Kino

I agree and I don't think it is the heat from the ground. There are definitely a few out-of-focus moments in the cheetah chase. Perhaps it is operator error, wrong settings, or preproduction issues. I guess my point is that, especially when considering the autosport clip, the A1II's AF is much improved from the A1, where video AF was more limited in terms of AF types, performance, and subjects.
For wildlife video, the R1 seems like the best AF in the business:
Using a DNG converter, you could also use the R1's 14-bit RAW photo bursts as video clips, since the high-speed buffer is sustained for a good length of time (10-20 seconds).

The greatest thing about the A1II is that Sony didn't replace an amazing sensor for video with a higher megapixel sensor that would create rolling shutter problems and downgraded video specs. That was my biggest concern.
You can also see the advantage of the A1II's new AF for wildlife, sports, and motorsport video:








 

The greatest thing about the A1II is that Sony didn't replace an amazing sensor for video with a higher megapixel sensor that would create rolling shutter problems and downgraded video specs. That was my biggest concern.
You can also see the advantage of the A1II's new AF for wildlife, sports, and motorsport video:








 

Oh wait! I realized that the 8K internal / 4K HDMI setting can be recorded in true ProRes 422 10 bit, as it is bypassing the 8-bit limitation on the 8K HDMI output. So, it is truly a "hack."

Using the Gerald Undone "hack" (internal recording set to 8K, but HDMI output set to 4K), you can send out an oversampled 8K image to the Atomos and record it in 4K ProRes 422 10 bit. This bypasses noise reduction and LongGOP compression in the internal files, but I think this looks the worst in terms of color depth, as Sony lists 8K HDMI output as limited to 8-bit in the spec sheet:
As for the ProRes RAW in the A1, it is hard to pick out which shots are internal and which are ProRes RAW in this video (she lists the RAW shots in one of her responses):
I always look for Blue-channel clipping as a giveaway for ProRes RAW, but otherwise everything cuts together seamlessly. This suggests that the 12-bit 4.3K ProRes RAW upscales nicely to 8K and that the 8K's 10-bit internal is good enough to match with 12-bit color.

Oh wait! I realized that the 8K internal / 4K HDMI setting can be recorded in true ProRes 422 10 bit, as it is bypassing the 8-bit limitation on the 8K HDMI output. So, it is truly a "hack."

According to Sony's website, the HDMI output on the A1II is the exact same as the A1:
7680 x 4320 (29.97p / 25p / 23.98p), YCbCr 4:2:0 8bit / RGB 8Bit
4332x2446 (59.94p / 50p / 29.97p / 25p / 23.98p), Raw 16bit
Also, note that the gamma was locked to Slog-3 during RAW output. I believe it is still the same.

Stunning.
I’m happy for the new announcement because the video specs didn’t change enough for me to care and that means a $3k A1mk1 is in my near future. I fell in love with the footage shown at the link below. There’s a trick people discovered about sending out 8k to a Ninja recorder but recording in 4.2k Gerald Undone discusses it at length on one of his A1 update videos. it gives you the best possible image out of the camera I guess. 
 
 

The price of entry may be higher than Canon and Nikon mirrorless, but the image quality is undeniable. That is a world-class sensor that shares tech with the 8K Venice and Burano. Coming from Canon, there is also the issue of third-party lenses, where Sony has a huge advantage that balances out the higher initial price point.
In terms of the "subsampling," this is 4K/50 from the A1 and it looks incredibly detailed for what it is:



Here is the A1 in 4K/120 (HVEC 200Mbps 4:2:2 10 Bit):



I'm just amazed at what Sony achieves in this little camera and its highly efficient/compressed codecs.

I guess you are referring to Sony's consumer and prosumer cameras. This one only costs $60K!

I guess you are referring to Sony's consumer and prosumer cameras. This one only costs $60K!

ah my response you were replying to: 
 Was me making a perhaps too subtle joke, as I was writing AImk2 instead of A1mk2
Because AImk2 is going to totally change the game for the stock footage business! (of insects, and everything else)

The main improvements for video over the A1 include the improved IBIS (8.5 vs 5.5), stabilization modes, rear screen (resolution and functionality), AF performance, LUT support (importing function), high ISO performance, higher second-base ISO in S-Log3 (5000 vs 4000), and the new implementation of S-Log3 to match the Venice/Burano color space and detail (as a dedicated B-cam).
Also, the 8K insect 🦋 stock footage business will never be the same!

The main improvements for video over the A1 include the improved IBIS (8.5 vs 5.5), stabilization modes, rear screen (resolution and functionality), AF performance, LUT support (importing function), high ISO performance, higher second-base ISO in S-Log3 (5000 vs 4000), and the new implementation of S-Log3 to match the Venice/Burano color space and detail (as a dedicated B-cam).
Also, the 8K insect 🦋 stock footage business will never be the same!

It will be interesting to see how the R1 compares with the C80 and C400. According to Canon, it is also rated to 16 stops of DR in video:
https://www.newsshooter.com/2024/07/17/canon-flagship-eos-r1-announced/
The use of CFexpress Type B allows for much higher quality 6K RAW than the RAW LT found on the C80, which is also limited to 30p unlike the R1's 60p. The R1's Standard RAW is basically on par with the RAW HQ on the C400.
The R1 will retail for $800 more than the C80, but that might be worth it. You lose the I/O, NDs, and cinema features (e.g., waveforms, anamorphic de-squeeze), but you gain better RAW quality, IBIS, AF, EVF, and hybrid usability.

Tim Daust is under an NDA with Nikon/RED, but he has hinted that RED and Nikon are actively working on camera projects together. My guess is that this involves getting a version of REDCODE into a Nikon camera or releasing a Komodo replacement with Z mount within the next 1-2 years. They have already released a RED LUT pack for Nikon cameras, so that is only the first step. By the time of the Z9 II, Nikon could probably include REDCODE RAW in the camera instead of licensing TicoRAW.

I've had my eye on the Sony A1 for a long time. I was hoping Sony would announce the A1 II, so that the prices on it could drop a little. At $6500, it is a bit steep. LongGOP 8K is also not ideal, but the video footage overall is very impressive for a mirrorless full-frame camera. The DR, roll-off, ISO performance, and texture are all amazing. These are video frame stills if you can believe it!
























 

I recently shot this cover song and music video in 8K RAW on the R5C with a Great Joy 1.8x Anamorphic (50mm). My daughter sings here and I recorded the music, so I was occupied with a lot of things aside from the camera. Having said that, the camera performs really well for what it is and is a great addition for those who already own Canon glass. It's not going to replace a proper cinema camera in terms of the best DR or latitude, but it is an amazing tool and the in-camera anamorphic de-squeeze is a priceless feature. The video is uploaded in 8K so choose that for best quality:
 

I recently shot this cover song and music video in 8K RAW on the R5C with a Great Joy 1.8x Anamorphic (50mm). My daughter sings here and I recorded the music, so I was occupied with a lot of things aside from the camera. Having said that, the camera performs really well for what it is and is a great addition for those who already own Canon glass. It's not going to replace a proper cinema camera in terms of the best DR or latitude, but it is an amazing tool and the in-camera anamorphic de-squeeze is a priceless feature. The video is uploaded in 8K so choose that for best quality:
 

I recently shot this cover song and music video in 8K RAW on the R5C with a Great Joy 1.8x Anamorphic (50mm). My daughter sings here and I recorded the music, so I was occupied with a lot of things aside from the camera. Having said that, the camera performs really well for what it is and is a great addition for those who already own Canon glass. It's not going to replace a proper cinema camera in terms of the best DR or latitude, but it is an amazing tool and the in-camera anamorphic de-squeeze is a priceless feature. The video is uploaded in 8K so choose that for best quality:
 

Absolutely, but when will it be here? I mostly have EF lenses, though I may consider the Sony FX9 II if that comes along sooner and has the better features/price. The FX9 already looks great with the in-camera 10 bit:
And, with the RAW expander, it reproduces some beautiful colors:
Sony's advantage is that they don't need to introduce a new mount at this stage and have a better native and 3rd-party lens selection.

It's more that I'm disappointed that Sony didn't shoot the video with the A9III exclusively, as they did with the Sony A1 promos.
Based on other footage I've seen from the camera, I think the A9III is fully capable. There is even an unsubstantiated but plausible rumor from a Chinese website that the exact same A9III sensor will feature in the FX9II with 6K recording:
https://m-weibo-cn.translate.goog/u/2424567755?jumpfrom=weibocom%2Fu%2F2424567755%3Fjumpfrom%3Dweibocom&_x_tr_hist=true&_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp#&gid=1&pid=1

The Venice 6K is a certified Hollywood A-cam and I don't think it should be compared with the Burano, as the latter only offers X-OCN LT. That is a significant downgrade from the RAW and X-OCN options on the Venice cameras. My hope is that if they do bring out a Burano 6K, it will have X-OCN XT and ST because of the lower resolution and the fact that the Venice 6K is a much older design. In scenes with a lot of movement or change, X-OCN will scale resolution, especially when it comes to the LT compression. That is how Sony's X-OCN avoids artifacts. This means that Burano's 8K X-OCN LT will not be a true 8K image in all scenarios.

XDCA module was part of Sony's legacy design. On the FX9, it allows for much more than 16-bit RAW and 4k 120 (S35). You can power a giant B4 lens, for example, and offset the weight. You can also stream and transfer files. It's a full professional feature set for those who need it, especially broadcasters and those in field recording. This is all before they integrated RAW output into the body of the FX6. It will be interesting to see how they move forward with the FX9 II design in case they drop the module or modify it.
At the moment, we have the aging FX9 at $10K and the brand new Burano 8K at $25K. That's a huge price gap in the Sony cinema lineup that they need to fill. The "Burano 6K" could fill that gap nicely and still separate itself from both cameras. I believe the "inflation adjusted price" for the F5 was $3000 over MSRP, so I'm not sure how that will work.
I think you will find buyers for the FS7 who don't want to pay FX6 prices. It is still a capable camera and perfect for many applications. I still shoot with the C500 (original) and the image is great, especially in RAW. The only problem is the size/weight of the camera and Odyssey recorder when all rigged up.

@Andrew Reid Burano has shipped with X-OCN LT. If Sony charges you $25K for the lowest quality 16-Bit codec, it means that you will never see that on any Sony mirrorless. The smaller bodies wouldn't be able to deal with the heat management involved in 16-Bit readout, processing, and recording for video. This is also a slap in the face for those shooters who were hoping to see X-OCN in the FX series, since that is also less likely to happen for several years. It is Sony's answer to REDCODE, although it doesn't violate RED's patents as it is not technically RAW.