Lumix GH7 vs S1 Mark II: Micro Four Thirds vs Full Frame, Tested in the Real World

December 28, 2025
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Can you really see a massive difference between Micro Four Thirds and full frame when everything is set the same? In this head‑to‑head video shootout, Geeky Nerdy Techy compares the Panasonic Lumix GH7 (MFT) and Lumix S1 Mark II (full frame) using identical settings—same picture profile, same white balance, same exposure strategy—then pushes both cameras through real‑world tests.

Autofocus

Both cameras now run phase‑hybrid AF with human/face detection, and both are fast and sure‑footed. Jump in and out of frame, cover your face, bring objects near the lens—the systems recover smoothly.

Note that some older Micro Four Thirds lenses (e.g., 20mm f/1.7, 14mm f/2.5) don’t drive AF as confidently as modern glass. With contemporary lenses like the Leica 10–25mm f/1.7 on the GH7, AF is excellent.

Verdict: Tie with modern lenses; slight system edge to the S1 Mark II for broader lens compatibility.

Color and picture profiles

Shooting V‑Log on both bodies and grading them the same can make results essentially indistinguishable—skill in post trumps sensor size here. For baked‑in looks, Standard and Natural profiles look great on both, with a personal preference toward the GH7’s color science in some scenes. You can match these closely if you know your grading.

Dynamic range and DR Boost

Backlit, high‑contrast scenes showcase the full‑frame advantage: the S1 Mark II offers more latitude when you need to recover highlights and lift shadows.

DR Boost availability: On the S1 Mark II, DR Boost is limited to certain modes and may drop you to 25p; it’s not available in 4K50. On the GH7, DR Boost operates broadly—even at 50p.
Rolling shutter: Enabling DR Boost increases rolling shutter; it’s best left off for handheld work if you’re sensitive to skew.

Low light

In ugly, practical indoor light, the GH7 holds up well to ISO 3200 (4000 in a pinch); ISO 5000 starts to show noise. The S1 Mark II’s dual‑gain architecture shines in V‑Log at its second native ISO (around 5000), delivering a cleaner image you can push higher.

Verdict: If you routinely shoot in dim conditions, full frame wins. If you live at ISO 160–1600, MFT is absolutely workable.

Handling and ergonomics

Both bodies feel excellent in hand. The S1 Mark II’s fully articulating screen tilts more flexibly but feels thinner with a looser hinge than the GH7’s sturdier‑feeling mechanism.

Usability highlight: The S1 Mark II’s dedicated SNQ control makes slow/quick switching frictionless.

Audio

Parity. Both support the DMW‑XLR1/2 adapters, include 3.5 mm inputs, and their preamps sound effectively the same in testing.

Stabilization (IBIS)

IBIS is outstanding on both. With e‑stabilization set to Standard, walking shots look very good on each camera. The S1 Mark II also offers a cropless mode, but for vlogging, Standard often provides the best balance of stability and natural motion.

Depth of field and the “look”

Micro Four Thirds can be the better choice for tutorials and product demos where you need more in focus—an f/1.7 lens on MFT behaves like roughly f/3.4 full‑frame equivalence for depth of field while keeping ISO low. For that classic full‑frame subject separation and compression, the S1 Mark II delivers it effortlessly. You can chase a similar look on MFT with specialty lenses, speed boosters, or careful focal length choices.

High frame rate and subject detection

Both cameras shoot 4K 100p slow motion. The S1 Mark II adds subject detection in HFR, which works well and is a meaningful upgrade if you rely on AF while shooting slow motion.

Media and overheating

Each body offers dual slots: CFexpress Type B and UHS‑II SD.

Reliability: The GH7 has been rock‑solid—no warnings or shutdowns—even with a non‑approved CFexpress card.
Thermals: The S1 Mark II, even on the latest firmware, overheated in 4K50 using CFexpress during late‑afternoon direct sun at around 28°C. SD cards may improve reliability; more testing is warranted.

Verdict: For outdoor events in summer heat, the GH7 inspires more confidence.

Codecs, open gate, and RAW

Open gate: GH7 tops out at 5.8K; S1 Mark II goes to 6K.
GH7 perk: A 4.4K 50/60p mode that maintains the same aspect ratios and looks superb in V‑Log.
S1 Mark II perk: New in‑camera 2.40:1 (Cinescope) recording up to 60p. Prefer Cinescope on GH7? Shoot open gate and crop using markers.
External RAW: GH7 at 5.7K/25p and S1 Mark II at higher‑resolution RAW/HQ options both look excellent; differences often come down to taste (e.g., GH7 sky blues were preferred in one setup).

Studio look and lens ecosystem

In the studio, the GH7’s color and handling are lovely, but the S1 Mark II’s full‑frame look isolates subjects beautifully and compresses the background in a way many creators want.

Lenses: Full‑frame currently has the more modern lineup—the Panasonic S‑series primes are consistent, compact, and AF‑friendly. That said, the Leica 10–25mm f/1.7 on GH7 covered much of this project alone and reduced lens swaps.

Key takeaways

Autofocus: Tie with modern lenses; slight system edge to S1 Mark II.
Color: Both strong; GH7 rendering was often preferred.
Dynamic range: Full‑frame advantage; DR Boost behavior favors GH7 at 50p.
Low light: S1 Mark II wins with cleaner high ISOs.
Ergonomics: Both great; S1 Mark II’s SNQ switch is a smart usability win.
IBIS: Both excellent; Standard e‑stabil looks most natural.
Overheating: GH7 is bulletproof in heat; S1 Mark II can overheat on CFexpress.
Formats: Both do open gate and RAW; S1 Mark II adds in‑camera 2.40:1; GH7 offers a handy 4.4K 50/60p option.