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I've found the key to getting accurate skin tones on the A7s to be ALWAYS do a good manual white balance, and using the right picture profile.
Like you, I do corporate work where you can't get away with arty skin tones. When required you need a straightforward look that just looks right and doesn't draw attention to itself.
I tried S-Log and I'm still finding my way into it, but I'd recommend Kholi's picture profiles from another message board. I won't link to it here as I'm not sure if that's against the rules, but you can find it easy enough with a google search or drop me a message and I'll point you in the right direction.
This profile really gave me colour which matches almost exactly with my 5D mk2. It's from a guy called Spreeni who slightly modified one of Kholi's profiles. It's a cine2 profile which is relatively flat but perks right up with minor colour correction and is much easier than S-Log 2 to deal with. Try this out before you drop your A7s altogether. And remember to do that white balance! I recently got an Expodisc 2 and it's really helped a lot.
 
Black Level: -11
Gamma : Cine2
Black Gamma > Range: Wide , Level: +7
Knee > Mode: Manual , Auto Set > Max Point: 95 , Sensitivity: Mid, Manual Set > Point: 105%, Slope: 0
Colore Mode: Pro
Saturation: +6
Color Phase 0
Color Depth > R+3, G-3, B+1,, C-3, M-1, Y-0
Detail > Level, -5 Adjust > Mode; Manual, V/H Balance: -2, B/W Balance Type3, Limit: 0, Crispening:0, hi_light Detail: 0
 
White balance: No Grid setting needed !

BMPCC-specific Speed Boosters have a magnification of 0.58x, and are only available in Canon-EF, Nikon-F, and Leica-R lens mounts.  You could mount Yashica lenses to the Canon-EF BMPCC Speed Booster via a EF-C/Y adapter ring.  Another possibility is to use the normal 0.71x m4/3 Speed Booster, which is available in a C/Y mount.  However, you lose the extra speed increase and focal length reduction you get with the BMPCC-specific version.  Also, the BMPCC version is optimized to work with the non-standard filter thickness of the BMPCC camera, which makes a difference if you are shooting with fast optics (e.g. f/1.4).

So, I've just shot a quick test using my GH4 and a Ninja Star. The test is to check the differences between the internal HDMI-based 4K downscale and the 4K -> 1080p downscale using the 4:2:0 8-bit H264 as a source.
The images can be downloaded in full resolution here: https://www.dropbox.com/s/e6o06zoowk7z5fh/GH4%20Test%20Images.zip?dl=0
See the attached files for some side-by-side 100% comparisons.
Images are from the GH4 (set to a gently tweaked CineV, 4K 100M 24p - really 23.98, 180 degree shutter, Sigma 18-35 at f/2.8 on a Speedbooster at ISO 400, auto white balance, tungsten lighting).
They were captured to 1080p using the following workflows:
Clip 1: Recorded in GH4 (4:2:0 8-bit H.264 4K) then downscaled in Red Giant Bulletproof to 1080p ProRes 422HQ.
Clip 2: Recorded in GH4 (4:2:0 8-bit H.264 4K) then downscaled in FCPX by adding to a 1080p timeline.
Clip 3: GH4 HDMI out (4:2:2 8-bit) to Atomos Ninja Star (ProRes 422HQ)
Clip 4: GH4 HDMI out (4:2:2 10-bit) to Atomos Ninja Star (ProRes 422HQ)
All clips were then placed in an FCPX timeline (Clip 2 was placed as a 4K file), then a frame was exported as a TIFF uncompressed file at full 1080p resolution. No effects, grading, or anything else was applied.
I tried to choose a subject (ColorChecker Passport and tomato, lit just off-axis with a side light accent) that would both provide some sharp edges as well as gentle gradients, and the green/red of the tomato should hopefully accentuate any actual chroma sub-sampling issues that exist. Camera was on a beanbag so please excuse any pixel-level misregistration, I don't have my tripod handy right now.
I hope this helps someone.
GH4 Test Image 1.tiff
GH4 Test Image 2.tiff
GH4 Test Image 3.tiff

Source: http://www.cinematography.com/index.php?showtopic=66581&p=425881
Irrefutable proof that the Cinema Camera and Pocket Cinema Camera produce the best picture under $2000. Lighting and composition are the cornerstones to producing filmic work. So is grading. 13 stops of RAW is an incredible canvas and medium to work with.
The counter arguments to these cameras are so laughable. It all comes down to effort. These cameras are "hard" to work with because they take just a little more time to work with. What's ironic is that producing filmic works always takes a little more effort. If you're not constantly chasing for that extra little bit, you're producing schlock. If a camera makes X easy, then you should be tackling Y. No camera should let you settle. This work isn't easy.
 

Source: http://www.cinematography.com/index.php?showtopic=66581&p=425881
Irrefutable proof that the Cinema Camera and Pocket Cinema Camera produce the best picture under $2000. Lighting and composition are the cornerstones to producing filmic work. So is grading. 13 stops of RAW is an incredible canvas and medium to work with.
The counter arguments to these cameras are so laughable. It all comes down to effort. These cameras are "hard" to work with because they take just a little more time to work with. What's ironic is that producing filmic works always takes a little more effort. If you're not constantly chasing for that extra little bit, you're producing schlock. If a camera makes X easy, then you should be tackling Y. No camera should let you settle. This work isn't easy.
 

Source: http://www.cinematography.com/index.php?showtopic=66581&p=425881
Irrefutable proof that the Cinema Camera and Pocket Cinema Camera produce the best picture under $2000. Lighting and composition are the cornerstones to producing filmic work. So is grading. 13 stops of RAW is an incredible canvas and medium to work with.
The counter arguments to these cameras are so laughable. It all comes down to effort. These cameras are "hard" to work with because they take just a little more time to work with. What's ironic is that producing filmic works always takes a little more effort. If you're not constantly chasing for that extra little bit, you're producing schlock. If a camera makes X easy, then you should be tackling Y. No camera should let you settle. This work isn't easy.
 

Source: http://www.cinematography.com/index.php?showtopic=66581&p=425881
Irrefutable proof that the Cinema Camera and Pocket Cinema Camera produce the best picture under $2000. Lighting and composition are the cornerstones to producing filmic work. So is grading. 13 stops of RAW is an incredible canvas and medium to work with.
The counter arguments to these cameras are so laughable. It all comes down to effort. These cameras are "hard" to work with because they take just a little more time to work with. What's ironic is that producing filmic works always takes a little more effort. If you're not constantly chasing for that extra little bit, you're producing schlock. If a camera makes X easy, then you should be tackling Y. No camera should let you settle. This work isn't easy.
 

Ran across this article on Nikon Rumors. This process wouldn't work at all for narrative work (aside from exteriors, cutaways, and such) but if you have the patience and hard drive space for it, it produces some pretty fantastic results. 
Oh for the day that we don't have to devise crazy workarounds and hacks to receive image quality of this level. 
http://nikonrumors.com/2015/03/07/capturing-8k-video-with-the-nikon-d800-camera-quicklapse.aspx/#more-89496

​Zero problems handheld shooting. No cage, just the camera and a lens. This is ProRes too with a single node grade (basically nonthing): https://vimeo.com/44653311
Audio is fine: http://forum.blackmagicdesign.com/viewtopic.php?f=2&t=17695#p168461
 
My original question stands: why shouldn't he use an iPhone? It has more features and can be edited directly on the phone. It's easier than using a Panasonic DSLR.
 
If anyone thinks I'm being argumentative, consider this: I'm not knocking the GH2/GH3 with wrong information. I'm straight up saying the BMCC and BMPCC will produce a better image than the GH2 and GH3 (4:2:0 vs RAW).

Film-making? Get a Blackmagic Cinema Camera. You can get them used for under 1500 USD. Just watch out for broken SDI-out. If you want something smaller or cheaper, get the Pocket.
 
These aren't run and gun DSLR cameras. (Though the learning curve really isn't that steep.) BUT they give you infinite control over your final image. They give you a chance to make your product better then your competitors. Isn't that crazy? For less money you get something better that no one else will be able to copy.
 
Cinema Camera: https://vimeo.com/9005890
7D: https://www.youtube.com/watch?v=ZMJ2UJI4onI
 
The 7D footage isn't graded, the BMCC is. They're both well composed pictures, but to me the BMCC footage is more cinematic. I'm not a diehard Blackmagic fanboy, but they offer the cheapest cameras and the easiest workflows for shooting "digital" negatives which allow you the highest control of the look of your picture.
 
 
One last point. When you shoot RAW video you can set the white balance when you edit. Think about that.

Interesting link showing some common grading / timing looks, or pitfalls depending on how you look at it. http://www.flicks.co.nz/blog/film-is-a-harsh-mistress/making-the-digital-grade/
 

Take a look at that picture again. Notice two different ISOs? Production Camera and Cinema Camera have entirely different sensors. The 4K sensor is shit. 4K at the cost of worse DR and shadows with FPN. It's why the Cinema Camera is still so popular. The Pocket and Cinema Camera have the exact same sensor in different bodies. PC outputs 1080, CC outputs 1350.
 
Anyway, my point to the OP was that there are products available in his price range capable of a cinematic picture. I'm not saying the BMPCC or BMCC is the best choice, but easy doesn't necessarily equate to better. An iPhone 6 Plus or Lumia 1020 are the easiest, yet it doesn't make them the best choice, why? Because we arbitrarily draw the line with our opinions... it doesn't have X, Y, Z, so it's not as good.
If I was studying film making, I'd want to work with a product and medium that will translate into real world experience and land me a job. If a camera forces me to grade, expose and light carefully... isn't that a great tool? It teaches you to slow the fuck down and pay attention to what you're doing. A DSLR allows you to fast forward and gloss over the small decisions that determine what your product looks like.
 
If a 5D3 wasn't so tricky at first to shoot RAW and was in his price range, I'd be suggesting that camera over the Blackmagic ones.
 
Alphonzo, you have to be better then your peers. And usually that means having to work harder. Put that time in now, while you have time to learn (time at school and age.) Choose a camera that will out of the gate make your work different.

​Yes I saw that comment from Olympus.
They are right and they're wrong.
Pana, Sony, Samsung do need to generate 4K content for their TVs.
However my question to Olympus is do you see the potential in great 1080p? BECAUSE YOU HAVEN'T EVEN DONE THAT YET!

^ He's actually really good about answering questions on lighting set ups and offering tips. His whole philosophy on lighting/cinematography is great. I liked him before but my like increased ten-fold after browsing his forum. 

​
Holy god damn f*cking shit. This man operates a forum and even replies on it?!?!?!?!111one
Thanks infinitely Ed. I had zero clue he had a forum.

​I just hope Andrew here doesn't censor me or I'll have to complain about it on No Film School .  And then if they censor me there, I'll have to go to Roger Deakin's forum.    
 
Freedom to speak about cameras and gear is important for all of us to grow.

you are right, I'm done with their conflict of interest.  
The connection between the president of Red owning BMCuser.com and DVXUSER.com is not healthy for this industry.  I ask all of you to take those sites with a grain of salt.  
Anything bad they say about Andrew Reid can be said a million times against Jim Jinnard and his Reduser reign of terror.  And he's a billionare.  Andrew Reid is just like you and me - just a guy who is trying to improve his cinematography skills. 
I will not be bullied by a billionaire and his army of "Yes Men" and "Board of Bros."
I hope all of you guys can see this too.  It feels good to not be the only one disgusted by how they run their camera forums.
UPDATE - now I feel sorry for the mod who deleted my post.  He is moderating with 27,000 posts a website owned by the president of a multibillion dollar corporation and has to pay for his little ads for his books on sound etc - 
 
So you spend countless hours on this forum and have to pay for your ads? On a forum that is owned by the president of Red camera which is a multimillion dollar corporation owned by a multi-billionare?
Wow okay I'm sorry for calling you a liar. 
But now I feel sorry for you.

 
  Originally Posted by David JimersonYou did call me a liar. Which is an insult. It's also untrue. I haven't lied about a thing.

I do pay for my ads, not that it's any of your business. Have from the start.

Do you pay for the link to your own website in your own signature? (No.) Why is that link there? By your own reasoning, doesn't that make you a "paid employee" as well? If not, why not?

RED is not our parent company; Jim Jannard sets absolutely no rules about how we moderate DVXuser, and Jarred has no involvement here anymore. (He could if he wanted to, but he doesn't.) These are all facts. Your refusal to believe them don't make them any less factual.

I don't have anything to say about Andrew. Like I said, he can say whatever he likes.


   Originally Posted by eddavid  Originally Posted by David JimersonI am no more a "paid employee" of this site than anyone else who runs ads on it. Lowel runs ads for lighting systems -- are they paid employees?

I will admit to a chuckle when I read that. 

   Originally Posted by eddavidNo actually it does. You are generating income from the site. Therefore you are a paid employee - you get paid in advertising. As a paid employee, you are consciously or subconsciously following a code. Because you have a vested interest in these forums.
   Originally Posted by David Jimerson'Coz I don't wanna. Has nothing to do with anything.
   Originally Posted by eddavid  Originally Posted by David Jimerson  Originally Posted by eddavidAnd you like to sell books.I was a mod here for years before I had anything to sell. My participation here isn't necessary to sell anything, anyway.Then why don't you get rid of your banner ads?

I don't have thick skin. I did call you a liar. But that's not an insult, it's the truth. 
Lowel pays for their ads. Do you pay for your ads?

Jim Jinnard runs Red camera which Jared Land, CEO of Landmine Media which owns reduser dvxuser etc is the president of.
Don't you see the conflict of interest?

Anyway I am glad you chuckled. That takes the air out of it. For you thinking that I was threatening you. When I wasn't threatening you.

I am very, very, very curious to hear your take on Andrew Reid. He already told me his take. Please do tell. 

g

A short sci-fi film I'm directing. Shot on BMCC + a lot of CG/vfx. Mixture of anamorphic (Kowa B&H on Voigtlander 28mm) and spherical (Samyang 16mm and 35mm). Filmed in London, China, and Hong Kong.
Link: http://alexeymarfin.com/blue-eyed-me/

any feedback welcome :-)

Last shot is 4k UHD - look at that wobble on the last shot. 
The last shot spinning - now we are talking - now the Samsung NX1 can be used for more doc settings - I don't mind the resolution loss and the minor blockiness - it's not as bad as the A7s in 1080p mode.  I think this camera at $1500 with crazy fast firmware updating and the support of camera hackers - will become a serious contender.  $1500 vs $2500 - that's $1000 savings you can put into your pocket and spend on more important things, like feeding the homeless.  

The old Red One MX - still a workhorse - forgotten piece of old tech that still gets a really beautiful image
Shooting in Havana as Americans was not easy
 
 

Other than the magenta bias for the FS7 and green bias for the Amira, the FS7 looks pretty decent in color and highlight tonality (no CC other than what is noted). Once Sony fixes the firmware issues, the FS7 looks to be a decent camera for the price. In the comments it looks like Nate sold his F55 to get an Amira. Even though the F55 can now closely match the Alexa in post, clients are asking for ARRI so he switched to Amira.

Cinema EOS line still has no 4K under $8k and no consumer / enthusiast model.
Pretty glaring holes there that DSLRs fill perfectly, well mirrorless. None of them by Canon! So do go into more details why you think that's a good decsion.
I have no problem with Cinema EOS being a separate video line, but it's not very interesting. The C100 and C300 were always going to be like the video professional's office tools. The Canon copiers of the cinema world, not really cinema cameras.

I like the organic flow of an electronicless steadi-/glidecam. With this... sometimes I have seen some very motorized corrections going on. I get the thing with steadi-/glidecams is, that you need to hire someone, or put in tons or practice, because it takes time to master and with this kind of thing it's more about calibration than flying it, which is great (and terrifying), because it does enable everyone to set it up and they're pretty much done, but to me it's not quite there yet and wouldn't jump on the bandwagon quite yet unless you feel like you have to be an early adaptor and like to tinker around. Not sure about the pistol grip type stabilizer either. I think because of the small form factor, the degree of stabilization is rather limited. I have also seen quite a bit of up- and down bouncing. Someone should come up with 4-axis stabilizers (I've seen some projects, but they all seem to have been abandoned), having some kind of shock absorber that naturally dampens up and down motions caused by walking. We've all seen the MOVI getting a lot of competition that got really affordable, real quick. Now, it won't get much cheaper for very specialized gear like this, that already comes from a Chinese manufacturer, but there's still room for quite a few alternatives and a sub 500 USD solution. So, I'm gonna wait this out just a little longer... I might even prefer just to go for something like this though: