DayRaven

That looks like a nice cage, I particularly like that the camera can stay on it's photgraphy QR plate inside, you can potentially pull it out and go into photography mode really easily. They deliver to italy from the website for only 10 euros, so you should be able to order it directly and get the quoted price?

That looks like a nice cage, I particularly like that the camera can stay on it's photgraphy QR plate inside, you can potentially pull it out and go into photography mode really easily. They deliver to italy from the website for only 10 euros, so you should be able to order it directly and get the quoted price?

That's why I'm still using Sony. They have the features I need with the compromise of doing more work with the colour. I think Sony should focus on the colour science and white balance for the next A7 cameras (and battery life!!), among the predictable other upgrades (every spec higher and a bit better). 
I do this all the time. 
Just recently wrapped up shooting, lighting and editing this video. FS7 + A7SII. Extreme lighting that will make pixel peepers sweat with horror (the degradation of extremes is intentional). 
 
 

I'd jump in and say that most of the colour problems are a combination of lack of understanding of picture profiles and wb user error.  I rarely get 'accurate' colour when I use a camera because i'm busy 'getting the shot' rather than being anal about it.  If i were to enjoy moaning about the colour of Sony cameras and be obsessed with shooting s-log when really I have no need to be doing so, to the point where I discard the sony for an vastly inferior camera that doesn't offer true Log anyway.  I'd first make sure it's not my own error.  
 
 If you're using a picture profile without understanding highlight rolloff and it's response to red, green or blue no amount of white balance accuracy will help.  TBH we're lucky Sony even gave us S-Log on the A7 range.  Canon don;t give you true log.    If you want to yield results from it you need to learn how to use it.   simply setting your WB to 3200 because your LED panels say they're 3200k ain't enough.  Setting to 5600k outdoors isn't enough either - since sky temp changes drastically and you can't do enough to 8bit footage to correct for being 1000k+ off the ture wb.  you need to shoot a grey card in the light you're shooting in, look at what's happening on the scopes and dial in a custom wb offset to suit both the light source and the response curve of the profile your're using.  Unless you;re willing to do that, either stop moaning, or shoot with canon and lose the vast lens options, dynamic range of true s-log and evf with punch in, as well as the ibis with manual lenses, speed boosters, 4k, etc.    

for this technique you want less frames per second.  Shooting at 120fps means you will degrade image quality for no reason since each frame will be sharp, and low light benefits no longer apply.
 
 
 for instance, 25p at 1/5th of a second confirms perfectly when sped up to 500% since the 1/5th shutter equates to 5 frames being exposed with one image.  hyperspeed by 500% smooths as if it were 25fps.  
 
shooting 24p and 1/4 sec means you need to speed up by 600% to keep the perfect conformation.  1/4 x 600% = 1/24th sec or 360degree shutter.
 
 
 
this was shot on the humble NEX5n, more than 3 years ago at around 400iso i think.  imagine how clean the a7s would be when in this mode. 

Sony allow as slow as 1/4sec at any frame rate.  shooting at 25p and 1/5th sec then speeding it up by 500% gives beautiful low light results for timelapse type stuff.  with the motion blur which is very pleasing for thing slike cars in the dark.  
https://vimeo.com/52579247 
 

I'm less interested in whether you like it or not, and far more interested in statements like "Sony's reds are all magenta" and the like - because for those who do use Sony - and please bear in mind, I use Blackmagic at the moment, I have Sony's for stills only, so have no dog in this race either - this information is really, really useful.
I'm not presenting the two stills above to prove some BS ego massaging point, more to help nail down exactly whay Sony colours are doing and to help people get better results with their cameras! I'm at a stage where my Pocket camera is perfect for me, but as a result of my stills lens collection, in a year or two, Sony will be a front runner for me, so getting accurate understandings of Sony's shortcomings in the eyes of people like you, who has never, not ever liked it will be crucial in making a decision - please don't think I'm attacking your view, I want to work with you and people like you.
I'm not going to give the answer as to which brand produced which image above, because I want people to feel safe in comparing the two images critically, without fear of being publically wrong.

I'm pretty unbiased, even into the sony colors sometimes. canon can give you yellow skins, and sony can make things muted interestingly, slightly retro or something..? not sure. but these don't seem white balanced the same at all, so somewhere there's a "problem". with a shot like this, if you don't have the other camera right next to it, I'll rarely care if it's "accurate" or whatever. none of those reds are super important or distinctly red... (maybe it's an orange candle, maybe it's a pink one, who cares?). maybe a portrait would have meant more for the test. Canon is usually too warm, and sony is called out for a magenta problem often, so I'd say 1 is sony.
hell yes, the f35 looks awesome all day.
if this camera does raw video, it won't make it a mini alexa. kinda click-baity  probably better off getting one of blackmagic's mini alexas

Don't know how others grade but to me its 100% relevant. Did a grade that usually looks nice but the codec fell like a house of cards.
Its a trial and error until I know and that just takes to much time
So I just did a quick thing treating it as rec709. Nothing special, leveled it 1 degree as well.

Its an awesome idea for a thread, but I rather have footage straight from the card, no exports. And info on camera, lens, and PP.
Then we can see the difference in how we grade and discuss how.

I agree with Mattias. You have to provide the original footage for this to work. 
I gave it a try but it falls apart so quickly that it cannot be used to create unique looks.
Edit: Here are some frame-grabs from the same color grading across the video:
Edit2: With the Prores version I could push the colors a bit more:

Im looking forward to completing the review, test all kinds of vintage glass like c-mounts and my K3-Bayonets.
Unfortunately I have to return it this week and don't really have time for another two weeks....
..so I have bought one
Here are 5 Reason why.
Im hoping to get my own copy in a week or so. Ordered it from Germany and they seem a bit slow. I suspect they bring them home on order.

No problem to adjust levels on A7SII footage... It's more a problem of exposure on location... When exposed between +2 Stops and 100% Zebras, no problem at all... I can adjust things like on my 5D mark III RAW... And it's even easier... The only major big problem is to define the good white balance... Ok with a color meter and some charts... But could be a problem when not well adjusted... as 8 bits can't recover anything...
Concerning luts... i don't use one... I prefer adjust my levels with parade RGB and some waveforms by myself... This tends to have no "look" at all and i prefer that...

Haven't there been 2 or 3 people in this exact topic who've shared their overwhelmingly positive experiences with Kinefinity's cameras? Hasn't a Chinese resident explained that they have huge street cred and market share over there, in the second largest filmmaking industry in Earth? Haven't we seen some very impressive work shot with their last few cameras? 
To me, that speaks volumes. 'Nuff said.

I think people are being tongue in cheek about the map thing - I certainly am, and it was only one guy who seems to have a bit of a chip on his shoulder taking the prores thing seriously!

IMO it is the C-line. What you are asking for already exist

This is more worrisome than a Prores licence 
 

There are many ways of film making, but traditionally, a shot will be planned to an extent where a gimbal is a hinderance compared to solutions that you can use when you have that much control over the scene. Why use a gimbal and have to rely on autofocus when you can build a track for your camera and retain control? I say traditionally, because things like Canon's autofocus, affordable gimbals and the modern revolution of film making has led to tiny crews shooting gorilla movies in locations where they have no control, and then such tools become useful. There comes a point however where you can't just roll up to a location and shoot.

Well the A7S colour weaknesses are sadly all too clear in that clip. Noisy, compressed, inaccurate, thin and dreadful on the Rec.709 conversion, only the custom LUT (with a lot of expertise efforts) can save it even after that dodgy white balance, mixed light, exposure all remain difficulties faced by Sony users.
Sony need to make it EASY to get Canon or Nikon like colour from their cameras.
They should really trash their entire picture profiles line-up and start again.

Because I shot with it myself!!

The KineMAX 6K does not have ProRes. Only the JUST ANNOUNCED 6K camera does. I doubt that Kinefinity would switch from Cineform to ProRes without getting proper licensing. Considering that everything Kinefinity has ever promised they have apparently delivered on time and time again. Just because it is a Chinese company doesn't mean they indulge in seedy business practices.
Personally I'm looking forward to picking up the 4K after this lowers the price of that camera. 2K cineform is plenty for me   Especially with that locking Nikon mount speedbooster.

None of us know the in's and outs of the negotiations between Apple and Kinefinity. The facts we know are: Kinefinity has been reported to have been negotiating with Apple for two years, Kinefinity put out a press statement that they have official backing from Apple for Prores, Apple haven't updated their website. Apple haven't started any court action against Kinefinity in the 7 months the announcement has been made, or ever, nor made any official statement debunking the press release.
This isn't the pattern of a copyright infringer, for starters, the bogus implementation of Prores has been in the wild for many years, they could have slotted it into their cameras in a very short amount of time, the fact they have taken this long seems to infer that they are following Apple's process. Secondly, Apple have had 7 months to put a stop to this, and yet have chosen not to. This is not the pattern Apple follows with it's legal action, they make public statements very quickly after media coverage, and always aggressively protect their IP.
Occams Razor suggests that Kinefinity are in the process of getting official approval, have not yet got it but have reached the stage where they feel confident in putting it in their marketing material. Apple not disagreeing with their press release suggests that at a minimum, there is a bridge in place that Apple do not wish to burn. (Actually, if this were any company but Apple, OR would suggest that the update to the webpage is sat in some developers TODO list, but I daren't invite the Macocalypse on myself by suggesting that there is nothing special about the company)
Either way, thank-you for keeping nationality out of it after I asked.

As an a6300 user, I could not reccomend it to anyone using it in a profesional capacity, from the overheating issues alone. It may be worth it IF you were interested in 4k, as it's 1080p is nothing special AND you had a solution to the overheating - I'm experimenting with Ram heatsinks AND you didn't mind the rolling shutter, but that's a tough sell - I see it more as a camera to learn on

Zactly. A6300 is unreliable. A7S only if you need the lowlight performance. Might want to get an external recorder. Actually wouldn't bother with Sony, unless you can cough up the dosh for the A7RII or A7SII.
Canon. Same, wouldn't bother unless you can cough up the money for a 1D C or 1D X mkII. Their 1080p cameras aren't really exciting. Maybe the 5DmkIII with ML RAW, but storage 'n workflow.
Nikon. They have the D5500 and D7200 which are actually decent options... if you care for solid 1080p without all the bells and whistles.
If you really want features, you got to go mirrorless. As we've already crossed Sony offa the list, there's Samsung with the NX1. Body only within budget, maybe you can score a cheap prime to have something native electronic, else it will be all full manual and there aren't any smart (electronic) adapters (for Canon glass) or focal reducers.
Olympus. Sure... if you want mediocre at best 1080p... atleast you'd have sick in-body stabilization.
Panasonic. I think this is your best bet actually. Especially if you'd be looking forward to use 4K. The G7 (or G70 depending on your location) is a great deal. Most Panasonic cameras are.
Let's throw the BMPCC and BMMCC in the mix for good measurement. But you got to rig it up quite well and sort out some issues to make it work for you (battery life/monitoring).
Of course, this is just my personal opinion. Nikon, Panasonic or Blackmagic. Of course, if you were perfectly happy with the 700D ML... it's not like they're expensive and if that worked and would still work for you, you can put some of the money you saved into other things that would up the production value.

None of us know the in's and outs of the negotiations between Apple and Kinefinity. The facts we know are: Kinefinity has been reported to have been negotiating with Apple for two years, Kinefinity put out a press statement that they have official backing from Apple for Prores, Apple haven't updated their website. Apple haven't started any court action against Kinefinity in the 7 months the announcement has been made, or ever, nor made any official statement debunking the press release.
This isn't the pattern of a copyright infringer, for starters, the bogus implementation of Prores has been in the wild for many years, they could have slotted it into their cameras in a very short amount of time, the fact they have taken this long seems to infer that they are following Apple's process. Secondly, Apple have had 7 months to put a stop to this, and yet have chosen not to. This is not the pattern Apple follows with it's legal action, they make public statements very quickly after media coverage, and always aggressively protect their IP.
Occams Razor suggests that Kinefinity are in the process of getting official approval, have not yet got it but have reached the stage where they feel confident in putting it in their marketing material. Apple not disagreeing with their press release suggests that at a minimum, there is a bridge in place that Apple do not wish to burn. (Actually, if this were any company but Apple, OR would suggest that the update to the webpage is sat in some developers TODO list, but I daren't invite the Macocalypse on myself by suggesting that there is nothing special about the company)
Either way, thank-you for keeping nationality out of it after I asked.