tomsemiterrific

Here is another version of the birds...Vimeo allowed me to upload it in 4k---so the footage comes out a LOT better---I used a C-300 mk ii LUT and graded it...I don't think it came out badly.
 

Of course working at color grading is a great idea. I've spent years at it now. But getting a good LUT for particular footage and then grading it can give you great results, save a lot of time, and help you get stylistic uniformity to your footage.
These Canon C300 MK II LUTS (there's a bunch of them)--the C-LOG LUTS for the C300 MK II work very well. Try to use WDR luts because they give you better dynamic range. Rec. 709 LUTS will clip and the highlight will washout--especially clouds and even the skies will turn white. Use WDR Canon Mk II LUTS you and you'll get better results in the highlights.
I think this is pretty good advice. But, keep in mind, I just an amateur.
PS
I'm in the process of posting another tweety bird video (only 4 minutes)--but uploaded in 4k, so the quality, once they fully upload it, should be much better than the first bird video, which I could only upload in 720p because of the slo-mo footage.
 

Lexar, San Disk extreme--it's a pretty democratic camera as to what works well. 
The right LUT can give consistency to your footage and make grading quicker. I did add sharpening. You almost have to in Log, since shooting in Log removes any and all in camera sharpening whatsoever. 
I got the LUTS from Canon web site---

The sensor tends to be a bit bright. I usually shoot exposure lock -1/4 to 1/2. That exposes C-log pretty well. If it's not too bright I use -1/4, If it's bright I use -1/2 but either is pretty forgiving. If you can keep your highs below 80 IRE in C Log you're going to get pretty good exposure in most cases.
I just shot this yesterday with C log at -1/2 mostly---very, very bright in Texas now and 100 plus.
 
I allow zebras at 70 IRE--it's just an indication you're getting close to over exposing in log.
See if you can get the Canon C300 Mk II LUTS from this site. They work great for grading XC10 Clog.

So I had a good run with the camera today and I am pretty pleased with it. The 5-Axis is almost steady cam level... Not quite because I don't want to over play it, but I was able to track with my actor pretty darn well. 
Here's my first attempt at trying to color some c-log...
 
 

And here is my graded version.
 

The XC10 can use Canon's wide angle lens (WD-H58W wide converter lens) mounted on the XC10 lens.It's not all that heavy, easy to use, and you're only going to put it on for wide angle, so lugging it around on the camera won't wear you out. 
I use it when I want wide angle shots and it works very well. The downside is the H58W doesn't have threads for a Variable ND. Still, with just the XC10s internal ND you can get the vast number of your wide angle shots without clipping highlights--especially if you shoot in Log. 
I actually took an 80mm variable ND which, as chance would have it fit snuggly over the H58W with only a bit of tape inside of the rim of the Vari ND. Using it on the end of the H58W it works great in the harshest sun the light is easily controlled and you never clip.
Once I'm done with my wide angle shots I simply take the lens off and shoot the rest. 
 

I don't disagree with any of these comments. In fact, what you say is obvious on its face. My point was and still is whatever they are thinking it's not about making money. I think that is a serious mistake. It seems there's a HUGE part of the market they are totally snubbing. 
There are many who would be completely satisfied with the status quo of a model...most even. But for those, for instance, would like some added features for the C100 Mk II, but simply could never dream of owning a C300 mk II--and such people are likely to jump to Sony for want of a few simple features.
I know what they've been thinking. In the light of their sales  trajectory the past years what I wonder is why they keep thinking it.

Thanks a lot. This is extremely helpful... And just because I post a lot here, just means I have too much time on my hands. Ha. Actually, I am here to learn and get better, so I appreciate the detailed response. Thanks again... I love this little camera. 
 

For me, down rezed 4k always turns out better 1080p than just shooting straight 1080p. But the 1080p is beautiful as a Ding an sich. Mostly, I just use it for slo-mo. 
Regarding C-log, there's some debate about the exposure issue, I shot C-log over exposing with iffy results, but Jem Schofield recommends shooting C-log with 18% grey at about 31 IRE, and white at 62 IRE.
If you don't have a wave form to help you expose 18% grey, I'd recommend putting your Zebra at 70% and not letting your highlights in C-log go over that. You'll find your lowest exposure setting in Log will then be between 10 or 15% IRE. Too bad the XC10 doesn't at least have a histogram...waveform would be better.
Jem Schofield discusses log exposure and reading a wave form in one of the video tutorial he does on the Canon C100 cinema camera. you can find it on youtube pretty easily.
When I expose that way I always get better results so far. If you have a Ninja II, or some external monitor you can get a good idea of how to expose using a gray card by checking the monitor's waveform. C-log exposed correctly should show the exposed gray card at just over 30 IRE when you fill the cameras image with the gray card shot under the light you're going to be shooting in. If you get the gray card exposed  correctly and then use a white card you'll see the white automatically shows exposure at just over 60 IRE.
I find the XC10 censor just a bit bright. So when I shoot in TV mode I adjust the exposure compensation down about 1/2.
I often grade C-log by hand with FCPX and Color finale--and get results that makes me happy with minimal angst.
I'm sure others here with more experience will have more to say about exposing LOG. A wave form or histogram will give you some sense of what proper exposure that works for you is, and then you'll be off to the races. Hope this is helpful.
PS: I just noted you're a regular here--so sorry for going over all kinds of stuff you, no doubt, know better than I. But it might just help someone else with the same questions but not the same level of skill.

I hadn't check your site here for a few months because of being busy with other things. Glad I did. Wow.  What a great review. And only a few days ago I was wondering if anyone had done a comparison of the Sony RX and the XC10...and voila!!! 
In early May, after reading reviews and seeing video I decided to buy an XC10. To be brief, everything you mentioned just jumped right out at me. I own a C300 Mk II, and matching them in 4k Log is easy. I shoot Log almost all the time, and grading the XC10 yields a beautiful image in color and tone, which post-processing sharpening makes look even more amazing.
This camera is everything you say it is---and more. And the more I shoot with it the more it knocks me out. Canon have a winner with this camera, and I suspect it will grow considerably in acceptance as more and more people overcome their biases and give it a fair try. 
This is being written post June firmware update--which, IMO, did only a marginal improvement of the sluggish auto-focus. And the camera still fixes on backgrounds in certain instances and no amount of coaxing will make it fix on the proper object-- even when you put it in MF and program one of the buttons for one-shot. But this happens only occasionally, and when it does the lighting is usually not the best.
The loop combined with the joystick work great, and the loop gives added stabilization to hand held shooting. And did I say the image quality was beautiful--clean, and sharp and the Clog amazing???
At times I use a variable ND in combination with the internal ND---it gets pretty harsh under a bright Texas summer sun--and combining the filters on a very bright day works a treat. Often I end up "riding" the ND filter on the lens and the combined ND filters pretty much cover 99% of harsh outdoor exposure issues in bright sunlight.
Add a couple more buttons, improve the AF and a few other tweaks and produce a second iteration and I"ll buy it in a heartbeat. 
I can't wait for the C300 mk ii firmware upgrade and Clog 3--which is supposed to be easier to grade and not as flat as Clog 2. I'm hoping Clog3 and the XC10 Clog will be easier to match than Clog 2.
Andrew, thanks again for this great review. I plan to read over it several times to get all the the many points you made. Thanks for sharing your knowledge so generously. 

Exactly. This is almost totally a video camera with the courtesy of photos in a pinch. But once you load in some  Canon Log footage to your NLE at 305mbps, see how robustly grades, how sharp and clean the Log image can be made, how beautiful the colors are, and how it sits well along side of the C300 mk II image---you feel fortunate you can get a camera for under 2k that will produce an image that grades and looks like that.
I do lots of talking head educational videos, and skin tones and skin color is gorgeous, with beautiful detail without looking harsh. The outdoor video---for a person with skill it makes beautiful landscape shots and anything you want, and it's surprisingly good in lower light---and with a small amount of effort it creates beautiful DOF shots with beautiful Boca. The reason you can shoot 4k with these other cams is because their bit rates are cruddy, 8bit --that fall apart. The XC10 does all this high bit rate 422, etc, IN camera--no rig, nothing to schlep around. With the XC10 you'll be getting high quality footage while the rigged up people will be fiddling with equipment and not coming out with footage that can approximate the XC10. Rigs are a burden and an albatross. Why schlep them around--just to look "professional?"
You'll never appreciate this camera by looking at some cursed piece of paper. For someone with a degree of skill, who loves beautiful color, and sharp clean imagery, this seems an ideal camera for all sorts of purposes. Highly underrated, especially by those who have never taken the time to really try it. Image and color and grading compared to Sony---the Sony doesn't can't even come up to the plate.

My camera count is too high due to providing EOSHD content for ungrateful sods like you

There are so many options out there for manual focus, why would you use the XC10 this way at all? It's designed to be used in auto mode.

I actually find the colour from my C100 to be missing just a little something. So today I shot some colour charts with my Fuji XT10 and matched them to those shot with my c100 and created a LUT, which I am happy to share with you guys.
There are plenty of LUTs out there, as well as plugins like FilmConvert but they often change the feeling of the image a bit too much. I just wanted something that would improve the colour a little.
I shot the colour charts with all the different colour profiles but the results didn't really change much.
I have attached two files. I'd recommend using the Provia one most of the time. The Chrome one is just slightly different.
It would be interesting to hear how this LUT affects footage from other cameras too.
 Provia.cube
 Chrome.cube
Raw (Cinema profile):

FilmConvert Provia:

My LUT:

 
Raw (Cinema profile):

Quick grade (curves + saturation):

My LUT:

 
Raw (Wide Dynamic Range profile):

Impulz Fuji Pro LOG:

My LUT:

Heres my current settings, this is my balance between retaining color and DR, making it easy to grade :
These are : -10 sharpness, -2 Saturation, -3 Contrast +8 Black levels.
OOC:


Graded :

Exactly. My company produces clarinets of my unique acoustical design. I have over 100 videos sharing information that help clarinetists to make more informed analysis of an instrument's performance capabilities---I want the player to know more so he or she can get the best results possible with our products and better appreciate their virtues. It's crazy but the various video camera companies seem to do the very opposite. 
Shouldn't they want to do every thing they can to insure those who use their products can get the very best results from them?
Yes, some effort is made, but it seems pretty inadequate verging on pathetic.

Exactly. My company produces clarinets of my unique acoustical design. I have over 100 videos sharing information that help clarinetists to make more informed analysis of an instrument's performance capabilities---I want the player to know more so he or she can get the best results possible with our products and better appreciate their virtues. It's crazy but the various video camera companies seem to do the very opposite. 
Shouldn't they want to do every thing they can to insure those who use their products can get the very best results from them?
Yes, some effort is made, but it seems pretty inadequate verging on pathetic.

Exactly. My company produces clarinets of my unique acoustical design. I have over 100 videos sharing information that help clarinetists to make more informed analysis of an instrument's performance capabilities---I want the player to know more so he or she can get the best results possible with our products and better appreciate their virtues. It's crazy but the various video camera companies seem to do the very opposite. 
Shouldn't they want to do every thing they can to insure those who use their products can get the very best results from them?
Yes, some effort is made, but it seems pretty inadequate verging on pathetic.

That's the biggest problem of all. Not only they create pages and pages of menus, they don't even explain well how you should use all those options! 

Sweet

You may be on to something, but in some degree I think it may be a red herring. I have noted discrepancies in WB from cam to cam in the Sony line. I owned an FS100 and EA50, and white balancing them gave significantly different readings. But the issue is more than colour (as in skin colour)--it's skin tone. I don't have the technical lingo to describe it in precise terms.
I use Color Finale to do most of my colour correction. The vector tool feature in Color Finale isolates colours, enabling you to do fine adjustments of the six colours on the wheel. And no matter how I toggle between yellow and red I can't make the Sony's achieve the tone and colour in skin tone that comes virtually out of the camera on the Canon.  
I also note the X-rite Color checker goes haywire on the Sony cams, and doesn't work dependably. On the Canon it works like a champ.
Equally as frustrating to me is how Sony, Canon, and most all the manufacturers provide the scantiest information on how to best use the features they provide to get the best results. This means countless hours of individuals trying to figure it out for themselves. Such time can't be avoided altogether, but surely it could be minimized with the proper information. But, this subject really is another post, isn't it?

Now they must produce a Sony FS5 Andrew Reid Limited Edition!!!

I note that JVC is also pretty good at responding to customers. I purchased a JVC GY-LS300---wrote two rather extensive reviews on B&H about it, vociferously complaining about no histogram, among other things. Apparently, I wasn't alone. Within a few months JVC came out with a fantastic firmware upgrade (v. 2) with a number of great features not available of any cameras in that price range, along with terrific technological innovations.
Unfortunately, JVC cannot fix the down right terrible EVF on the LS300. It is all but unusable, and no internal image stabilization belies their "run and gun" claims for the camera. But otherwise, price and feature wise, the GY-LS300 is a feature rich 4k camera that JVC continues to improve with firmware upgrades. Hope springs eternal.
Let's hope that Sony continues to improve the FS5 and has abandoned the policy of abandoning cameras (and the customers who own them) in mid-stream.  
You post, Andrew, is very encouraging, and I'm personally glad to read your report. Definitely glad I've kept my FS5.

Ah no ibis.  This camera doesn't have everything.  But to be honest, it will never replace a need for a gimbal.  I highly recommend anyone to get one.  Words like Ibis or rolling shutter will never be a concern after that.

perfect description of their color science. It shouldn't be so difficult to wrangle into something pleasing to look at.