Pocket 4P vs Panasonic S1II: What Would I Buy for Slow Motion?
I would decide how much slowing I need
For occasional mobile slow-motion clips, I would consider the Pocket 4P before buying a large mirrorless system. For planned work where lens choice, working distance and the rest of the production matter, I would consider the Panasonic S1II.
The Pocket can record a higher advertised 4K frame rate, but that does not make it the better camera for every slow-motion shot. I would start with the action, the light, the required view and the speed of the finished video.
This is a research-based comparison of official DJI and Panasonic specifications checked on October 23, 2026. I have not compared matched slow-motion clips from these cameras. S1II here means DC-S1M2, not the different S1IIE model.
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Photograph source and credit: Damian Gadal / Wikimedia Commons
Photo licence: CC BY 2.0
The frame-rate comparison I would actually use
Setup | Manufacturer-listed high-speed mode | Nominal slowing on a 30fps timeline |
Pocket 4P wide camera | 4K at up to 240fps | 240 ÷ 30 = 8× slower |
Pocket 4P medium-tele camera | 4K at up to 200fps | 200 ÷ 30 ≈ 6.67× slower |
Panasonic S1II | C4K / UHD 4K at up to 120p | 120 ÷ 30 = 4× slower |
These calculations use nominal frame-rate labels. Exact rates and available choices depend on the camera’s system and recording settings. On a 60fps timeline, 240fps provides 4× slowing, not 8×. I would choose the delivery rate before treating an advertised slowdown factor as meaningful.
The Pocket’s two cameras do not have the same maximum
DJI lists 4K slow motion up to 240fps for the wide camera and 200fps for the medium-tele camera. I would check which view the shot needs before choosing a frame rate.
Its 20mm and 60mm equivalent lenses give two useful views in a small gimbal camera. They do not replace the choice of lenses on an interchangeable-lens body. A close view of a distant subject may call for different equipment, even when the Pocket has more frames per second available.
For a short moving clip where its framing works, the integrated three-axis gimbal and 230g camera make a practical package. I would not buy a heavier system just to record a few slow-motion details between normal-speed shots.
The Panasonic’s high-speed view needs checking
The S1II has a 24.1-megapixel partially stacked full-frame sensor and supports C4K/4K at 120p. Its interchangeable-lens system gives me more choice over the view and working distance.
The manual’s crop notes matter: at 100/120p, C4K has an approximately 1.17× crop and UHD 4K an approximately 1.24× crop, even with the image-area setting on FULL. I would not describe those modes as the same full-width view as every lower-frame-rate setting.
I would select the exact format, frame rate and lens, then check the composition. For a tight indoor shot or a wide moving scene, that change in view can matter more than a headline resolution.
Photograph source and credit: Izvora / Wikimedia Commons
Photo licence: CC BY-SA 3.0
More frames also change the light problem
High frame rates leave less time for each exposure. If I also want crisp individual frames, shorter exposures make the lighting requirement more demanding. I would check the actual scene instead of assuming that a high maximum frame rate remains useful in a dark room.
A full-frame label alone does not settle the comparison. The lens aperture, cropped recording area, exposure and processing all matter. I cannot name a low-light winner from these specifications without matched footage.
I would also test indoor lights for visible flicker in the intended mode. A light that looks steady to my eye can behave differently when recorded at a high frame rate. Changing the camera does not guarantee that the lighting problem disappears.
I would separate recording from playback
Before a shoot, I would make a short test and inspect how the camera writes the file. Some workflows record a high-rate clip for slowing in the edit; others make a slowed file in-camera. I would confirm the playback rate, duration and audio behaviour of the exact mode I selected.
I would not assume that normal-speed audio accompanies every slow-motion mode. If the sound mattered, I would plan and test it separately. I would also check card compatibility, power and recording limits before treating a short successful test as proof of a long session.
Slowing the clip is only part of the edit. I would leave enough movement before and after the key action to make a usable sequence, and decide where normal-speed footage should return. The slowest possible clip is not automatically the most useful one.
What would justify the larger kit?
I would pay for the S1II when a particular lens, working distance or wider production requirement justified the body and accessories. My total would include the lens, suitable media, power and support—not just the body price.
For the Pocket, I would price the camera package, protection, compatible support and any required storage or audio. If its fixed views already met the brief, the smaller complete setup could be the more sensible purchase.
If I already owned a camera that delivered the amount of slowing I needed, I would keep it. I would upgrade only when I could name the missing shot, not because another camera had a larger maximum frame-rate number.
My choice
For simple high-rate clips on the move, I would start with the Pocket 4P after checking the required lens and light. For planned work that needs interchangeable lenses and a fuller production setup, I would choose the S1II. I would judge the finished shot, not only the number on the menu.
For event work and multi-format delivery, read Pocket 4P vs Canon R6 Mark III
For recording safeguards on paid work, see Pocket 4P vs Sony FX30
Official sources
Wide and medium-tele slow-motion modes, lenses and weight: DJI Pocket 4P specifications
S1II sensor and recording capabilities: Panasonic S1II product information
Exact C4K and UHD high-frame-rate crop notes: Panasonic S1II recording-quality manual
Search current camera options
Confirm the exact model, lens inclusion, supported media, seller, local warranty, returns and final price. The S1II and S1IIE are different cameras. Pocket 4P availability varies by country; a USA search is not proof of an official US release.
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