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Tony and Chelsea are just excited for the chance to put out some sort of content other than Tony reading various rumor sites to the camera, dumb "what's the best camera" videos, sponsored software content, and insipid camera-vs-camera comparisons. Also, they seem to have made a huge mistake uploading that one to YouTube - they forgot to use the photo of Tony looking surprised in the thumbnail. Seriously - they're really channeling their old stock photography days with that one. It's on like 50% of their thumbnails.

What a mess. And the Z6 III has been out for about a year already. A dollar short and a day late. The marketing agency working for Panasonic in the UK by the way, emailed me the wrong prices. Indeed, they emailed EVERYONE completely the wrong prices. I had to let them know, and then got a correction a few hours later.

Feel like I'm in the Twilight Zone where Gerald releases a glowing review of it, while Lumix users are stressing out about it before using it. It's usually the opposite!

And if the price keeps increasing on the current trajectory, there will be no camera market to speak of anyway.

Look at this hyperbole. Depressing. This is why I quit regular camera reviews, there are far more enjoyable and creative ways to do Youtube and journalism. Why doesn't Gerald yearn to make a film instead or shoot instead? He has no interest in it. He knows his job and his role in this industry is to sell cameras.

True, they also want to discourage cheap grey imports into the US.

Theoretically, this is true, but in some cases, manufacturers will raise prices across the board. In some cases, to subsidize a lower profit margin in the US while keeping the prices reasonable. The whole thing is a freakin' mess. Heck, Leica raised prices in Canada and the US despite that Canada added no new tariffs on them.

Thanks, I see now.

Sticking with my pair of S5ii’s (both purchased used) and single S9. To be fair, the S1Rii and the S1ii bodies are better than the S5ii but neither have anything that makes me want to switch from what I have. 5.1k 60p open gate? Quite nice, but also not enough to warrant any changes in my lineup. Pricing not quite as bad as reported and will drop quite quickly. I get the S1ii model but the E model baffles me a bit as surely anyone who wants one will buy the S1ii but if not, the S5ii/x? As for the lens, good there is something being offered that is not an f8 shitbox of a lens, but not something I am interested in personally.

That's a nice job the lady in the video has, shooting scientific documentaries and wildlife. Wouldn't mind doing that myself...

So then which of the 5 of the 24 megapixel bodies are you guys going to choose... The S1 II, S1 IIe, S5X, S5 II or S9? The price of the S1 II is $600 more than the nearest competitors from Canon and Nikon, which is just absolutely deranged. May as well get the S1R II instead? And the S1 IIe cannibalises both the S5X and S5 II, which may as well now be dead. It's one of the worst examples of product planning I've ever witnessed in the camera industry.

As expected Lumix S1 II uses the same sensor as Nikon Z6 III. Panasonic apparently managed to improve on Nikon Z6 III Achilles heel - 1 stop of lower dynamic range in ISOs under 800. Lumix S1 II has DR above 12 stops at the expense of slightly slower rolling shutter. That's a good decision and achievement. We can always go to APS-C mode and have really fast 6ms rolling shutter. Price in Europe is 3500 Euro as rumors suggested. I think this is a good strategy from Panasonic. Sell to the more impatient at higher price, then as time passes prices will go down. Nikon Z6 III started at more than 2600 Euro, now can be purchased brand new for 2000 Euro. Lumix S1 II is a true hybrid but more on the video side.

There's no chance I'll get one, but I don't think the S1II is that bad. Price is too high, but as I said a few pages ago, tariff disruptions drive all prices up. I'm curious whether the S1IIE uses the sensor from the S1 or from the S1II. It's quite a bit cheaper. Newsshooter says "partially stacked" for the S1IIE, and it has 4k120, so I wonder if it's got the faster readout of the S1II. If so, that's a decent discount for losing 5.1k60, raw, and DR boost, non of which I really care about, while (maybe?) keeping the features I like: faster readout, full size HDMI, 32 bit XLR adapter, and non-jangly neck trap loops.

Out of interest, here is a "6x the price, 6x better?" comparison of the two lenses. I have the cheaper one and it is indeed a great little lens.

Well based on what we have seen or is imminent, it certainly looks that way, because the S1R was one of their 'pro' cameras and that has now been downgraded to what we might call 'prosumer' as in pro features in a more consumer body. Any 'S2H' would need to follow suit or stand alone as a solo flagship as the S1Rii is not going to be replaced for years and years. If ever, depending on the survival of the company. My gut instinct is it's the end of the line. Literally. If these new releases and existing stuff are good enough for your/our needs, then great, but I don't think there is anything more exciting coming in the future. It would need a radical change in; management, strategy, marketing and budget and I just don't see that happening. S9 and S5ii have been and probably will remain 'peak Lumix' for me and as I have stated many times, work very well for me and my needs, but will I still be with anything L Mount in 2026? More than likely not.

Er no, I'm very much talking about the relatively inexpensive 18-105 f4 - worked on the zoom rocker on both my FS7 and FX30. Excellent little lens for the price.

$3500 is a lot to ask for this camera. I really don't see a ton of reasons to go with it over the S5ii/X. I don't think it's a bad release, but that's not a very competitive price point. Still, I'd like to hear from folks who've used it once it hits real users hands.

Hopefully because price is key (although I'm not sure if they raised the price in the EU etc as well). If we are talking 300€ cheaper than the original quotes, so 2500€ and 3200€, then it becomes quite interesting.

Price will be probably lower. This $3500 is likely post-crazy-tariffs calculation and they would revise that, given the newly released tariff numbers.

https://www.eoshd.com/news/full-panasonic-s1-ii-and-s1-iie-specs-leak-as-usual-all-18-pages-of-it/ Mediocre is the word... So it's just an S5 II with a faster sensor then... A mediocre slightly unergonomic mid-range body that feels and looks like it should cost £1500. A high-end price £3500 Also very high-end lens pricing No eND. No ND of any description. I also think that the lack of proprietary raw format aka Canon Raw, N-RAW, Redcode, BRAW is holding Panasonic back. Get in there with your own codec my dear. Oh, wait, they didn't buy RED so have lost that game already. I do have a soft spot for the overall feature-set though... The wide-aspect ratios in both video (2.4:1) and for stills. The dual dynamic range modes and anamorphic. Open gate and stuff. Real-time LUTs. But it's in such a badly marketed uninspired package, which is a real shame as I am passionate about Panasonic and their remaining unique features.

It’s all just a bit, well to be blunt, a bit fucking odd, what is going on on Planet Lumix right now.

Its amazing that this situation doesn't change a bit with every new product announcement.

Well, other than 32-bit audio, Fuji. And often at a much lower price. And honestly a lot of people, me included, have no reason to give a shit whether the camera captures 32-bit audio. Most of my shoots are on sets with separate sound being captured and we sync by timecode so other than hopefully not sounding awful for viewing dailies, the sound captured by the camera is mostly ornamental. I should also add that most of those audio engineers, despite having 32-bit capable recorders, just record 24-bit anyway because "the files get too big" (which usually gets a sad laugh from me, looking at my camera recording 6k or 8k raw). In short, I don't need my camera to become a better sound recorder. If I were doing more run and gun interview sort of stuff, then maybe. Plus, as far as I can remember, 32-bit audio requires an extra device sold for $500. At that point, it's not all that meaningfully different than the cheaper and similar-sized Zoom F3 ($300) which I could just mount on any camera, record secondary 32-bit audio, and feed a clean signal from it into the camera's mic/line in to record at 24-bit in-camera. Then I would have perfectly decent audio in the camera and if something clipped in such a way that I wanted 32-bit, I could just pull the SD card from the F3. Anyway. Keep in mind that if we're talking about a $3,800 camera like the S1R II, it's also in competition with cameras like the (cheaper) Komodo which does open gate (though with a 17:9 sensor, but it can also crop down if you want anamorphic), allows baking in a LUT, can record ProRes, has nearly every monitoring tool (including the surprisingly useful traffic light monitoring system). And a $3,800, the S1R II is really not that far off from the Ronin 4D ($5,000), Canon C80 ($5,500), and Sony FX6 ($6,000). It's a great and capable camera - and I've seen at least one filmmaker who bought it to pair with his R4D (as I expected since the sensors are identical or close to it) as a much more portable travel camera, but Panasonic really either need to focus on the value for money segment (S9 being a good example) or offer cameras with truly compelling features that others don't have in the same range (internal ND, etc). Otherwise, not only isn't there a compelling reason to pick them up, there's also less time spent educating people on why you're not using Sony.

Here it is, the camera i have wanted 5 years ago! https://www.canon.co.uk/cameras/eos-r50v/ A strange time: so many options: a cheap red komodo for that indie movie, a supersmall canon camera with 10 bit codec - things everyone would have dreamt of 5-8 years ago.

Just passed through this, and my 2 cents: - If you work professionally, go Mac (and yeah, I'm a windows guy). Even a M1, for video editing, run circles around any price comparable WIndows machine. - If you are not a professional and/or Apple costs 2,5x more in your country than in US (my case are both), Windows is still good. But there is a VERY important point the narrowed a lot my choices, and a lot of people doeas not realize it until is very late - codecs and chroma subsampling support. If you want to edit without proxies, is a must have feature. What H.264 and H.265 Hardware Decoding is Supported in DaVinci Resolve Studio? If you work with h.264, bad luck: only 8-but 4:2:0, except if you get an RTX 5xxx series. If you use H.265, you have better support, but pay attention to the subsampling - the 4070 (and all the RTX 4xxx) does not decode 10 bit 4:2:2. This was my case, and that narrowed my choices (when I did the upgrade, the RTX 5xxx were not launched). I had to buy a Intel non-f CPU (as you) to use the internal GPU enabled just to use Quicksync for decode. For encoding, I did not found a comparable table like this, but since almost all reviews test the encoding (rendering) part, is just to look for the desired card. Ryzens are much more performant (and chepear to build, specially motherboards) but have almost nothing decode support in the iGpus. But a Ryzen with a RTX5xxx card, or an Intel ARC Card would be a choice for me nowadays. In my case, since the money was short, went for a i5-12600k (for good decoding for editing) and a RTX 3060 with 12gb (was better than the 4060 for because of 12gb instead of 8gb - and since I have not hurries for rendering, top performance in rendering was not a problem). Works with Fuji open gate 6.2k in 10-bit 4:2:2 as champ, albeit I only do minor corrections - with a lot of effects it could not be the case. But I saw a guy that made a system with a top i9 processor anda a 4090, but when tried to edit 4:2:2 10-bit, it was slow as hell. But probably was the last PC that I put together - I built all my computer since the 286 days. The new Mac Mini is a steal - for video, is better than a PC costing double the price of the Mac Mini.

I'm with Andrew. If the leaked specifications are confirmed, I find these two cameras to be completely dull, boring, and uninspired. I don't work in research and development, nor in the marketing department but I was a loyal customer and so I really don't understand the strategy (if there is a strategy). You have 5% of the market and you present two absolutely anonymous cameras that don't stand out from the multitude of cameras sold by the market leaders. You can't afford 6 full-frame cameras. What we all loved about Panasonic was its ability to stand out from the rest. In a market completely dominated by the usual players, it was able to innovate. Now that drive has been completely lost. Precisely because you are constantly losing market share and are fading into oblivion, for me the motto applies: When in trouble, go big! You have also absorbed what was once the professional division and you continue to present tired and worn-out concepts. RIP Panasonic

Let's continue to talk about millimetres, it's fascinating stuff.

Nikon now can do the funniest firmware update in history of hybrid mirrorless industry.