Shield3

Well, you claimed they both shot 4K and UHD. So your not exactly accurate to the last number either.

just remove the plastic guard.  I've put the Canon 17-55is on my 1DC.

Are you Nikon owner by any chance Eno?

EH?
Neither have 4K UHD for a start. They only shoot DCI 4K.

That's hardly "technically precise" is it?

Long time reader, first time poster.
I don't know about the site owner, Andrew Reid's opinion about the 1DX mark 2, but I think this is great.
Sure, no C-Log, but if you've never used it..... Like I have.... You're not missing anything.
On top of that.... If you're coming from Canon.... Waiting for the past 2 years for a proper 4K camera from Canon without costing over $6000.... I mean... Remember when the 1DC was announced at $12999???
Anyway, I'm one of those canon guys... And although I didn't care much for 4K, I sorely wanted a high frame rate camera and I wasn't blind to the fact that in the future, whether I like it or not.... 4K was part of it. I wanted high frame rate, cause I like slow-mo and I use twixtor.
For the longest time I wanted a 1DC, especially since Andrew was raving about a used one... Better than most in terms of IQ and color science up till the end of 2015. But only difference between it and the 7D mark ii and the 1DC is 4K, not worth the more than 2 times the price.
Up until now, I was going to invest in an a7s ii, especially after hearing that it does 120fps, but was afraid of the convoluted menu system, it's weird color and heating issues. 
Motion Jpeg and Cfast, both space intensive and costly, but I'm looking at something that will last over 5 to 10 years especially if I'm investing $6000 in it. So, Cfast will get cheaper over that time, and I'm going to upgrade computers, increasing drive space and so on to accommodate the 4K stuff too.
Sure, there are other cameras... I'm a creature of habit and comfort.... I don't want to invest in something that requires more learning... Still learning how to color grade and add FX.
 
 

It has sony colors, I will stick to my eos rebel t1.

B+H just put up a used (10 out of 10 condition) c100 MARK II.  I assume it was some sort of return.  It was $4000 with the Ninja.  I had to do it!  Looks like FS5 high frame rates will have to wait and I will be using Twixtor when needed for now.  Regardless though, 60p slo-mo for a music video where vocals are present is plenty.  I am kind of bumbed though, the electronic ND on the FS5 is sexy but on the other hand, it would of been $2200 more with the metabones.  

For 99% of us here, what the D5 can or can not do specifically does not matter to us. Because I won't be buying one any time soon, or even in the next 5yrs (maybe maybe by then it might have dropped in price low enough to buy one on a laugh. For instance I almost purchased a D2Hs for the hell of it recently).

Instead what is so very significant about the D5 announcement is what it represents for video from Nikon, that they're bringing out 4K video the masses. Unlike Canon there is no restricting it only to their ultra high priced C line up, instead *EVERY* pro sports/journalist/etc photographer with a D5 will also be able to do 4K clips. Same can't be said for the 1D X users.
Even more so, Nikon has added 4K video to their APS-C level camera. (could you see Canon doing that?? nah). Nikon hasn't been shy in putting better video into their lower end cameras than their models above it (remember the D5200 being a better choice than the D800? http://www.eoshd.com/2013/02/is-the-cheap-nikon-d5200-a-better-option-than-d800-for-video-no-moire-aliasing-and-good-detail/ ), so I wouldn't be surprised if the D7300/D5600 gets 4K as well. (maybe even the D3400?? Though maybe that is too low end... might need to wait for the D7x00/D5x00 to get it first). D620 could arrive this year with 4K as well.
And for the poor Canon fan boys this is good news as well, as just maybe maybe this might prompt Canon to finally add 4K to their line up DSLRs! (other than their C range)
Because no matter how many cameras Sony/Panasonic/Samsung add 4K to, well... Canon probably doesn't care too much (incorrectly so), as they don't recognise them as their direct competition. But Nikon is their direct competition, if anything will make Canon feel compelled to respond it is this, just like what happened when Nikon brought out the D90 and changed all our lives.
Thus we should all be quite excited by the D5/D500 announcement! As it will cause a ripple that will create a bigger impact than many of us expect.

Panasonic AF100 from Oct 2011 - Shot near OSU Campus, Columbus Ohio.  Forget the lens; perhaps the 20mm F/1.7.
https://drive.google.com/file/d/0B3W9u9cu-URWS2plWl9PbGpsODg/view?usp=sharing
 
Here's another 5d3 raw clip with the 300 2.8 IS.  I had no ND or drop in filters, and as such the shutter is far too high. 
But look at those colors!
https://drive.google.com/file/d/0B3W9u9cu-URWZWlLbEFZSE1QZG8/view?usp=sharing
 
Sony FS700 240FPS - I adjusted the WB in post as this was a rental back in 2014 and I was testing it...
https://drive.google.com/file/d/0B3W9u9cu-URWRkxrYXFFZDFZZUk/view?usp=sharing
 

I save everything, so I should have some contributions here.
First up, Canon 1DC 4k
https://drive.google.com/file/d/0B3W9u9cu-URWUE1oamQwekRwWGs/view?usp=sharing
F/5.6, 70-200 II @ 175mm, Portrait profile 0,-2,-1,+2  WB: 5200
(If you have the camera settings and lenses let's include those too)
Up next, the amazing and stunning Canon 5d3 RAW - Shot at F/1.6 I believe with the 85 1.2 L II + a ton of ND.
Might be the best looking footage I've ever shot from a pure aesthetic point of view.  
Sorry I no longer have the DNG files, but this was brought into Adobe After Effects and I only adjusted the ACR sliders.  That's it.  No "looks" or anything like that.  From Sept 2014:
https://drive.google.com/file/d/0B3W9u9cu-URWcGlZdGRyYUxHRDg/view?usp=sharing
Tough to argue that anything looks better color wise for the money. 

More closer to the D500 really.
For 4K video the D5 is closer in spec to the NX1 but without the H.265 codec, DCI 4K and long recording times, or mirrorless mount, or EVF, or... I can go on!

This is the reason I'm not digging the new Blackmagic cameras. I think the old 1080, 2.5K images were so much lovelier.

I went to see the 3 hour  roadshow version at one of the locations in Florida with the custom 70mm projectors installed.
 The attributes of film were magical and did not dissapoint. In my opinion it kicks the best digital has to offer to the curb. The overture and intermission were also a classy throwback, but........in spite of the amazing format and talent, the whole thing left me empty and uninspired.   Extremely long drawn out takes seemingly unnecessary to the story.  Stage like lighting. Unmotivated to the scene nuclear highlights (table tops inside cabin).  Racial themes that left one wondering whether Tarantino intended for the audience to laugh uneasily or have empathy for the characters.  
At the very least I expect to be mildly entertained and at best to gain insight or a perspective from another's point of view.  
It's like experiencing the most expensive meal on the menu and then after digesting it, realize a simple homemade meal is far more tasteful and satisfying.  
 

Refund!  Aside from that, when I went the projector ran fine.  And it was fun to hear the film spooling, see the scratches, watch the image registration drift through the gate.  The narrative didn't work though.  Not an exceptional film regardless how it was shot.  Appealing to my inner-tech-geek, (hey!  They used the same lens as Ben Hur!) but otherwise nothing too remarkable as a movie...not on the a-list level anyway.  The director is too indulgent with his style and it was more weary than vibrant on this go 'round.
Liked watching Russell do his "Jack Burton meets John Wayne" character though.

I also want to like this new generation of Sony cameras. Ever since magic lantern blew the lid off canon DSLRs by enabling RAW, I've been expecting an HD/2K camera to come along that offers similar quality in proper shape at a decent price. Instead its all 4K smoke and mirrors, delivered with flaky, pain in the ass codecs.

Agree top looks more like Sony color, bottom looks more like Canon. Additionally, bottom has shallower DOF; full frame vs Super 35.
Shooting a live person is the real test- skintones are the toughest to get right.
Here I matched the C300 II to the A7S II: https://www.youtube.com/watch?v=0Ulmgc_a39Q
The Canon looked great with little work needed, it took a lot more to get the A7S II to match the Canon (still not perfect, but close enough for a test. C300 II has much more detail). That's the point people are making about Canon/ARRI/Red Dragon-(or later): when time is money, the tools which provide the best quality in the least amount of time will be used, even when the tools cost a bit more up front. Over time, the cost is much less due to less time in post. For hobbyists who only shoot tests, for fun, family, etc., this point doesn't really matter: initial cost is more important.
Sony is indeed getting better with color, however Canon is still ahead (as is ARRI and Red), especially in challenging light (multiple and/or gapped spectrum sources). The best way to see this is to shoot with both cameras on the same shoots in the same conditions.
The C300 II currently has the best skintones + autofocus of any camera at any price. Would love to see ARRI/Red come out with an even better autofocus/assisted-manual focus system.

How can you say this without doing a side-by-side comparison of both cameras under exactly the same conditions?
Sometimes a camera will seem pretty good by itself, but when compared side-by-side to other cameras, things like color and skintones become very apparent- the results may surprise you.

The ergonomics and features-set of this camera are near perfect for my kind of work. 
I cancelled my Ursa Mini 4.6k not only because of a change in working preferences, but because I wouldn't be able to use the camera with ANY of my grip equipment. (I still want it though! Haha). 
The FS5 seems like a great cousin to the A7S II and A7R II. Although I've used the FS7 many times this year, the bulk of the camera and the compatible grip equipment really does hurt to the point I now have to properly exercise my back. Not that the FS7 is particularly heavy, after a few hours you really start to feel it. Hard.
My setup is much more portable now. Got some Lupolux Dual LEDs (v-lock powered) and a Scorpion Light Kit (which I fully recommend. Amazing kit!). Smaller cameras are a much better fit as its much more liberating. Loving the A7SII in particular.
Andrew highlighted this in the review regarding the macro blocking issues in XAVC-L. When using it on the FS7, the issues are very very severe: 
- Heavy macro blocking, above the mids in particular. 
- Macro blocking in skin tones under mixed lighting. Blotchy/ugly. (Fine under controlled lighting). 
- Terrible blocky quality with fine textures (hair) or moving particles (steam/smoke).
- Tearing/smearing of fine edges and reflective items. Purple fringey smudge look. 
-Colour blotches/pixelation in when lighting colour is mixed. (Such as tungsten with a blue kick on the edge of the face. Anything stylised is problematic). 
- Exceptionally noisey in Slog, especially when using HFR. Noise is INSANE in slo-mo Slog! 
- Captures audio 4 frames out of sync with footage. (Doesn't happen in XAVC-I). 
- Some very heavy aliasing on thin, fine details. (Like a steel fence). 
 
I'm not sure if these issues are as strong on the FS5, but as it stands it's a deal breaker. XAVC-L, in my experience, is absolute garbage. 
I'd like to see how the camera footage performs with external recording. The RAW upgrade sounds cool. But having a 7Q+ on top of the FS5 kinda defeats the object doesn't it? It would be ace to have a smaller version, like Atomos do with the Ninja Star. 
I'm looking forward to your review and seeing how this camera progresses. If XAVC-L is fixed/bypassed efficiently - I'm a confirmed customer! 

Sony: Many cameras with so many serious defects, for their price...
when you get the chance to have 4K 10bit 4.2.2, we'll talk!!!!

Seems like every thread is about H.265 or the NX1.  I thought this damn thing was being discontinued / bought by Nikon? 
 

character - yes . I was thinking about this the last couple of days when I stumbled on some old gh2 footage. it has something that the gh4 does not.

FS-700 menus are fast. FS7 menus are slow- perhaps that's what he meant?

Other than the transcoding hassle, the #1 issue I had with the NX-1 is the fact that once you hit RECORD only the EVF *or* LCD is active.  You cannot toggle between them like the Sony a7x series.  This drove me nuts.

Having a metabones alike option to adapt canikon lenses to nx with af and aperture would make the fortune of nx.