grip, which supports hot-swapping.

If the S1RII was everything Panasonic promised it would be, this would be a very different conclusion, especially given just how much cheaper it is than its high-res peers. But while it's a very capable camera, especially for video, the autofocus system and performance make a compelling argument to spend the bit more for one of its competitors if your shooting includes action and movement. While it may be possible to fix some of those issues with firmware updates, at the moment we don't feel the S1RII stands out enough to get one of our awards.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Panasonic Lumix DC-S1RIICategory: Semi-professional Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe S1RII is a hybrid camera that offers solid detail capture, pleasing JPEGs and plenty of video capabilities, but its autofocus system isn't the best for capturing action and movement.Good forHigh quality movie and stills shooting without stacked sensor priceNot so good forShooting action when absolute dependability is required91%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcs1rii","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

The Canon EOS R5 II and the Nikon Z8 are the S1RII's main competitors. They offer similar image quality and hybrid capabilities, though they don't have the excellent tilting/articulating rear display or the ability to process high-res multi-shot in-camera. Both, however, have better battery life, deeper buffers and lower rolling shutter rates for shooting video or stills using the electronic shutter. We also find their autofocus tracking performance to be more capable and user-friendly, as they both fall back to their still quite reliable generic tracking systems when there's no subject to detect. You'll certainly pay for the extra speed and reliability, but it's probably worth it.

Sony's a7R V also has a very capable autofocus system, though it trades speed for even higher resolution. If you're looking to do video or shoot faster-moving subjects, the S1RII is a much better pick, as the a7R V reads out quite slowly. However, it produces even more detailed photos, which may be useful depending on what you're shooting.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.