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Leica SL Full Frame Mirrorless camera with Panasonic Tech!
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    • 24Mp FF sensor
    • SXAG 4.4MP resolution EVF
    • 2.95" touch-sensitive LCD with 1.04M pixels
    • 4096 x 2160 24 fps, 4:2:0 internal or 4:2:2 over HDMI


    This looks like an interesting beast of a camera!

    Full frame, 24mp, 4K up to 30fps, 1080 up op to 120fps, v-log, super 35 crop mode, aaaaaand an $8000 price tag USD.

    Hopefully this trickles down the line to Panasonic in a couple of years!

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  • 28 Replies sorted by
  • 10-bit 422, DCI 4K.

  • @driftwood 10-bit 422 4k, FF? The video could be amazing on that beast.

    We are probably looking close to the specs of the GH5 when it comes out, with possibly higher framerates on the GH5.

  • Minus the full frame sensor.

    This thing is going to be amazing though. And dual sd card slots. Hopefully they enable proxy recording to record 1080 files on one card and 4k on the other.

  • 10bit 4:2:2 when recording external via HDMI

    Internal to SD card with 4:2:0 8bit.

  • I would be really interested in purchasing a full frame Panasonic GH5. Nikon and Canon should be concerned at this point... if they drag their feet to much longer on a mirrorless full frame camera they might be in for a world of hurt.

  • PR

    The much anticipated mirrorless camera system designed for professional photographers is here.From legendary German camera maker Leica Camera comes the new Leica SL mirrorless system portfolio, once again ushering a new era of innovation in the photography world. The Leica SL’s autofocus – the fastest on the market – combined with its high-performance Maestro II series processor and expansive buffer memory, make it possible for photographers to capture images at speeds and resolutions never before attained. Even more ground-breaking, the exceptional compatibility of the Leica SL system allows access to almost every Leica lens ever made.


    Utilizing 2 GB of buffer memory, the processor makes it possible to capture 24-megapixel exposures at rates of up to 11 frames per second, 4K video at 24 or 30 frames per second, and Full-HD video up to 120 frames per second. Pictures can be quickly saved to one or both of the SD memory card slots, in JPEG and RAW DNG formats simultaneously. The primary card slot utilizes the UHS II standard to ensure the main card attains the highest speeds currently possible. The combination of outstanding imaging performance, superior resolution, and the fastest autofocus makes working with the Leica SL the ideal experience for the demands of professional photographers.


    The Leica SL’s 24-megapixel CMOS full-frame sensor guarantees impressive dynamic range, excellent contrast rendition, exceptional sharpness, the highest resolution, and noise-free images in almost all lighting conditions, with shutter speeds from 30 minutes to 1/8000 second. The sensor reveals its full potential in combination with Leica SL lenses, especially in available-light situations, creating superior-quality atmospheric exposures at sensitivities of up to 50,000 ISO. What also sets this sensor apart is that it is optimized for use with all Leica M-Lenses; in addition to supporting all their functions, it delivers the excellent picture quality synonymous with Leica for more than a century.


    The Leica SL system’s new lenses will boast the superior optical and mechanical precision that users have come to expect from Leica. The ideal standard zoom lens in the portfolio, the Leica Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH, encompasses wide-angle to moderate telephoto perspectives at fast apertures. The speedy Leica APO-Vario-Elmarit-SL 90–280 mm f/2.8–4 will follow in early 2016, and the portfolio will be rounded out by the Leica Summilux-SL 50 mm f/1.4 ASPH, the new benchmark lens for this focal length, in late 2016.

    The exceptional compatibility of the Leica SL system also allows access to almost every Leica lens ever made, giving photographers the ability to use all of the quality Leica lenses they have invested in over time. All lenses for the Leica T camera can be used without an adapter on the Leica SL. In addition, adapters allow Leica S, M and R system lenses, as well as lenses from other manufacturers, to be mounted on the Leica SL. Additional Leica SL Lenses are set to be released in 2016.


    Developed especially for the Leica SL, the electronic viewfinder is the first of its kind to feature Leica EyeRes technology. With a refresh rate so high the view is always smooth and consistent, an impressive resolution of 4.4 megapixels for amazing detail, and a magnification reminiscent of a medium format camera, this electronic viewfinder reveals an entirely new visual experience. By offering a preview of how the settings will apply with just a partial press of the shutter release, the viewfinder provides optimum control over the final picture in any situation. The EyeRes viewfinder is activated simply by looking through it. In addition, the Leica SL also features a 2.95-inch rear display with a viewing angle of up to 170 degrees that enables reliable viewing of pictures and intuitive touchscreen menu navigation.


    Much more than a still-picture camera with video-recording capability, the Leica SL fulfils the most stringent demands of professional cinematographers, enabling the production of professional videos in 4K resolution. Videos can be recorded in Ultra-HD at up to 30 frames per second, or in Cine4K at 24 frames per second. In Full-HD, the Leica SL can record video up to 120 frames per second, using the entire sensor area, for beautiful and smooth slow-motion effects.

    The Leica SL’s logical and intuitive handling allows seamless switchover from stills to motion-picture recording. As soon as the camera is in video mode, the display shows only relevant information for video, such as safe area, aspect ratio, zebra function and the recording level of the microphone. An optional audio adapter allows users to connect an external microphone; the audio-recording level can be set without accessing the menu. Videos can be output in 4:2:2 10-bit format in 4K resolution over HDMI 1.4, allowing cinematographers to get the highest color and video quality and control needed from the camera.


    The “Made in Germany” seal of quality for the Leica SL system guarantees that only the finest materials and craftsmanship are used in its construction. The SL’s solid-aluminium body components, and precisely engineered weather-resistant seals around controls and in the lenses, provide optimum protection against dust, moisture and splashes. Meanwhile integrated ultrasonic sensor cleaning removes dust and dirt, preventing them from showing up in images. The glass covering the back panel display is extremely scratch-resistant and features an anti-glare coating. All these properties make the camera an ideal tool for use in the unpredictable conditions professional photographers face.

    The Leica SL (Type 601) body (SRP: $7,450) and Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH zoom lens (SRP: $4,950) will be available beginning November 16 at your local Leica Store, Leica Boutique or Leica Dealer. Additional Leica SL lenses and accessories are set to be released throughout 2016; the Leica APO-Vario-Elmarit-SL 1:2, 8-4/90-280mm ASPH will be available in Q2, and the Leica Summilux-SL 1:1, 4/50mm ASPH will be available Q4.

  • @Azo I do not thinks so for all the lenses are not siutable for fullframe and the weight advantage of the lenses would be gone too. But back to Leica: For the price of one Leica SL + 24-90 you can get 4 GH4 with the 12-35.
    In my opinion it can't be that much better.

  • For the price of one Leica SL + 24-90 you can get 4 GH4 with the 12-35. In my opinion it can't be that much better.

    Leica is made for people who can buy 100 GH4s with ease, just do not need them.

  • @AKED Yes, realistically speaking I agree. However the tide is changing and the fact of the matter is that there are people who jumped ship to Sony/Panasonic etc because Canon dragged their feet. I know that Panasonic would have to make a bunch of full frame lenses but again they already have the infrastructure set up and and technology to produce excellent lenses. So to me it seems plausible given the current development.

    Back to Leica.. Back in 89 when I worked in a camera store we sold maybe 5-10 Leica cameras in 1 whole year. And the people that came in to buy the cameras went straight to it and said I want to buy the Leica. They were not interested in anything else even though the Nikon F4 at the time IMO was a vastly better camera. This is definitely a niche market but surprisingly there is enough of this niche market to keep them in business so they are doing something right.

    Wish I could come out with a product with an insane profit margin and have that type of clientele. I probably wouldn't be on this forum if that was the case ;-) LOL

    Most of the professional photographers that I knew had Nikon bodies along with other medium format cameras. Only one of the photographers had a Leica and he was kinda of a rich snob to be honest. So yeah definitely niche market.

  • Huge, ugly, waaay overpriced. Unimpressive.

    The only interesting thing is how it will affect future Panny cameras...

  • @Azo ...

    "Wish I could come out with a product with an insane profit margin and have that type of clientele. I probably wouldn't be on this forum if that was the case ;-) LOL"

    You said a ton there! I've been a pro portrait photog since '77, and yea ... Leica always appealed to more of a pro-sumer snob type, or a few simple techno-types that just HAD to own & use one. Most working pros used Nikons for 35mm and for medium format, it depended on the trade one did. Commercial shooters nearly all went for the Hasselblad, and the majority of portrait shooters in the US went to the Mamiya RB67 with the larger neg & revolving back, though a fair number went Hassy or a few others.

    We were RB people ... took the larger neg & quite a bit cheaper prices (buying used ... tough gear). At a wedding we did back then, had an uncle show up with like five aluminum Halliburton cases of Hassy gear ... dude was a neurosurgeon in Minneapolis, and had more invested in the five cases than we had for two photogs & full studio lighting setup for all our gear. Rich hobbyist, of course. Have no clue if he actually knew how to use that stuff.

    We couldn't justify the price, no way. And looking at this ... was wonderful down to ... $8G's. Um ... no.


  • To bring out a Panasonic FF stills camera would be 1,000,000 times more foolish of Panasonic than not bringing out the AF100 successor. As they can't be seen to abandon the m4/3 range (Sony was wise to have a mount which can be used both on their crop sensor cameras and on their full frame cameras).

    I wonder, does the Varicam have anything under its PL mount? Like Sony does with their FZ mount.

    Unfortunately I strongly suspect the Varicam doesn't have this feature (instead it is just swapping between the PL and B4 heads, for S35 vs HS feature), which is a pity as least then a logical mount would exist for a future Panasonic camera to take up and use (as Sony would never let Panasonic use their FZ mount, which is my 1st preference. Though I dunno if FF would work with FZ mount?!?! It is a rather large opening however, suspect it might!).

    A Panasonic FF-GH5 with some kind of "Varicam-FZ" mount would be super awesome. Ah well.... invent a new mount??? A mount which they'll then bring out almost no lenses for. Just like Sony did with their FZ mount! LOL

    But yeah... that could kinda make sense in a weird twisted way.

    Thus don't bother about using a mount that they'll make lenses for (as they should keep the focus on m4/3, which they've built up large resource of lenses in).

    Treat this mount in a new camera like Sony treats their FZ mount! Then go and target a price point somewhere in the C100 to F5 price range. (I'd prefer the C100 end of that range.... but anywhere there would be at least something, better than their current NOTHING being offered)

    However if they were to go down that path, maybe perhaps I'd rather they just stuck with m4/3 and S35 sensors?! (like the JVC LS300) Depends on where they position this so called "FF-GH4", if it is priced more like a C100 (thus keep with S35 and m4/3) or going after the F5 (then heck, go FF and a new "Panny-FZ" mount!).

  • I watched the promo vids.

    Do I need this camera? .. No

    Do I want this camera? .. Yes

    Can I afford this camera. ... fuck no

  • When you see human hands holding it, you'll laugh out loud

  • Hi guys did anyone miss the statement that in 4k the SL only uses the super 35mm part of the sensor. It is not 4K FF allegedly

  • Nowadays V-log seems to get pricely sketchy...

  • Nothing too different to the GH4 h264 codec on the new Leica SL, however, V Log L on first impressions looking at Voldemort Hideout's files seem screwed up even with the VLog to Rec709 LUT applied. Crazy curves and weirdness going on as you can see. Bit worried about Reid's setup/ whilst filming in the Leica shop - it can't be doing this... more info soon.

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  • Here is something shot recently by a friend with not much experience with the SL in Vlog.