The LUMIX S1II sits in a tricky spot: it has to satisfy stills, video, and paid work without forcing you into a slow, fragile setup. If you’ve been bouncing between systems trying to get speed, clean files, and dependable video in one body, this is the kind of camera that can end the search or expose a new compromise you didn’t expect.
Coming to you from Pav SZ, this methodical video starts with a simple premise: the LUMIX S1II only makes sense after real jobs, not a desk review. Pav frames it against cameras he still uses, like the LUMIX S5II, LUMIX S5 IIX, and LUMIX S9, plus the higher-resolution LUMIX S1RII. That comparison matters if you’ve liked Lumix color and ergonomics but kept a second body around “just in case.” He’s clear that this one feels like Panasonic finally stitched the lineup into a single, practical tool.
He also tackles the one concern that can ruin a purchase: heat. Pav says he hit overheating early on, then solved it by changing thermal settings and being smarter about how he records. That means thinking about long takes, direct sun, and heavy codecs instead of assuming any body will behave like a dedicated cinema rig. He points out that media and recording choices can help, including SD cards, CFexpress Type B, and an external SSD. He mentions a firmware update and suggests even a simple fan can get you back to work, which is a very different vibe than internet panic. If you shoot events, interviews, or any real-time job where stopping is not an option, you’ll want his exact boundaries and settings.
He likes the 24.1-megapixel partially stacked sensor for speed and low-light behavior, then ties that to burst shooting, rolling shutter control, and stabilization that makes handheld work look steadier than it has any right to. He brings up High Resolution mode for the moments you actually need it, not as a party trick. On the video side, he runs through the headline options like 4K 60p and 4K 120p, then hints at how deep the format list goes, including Apple ProRes and internal raw, plus monitoring tools that can change how confidently you shoot without an extra monitor. He also gets into profiles like V-Log and the optional ARRI LogC3 upgrade, but he doesn’t hand you the final verdict on whether it’s worth paying for, especially if you’re not matching an ARRI pipeline. Lens choice comes up in a practical way too, including why the Panasonic LUMIX S 24-60mm f/2.8 Lens pairs so well with this body, and what you give up when you lean on third-party glass. Check out the video above for the full rundown from Pav.
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