Leica SL3-S Filmmaking Capabilities Review

About the menu in video mode (sorry for the harsh words)

The menu screen of the SL3-S is divided into two main sections: still image mode and video mode, and the detailed menus differ for each. In this review, I will be talking about the video mode, but the word “unique” comes to mind when describing this menu structure. I would like to express my thoughts on this point with encouragement.

The biggest change from the SL2-S is the operation method of “creating recording settings as presets in advance and selecting from them.” This is probably because it automatically adjusts the selectable combinations of many parameters such as codec differences, bit rates, and resolution differences. However, this preset operation is not very intuitive, and when you change a setting in a preset, other settings change automatically, making it difficult to know what settings are currently in effect.

If you change one thing, something else will change automatically, so it’s important to create and check the presets carefully beforehand, otherwise it could cause an accident. Even if you try to change the parameter settings on-site, it seems quite difficult to do so instantly.

Another issue is with the manual white balance setting. This is the same as with the SL2-S, but the color temperature is set in 500 Kelvin steps. For example, you can set it to 5000, 5500, or 6000, but you can’t select the commonly used 5600 Kelvin value. I would have liked it if it could be adjusted in 100 Kelvin steps at the very least.

It’s worth noting but it can be fixed with firmware updates, hopefully

To be honest, it’s a shame that the hardware specs are so great. I hope that this issue will be improved in future firmware updates.

In full frame mode, you can set it up to 4K30P, but to get 4K60P you’ll need to do an APS-C crop.

Although there are many things I would like to improve on the software side, the images I get from this camera are still solid and there is no doubt that this camera has a mysterious charm. On the other hand, it can also be said that this camera still has a lot of room to grow. I look forward to seeing future developments.

The fun of shooting videos with Leica’s color worldview using “Leica Looks”

What makes the SL3-S even more appealing as a video camera is the presence of “Leica Looks.” As of February 2025, the “Leica FOTOS” app lists the following color styles: Brass, Chrome, Eternal, Contemporary, Classic, Blue, Selenium, and Sepia. I feel that this is where the real joy of shooting video with a Leica lies, and from among them, I selected Eternal. For this review, I shot 4K24P with ProRes recording, using the Leica Looks Eternal color style, handheld only with the SL3-S.

The footage was uploaded directly to an iPad Pro M4 and then used straight away in Final Cut Pro for iPad without any color adjustments, resulting in the video being cut and edited in about an hour.

Sample Footage

First of all, the most convenient feature I found was the LCD flip mechanism. When shooting at eye level, I actively looked through the EVF, but when I reach out and aim from a high or low angle, the benefits of the LCD flip are immeasurable. Also, this flip mechanism makes it easier to aim because the LCD is on the center axis of the lens, so it’s a mechanism I personally like.

In this test, each battery lasted about 70 minutes, and although I replaced it once during the test, the battery life was generally standard. The power supply is now a push button type, but pressing it briefly puts it into standby mode, and pressing it for a long time turns it off completely, so if you use standby mode more often, you can probably improve the battery life a little more.

This Eternal style is quite distinctive, but I personally like the atmosphere. There are other attractive styles as well, so if I had more time, I would have liked to take pictures with each one and compare them.

Recording in Log

I don’t always record in Log, but rather I often use the unique looks that the camera has, because Log is a shooting method that places more importance on tonality to increase the dynamic range, and the premise is that in post-processing you will return to the target look and add your own unique touches.

In other words, the data captured during shooting is treated as an intermediate file, and it is important to have the target look in mind and visualize it beforehand. You need the ability to produce your own color worldview, and you need to be constantly aware of it. If possible, you should load it into the camera or on an external monitor as a viewing LUT, and take your time shooting while looking at the waveform in Log straight and with the LUT applied. Of course, you can also use Log or RAW if necessary, but you should choose with a purpose in mind.

From a documentary filmmaker’s perspective

However, when shooting documentary style by myself, I want to concentrate on the events happening in front of me and not miss the moment I want to capture, rather than being distracted by the waveform. In that respect, the color science (here “Leica Looks”) that each camera manufacturer confidently offers is analog, and is similar to “selecting a film brand,” so for me it is better to entrust myself to the characteristics of the film and intuitively feel the colors on location while aiming for the target.

I like the tension of being able to complete everything on the spot, experiencing the unique look of the camera through the EVF, sometimes coming across unexpectedly good images, sometimes things not as good as I imagined. I think that each photographer has their own preferences, but I think that photographers with that kind of vector will understand this feeling.

The Shoot Itself

For this review shoot, I walked around Tsukiji Outer Market with the Leica SL3-S in hand for about two hours. I only had two camera batteries (one that came with the SL3-S rental machine and one that I owned), and because I wanted to be as mobile as possible, I attached my own Tilta VND to the front lens of the ApoSummicronSL 50mm using the Mirage clip-on matte box, and for the microphone, I just attached Sennheiser’s small gun microphone MKE-400-II 508898. It was a very simple setup, and I enjoyed using just the 50mm in a handheld style. I set the white balance manually to 5500 Kelvin.

I tried using the AF a lot, and although there were some moments of hesitation, I felt that it was generally within a practical range. The SL2-S’s AF often caused what is known as wobbling, but this seems to have decreased comparatively. I have also included example shots of tracking people and animals, so you can check out the feel of the AF. Additionally, I turned on the IBIS image stabilization. I think you will be able to get a sense of the camera’s quirks.

The Eternal look, which is the color style used this time, brings out the everyday atmosphere of the Tsukiji Outer Market well. It is a slightly magenta look with strong contrast and high saturation, but I think that when a look with such a strong personality is processed in post, it often becomes flat and the details are crushed. However, with this footage, it feels like a texture has been obtained that does not lose the atmosphere or details of the place. I think that this is the result of the hardware specs of the SL3-S.

A test for personal curiosity

For the last point of this Leica SL3-S review, I would like to try some tests that are not officially approved by the manufacturer, in order to provide an honest user review.

When you’re making videos, you inevitably want to do some zoom work. So I thought about how to do slow zoom when using the SL3-S body.

There are several possible methods. The usual method would be to wind a ring gear around a Leica genuine zoom lens to enable follow focus or motor control. However, this method requires a rod extension from the base plate and some ingenuity around the power supply. The system becomes larger and larger, reducing the mobility that is so important.

So, I suddenly got curious about what would happen if I were to use a mount conversion to attach the CN-E 18-80mm T4.4. I decided to test it on a whim with the equipment I had on hand. The result was that the lens was recognized and could be used properly!

The mount conversion adapter is Sigma’s “MC-21” as part of the L-Mount Alliance. The lens profile is recognized through the electronic contacts! And the power zoom works as if nothing happened. With this combination, you can also use slow zoom without any problems. It’s a moment when you realize once again how wonderful the L-Mount Alliance is. I let out a cry of joy.

Leica SL3-S Review Wrap-Up

In video production, you start with your goal of “I want to express this, I want to shoot this,” and then work backwards to think of the equipment that will allow you to achieve that goal as effortlessly as possible, so it’s important to put aside preconceived ideas for now and actively use whatever is available. From that perspective, a system that can be used in a variety of ways is worth the trial and error, and I personally like that kind of excitement.

Although the Leica SL3-S has its own unique characteristics, I felt through this review that it can be said to be a one-of-a-kind system as a movie camera that can shoot with Leica’s unique color worldview thanks to the benefits of “Leica Looks”. On top of that, there is the expandability provided by the L-Mount Alliance, and there is great potential to explore unique shooting methods, with a lot of potential for future growth.