austinchimp

A very simple and quick test. Details in the YouTube description.

Look what this guy did with the imperfect colors of the original A7S:
 

If anyone is wondering where the 1D C comes in...
It's advantage is still colour, and the higher bitrate codec. No mud on whip pans and fast moving scenes. Cleaner fine detail when pixel peeping too.
The colour is much quicker to get to how you want it.
I fight Sony's colour a lot even with S-LOG 3 / S Gamut 3.
You can match them very close but bloody hell it's an effort, sometimes I think I might not have time. For those times, maybe 1D C would look much better.
Here's a very closely graded pair of shots from the two cameras, showing what the typical difference is... Canon 1D C always seems to get the reds and blues just as I remember them, and with the Sony it always seems to give blues a green tint you have to skilfully dial out in post and the reds always seem way more purple or magenta than they were in actuality. It really is time a professional colourist banged some heads together at Sony HQ.
1D C - 

A7S II - Note the blue bottle is now turquoise and the red bottle is purple...
That is despite correction already for the problem in my LUT (using Resolve 12).

If you try to compensate with all the obvious things... tint or tone in camera, or basic colour correction in Premiere... it isn't the answer, because it messes with other aspects of the image. If you just adjust the hue of the greens and reds in Resolve 12, you can fix them but it still isn't a free lunch... for example if you want warm overall tone to the scene, with blues intact, 1D C is your friend.

$3180 for all that FS700R kit... and I thought the consumer stuff lost value quick. Wow pros really are prepared to dump their old stuff for nothing aren't they!!
The 1D C is also massively undervalued right now.
Both superb deals!
Well done on the FS700... you will need to spend another $2500 on the Odyssey though!
Personally I would take the A7S II over the FS700... the 120fps slow mo is very good and Super 35mm when used with speed booster. The 4K is internal and of course you get the stabiliser, raw stills, EVF and much smaller form factor. The low light is much better too. The FS700 was a bit of a step back for low light over the FS100 due to the bump in megapixels to handle 4K.
I am comparing the 1D C right now to the A7S II and it was tempting to sell, before the inevitable price gorging, however there's just something about that image... the colour is still out in front over the A7S II and it doesn't need so much fiddling in post to get it right.

Hi Rand!!!! do we have a new goth?? hi????
yeah so, i feel like for new readers there could be some confusion after perusing this thread regarding the dichotomy between a discussion of subjective color grading, "looks" if you will, and the potential for pleasing color from the new a7sii [using slog3]. two totally different things, for the uninitiated 
also ~ a lot of these lut looks are reductive in nature in terms of color; fewer, flatter colors, which in my experience is definitely the case natively with slog2&3 relatively speaking, so the two have really gotten along swimmingly since the a7s blew up. not saying thats good or bad, thats another discussion
that being said, im gonna take a positive stance on the new a7sii slog3 footage and say that it looks ~WAY~ better than slog2 from the a7s

I'm still waiting for the first example of a truly natural grade from the A7sii s-log3. All the graded footage so far looks like the instagram-filter s-log footage I really dislike (ymmv).
For me the natural look is the acid test of a camera's capabilities. Washed out artistic grades hide a multitude of sins.

The extra time spent pulling hair in every project grading the s-gamut could definitely be put to better use elsewhere. That's why recently I canceled the A7S II order for a Samsung NX1 (order placed already). For 1/3 the price, it's a much more capable machine (skin tone, battery, build). The major trade off being dynamic range. I'm fine with not having IBIS for 1/3 the price; I was already planning on a Nebula 4200lite, even if I had gotten an A7S II. 
But I am still rooting for Sony. Like Samsung, on a greater scale, they are kicking a lot of asses. I do hope Sony pulls through with future models. There's no excuse for getting the basics wrong (like poor battery life) on a $3000 dslr-sized camera from a company with such tremendous goals (like their possible 21-stop sensor.)

Simple grade done, on the couple near the traffic light in AE with the ColorFinesse plugin. Same grade applied to the other parts.

I've actually been thinking the same thing, sort of. 
I pre-ordered the URSA Mini 4.6k just to get in the queue, with the intention of purchasing if early reviews and a rental test were up to scratch. 
There's quite a shift in my business at the moment towards commercial & corporate work due to the diminishing funds in music, where music video budgets are in great decline. 
The URSA Mini 4.6k is going to have an amazing, cinematic image - but there are many benefits to the FS5 that can't be ignored (ND's, 240fps slow motion, reliability, size). I've got a bunch of DSLR sized gear here (sliders, gimbal tripod) that I couldn't use with the URSA Mini 4.6k. The FS5 would fit all of it. 
Now the Sony image.... I've been shooting on Sony much more than any other brand because of the HFR. Music videos need it. However, I've never loved any of the images. I used a C300 at the weekend on a viral and it speaks volumes how much better the colour rendition on the Canon is compared to Sony. It's softer sure! But overall much more pleasing. Much much more. 
So for me, I'd have to work much harder with FS5 images and make them sing. It would probably be the better camera to buy that adapts my business model. I'd have to swallow my zest for beautiful Blackmagic images and stick with Sony. But that's not what I want to do. It's sort of personal. The BM image is a massive deal. Massive. 
As for the A7S II - I'd use this as an A-cam on a very low budget shoot and as a B-cam on others. 
From all the cameras here - the FS5 is the best option to fit all purposes. But it's not the sexiest. 

I would first like to qualify the comments that follow by saying that I really appreciate your reviews and insights, they are informed and very valuable and I always look forward to reading them.

That said, I can not help but notice that what was categorised as a "minor quibble" in your a7s review 15 months ago is now called "pixel-binned mush with moire and false colour". I quote this not as a criticism of your comments, but rather as proof that I feel that Sony has already become a victim of its own success. Maybe it should put the brakes on the incredible pace of its camera development, because what was "the best sensor I have ever shot on" last year is so quickly superseded. 

Given the incredibly rapid advances in technology that Sony can bring to market, it really is a very important question for professionals and enthusiasts alike as to whether we should keep upgrading or hold on to what we have. For years we had the same thing with stills photography and the sensor resolution "arms race". Thankfully common sense is just starting to prevail. Perhaps we need a similar reality-check with video? After all, how many people buying video-capable cameras really do need to shoot 4k professionally? For me personally, my a7s mark one will serve me well for years to come, and I relish the opportunity in the very near future to pick up a backup body at a bargain knock down price!
 
 

I'm still waiting for the first example of a truly natural grade from the A7sii s-log3. All the graded footage so far looks like the instagram-filter s-log footage I really dislike (ymmv).
For me the natural look is the acid test of a camera's capabilities. Washed out artistic grades hide a multitude of sins.

I'm still waiting for the first example of a truly natural grade from the A7sii s-log3. All the graded footage so far looks like the instagram-filter s-log footage I really dislike (ymmv).
For me the natural look is the acid test of a camera's capabilities. Washed out artistic grades hide a multitude of sins.

Yes I think that's a nice example of the teal and orange look, but it's still - to my eyes - a very definite stylised look. I do like the way it deals with the highlights in that footage but the skin is a strange and unnatural shade if you're looking for naturalism. Looks like one of those Osiris LUTs which makes this difficult to judge. Sickly skin is the one thing I want fixed in the A7Sii. If that's fixed over the A7s then I'm onboard. 

I'm still waiting for the first example of a truly natural grade from the A7sii s-log3. All the graded footage so far looks like the instagram-filter s-log footage I really dislike (ymmv).
For me the natural look is the acid test of a camera's capabilities. Washed out artistic grades hide a multitude of sins.

My comment before was probably a little harsh, I really liked the A7RII review you guys put together and look forward to seeing what you guys think after spending some more time with it. I've been to some of these press nights before in other industries and they leave you tired and exhausted so appreciate you guys managing to put together a review.

if either of you guys want to trade for an rx10ii let me know  it comes with questionable batteries and memory cards 
and i will bake u cookies 

 

I'm sadly thinking about selling my Canon 1DC with two Canon batteries and 1 after-market battery and 2 memory cards for offers over £4300 in the UK, maybe to Europe. I f*cking love it but it was a big expenditure for me and some of the projects I was planning to use it on aren't going to happen now due to changing circumstances. As it's a crime to sit on this camera without using it I thought I'd see if anyone else can take it who'd use it the way it deserves.
If anyone's interested get in touch. I can take pictures and answer any questions. I only had time to snap off a quick photo of the shutter actuations page this morning before work - only decided to put it up here today.
Serious enquiries only please, and I can't really drop the price without going into a loss from what I paid for it recently.
<28,000 actuations on the camera. It was purchased second hand and shows signs of wear but the thing is built like an absolute tank so it's in good condition. Colour in 4k C-Log mode absolutely destroys pretty much any other camera I've ever used, including Red Dragon and my Sony A7s. It's absolutely the best 4k and still combo there is, there's something really special about this camera and even though I haven't had it that long I have a real emotional attachment to it.
I don't have the original box so it's just camera, 3 batteries (which are very expensive) with original Canon charger. And 2 fast CF cards - 128gb and 64gb Komputer Bay cards which I've tested and are very reliable with this camera. Add a lens and you're ready to shoot.
If I don't sell it I won't mind keeping it, don't really want to put it on Ebay so trying here to see if there's any interest. Paypal preferred method of payment for all-round safety and peace of mind.

Had the same problem and it was also solved by going to Project Preferences and switching to CUDA.

I made the mistake of upgrading to El Capitan too hastily today and experienced the same corruption when using OpenCL acceleration. What saved me was installing the latest CUDA driver from Nvidia and then switching to CUDA acceleration in Premiere project settings. That seemed to work, which is strange as before OpenCL was the stable one while CUDA gave me all kinds of problems.

I did a lot of weddings. You may detest them, but you hardly find better occasions to test your equipment and your skills - as well as videographer as as storyteller. A wedding is as good a proof of a camera's strengths and shortcomings as any image video or fictional short, imo.

Loving the colours - seems like V-Log has an inherently cinematic look. Very impressed, already I much prefer this to Sony's S-Log2.

Loving the colours - seems like V-Log has an inherently cinematic look. Very impressed, already I much prefer this to Sony's S-Log2.

As an A7s and 1DC owner there really is something about the 1DC colour - particularly for me in C-Log - that just feels right. Without talking about magic and starting an argument about what exactly that is, the colour just feels right on an intuitive level - almost as if I'm looking through the optical viewfinder and not a recording on a screen. I can totally understand the importance of capturing a real feeling image when shooting your loved ones.
While the Sony image is much cleaner and can therefore be pushed more to higher ISOs and to an extent pushed around more in post without worrying about noise, I could never quite get the colour to the sweetspot of looking natural.
 
On the other hand the 1DC is physically a bit of a brute, has huge heavy batteries, requires an external monitor to expose and focus corectly, uses expensive CF cards, has no decent high frame rate mode and isn't exactly inconspicuous.
 
On balance I'd say they're both great in different ways. I was meaning to sell my A7s when I bought the 1DC but I've found I can't yet bring myself to do it.

Well that took a bloody long time! But I've just this minute completed my new reel and site. It's not "announced" until Monday.... social media campaigns etc blah blah. But it's live! Check them here: 
View my new showreel and website!
Some info
Each and every image -  I shot, lit, edited, graded. A little directing. Very involved in creative ideas.  Core crew was mostly 4-5 regular people in these productions (Director, DOP, Production Manager, Spark, Make Up Artist).  For the geeks - cameras used are Sony F55, FS7, FS700, RED Epic, GH3, BM Pocket.  All images are music videos, but going for commercial/corporate work aggressively into the next year. (and still many music videos).  The aim is to have 100% new material for Showreel 2016. Max creativity required.  Anyway, if you like it or don't like it, whatever. Just thought I'd share.