Leica SL3-P Review – Gorgeous Color Rendition, Confusing Menu – Video Review Added!

by Johnnie BehiriJune 25^th, 2026

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The Leica SL3-P is here, and we took it for a short spin. With up to 8K Open-Gate 24p recording, new LUTs, and a robust overall build, is this the hybrid Leica camera you’ve been waiting for? Let’s take a closer look.

Testing the original Leica SL Type 601 more than 10 years ago stuck in my memory as a very positive experience, since that camera used an original Leica sensor and implemented ZERO noise reduction when recording. This is why I still get excited whenever I have the opportunity to test a new camera from that famous German manufacturer. Will I be able to recapture that feeling with the newly announced SL3-P? Or does the (on-paper) resemblance to the Panasonic LUMIX S1R II already hint at the direction this review might be heading? Well, not so fast. Yes, Leica and Panasonic are collaborating very closely, yet the outcome and overall performance of the new Leica and its step-sibling, the Panasonic camera, are quite different.

For this review, I paired the new SL3-P with an Atlas Mercury 42mm 1.5X anamorphic, PL mount lens. I’d wanted to shoot something with it for a long time, and now that these lenses can be found at a more comfortable price, it was a good opportunity to do so. (More on working with this lens a bit later.) One of the camera’s strengths is the ability to record in 8K open-gate, so my piece to camera is recorded with a spherical lens in 3:2, while the sample footage was captured with the Atlas Mercury 42mm 1.5X anamorphic lens and de-squeezed in post. The sample footage was shot in L-Log, and for grading, I used Leica’s “Cine” and “Pure” LUTs. Both are new and available to download from Leica’s website here. The 33x33x33 .cube version is for monitoring the footage, while the 65x65x65 is for grading. I really like these new LUTs and could only wish that Leica would consider adding an option to bake them into the video file during recording, if wanted.

The elephant in the room – is this a dressed-up LUMIX S1R II?

As with any other recent release from Leica, the question of original identity always arises, and this release is no different. To start with, the sensor pixel count and the maximum 8K recording are identical to the LUMIX S1R II, and the use of “Dynamic Range Expansion” sounds familiar. Our dynamic range lab test is also a close call. But for me personally, this is where the similarity ends. From the overall camera design to the codecs used for internal video recording, these cameras behave very differently.

Perhaps the biggest difference comes down to a very different Log curve algorithm, which becomes evident in actual footage. I’m not sure how it is for you, but I was never a big fan of Panasonic’s V-Log performance. To my eyes and taste, when applying the relevant conversion LUT, the starting-point image is always far too red. In other words, I always struggled to get “proper” skin tones when using LUMIX cameras. Yes, it can all be corrected in post, but if you’re a LUMIX user, I’m sure you know what I’m referring to. And this brings me to the biggest strength of the new SL3-P.

As far as I’m concerned, the color science Leica demonstrates here is far superior to the LUMIX equivalent. For whatever reason, though, Leica wasn’t able to maximize this advantage, as other parameters fall short compared to the LUMIX S1R II. Here are a few to take note of:

• No internal RAW video recording. (RAW recording will be available to Atomos and Blackmagic Design recorders via HDMI soon.)
• As with the LUMIX S1R II, Internal ProRes recording is limited to up to 5.8 K resolution.
• There is a lack of pixel-by-pixel modes

As a side note, in both cameras, 8K open-gate is restricted to 24p only. (No 25p, as the camera’s processor lacks the power to do so.) 25p is available when using the 7.2K open gate option.

The “P” in the camera’s name might hint at the direction and destiny Leica is aiming for (“P” for “professional”?). In other words, the balance is roughly 70/30 in favor of photography over video when it comes to actual video capabilities.

So while Panasonic heavily promotes its cameras as highly capable video tools, Leica is unofficially suggesting that the new SL3-P targets photographers with strong ties to video.

A summary of our Leica SL3-P lab test

We also put the new camera through its paces in our lab. (For the complete article, please head here.)

Like the Panasonic LUMIX S1R II, the camera has a Dynamic Range Expansion (DRE) feature, which aims to enhance its overall dynamic range. Please be aware that, in general, using DRE comes at the expense of worse rolling shutter performance.

The Leica SL3-P has four native ISOs: ISO 400 and 1600 with DRE “ON,” and 200 and 800 with DRE “OFF.” While the lower native ISO is easy to identify, for the second native ISO value, you’ll have to guess what it is, or rely on the information we’re sharing here. Hopefully, in a future firmware update, Leica can consider marking those second ISO values clearly.

When it comes to dynamic range, the Leica SL3-P sits in the middle territory of consumer full-frame cameras. Quite strangely, and for the first time in our recent tests, using the second, higher native ISO—whether with DRE “ON” or “OFF”—gives us almost 1 stop better DR results. We assume this is probably due to more in-camera noise reduction being applied.

To conclude this section, I’ll say that in our lab test, the Leica SL3-P shows an interesting mix of behavior. All in all, the results are close to the Panasonic LUMIX S1R II, but we should mention that the SL3-P is more expensive and lacks some video features in comparison, mainly an internal ProRes RAW recording mode.

As for rolling shutter, those values are really bad for a 2026 camera, especially when using the highest-quality settings with DRE “ON.”

Dynamic range tests show good results of plus/minus 12 stops even without DRE, and the exposure latitude is on the upper end for consumer full-frame cameras, with 9 usable stops.

What I like about the SL3-P

As I mentioned above, its color science—and skin tones in particular—is simply gorgeous. The camera itself feels like a tank and is rated IP54 for serious outdoor work. Another useful feature we’ve seen before and also implemented here is Leica’s Floating ISO option. When engaged, zoom lenses with variable aperture settings can be compensated to mimic a constant aperture by smoothly and “automatically” raising or lowering the ISO. As a documentary filmmaker, I value this kind of feature. Filming in dimmed conditions is absolutely possible. In the lowlight footage that I gathered, the ISO values could have been raised, but I chose to keep it on the lower end to reflect that actual ambiance feeling.

What could have been done better?

Since this camera is aimed at people who also care about capturing video, it would be great if Leica could consider enhancing the following:

• Overheating can become an issue when filming in 8K open-gate, 24p, in hot rooms or environments. The IP54 sealing is not really helping to cool the camera fast

• Add 3200K and 5600K to the white balance section (currently only 3300K and 5500K are available).

• Mark the higher native ISO values clearly.
• Continue investigating whether internal video RAW recording is possible.

• Simplify the menu further. Leica worked hard on the SL3-P menu, but for me, it doesn’t quite land. It may be that some functions simply take time to get used to—like setting up “video profiles,” where you add what you need the camera to do by selecting core functions (resolution or codecs) and then follow the shrinking list of suggested possibilities until you find a setting that works for you.
• Make key functions easier to find. Anamorphic de-squeezing, for example, is buried deep in the menu (as a hint, you’ll find it under the “Camera Settings” option).

• Improve discoverability of hidden controls. Some functions only appear if you LONG-PRESS on the item itself (microphone gain in the audio settings, for example), or on the “i” button (for false-color values, which requires multiple presses of the MENU button to reach).

• Improve the battery charging indicator. The camera won’t come with a charger—which is perfectly fine—so batteries charge inside the camera. The thing is, regardless of battery status, the ON/OFF button (which serves as the indicator) always blinks GREEN. I’d prefer RED and ORANGE indicator lights alongside GREEN, so I can tell at a glance where I am with charging a specific battery.
• Add control over noise reduction in video mode (currently, there is none).

• Last but not least, and this is for Leica’s next model: please consider adding a fully articulated LCD screen for maximum shooting flexibility, plus a front tally light to indicate video recording.

Working with the Atlas Mercury 42mm 1.5X T2.2 lens

It’s been a while since I used an Atlas lens, and working with the Mercury 42mm was pure joy. Being 1.1kg/2.3lbs, it’s not the lightest, but in this particular setup, it simply added to the overall feeling of robustness. So all in all, I really appreciated the following:

• Subtle, homogeneous flares and streaks (sun-tinged golden flares)
• Good minimum focus (0.56m / 2.0ft)
• Length: 11.2cm / 4.9in only
• Very smooth focus and aperture gears

But as always in our “visual business,” the most important part is the visual impact of such a piece of equipment, and in this regard, the Atlas Mercury did a great job. It’s a lens that supported this camera in such a beautiful way. Normally, I try to film a mini-doc with new equipment like this, but unfortunately, my subject canceled on me at the last minute. As life is too short for agony, I simply stormed my surroundings, and with the help of this lens, it came out beautifully. As a side note, T2.2 is perfect for isolating objects or directing the viewer’s attention to what matters—even when filming wide shots.

If I have to criticize this lens, it would be for its ability to accommodate filters. Strangely enough, at our office we have a single 86mm screw-in variable ND filter from a company that is “no more” (Velium). It did the job just OK, as this 86mm ND filter doesn’t screw easily onto the Atlas lens.

Last but not least, Atlas is currently running a special sale of Mercury lenses (link here). For example, this 42mm anamorphic lens that I’ve been using can be found for $$4,499 instead of $7,995. Technical specifications for the Mercury line of lenses can be found here.

Conclusion

The new Leica SL3-P is a capable camera, but at a high price. In a way, this is unfortunate, as it would otherwise be quite appealing not only to existing Leica customers. On top of that, like it or not, this camera will always be compared to the Panasonic LUMIX S1R II, which delivers no less capable video functionality at less than half Leica’s price. In today’s competitive market, every customer counts, and those who buy Leica will continue to do so, while those who want to explore will have to consult with their better halves… Seriously, though, it’s a good all-rounder camera with excellent color rendition that records in 8K open-gate and up to 4K120p in full frame. Maybe it’s time for the company to start thinking about entering the very saturated video/cinema camera market by producing a dedicated device for those who will appreciate what it can bring to the market.

A big thank you to Gunther, Florian, and Marcel, my colleagues, for conducting the camera lab test.

What do you think about the new Leica SL3-P camera? Is this offering appealing to you, or are competitors doing a better job? Please share your thoughts with us in the comment section below.