Luke Mason

Trust me, I have my hands on some ProRes and DNG materials from the camera (acquired from NAB), it's clean af up to about 6400. Noise pattern is very pleasant fine grain, due to lack of compression obviously. The sensor is confirmed to be IMX294CJK, it's the STARVIS line from Sony Semicon with BSI design, originally intended for low light surveillance.
ProRes screenshot:

Trust me, I have my hands on some ProRes and DNG materials from the camera (acquired from NAB), it's clean af up to about 6400. Noise pattern is very pleasant fine grain, due to lack of compression obviously. The sensor is confirmed to be IMX294CJK, it's the STARVIS line from Sony Semicon with BSI design, originally intended for low light surveillance.
ProRes screenshot:

@Andrew Reid Max is right, it's a well-known fact in the Fuji community that Fuji cameras overrate their ISO values, causing both stills (RAW and JPG) and videos to be darker (around 2/3 stop).

@Andrew Reid Max is right, it's a well-known fact in the Fuji community that Fuji cameras overrate their ISO values, causing both stills (RAW and JPG) and videos to be darker (around 2/3 stop).

I think 2 stop difference is plausible, considering A7III has a brand new BSI sensor and 1.5x larger photosite, 4K oversampled from 6K while X-T2 oversamples from 5K.
BSI significantly boosts sensitivity/SNR while stacking boosts readout performance (both used in A9)

They should address it in the next firmware updates.

There's another known bug with XT2, when the vertical grip is attached, if any of the three batteries run out (1 in camera, 2 in grip), video recording would stop. Fuji support says this is normal, how ridiculous.

First clip is 4K, second clip is 1080p (it has the unique sharpness pattern due to the non-uniform binning used in 1080p 24/25/30p mode, resulting in more vertical sharpness than horizontal sharpness, same applies to the orginal 1DX)
The difference will be more pronounced if you shoot a scene with more details with deep DOF. This particular scene has too shallow DOF and your focus is all over the place.

Yep, the exposure change was the result of the camera's internal "lens shading" correction, which did not keep up with the zooming as it happens in real time.
Also the slight wobble at the corners was the result of distortion correction.
Fuji is known to heavily rely on software correction for their lenses.

Heartbreaking?! I find it heartwarming knowing that those equipment helped capturing the most breathtaking images from an once-in-a-lifetime perspective.
It's a beautiful and fruitful one way trip.
It's not the astronauts' decision. Those gears are  just tools that had fulfilled their purposes. The return vehicle carried payload of paramount scientific value. That's something a few CMOS sensors, circuit boards or optics can never compare.

Heartbreaking?! I find it heartwarming knowing that those equipment helped capturing the most breathtaking images from an once-in-a-lifetime perspective.
It's a beautiful and fruitful one way trip.
It's not the astronauts' decision. Those gears are  just tools that had fulfilled their purposes. The return vehicle carried payload of paramount scientific value. That's something a few CMOS sensors, circuit boards or optics can never compare.

No, full HD slow mo is up to 120fps, higher framerates have lower sampled resolutions, of course they are wrapped in a 1080p container.

"certain sensor resolutions are better suited for it than others." is exactly incorrect. From a pure image quality perspective, the more resolutions to work with the better, for example, Nokia Pureview technology oversamples from 41MP raw data to produce 8MP/5MP/2MP ones, they are sharp and clean because the noise can be average out.
The "multiples of 4K" concept you mentioned is designed for optimal speed, called pixel-binning, groups of pixels are readout as one instead of every single pixel. The bin requires equal number of pixels horizontally or vertically, like 2x2, 3x3 etc. Hence the need for "multiples" of resolution. Pixel binning tends to create noisier and softer images with higher likelihood of moire.

"certain sensor resolutions are better suited for it than others." is exactly incorrect. From a pure image quality perspective, the more resolutions to work with the better, for example, Nokia Pureview technology oversamples from 41MP raw data to produce 8MP/5MP/2MP ones, they are sharp and clean because the noise can be average out.
The "multiples of 4K" concept you mentioned is designed for optimal speed, called pixel-binning, groups of pixels are readout as one instead of every single pixel. The bin requires equal number of pixels horizontally or vertically, like 2x2, 3x3 etc. Hence the need for "multiples" of resolution. Pixel binning tends to create noisier and softer images with higher likelihood of moire.

That's incorrect. Oversampling can be done from any resolutions. For example, A6300 oversamples every pixel in the entire width of the sensor (6000x3375) to produce 3840x2160, without pixel binning or lineskipping, then downscale to 4K with software algorithm. It works the same way as when you take a high resolution JPG in Photoshop and change it to a lower resolution. The camera does it on the fly from a 6K raw signal, that's why it produces the sharpest 4K image. In comparison, A7R II S35 mode oversamples from a ~15MP area of the FF sensor.

Very likely to be fabricated spec, CMOS sensors only benefit from BSI when the individual photosite gets really small, think A7R II/RX100 V, a 15MP FF sensor won't gain anything at all from using BSI design, the photosite area is already big enough for high quantum efficiency.

This is currently the best LED manufacturer:
http://store.yujiintl.com/collections/frontpage/products/vtc-series-smd-5730?variant=1428396033
the violet chip products easily beat everthing else on the market right now including ARRI in terms of light quality and color accuracy.

4K @ 60Mbps is not good at all, DJI should give an option of selectable bitrate from low to high 100-200Mbps

His speech pattern and body language changed when confronted about the lack of C-log, it clearly suggests elevated stress and anxiety, which implies that he didn't know the actual reason behind the lack of C-log, and he was making up an explanation on the fly in front of the camera.

His speech pattern and body language changed when confronted about the lack of C-log, it clearly suggests elevated stress and anxiety, which implies that he didn't know the actual reason behind the lack of C-log, and he was making up an explanation on the fly in front of the camera.

This is a non-scientific but comprehensive comparison of 1DC and 1DX II video quality. The 1DX II was kindly provided by Toronto based photographer Paul O'Neil
We tested sharpness/resolution as well as dynamic range and noise performance. Two cameras were setup side by side and kept the same exposure and white balance, videos were recorded at the same time to avoid lighting variance. Lenses were both Canon 24-70 f2.8L II, at f5.6 for optimal performance.
For sharpness/resolution comparison, we used neutral profile with 0, -4, -2, 0 setting.
Please view the following images using the FULL SIZE option.
Test scene:


Results: 1DC and 1DX II have the same sharpness in HD 24/25/30p (same sensor readout). In 50/60p, 1DX II is sharper (better sensor readout) and it kept the same sharpness at 100/120p. Super 35 mode on 1DC remains the sharpest and most detailed 1080p of all modes. Two cameras have the same sharpness in 4K.
Test scenes:


Results: in neutral profile with -4 contrast, 1DC and 1DX II have about the same amount of DR, however 1DX II is nosier in the shadow (more chroma noise). 1DC in C-Log gives more detail in the highlight.
Other observation: with the same white balance setting, 1DX II colour seems slightly warmer and a tad desaturated than 1DC in neutral profile.
Conclusion: 1DX II is a camera with advanced video capabilities (HD 120p, 4K 60p, DPAF), 1DC still deserves its "C" badge for the very detailed Super 35mm HD and higher DR C-Log. Which one is more suitable totally depends on user's need.
Download original 1DX II clips: https://we.tl/4HOdgVNXhI (contains TIFF version of the comparison and HD 120p and 4K 60p clip from 1DX II)

It's called colour-aware pixel binning, which Canon used on C300 to produce 2K 444 image. It's different from simply reading out a group of pixels.

C-Log is not merely a gamma curve, it maps colour differently (within BT709/BT601 color space in the case of 1DX II/1DC)

The global shutter option "C700 GS PL" has very clear details, it's just that you missed it.
Advertised DR is 14 stops, one stop less than regular C700.
Sensitivity on C700 GS seems normal:
4K 60fps or lower/2K crop 120fps or lower:
[*200 - 320 - 25600 - *102400]

4K over 60fps/2K crop over 120fps:
[*400 - 640 - 25600 - *102400]
There might be a slight drop in base sensitivity, similar to F55.

4K 60p