Too many hybrid cameras skimp on photo features, but the Panasonic S1R II may have finally gotten the mix just right

As social media platforms push video higher up on the algorithm food chain, cameras have gained more video features, making the line between a camera and a camcorder much hazier than before. The result? The list of mirrorless cameras now includes a number of “hybrid” cameras, tools designed to appeal to both the still photographer and the videographer. The problem? I think too many so-called hybrid cameras leave out a few essential photo features, feeling far more video oriented than stills. But the new Panasonic S1R II may have just set a new bar for benchmarking the best hybrid cameras.

One of the things that Panasonic is known for is advanced video features. The company refers to cameras like the S5 II and the Micro Four Thirds GH7 camera as hybrid devices that are geared for both photos and video.

However, two big features have been missing from Panasonic’s early attempts at hybrids that are now fully back at launch with the S1R II: Live composite and multiple exposures. Live Composite is a unique feature that blends light trails together in camera. I’ve used it to photograph both star trails and fireflies and have always loved the results, so I was disappointed when cameras like the S5 launched without it. It’s a less-known feature (although OM System offers it too) that previously set Panasonic cameras apart.

Multiple exposure mode was also missing from the original S1R and cameras like the S5. But unlike Live Composite, multiple exposure is a fairly standard feature – it’s typically not hard to find.

Now, both Live Composite and multiple exposure are available in the S1R II. The new flagship isn’t the first to gain these features back, as the S5 II and S5 IIX finally got Live Composite back with a firmware update.

But as much as I love Live Composite and multiple exposure mode, those two features aren’t the only reason that the S1R II is the first hybrid camera that I actually find tempting as a stills photographer. The camera’s burst speed is much improved too, as the original S1R’s 6fps bursts with continuous autofocus doesn't really feel like flagship material.

Now, I'm using the term flagship a bit loosely, but the S1R II is the priciest full-frame mirrorless in the company's current lineup. Panasonic’s flagship isn’t on quite the same level as the likes of the Sony A1 II, the Nikon Z9, or the Canon EOS R3. But the S1R II’s list price reflects that. A $3,299 / £2,999 / AU$5,499 list price is fairly competitive for a fast, high-resolution pro-level camera.

But if I ever wanted to move from Fujifilm to full frame, I would take a serious look at the Panasonic S1R II. Not just because of the Live Composite, multiple exposure and that high-resolution sensor. But because Panasonic also allows for LUTs, which allows for in-camera color grading. That’s going to be the closest thing my Fujifilm heart can find to film simulations on a full-frame camera.

My biggest disappointment so far with the S1R II? The battery life, which is just 350 shots with the LCD screen. Why are we making professional flagship cameras with a measly 350-shot battery life in 2025? I know, I know, I can buy the battery grip or extra batteries to take along with me, but an improvement in the battery life would have made the S1R II even more tempting.

Naturally, looking at a spec sheet for a camera can only tell me so much. But so far, the S1R II looks to attract filmmakers without jeopardizing stills features – it's the most intriguing full-frame hybrid camera that I've seen yet.

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