Antonis

You keep posting about the resale value of a camera you don't even own, why do you care so much about the depreciation of someone else's camera?

The guide talks about cc15 input/output but on CC14 I'm assuming you drag & drop the "converter" as a lumetri effect to flatten the image first? This resulted in heavy contrast & strong magenta after I added the output lut. My colors looked similar to xrayspecs.  Flipping them seemed to correct it.. so in CC14 you drag & drop the output first and then the converter lut? Weird. I skipped the transcoding below and rushed into Premiere with an Arri lut first and then added the converter. Honey Smacks. noms

This is clearly documented in the manual, page 95 under "Notes on continuous movie recording". There is a table of ambient temp vs recording mode, showing possible recording time limited by internal sensor temperature.
I just shot a 1 hr (two contiguous 29:59 segments) outside video at 4k using Super 35 mode on my A7RII, and it had no problems. Ambient temp was about 65 F. I did have the LCD panel pulled away from the body, which I needed to frame the shot. That took about 90% of the single internal battery. For longer shooting I'd use the battery grip or an external power source.
Last weekend I shot 4k documentary material all day and never had any problems. In general most real world professional material is shot in fairly short clips. E.g, every feature film from the dawn of cinema until 2002 typically used 1000 ft maximum film magazines, which limits a continuous take to 11 minutes at 24 frames/sec.  After that they'd have to stop and change magazines.
With digital video we have become accustomed to the ability to shoot longer takes, but it is usually not needed except for recording an entire stage play, etc. For long form recording of a lecture, etc. you normally wouldn't use 4k, as it burdens post production with a huge amount of material for little practical benefit.

Thanks for the info and first had experience Francesco Spiezia.
It's information like this that keep me coming back to this forum.

Surprise? Yes. Rather underwhelming? Definitely.
Props to the GoPro marketing team for getting all these blogs to post this "news" though.
And now l'll just quietly continue waiting on that G7 vs A7s vs 1DC review now. 

Alister Chapman has a lot of information on the way Slog works here:
http://www.xdcam-user.com/2014/12/ultimate-guide-for-cine-ei-on-the-sony-pxw-fs7/
He also talks a bit about Slog2 and the importance of using LUT's before grading, here: 
 
 

Looking forward to see the comparison between the G7+MB and the 1DC.
Would be great to see some talking heads/skin tone examples!

That was a beautiful grading and commercial - it felt like Arri Alexa or Amira with Ultra prime lenses and yes some filtration on it - shot mostly looks like at a f/2 on the lens to have pop.  shadows raised a little.
 
Looks like converted maybe into Cineon and from there a nice film print emulation - we should ask him - I'll ask him.
 
According to Jordan's instagram feed - it was red epic - so that's an amazing skin color grading job out of that!
I like to use Hollywood black magic over my lenses 80% of the time.  Curious now about the Digital Diffusion FX filters - going to test those out.

I recently saw this ad that was dir​ected and color graded by Matthew Firpo:
 
 
What caught my attention, was the lovely "creamy" highlights and overal color grading of the video.
I've seen this look before in fashion videos and, as a beginner in color grading, always wondered how to create it.
So far I have been able to determine that the shadows are raised by about 10IRE and the highlights look to be lowered by around 10IRE.
Any more tips on how to replicate such a look? Also, would you overexpose in camera when filming for this?

The ad was probably filmed on a Red Dragon in raw. But would a GH4 for example (with it's lower DR) be able to get similar color?
All advice welcome!
 

​No problem. Check out this video and it shows the differences. I use an FX 1. Anything below that is very subtle and not worth it, in my opinion.
 

Thanks everyone. I layered grain over everything up until the fireworks. Everything after that is a7s grain. The sound is layered on clip by clip. I use sounds from freesound.org as well as I record my own. The sound usually takes longer than the edit and grade. I am getting pretty fast at those, but sound takes time.
I am not sure if I can recommend a tutorial. I would say go and watch Matty Brown's videos and listen to what he does. He is brilliant!