kaylee

Curious - just looked at the launch videos. 
I like to be constructive, but those launch videos were absolutely terrible. They sold me on the form factor, but not the image. The grading in particular was like a thrown up fruit salad. 

FS5 a little to expensive for my taste at 6700$, I would rather go FS7 route if I had the money.
It will probably be great run&gun / doc camera because of the form factor but I think that you get much more with URSA Mini for filmmaking(compresed raw, all ProRes flavours, various aspect ratios etc).
It looks like new A7s II is actualy much more exciting product than FS5. You get similar 8bit 4:2:0 codec with SLOG3, but full readout 4K FF video with 5 axis stabilisation.

All this despite Sony Alpha Rumors saying a few days ago that there is almost zero chance of an A7Sii announcement
Edit:
http://presscentre.sony.eu/pressreleases/sony-expands-range-of-compact-full-frame-mirrorless-cameras-with-the-launch-of-the-ultra-sensitive-a7s-ii-1216386
Price: €3,400

I have no idea.  Couple of entries about the audio, video and stuff. Possibly time code related, too?

Premiere handles it nicely, Resolve (at least 12 and for me) is a PITA. No audio unless you rewrap into .mov and after that I'm having major issues as well (might be Windows 10 or the beta release, though). Sony uses some non-standard audio encoding and XML metadata files. Nothing major, though.

Definitely room for adobe here to improve the way people want to use it.  I like many, know how to do my best work with Adobe Camera RAW, can only do minor adjustments with RGB curves and Levels.  Would love ACR filter optimized to work in Premiere Pro.

While I am solidly in the greater DR and bit depth camp (I'd rather shoot with an Alexa or a Sony F35 than a Red Epic or Canon's 8K), it is important to play the "devil's advocate" at this juncture in the thread and remind all that color depth actually consists of part bit depth and part resolution.  So, the higher the resolution, the greater the color depth.
 
In fact, you could have a system with a bit depth of "1" and, with enough resolution (and ignoring banding in capture), have the same degree of color depth as a 12-bit, 444 system.
 
The formula for color depth in digital, RGB imaging systems is:
Color Depth = (Bit Depth x Resolution)3

I wished exporting video in photoshop was a bit more optimized.  I usually find that trying to color grade in photoshop directly takes forever to encode, although it's the most direct and straightforward to color grade a video with photoshop.  LUTs are good if you are working with the same lighting and camera/color profile.

Also, if you want to grade a video exactly like Lightroom (for the most part, with the ACR control panel):
Use a recent version of Photoshop.  Open a video file.  Right click on said video, and select "Convert to smart object".
Then you will see the Raw filter available from the filter menu.

Quick 4 step process (obviously once graded you hit "File / Export video".  The rendering process isn't too quick, but I've had good results.

right! for me making a lut in lightroom or photoshop is a quick and easy way to make lumetri in premiere a lot more useful – i do both~! im p much just making luts to do gamut correction on my f------ bizarre slog2 footage, using that as an input lut in lumetri and having fun from there~!
the real time playback in premiere w lumetri is why im trying to use it in the first place.... and bc of the the lightroom/acr simplicity that i am so familiar with
regarding the op: BrorSvensson, premiere seems to be quite literally and figuratively the answer to your question as these guys have said; adobe has self consciously been adding more 'simple' color features in premiere, pushing its ultimate functionality more in the direction of speedgrade but with a bit of that lightroom easiness. im looking forward to a lumetri interface in the future that is even more like lightroom, w more power to adjust color like hue vs hue controls/etc.
the weirdest thing to me about lumetri atm is the curves....... anybody else kno what im talking about here...??? the controls are... awkward. its sticky in a bad way and it just seems way too hard to drag the black and white points around.... i mean how many programs use curves lol? why cant that feel more like photoshop
anyway, i fully support the continued evolution of a lumetri that is more like lightroom than speedgrade, a more acr-friendly slider interface, but considering PP 2015 is the first time lumetri has appeared i think its p cool 
 

Thought I'd better mention that I've started some development work on faster then light travel. Will keep you updated every few years. Gonna be great. 

I suppose color is relative, and I wish I could love Canon color the way others seem to, but I've just gotten frustrated with its problem with red. From Art Adams:
"A while back I tried to match a Canon C300 to an Alexa. I got close, but only because Alexa is generally the most color accurate camera I’ve worked with and matching any camera to it usually results in accurate color. The exception to this is red. Under tungsten light my new C300 settings looked pretty good, but under daylight the slightest hint of red in flesh tone skewed the toward magenta. This is a really ugly look for a face, so I discontinued use of those settings. (I did get a number of emails from satisfied customers, though.)
Canon's reds are generally skewed a bit toward yellow. My theory is that skin imperfections that are normally red melt away when their color is shifted toward yellow, making them appear less red and more like flesh tone. Any attempt to "fix" this on the part of the user causes an overcorrection that pushes red toward blue, making imperfections stand out even more."

I don't want to sit here like "sorry my eyes are so much better than yours," but...I like bold colors in my work, and orangey reds just don't play well to that. 

This shift in Canon's reds also smooshes (technical term) some shades of red/orange/pink into each other a bit, losing accuracy in that area of the vectorscope. For comparison, check out the Panasonic video at 1:51--the almost burgundy red on the left and all the tiny variations in the brighter red on the right. Look at 2:07, where each of those pinkish, purplish, and reddish folders are all distinctly different colors, and different again from the gentler reds on the wallpaper. That kind of subtle hue discrimination has been the trademark of Panasonic's pro-division cameras since the Varicam, and it gives the image a level of subtlety and realism that I've never seen from a hybrid camera until now. 

To me, there's no comparison. But YMMV. 

One thing needs to be said about Samsung, they sure seem to listen to usercomplaints and provide fixes fast, they probably have learned from Blackmagic how not to do it.

everyone take note, this will be on my wishlist for xmas. thanks in advance!  

yeah well if they could get into a dynamic range and color depth war that would be great thanks.
can't wait to get my compressed 8k 4:2:0 8 bit image. so exciting.

So I've really been falling in love with Resolve during the last few weeks in terms of ease and smoothness of the edit, but I'm now experiencing grave issues that have are pushing me to the brink of despair. Shot an event on Sunday, started the edit, realized I had to do something to the files in order to be able to use the audio, rewrapped them to .mov with ffmpeg, started editing (extremely slow in 4K, tried to tweak settings, and it got better), then moved the files from my RAID to an SSD, because the HDs were just too slow. Relink seemed to work, but with the expansive timeline of around 20 mins worth of clips, I can now hardly work with it. At times is fine and speed is OK, too, but more often than not Resolve starts to put in a preview frame in the timeline here and there, gets stuck on one frame in the preview window and then does nothing. No playback editing possible, the playhead just doesn't do anything if I move it and press play. If I quit Resolve, QTDecoder keeps lingering. After relaunch, sometimes, it starts to work, but more often than not it doesn't. Here and there I get a green frame or red exclamation mark on a clip preview or two. Never had that before. Does anyone have suggestions for a fix? I've already put in quite a few hours trimming the clips, so it would be great if I didn't have to start from scratch.
Have read about Resolve having issues with .mov clips in Windows, but I have no idea how to get it around it and have sound. Also I don't know whether, if I transcode to ProRes now and try to put the new clips in, I'm losing my timeline and progress.
I've messed around with playback settings a bit, tried to change the pre-allocated RAM size and whathaveyou, but the issues keep coming back, even if I revert to default settings.
My rig:
Core i7-4930K @ 4.1GHz, 64G RAM, GeForce GTX 970, newest drivers, Windows 10
Any input is appreciated! Mattias, maybe you have a clue?

Oh, I'm just retarded, I always use the newest stuff because I'm not happy with the old and hope for fixes and improvements in performance. To be honest, this is the first time in my life I find my PC sufficiently stable and fast to do any serious work on it (except writing, gaming or whatever). I wasn't content with Resolve 11 and I wouldn't have wanted to get into filming before because the image quality I could have afforded wouldn't have done it for me. Same goes for Windows. Before 10 I always felt it had too many bugs, was too slow, too many issues with USB and so on. I'm a strange person.

Did a quick test yesterday with my RX IV - quick question, is everyone keeping at 180 deg shutter even at the HFR rates...I ran out of light and had to shoot 360 last night and it seemed ok, will try proper testing in bright light to see the motion blur differences. Didn't have enough light for 1/480s (or whatever it is in the camera for 240fps) - also need to play with the profile settings, so far it grades just like my a7S - might just try PP1 with some minor changes.  Thnx for all the info guys great thread

FANTASTIC thanks for the info guys!!! im gonna pick up a Note 5 this week
 

Grats on that and getting the name right for the first time.  Enjoy the new camera!

BREAKING NEWS!

I actually just bought the GH4 and the Lumix 12-35 f2.8 

I think I'll also buy a BMPCC in the next few months, now that I know I can share lenses between them! That is a wonderful revelation, brought on by my own stupidity!

As for the Nikon, well - frankly I wasn't hugely in love with it.. it was definitely a workhorse and got me a lot more work, but want 4K and want to have the same lenses as the BMPCC without buying an expensive adapter... I know I'll end up buy an adapter in the future, but... I can wait!

I just watched that video you made and it's GREAT! I really can't wait to start using log and grading properly. Totally inspiring!

Thanks so much everyone! I really appreciate all the help, and dealing with my stupid!

I will try and come by more often and maybe next time I can help out the idiot  

I'm very, very impressed with what I've shot on the RX10 II. I've just finished shooting a Christmas music video - all on the RX10 II. 
Slog2 is a great profile (when tweaked in the camera settings) and the picture quality under controlled lighting conditions looks really great. 
100p is impressing me more, now I've got more practice with the lens, focusing and the peaking. 
Other than that it's great fun, delivers great results and shouldn't be ignored. 

Just out of curiosity, would you not consider getting another Nikon D7200, since that's the camera you've used and the camera you know? I only ask because if it's a job, you want to remove as much of the unknowns as possible, and if you're getting steady work with the gear that you had, then you don't have to worry about having to learn all the new gear and work out a new workflow and all that stuff.
For what it's worth I shoot a GH4, and I think that's the best value all-rounder package on the market right now. The 4K footage looks great, and being able to shoot 4K without the humungous file sizes is a revelation. It has really useful functions for video like peaking and zebras, the LCD works well in daylight and the EVF is really nice as well so you can operate without a monitor, the battery life is astonishing (I've shot whole days on just 3 batteries). For everything else it does ok compared with the other cameras it competes with.  So it's not as good as an A7s in low light, but it's perfectly usable (assuming you expose correctly). The colour isn't as nice as a Canon, especially anything that shoots C-Log, but with the right settings on the camera and the right post-production process, you can get good colour from it. I've been using Andrew's GH4 Log Converter, and it's made getting great colour out of the GH4 a snap. Here's something I shot recently with the log converter:

https://vimeo.com/137681905

V-Log is going to improve things dramatically on this front -- I had a look at the V-Log footage Nick Driftwood released and put Panasonic's V-Log to Rec709 LUT on it and it looks brilliant! If you expose well when you're shooting your post-production is going to be super-simple once V-Log is available.

That little film was shot with the GH4 and the Lumix 12-35 f2.8, which is a nice combo that would work for lots of different circumstances. I also have a Voightlander 17.5mm f0.95 which is my go to lens for night time shooting, and a Metabones Speedbooster which lets me use all my Nikon lenses when I need to.

Most of what I do is hand held, or I need to be fast and lightweight, so the GH4 is perfect for me. I think if I did a lot more video work (I'm primarily a stills photographer) I would look more seriously at something like a C300. But then again, maybe not -- you can buy a whole lot of lighting with the difference in cost between a C300 and a GH4. 

Can confirm... works without problem on my S6 and Note 5.