IronFilm

It's worth pointing out that XAVC-L is still better than XAVC-S of the a7s. While it seems obvious now, I didn't exactly realize that until watching the presentation. I think Alistair does a pretty good job of explaining what this camera is, and more importantly, what it isn't.

Superb video.  starts to become a bit of a goldmine for concise information about s-log/cine/rec709 - and backing up already known information.

Since the d750 is outselling the A7-line they are probably not in any hurry.

From my point of view, the NX1 is a terrible design because the deep "canyon" in which the sensor is located prevents development of a Speed Booster for it.  However, with a little re-sculpting of the mechanical area near the sensor . . . . . .

As said elsewhere, they should partner with samsung, rebrand the nx1 as nikon, and they would sell millions (and be praised as the best apsc in the world). While nx1 sells poorly because it's a samsung.

At 1h50min. into the video, does Alister basically say: "If you record in 8bit, do not use SLog3, period."
Or am I mixing something up?

Edit//
This comparison makes a lot more sense to me now, after hearing Alister talk about Slog3 in 8bit vs 10bit:
https://vimeo.com/143132608
There is so much more colour information available in the 10bit files from the FS7.

This is different than I've seen on Blackmagic cameras. There, the blown highlights just turn black. Easy to fix with one click in Resolve. Here, there's this gunky purple transition from normal overexposure to black hole. I don't know how well Resolve will handle that. 

Black hole aside, am I the only one here that thinks the NX1's image looks better than the Sony?

Just a note on the OP's desire for XLRs but wanting to stay with a DSLR - I use the Tascam DR-60D as an external recorder, and feed the line out into my Nikon for synch. But what I've found: use the camera's meter and stage the gain properly (mic in, line out level, and camera recording level) so nothing peaks, and keep the Nikon on the low side - under the center of the gain control scale (use the Tascam for your primary gain) and… you don't need to synch footage. Basically use the Tascam as a preamp. My interview audio has sounded great this way (generally with an AT4053a or a Senn G3 w/ OST 801). Very surprised at this, and I do record to the Tascam as a backup (since the tascam records a safety track at -6DB so I'm covered for unexpected peaks).
I'm fairly picky about interview voices and usually run my final edit through Pro Tools to reduce any room noise/reverberance and do a pass with nice EQ and comp plugins - I really like a crisp high end with lots of presence (vintage EQ and Massey CT-5 kind of sings with the AT mic) and I've been surprised, but happy. The Tascam ships with PluralEyes so synch is pretty smooth if you use the tascam tracks.

This video is a pure goldmine of information regarding the proper use of Sony cameras and their features, but most of this can also apply to any other camera brand. I bow to the man for this kind of simple but thorough explanation of all the features, codecs, gamma curves, gamuts etc., when and how to use them, why not to use some of them in some scenarios...
I highly recommend watching this whole video, because even if some of you guys are already familiar with most of this stuff, I'm almost certain that you will get some new useful info.

Your last two posts are very helpful Andrew. 
So it seems S35 of R2 is as good as FF of S2. Definitely last problem remaining is the 120fps (but my girlfriend just ordered today the rx100 IV so it seems this problem is solved for me as long as I don't have a new GF!) 
concerning the colors, could you please do the same test as above but with a7s in cine4 pro and cinema colors , and also no PP and autumn leaves?
a lot of people like Philip bloom, Brian lee and so on made amazing video with those profiles and colors seem better than slog. 
People seem to always thune slog only but I think it is a bad reflex because it does not suit well those 8 bit codecs 

To be a bit more specific, and not that he's the arbiter of good taste, but Philip Bloom shoots daytime with Cine 4 / Cinema Color -- and nighttime with Cine 2 / Cinema Color and -4 Detail.  He did that with the original A7S and he has posted recent A7SII footage which also uses those settings (although it's hard to know if his approach has changed with more time spent with the v.2 camera).
Bloom Quote:  "Picture profile wise, I shot mostly the same as the A7s. Daytime Cine 4 with Cinema colour and night Cine 2 with same colour and detail to -4."
And as for Brandon Li, he shoots with Picture Profiles set to off and Creative Style: Autumn Leaves (-3 0 -3) with the original A7S.  Again, not sure if he has migrated to the A7SII or if he has changed his approach.
Li Quote:  "I now use the Autumn Leaves Creative Style (-3,0,-3 DRO 4) instead of picture profiles. I find this setting gives me the punchiest, warmest colors straight out of the camera while still leaving plenty of room for grading".
Andrew, as most of us do not have a 1D C at our disposal (or even a Canon camera) for an 'apples-to-apples' comparison, I do think it would be a very illuminating test, if you have the time and inclination to do it.
Thanks

buy it back for about $200

Both yes and no. When I started in the TV-bizz peaking didn't exist. But I got by. I didn't have peaking on my t3i nor my GH3 but still was ok.
I tend to use the focus magnification before a shot and then go by feel.  On some of my lenses I get a pretty good muscle memory, specially with short focus throws.
But sure, peaking would be a nice addition in next gen or with firmware.
I use ISO4000 without thinking. 6800 might not look as good as on my XC10 but I haven't tested it properly yet (I'm in the middle of a move so I don't shoot at all right now). Will do a lowlight test soon.
It grades more than I would have expected from an 8-Bit camera. I suggest downloading a clip and testing, imo it is nicer in Resolve than in Premiere.
Regarding the mount there is not much to say. Not many lenses goes on Nikon. But that's also why I bought one. Almost every time I have bought a nice modern lens I have later on regretting not buying it in a Nikon mount. Essentially I bought a D750 to force my self to build a nice set of Nikon lenses that can go on anything with cheap adapters, cheaper speedboosters and so on.

The only benefit of such high megapixels = small sensor crop in post.
Unless you are printing billboards?
15mm to 24mm is a 1.6x crop.
So why not just sling it on an A6000?

It's funny everyone hates small sensors with a huge crop factor, like 3x or something
But everyone loves high megapixels so they can get that beautiful 3x crop small sensor look from their full frame cameras in Photoshop

Yeah, I actually followed the bread crums and it brought me back from Zomei to NiSi actually.
Could just be that NiSi puts on a 'high-end' face... perhaps they're taking the ODM services from Zomei and rebranding them as NiSi... then selling 'em for 3x times the Zomei.

Thing is, the NiSi does look a little suspiciously cheap for its price and actually rather similar to the Zomei package as well. Just slapped their name on the filter, pouch and packaging? Both are called F-Stopper PRO on top of that. Could be the other way around... that Zomei wants to benefit from NiSi... but to be honest, before that Newsshooter video I'd never heard of them, so that makes you wonder why they'd bother over at Zomei. Those new NiSi '6K'-filters they showed in the video, do look to be on another playing field, admittedly. Just not sure what to make of it. I'm trying to figure which piece Zomei is in the puzzle... but I gut feeling says they're probably the original design manufacturer behind it and are providing rebranding services for NiSi, Camdiox, ICE, perhaps Haida even.
Anyways. They are claiming Schott glass, unbiased colors 'that will not affect the photographic camera color balance' and so on... my guess is that they must be a definite upgrade from let's say Fotga, for not too crazy prices. Not sure if anyone has bothered to look into them before, didn't see all that much, so you indeed would have to feel like a little splurgy to go and actually find out. But it will be something I'll keep in mind.
- They've got other filters as well (VND, CPL, etc). Found some store fronts: http://stores.ebay.com/2014bingozomei , http://www.ebay.co.uk/usr/bingozomei , http://www.aliexpress.com/store/1582034 , http://www.aliexpress.com/store/1261904 & http://www.aliexpress.com/store/518684 . They're on AliBaba as well: http://zomei.en.alibaba.com . http://www.zomei.hk . I'd say be careful about the really cheap filters in the Fotga-price range, I'd only consider the actual glass ones to have a certain quality to them.

Just saw on Twitter that John Brawley will have some footage from Ursa 4.6K soon

Haha true story. 6 bucks. If no good, atleast they make interesting coasters! I'd be curious to find out how these would turn out...
Not sure whether to believe it, but some of these Zomei 4x4s on eBay cost 49,99 USD (or offers accepted; e.g. #1 , #2 ) and are supposedly made out of Schott glass.

Big sensor, small mount, adapter to bigger mount. The small mount shadows the sensor.
It would have to be, big sensor, big mount, adapter to smaller mount. But since the m43 mount already has a very small register distance the solution had to be very creative and very akward.

Shall I rename this forum DVXrefugees?
Personally, I wear my ban as a badge of honour.

if you are using any of of the default s log profiles that use s gamut you MUST use a proper lut built for that version of slog or you can get yellow and magenta color shifts. Color in s gamut is totally different than rec709 and these profiles are not forgiving. It is not the gamma curve it is the s gamut it is a much wider color space crammed in a 8bit file . The A7s always had something a little off with the color for sure but most of the really bad color out there were from people not handling s log/s gamut properly. The slog 3 on the new Sony cameras is reported to be much better that the s log2 on the A7s.
Putting it another way s gamut and just grading in resolve is like have data in meters working with it like it is in feet and then wondering why your calculations are off.

How were you grading footage from the A7sII? If shooting any of the default slog modes that use s-gamut you must us a lut to transform it back to rec709. Using curves and boosting saturation will cause bad color shifts since the footage is not in the same color space. 

Yeah, I was gonna say, f35 and f65 look like some of the best cameras ever, depending on your needs a bit

Man the F55 and F65 look great... Not a bargain to have one at home but i think they look great. Love their colors and film like abilities.