The camera that fixed Panasonic's biggest flaw. Finally with reliable autofocus, plus
class-leading stabilization and video features.
Vollformat Hybrid · 1.997 €
🎬 Best for Filmmakers
Das Urteil
For years, Panasonic cameras had amazing video specs but terrible autofocus. The S5 II changed everything
by adding **Phase Detect AF**.
It combines this new customized AF with the best In-Body Image Stabilisierung (IBIS) in the business. You
can walk and talk without a gimbal, and shoot 6K video that looks like a cinema camera. For solo
filmmakers, this is the one to beat.
The "pulsing" background of older DFD focus is gone. The S5 II tracks subjects smoothly and reliably. It's
not *quite* as predictive as Sony for sports, but for 99% of video work, it's perfect.
Open Gate Video
Most cameras shoot 16:9. The S5 II shoots 3:2 "Open Gate," using the whole sensor height. This lets you
crop a vertical (9:16) short AND a horizontal (16:9) video from the same clip.
Stabilisierung
Panasonic's "Active I.S." is black magic. It smooths out walking tremors so well that you can often leave
the gimbal at home, making your setup lighter and faster.
Ideale Objektive
Kit Lens
Lumix S 20-60mm f/3.5-5.6 — weird range, but amazing for wide vlogging.
Prime
Lumix S 50mm f/1.8 — affordable, light, and sharp.
Pro Zoom
Sigma 24-70mm f/2.8 DG DN Art (L-Mount) — the workhorse lens.
Partner-Hinweis
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Häufig gestellte Fragen
The biggest upgrade is phase-detect autofocus—the original S5 had slow contrast-detect AF. The S5 II also adds USB-C recording, improved IBIS (8 Blenden), and better heat management. It's a completely different camera in terms of usability.
Not anymore. Sigma, Leica, and Panasonic all make L-mount lenses. You have access to affordable Sigma Art lenses and high-end Leica glass. Third-party options from TTArtisan and Viltrox expand choices further. L-mount is smaller than Sony E or Canon RF, but growing steadily.
The IIX is identical hardware with unlocked video features: ProRes RAW, waveforms, and USB-C RAW output. If you're a serious video creator, the IIX is worth the extra 500 €. For hybrid shooters or photo-focused users, the standard S5 II is plenty.
Slightly better. The S5 II maxes at ISO 204,800 (vs 102,400 on A7 IV) and produces cleaner files at high ISOs. The dual native ISO design (ISO 640 and 4000) means noise is minimal at common video ISOs. For nighttime event shooting, the S5 II has an edge.
For many creators, yes. Unlimited 6K recording, 10-bit 4:2:2 internal, and V-Log make it a legitimate cinema tool. It lacks built-in ND filters and XLR inputs (requires DMW-XLR1 adapter), but the image quality rivals cameras 3-4x the price. Pair it with a Ninja V for ProRes recording.
