Asmundma

How come that the rest of us get nice colours with Sony ? Else you can try some of the other picture profiles first and see how that works for you.

I wanted to share a bit my first experience with the 1Dx II from a usability point of view.
I have the 1Dx II since a week and I’m coming from the 1Dx. I shoot mostly sport and action stuff, around 70% photos and the rest video. This camera is really made for people like me that with a single tool can cover most of my needs.
Image quality was already discussed many times so I have nothing  to add here other than confirm that at 4k 60fps the quality is very good but the HD one is nothing to write home. 120fps is usable but not great.
What it really shines is the DPAF, I use a lot the Ronin M and for the first time I’m able to shoot wide open with myself and the subject moving even erratically. I just did a test film with trial bike with the Ronin M and using the 24 1.4 always at 1.4 and most of the shoots came out great. When It was OOF was mostly my mistake in not keeping the athlete within the focus point. I will need to practice more and I will also play around a bit more with the Focus Lock settings. But being the first time out with DPAF, 1.4 and the Ronin I was quite impressed. Something impossible as one man band with a gimbal before.
I did not use Face tracking because I did many shoot laterally and from the back so it is not working. In this case you would need a second operator that reset the focus when the athlete looks away.
Talking from second operator I was surprised by how good is the WiFi touch focus, the latency is quite low considering is WiFi and the frame rate good enough. It is so simple that you can give a tablet to a non “qualified” assistant and he can do the job.
With the extension rod the camera balances very well on the Ronin M, in fact I found a good base balance where I can switch the lenses between 24 1.4, 16-35 2.8 and the 85 1.8 only setting the tilt axis (the easiest axis to balance by simply move the dovetail). So I can do the lens change in 30 seconds.
The “Q” button in video mode allows you to change most of the video related settings from Audio gain, AF mode, picture style, etc.. I normally shoot in M with auto iso, I have the “Set” button to enable exp compensation with the wheel but I wish there was I way to change directly without pressing the “Set” button. It would also be great to be able to change the audio gain via the other wheel. I have also created my own my menu with all the video related settings so with the “Q” and “Menu” button I’m quite fast in changing the settings. The dedicated button to have live view in video or still mode is very handy.
Another thing that I wish it was possible is to have both HDMI out and internal LCD on with the info on both monitors. Unfortunately if you have both on you can have the info only on the LCD. For gimbal usage it would be better the inverse, using the LCD just to change the focus point. Right now while on the gimbal I do it with the joystick and the LCD off. I will maybe try to use the tablet as monitor over WiFi attached on the gimbal but I’m not sure that the latency and frame rate is good enough.
The MJPEG files are big but high quality, surprisingly I can play them back even at 4k 60fps on my notebook with both the media player and canon movie software in real-time. My notebook is a i7-4810MQ CPU 2.80GHz with an NVIDIA Quadro K2100M 2GB vram and SSD. I can even do some editing with Resolve using Caching and a FullHD timeline switching back to 4k for the final rendering. Scrubbing is fast enough but no real-time playback in the edit panel. I wish Resolve would be more optimized. Alternatively you can use optimized media feature and create proxy for editing and then it works. Naturally for serious editing a workstation with the right spec is recommended.
Bottom-line for action & sport videos the combination of 4k 60fps and DPAF makes this a unique camera at the moment.

Still on the fence. I moved to Sony for video (have the A7r2 and A7s2). Still have my 1Dx for shooting sports. So if I get this one, it will be as much for stills and possible a sequence or 2 with 4K/60fps. Anybody who has a comment on editing Mepg, do we need to transcode to prores. I am on FCPX.

Ferrari have a DNA. Cinema cameras have a DNA. You have to go back decades to see it evolve into the force it is today. For Ferrari it is the very specific engine sound and the looks. Arri are that spirit to cinema cameras. The DNA of the Sony FS7 is a compromise. Half EX1 and half cinema camera, the ergonomics of the buttons, dials and menus need a complete overhaul in my opinion. So Sony haven’t got it all right yet but what they have done is put a Ferrari engine inside. The FS7 for £5199+VAT is an absolute bargain, with an ‘engine’ almost on par with a £18,000 F55 (though without global shutter). It’s a much more capable camera than the Canon C300 or Panasonic GH4.
See the full blog post

SO soft......

I can't really imagine because the limitation to 30min is actually due to import tax laws in the European Union (photography camera vs. video camera taxes).

A while ago I noted that FCP X was faster editing 4K material on a 2014 MBP and GT 750M GPU vs. Premiere Pro CC 2015 (latest) on a 12 Core MacPro and GTX 980ti. Today I tried FCP X on the MacPro in FCP X with C300 II 4K files. 4K editing was blazing fast- scrubbing instantaneously. This is full 4K resolution, native files (dual 4K displays). Curious to find the limit, I began stacking 4K clips and was able to get 6 4K clips (cropped so all 6 clips had visible elements) before there was visible slowdown (still usable!). 5 4K clips were fully real-time.
On the same hardware & OSX, Premiere Pro CC 2015 can play one 4K clip in real-time. On the same hardware and Windows 10, playback resolution must be set to 1/2 to get near real-time performance.
Resolve 12 (latest) wasn't able to play the C300 II 4K file in real-time on the MacPro in OSX.
For fast 4K editing, FCP X is currently the champ.

I have both cameras, A7s with ShoGun and now A7r2. Obviously 1080p on A7s is not as detailed as 4k on A7r2. the A7r2 is a much more practical package the a7s with ShoGun. If you are mainly in one location, the external recorder works, but moving around and taking shorter clips, its a hassle. And with FE lenses, you get better stabilisation then with Canon lenses mounted on A7r2. I use the 24-70 if I want to be compact, but my new favourite is the FE 28-135. You will then have a video range from 28 to 200mm by using FF and S35.  And found out it also take very good still images !   Even for video I would pick A7r2 today over A7s (only better for high ISO), however I guess A7s2 will be even better for video (maybe higher frame rates). But if you want to shoot stills as well - no doubt a7r2 !!! 
you can look at 4k video here : https://youtu.be/PbyDqby-oqY  
and some stills here : https://asmundma.smugmug.com/Photography/A7r2-test/i-qHfjcfB/A
 

I have a lot of Canon equipment, incl. 1Dx, 5D3 and all major lenses. Got pissed with the video quality and got a A7s, then also the Atomos Shogun for 4K.  I got my A7R ii yesterday and tested a little bit, both video and still. Did not do a take for 30min (yet), but it worked nicely. 
The big benefit for A7R ii is the combination of stills and 4k video in a small package, especially for traveling. For such use, you will normally film for max a few minutes pr. clip.
Now, I see a lot of complaining about the overheat issue. If the filming of "a few minutes clips"  is a problem, then is bad, yes.
 However, the point is that pr definition, if you film constantly for > 30 min, you need to use a recorder (it will stop at 30min anyway), with or without a monitor. I do not see this as a big drawback as for such jobs, you will stay in one location. 

The camra is great, the only problem is that A7s ii will have all this and the 5 axis stabilization - then you have to buy that too.   -:)

I also feel whilst Andrew's point admirable in a way, using this incident as an example is very way off mark. 
Its also so important when citing real life incidents that they are accurate or the words alleged are use. 
The way you described the incident is rather different to what has come out as being the actually backstory, allegedly. 
Also please remember producers aren't rich hollywood type execs on this show. They are there to make sure things happen on location. It's an incredibly demending job. You are first to be shouted out and last to be thanked. 
So allegedly this is what happened which is somewhat different in tone and feel to what you wrote. Nobody is going to say Clarkson is a quiet, polite mouse of a man but when you are allowed to get away with certain behaviour it's unlikely to make you behave better! 
Nonr of this has been verified and therefore should be treated as hearsay until proven, I am sharing it as a different version to the story Andrew recounted is his post  
They had been filming. They had finished around 8ish. They had dinner books at their posh hotel but Clarkson and co decided to drink at the pub for two hours whilst their helicopter waited to take them back. The hotel after waiting two hours past their dinner booking and past kitchen hours sent home chef and staff so when they finally arrived very late back Clarkson was unable to have what he wanted. A steak. So he went berserk. The cold plate of food he was offered was unacceptable. Who gets the abuse? 
irregardless of whether this is exactly what happened or yet its never acceptable to bully a colleague and it's never acceptable to punch someone!! Not that I am saying anyone did. Just it  
 
 
 
 

Hey Andrew
clearly this bothers you
the he thing is you are making statements based not upon facts not assumptions. We don't know the full story here but I can tell you this if the presenter of a show I was working on (allegedly) punched a producer the show would be most likely suspended until this was sorted out.
 
Love him or loathe him he is the show. He is what you see, a loutish, arrogant loudmouth. That's why he is so polarising. I personally grew tired of him a couple of decades ago but my post here is not about my personal feelings towards Mr. Clarkson. He does what he does very well indeed.  
There clearly is more to this than we have been told but hypothetically if Clarkson punched this producer unprovoked just because there was no catering that is beyond acceptable behaviour. He should be fired. If it was the other way round and producer punched Clarkson would the show be suspended like this? Would the producer still have a job a half million petition to bring him back? If there was a fight between them behind closed doors then maybe, just maybe they could sort it out between them. But in the public? It becomes something more...this is public behaviour.
If Clarkson did punch him then it's assault pure and simple. Do we just ignore it and give out the message this is ok to do? No we do not. Last time I checked punching someone was still illegal. 
Yes, it's a massively successful show and brings in huge amounts of money. I think what the BBC have done is show balls! The cynical amongst us would have expected the Beeb to not want to lose their cash cow and sweep it under the carpet, pay off producer and carry on like nothing happened for danger of losing said cash cow. 
The BBC have to be beyond reproach. It's part of their remit. They are not a broadcaster like all the others. If they want to do away with the licence fee and make it a commercial station like all the rest then they could get away with the aforementioned cynical behaviour. They are the BBC. They cannot. They have a really bad stigma these days about very serious past incidents that they ignored. We all know what those are. They HAVE to be seen to not protect their stars and brush stuff under the carpet. No company should but especially the BBC given what's happened the past two years or so. 
 
so there are my thoughts.  
if you miss the show watch the movie version.  It's more believable. "fast and the furious"