blafarm

No and no.

A considerable amount of time has passed, and this news has already been well-publicized, but I wanted to alert the OP that Sony recently announced a very fairly-priced FE 50mm lens that might suit your needs:  
Sony FE 50mm f/1.8 Lens
 

This company has a long and storied history of extremely bad behavior and customer service.  Their overly-aggressive and accusatory posts on DVXuser would be laughable -- if they weren't so pathetic and repugnant.  I wouldn't buy one of their products if they were the only game in town.

I have adopted an alternate approach that is capable of turning any good quality monitor into a very nicely-calibrated display.
And it does not require first purchasing an expensive HD calibrated display, then purchasing an expensive 4k calibrated display, and then purchasing an expensive 4k HDR calibrated display.  And I can even use it on the large format client monitor in my edit bay.
I use SpectraCal CalMAN Studio, with the completely automated Virtual Forge pattern generator, and the C6-HDR Colorimeter.
With this combination, I create a massive 65-point 3D Cube LUT that I use as a "Display LUT" with various pieces of post production software.  The 65-point LUT compensates for non-linear deficiencies in the monitor and allows me to achieve very good results.  More importantly, I can test the LUT for accuracy before a grading session.
Is this SpectraCal solution inexpensive -- no, it is not.  Is it as good as buying a dedicated, high-end calibrated display -- no, it is not.  
However, this solution is immensely flexible, works with myriad monitors (as long as they are reasonably linear and display all, or the majority, of the sRGB colorspace), and it has prevented me from running after the "monitor of the week" -- in an industry whose technical standards are changing a bit too quickly.
The way I view it, this approach has already saved me money.

Normally, I would agree with that statement -- just like we wouldn't typically call a motorized slider a "motion control unit".
In this case, I think the multiple speeds in forward and reverse, the timelapse feature and the Stretch Goal (which adds the magnetic sensors that allow for speed ramping start/stop and repeat moves) and the fact that the device is capable of free movement and not limited to using a linear track -- allow for a somewhat liberal use of the term "motion control".
But, yes, clearly not the definition of motion control used in the business. 
 

In case anyone is interested, I thought I'd share this Kickstarter project:
https://www.kickstarter.com/projects/2044759634/hercules-the-worlds-smallest-camera-motion-control?ref=email
 
 

In case anyone is interested, I thought I'd share this Kickstarter project:
https://www.kickstarter.com/projects/2044759634/hercules-the-worlds-smallest-camera-motion-control?ref=email
 
 

Christina,
Just ran across this article ... thought you'd find it interesting.
https://***URL not allowed***/time-stood-still-an-extreme-low-light-video-sony-a7sii-slr-magic-50mm-f1-1/
 

Although you can capture an 8-bit signal with a 10-bit recording device -- you gain nothing.  You cannot manufacture those two extra bits of bit depth -- they much be captured and encoded by the source device. 
The same holds true for color sampling, with the exception that you can achieve gains by downscaling a 4k 4:2:0 signal -- to an HD resolution. 
Lastly, from an audio perspective, not only is it one less box to worry about, it completely avoids the arduous syncing process, as well as ensuring a perfect lock between audio and video (which many DSLR camera fail to do -- even when recording internally). 

It would be interesting to see a signal processing diagram that clearly articulated the exact changes made to the image at the point where it is internally recorded.  And, conversely, what signal processing is possibly bypassed for the HDMI output path.
For example, speaking only of the A7Si/ii, I believe that the video levels recorded internally vs. the HDMI output are legal vs. full range, respectively.  And, as Andrew pointed out above, the noise profiles are also significantly different -- and I, too, have trouble attributing them to compression averaging.
I suspect there are other tweaks going on.  But, but I agree that the basic color science is probably upstream of all of those tweaks.

I'm not sure what camera you are using, but even with a camera whose HDMI output is constrained to 8-bit, an external recorder may allow for 4:2:2 as opposed to an internal 4:2:0.  Additionally, an external recorder will typically allow for a more professional, higher-bitrate, less compressed codec (e.g.: Prores, DNxHD, DNxHR) that also might significantly accelerate your postproduction workflow.
Edit:  Lastly, if you are shooting sync sound, an external recorder will also possibly provide more professional connectivity options for microphones, higher quality mic preamps -- and maybe a more intuitive interface for controlling gain levels. 

Nicely crafted.  Loved everything except the title design (size, font, legibility and color).

In case anyone is interested, I thought I'd share this Kickstarter project:
https://www.kickstarter.com/projects/2044759634/hercules-the-worlds-smallest-camera-motion-control?ref=email
 
 

In case anyone is interested, I thought I'd share this Kickstarter project:
https://www.kickstarter.com/projects/2044759634/hercules-the-worlds-smallest-camera-motion-control?ref=email
 
 

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

The short answer is yes -- significantly more stabilized than lens-based OSS alone.
Here is a good explanation on how the two technologies interoperate:
http://briansmith.com/sony-a7ii-hands-on-review/
 

Thanks for this review.
I had pre-ordered the Shogun when it was first announced, but canceled it when the delays started cascading.
Based on your (and other) reviews, this version of the product clearly has applications -- but it seems Atomos missed more than one target in terms of the design, and I'd much rather wait for v.2.
Unfortunately, I can't see them delivering a substantially improved revision in the near term, as it would completely alienate v.1 owners.  And, by then, there will certainly be more cameras recording 4k internally. 
Finally, I'd like to say that "Ethic Statements" aside, I find your reviews to be honest with absolutely no pandering.
 

Rather than bog this thread down with more opinions regarding Sony's color science, since you seem to be possibly experimenting with Resolve, it may make sense for you to explore the new Color Match feature.  One of many Resolve Color Match demo videos on the Internet:
 

 
The smallest and least expensive compatible color targets are these two:
 
http://www.amazon.com/X-Rite-MSCCPP-ColorChecker-Passport/dp/B002NU5UW8
 
http://store.smpte.org/product_p/dlab-smpte-pos.htm
 
Importantly, I'm not suggesting that you have to shoot a chart for every one of your setups. 
 
However, this very useful tool will quickly get you into the ballpark and you will be able to see what it is doing to bring your images into alignment.
 
And once you settle on a particular profile, you can use this tool to create LUTs that can be used in other software platforms.
 
Additional related reading can be found here:
 
http://provideocoalition.com/aadams/story/what-good-is-a-macbeth-colorchecker-chart
 
HTH.  Good luck.

I would wager that some of you are on PC and others are on Mac.
 
I will share that on a calibrated PC monitor, the OP's image appears washed-out (elevated gamma).
 
I have quietly thought this since the inception of this thread -- but it is now worth pointing it out.