Panasonic Lumix 24-60mm f2.8 First Look

Today deals at Amazon, BHphoto, Adorama, Amazon DE, Amazon UK, Amazon FR, Amazon IT, FotoErhardt DE, FotoKoch DE.
Sony Fanboy to LUMIX Shill — What Changed? (Vu Nguyen).
LUMIX S9 & SONY ZVE-1: Brothers from another Mother (Geeky Nerdy Tech).
Lumix 20-60mm vs Pana Leica 10-25mm pixel peeping comparison (Aiur Media).
Strobe vs. Continuous: Which Should You Add to Your Lighting Setup? (Explora)
Freeze Mode: What is it? (42West)

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Zach considers the Lumix S1IIe the most underrated camera because it delivers exceptional video and hybrid performance at a significantly lower price than its more hyped siblings, but was completely overshadowed at launch — even by Panasonic themselves.

Here’s why he feels it’s underrated:

1. Quiet Launch & Poor Marketing:
• At the launch event, Panasonic focused almost entirely on the S1II and S1RII, barely mentioning the S1IIE.
• Major websites and even Panasonic’s own site list incorrect specs or incomplete details, creating confusion.
2. Value for Money:
• At $1,000 less than the S1II and S1RII, it offers nearly identical body design, usability, and pro-level features.
• Internals are similar to the trusted S5IIX but with meaningful video improvements like 6K Open Gate and Blackmagic RAW output.
3. Strong Video Capabilities:
• 6K open gate up to 30fps, CineScope 6K60, external BRAW, dual card slots, and robust codecs make it a filmmaker’s dream.
• Despite an older sensor with limitations (no full-frame 4K60), the visual quality is impressive.
4. Pro Usability in a Rugged Body:
• Same durable, ergonomic body as high-end models.
• Great IBIS, autofocus, full-size HDMI, and direct-to-device livestreaming.
• Supports Ari Log C3, giving it flexible, cinematic color options.
5. Real-World Proven Performance:
• Used by Zach and others for everything from YouTube to professional TV production.

In short, the S1IIe gives creators 90% of what the flagship models offer, but for much less money — and its lack of attention is due more to marketing than merit.

$35 off on the Airtag 4 Pack sold on Amazon (click here). I use a ton of them to track all my gear and bags with these accessories.

And check out this BHphoto page (Click here) to see all latest CES announcements:

If you shoot video for clients, YouTube, or your own creative work, choosing the right hybrid camera matters less on paper and more in how it fits your workflow. Two bodies on “Dorn To Film” radar right now are the LUMIX S1 II and the Nikon ZR. Rather than spec-chasing, this is a practical look at what actually impacts your footage, your edit, and your peace of mind on set.

Who these cameras are for
– LUMIX S1 II: A video‑leaning hybrid with strong stabilization, mature log options, and creator‑friendly tools. Recent LUMIX bodies have stepped up autofocus and reliability for run‑and‑gun.
– Nikon ZR: A photo‑first feel with very competent video. Nikon’s color and ergonomics are easy to love, and the video pipeline integrates well with modern 10‑bit log workflows.

Real‑world differences that matter
– Autofocus behavior: Continuous AF has improved across both ecosystems. Test your typical use (talking head, gimbal walk, dim interiors) to see how subject detection and focus “stickiness” feel. Subtle differences show up in backlit faces and low‑contrast scenes.
– Stabilization: Panasonic’s IBIS is known for being very usable handheld. Nikon’s combo of IBIS + lens VR is solid. If you shoot a lot of handheld doc or weddings, stabilization feel can outweigh small spec differences.
– Color and grading: Both offer log profiles. LUMIX V‑Log is predictable and pairs well with LUT‑based workflows. Nikon’s log also grades nicely, with pleasing skin tones. If you already have LUTs you trust, that can speed delivery more than any new codec.
– Rolling shutter and motion: If you pan quickly, shoot sports, or whip the camera on a gimbal, rolling‑shutter behavior shows up fast. It’s worth doing a quick test pass before committing to a camera for action work.
– Audio and monitoring: Check for clean preamps, headphone jack placement, and monitoring tools (waveform, vectors, safe areas). These small usability details save takes.
– Reliability and thermals: Long interviews, conferences, or weddings push cameras past spec sheets. Set up a one‑hour record test in your environment to confirm temps and file spanning behavior.
– Lenses and ecosystem: L‑Mount (LUMIX) and Z‑Mount (Nikon) both offer great glass. Consider your must‑have focal lengths with fast apertures, plus affordable zooms for event work. Availability, rental options, and used prices matter.

Recommended use cases
– Documentary/run‑and‑gun: LUMIX S1 II for its handheld friendliness, robust monitoring tools, and consistent log workflow.
– Hybrid creators (photo + video): Nikon ZR for its stills experience, pleasing color, and straightforward grading pipeline.
– Solo operators: Prioritize dependable AF, battery life, and IBIS over niche formats you rarely use.

A simple, reliable capture setup
– Recording format: Choose 10‑bit log for main projects; keep a 4:2:0 profile for fast turnaround content.
– Exposure: Meter for skin and protect highlights. Treat log like a negative—slight overexposure is fine if it preserves detail without clipping.
– White balance: Lock Kelvin to avoid shifts in edits. Use a grey card when possible.
– Audio: Dual‑record—on‑camera scratch + a lav/boom to a separate recorder, or use an XLR module if supported.
– Power: Carry more batteries than you think and a USB‑C power bank for emergencies.

Fast color workflows with LUTs
– Use technical LUTs to convert log to a workable baseline, then apply creative LUTs lightly (think 20–60% intensity) for a consistent look.
– Keep a few “anchor” looks you know well. My LUTs are designed to give natural skin and a clean contrast curve while staying flexible for mixed lighting.
– Third‑party LUTs like Phantom Luts can be great starting points; always fine‑tune per scene.

Music, sound design, and motion graphics
– A strong soundtrack and subtle SFX can lift average footage. Build a personal library of go‑to tracks, whooshes, risers, and textures.
– Motion graphics templates speed titles and lower thirds. Keep a brand kit (fonts, colors, animation timings) for consistency across videos.

What I’d buy first (priorities, not brands)
1) A body with dependable AF and monitoring tools.
2) Two fast primes or a fast standard zoom + a lightweight wide.
3) Variable ND to control shutter and aperture outdoors.
4) Audio that you trust (lav + on‑camera shotgun or XLR module).
5) A small light and bounce for quick, flattering interviews.

Final thought
Both the LUMIX S1 II and Nikon ZR can produce beautiful video. The right choice is the one that keeps you shooting confidently and grading quickly. Test what you actually do: face tracking in mixed light, handheld walking shots, a 30‑minute sit‑down, and a quick edit. If a camera gets you through those with minimal friction, that’s your answer.