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Then Sony is doomed.

I love this type of post, and the Internet / camera forums in general.  We go from arguing over how great a camera is going to be, to unboxing videos and camera lust / jealousy, to the inevitable honeymoon is over phase so quickly.
So in lieu of shooting something reliable and proven, we put loupes on our Sony bodies, worry about overheating, worry if the Metabones adapter is going to not work, drag around ND filters and step up rings, external mics, remember to overexpose 2 stops in log mode so we can squeeze 1/5 of a stop of extra dynamic range just to spend hours later grading footage of our....cats.  All while trying to avoid banding skies, black hole suns (Soundgarden anyone?) and instead of actually ENJOYING shooting a nice crisp 1080p signal (like my FS700) and worrying more about content - before we hit record we're trying to remember what our "knee" setting was for test shot #1047.
Hey, I'm one of you too.  Having gotten a proper ND filter / good built-in audio / slow motion FS700 the past few days I've just been shooting everything.  Mostly not even slowmo stuff - and (oh the horror) not $5000 adapted Cooke glass - I even tried the 18-55 Sony kit lens - which smoothly autofocuses and face tracks my subjects.  I locked the iris, set the ISO gain limit and just hit record.  Looking now for cool low angled shots, framing, keeping my subjects (my family) the focus and not the settings.  More "keeper" footage in 3 days non stop shooting than 4 months with the 1dc.
But, I am one of you - always on the quest for the best.  But at some point we are going to have to remember there is *no* perfect camera, nor will there ever be.
DSLR's will probably never have true built-in ND, XLR inputs (save the GH4 and the clunky poorly-powered YAGH), smooth AF in video mode and colors right out of the camera (and dynamic range) that we all like.
Camcorders will never be small, take exception stills, nor have the stealth factor.  I walked around Halloween with the FS and at least 3 people asked me if I was with the news.  At the baseball games with the 1d + 300 2.8 they asked if I was with Sports Illustrated.
 
Sigh.  /ramble off.
 

I have not looked for that function ... I just drop both on the timeline in Premiere and it is seamless...
It does error correction sampling and has the ability to offload to more than one drive as a backup ... very fast.
If I get a chance I will dig into it a bit more to look at whether I can discern a way to enable it.
 
Bob

Shootout Pro 5 ...
 
Works with any file ... 
 
Nothing come close.
 
Bob

I record in MP4 and all the video files go into one folder for each day

I'm not sure about the Mark II, but I always use Data Import Utility to import files from my Mark I. If I don't, sometimes I will have a small interruption between longer clips that span multiple files. Data Import Utility combines these spanned clips into single files. This may have been corrected in later versions of Premiere but I still do it out of habit, and I try to avoid working with spanned files whenever possible.

​I have yet to tell the difference between 10bit and 8bit on any camera.
The Blackmagic cameras are good mainly due to lack of compression. 10bit has very little to do with it.
I think 10bit could be the most overrated attribute of video acquisition ever.
I literally can grade 10bit GH4 4K and 8bit together on the same timeline the same way and pixel for pixel they're identical! And it doesn't sort out banding either.

Premiere Pro CC 2015 can handle 1080p C300 II files in a 1080p Sequence just fine, at full playback resolution. I was testing 4K and 1080p in a 4K Sequence previously. Hopefully Adobe can improve 4K sequence performance: with a GTX980ti and pulling files from a Samsung Pro 850 SSD, 4K editing should be butter smooth. If the compressed H.264 data gets copied across the bus into GPU memory, as long as everything stays in GPU memory everything should run very fast. If they are shuffling data back and forth across the bus, that would explain the low 4K performance (didn't benchmark it, but the latest version of CC seems slower than prior versions for 4K).
Rolling shutter is very low on the C300 II- even without a shoulder rig, the unstablized 24-70 F2.8 II looks decent handheld (the camera mass helps too).

First impressions of the C300 Mark II:
The Good
Autofocus and assisted manual focus so far is amazing. The best autofocus I've used. Even more amazing is it works on all Canon (camera-focus-controlled) EF lenses (tested on the 24-105 F4L and 24-70 F2.8 II, will test more soon). It makes a slight sound, similar to IS noise, but quieter. If using an on-camera mic for run & gun, the noise can be picked up (in a quiet room), however I think with a suspended mic mount the noise shouldn't be audible. No issue at all with a boom or lav. Assisted manual focus helps with 4K critical focus. Color is excellent, as expected. Favorite out-of-camera look so far with: Gamma: Canon Log, Color Space: DCI-P3 (or BT.709), Color Matrix: EOS Standard. Adobe CC doesn't have LUTs yet for the C300 II. One of the reasons for using a C300 II is to get excellent color out of camera with minimal work in post- no LUTs need with those settings (just curves, etc.). Audio is excellent with options for 24- as well as 16-bit. So far in the studio (and my desk) the image is very clean, with no visible recording artifacts (even at 50Mbps LGOP 422 10-bit (limited motion)). CFast 2.0 cards copy very fast to the computer over USB3: 300+MB/s to an SSD. Additional Observations
Compared to DSLR-sized cameras, it's huge and heavy. The top handle, external monitor and mic assembly, and side handle can all be removed to make a smaller package, though it's still relatively heavy compared to DSLRs. 4K is 410Mbps: the files are ALL-I and are huge (compared to the 50Mbps files we're used to with DSLRs, and 24Mbps files from the FS700). There is no long GOP option for smaller files. It appears Canon's processor(s) aren't powerful enough to handle long GOP for 4K. Premiere CC 2015 (latest) can't handle the new Canon XFAVC files very well (4K and 1080p). Playback is slow and choppy, even at 1/2 playback resolution (might also be a 24-bit 4-track audio issue, testing this). Adobe is offering 1 year of Creative Cloud for C300 II owners, perhaps they'll update Premiere soon to fully support C300 II XFAVC files. Note that I found similar issues when writing the Photon app for 10-bit H.264 support: Premiere ran slowly on those files (sometimes with errors decoding). The A7S II with my tweaked settings look pretty good next to the C300 II in 1080p. In 4K the A7S II has lots of macroblocks/artifacts, the C300 II is clean (with 4x larger files). The A7S II makes a nice B/super-low light camera to the C300 II. 1080p60 slomo looks decent, likely as it's supersampled from 4K. 120p is clearly lower resolution being a center crop without the benefit of supersampling (which also helps reduce noise and aliasing). 120p on the A7S II looks better.

How do some of you people upvote tugela for going on the attack and needlessly acting like a passive-aggressive dickhead to the op? Depressing. Do you regularly go up to strangers and insult them tugela?

Yea, I'm at a point where I just completely dislike Sony colour now and hate grading it.... Some will say that you can get the colours great with the right amount of grading on any footage, I simply don't buy it (of course, sometimes Sony footage looks amazing, but sometimes isn't enough)... I have the luxury of time, I consider myself a good colourist... Yet Sony footage just leaves me cold when shooting outdoors. Even with the raw files from the FS700, it was still a little off.
If Ursa Mini were just a little smaller and lighter, with NDs... It would be a no brainer. Seems that no matter how my camera budget rises, compromises are always there! (I think the C500 mk II might be the first compromise free camera, for my shooting, if it has HFR and internal raw).

Nice, at the end of the day, if you're in the right places and build the right relationships, you're going to get amazing footage no matter what camera you use. So good luck and have fun! I'll be shooting my first big (well, short at around 30mins) documentary early next year in London and am slowly putting all the gear together so I can be the ultimate one man band.

Cheers for the info, the C100 is a great doc cam but I thought a lot about this the last few months (as you know!) and the IBIS is a big plus for me as I'd love to be able to use vintage glass and probably won't be in situations where I can use a proper rig. I also love Canon colour straight out of the box, but I've been messing around with Impulz Luts recently and have come to really love the image you get from them paired with a Sony cam. And lastly, I still need some sort of stills ability, so the A7SII is still looking like a good option.

Did you end up opting for the C100 MkII? 

take the camera as hand luggage.  put the box in your luggage.  how can they prove you didn't bring it with you when you came into the US?  They're too busy stopping people taking drinking water onto the plane to worry about your camera:)
 

I have never seen tree barks that blue, and even on blue conifers, that only have smooth blue shades on their needles... Here we have a massive vivid tint... Come on... i've never seen these oversaturated colors in Nature... even into the golden hours (Morning and evening).
 
But if this man wants to use these luts it is ok... maybe he has already seen this one time in Nature... Only a matter of taste. Personally when i see these strange psychedelic candy style pictures, i forget what the footage wants us to see first... its story or its inner beauty... 

Yeah in my experience the external recorders make a minimal difference. What ISO were you shooting Inazuma?

C Log is pretty easy to judge exposure and color on its own in my opinion. Its like SLog 2 or Cinelike D. 

When using C-log, there is a view assisted feature in the OLED/VF setup menu. It will show a more contrasty/graded image than what the camera is recording. You can also just cycle through a few picture profiles to make sure you're close before switching back to C-log to record. 
Personally, I've never used noise reduction and haven't felt the need to. Make sure you dont go BELOW 850 ISO as that is the cameras native ISO. You'll get ugly banding and compressed dynamic range. I shoot up to 6400 all day long and am happy with the noise. 
Not sure on AF speed. I've not changed it from the default settings which i'm generally happy with. I'm sure if you dig around the menu/manual that'll be easy to find though.

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.

Just did a long 4K recording run to test for overheating. Inconclusive as the battery died at 28mins
Will try again tonight.

Thanks man. I've been looking forward to testing SLog3 on that camera. Cineon to Film Contrast is my new go-to LUT with V Log. Here it is with SLog 3:
EDIT: Colors look great. Better than what I remember with the FS7.

The Sony A7S II has arrived at EOSHD. Does it impress? Yes.
Before my full review, I can give you an initial brain-dump of what I have noticed so far.
Read the full article
Download the 4K S-LOG 3 clips direct from my camera
Post yours in the A7S II Vimeo Group
 

I'm not going to judge it from one single review.
But after seeing this I'm going to prepare myself for being dissapointed in the Dynamic Range. Just like I was in the A7s, and frankly,  anything with a Sony logo. It's not that it's bad. But it's always hyped at +15 stops that turn out to be 11.
But aside from that it seems to be a great camera. Lowlight needs no further comments. Small and light with great stabilization (at least from my experience with the a7ii).
Looking forward to Andrews review. Think his style is more suited for me as reference. 

12MP sensor probably runs cooler than 42MP monster, but will find out sooner rather than later as I am down at the Sony store in Berlin tomorrow to buy the A7S II.
If anyone is doing same, let me know and we shall meet & chat!