BitFriend

Andrew, just a suggestion for an interesting sub topic for your S1H analysis and review, should you have time.  Paul at ExtraShot found (see 12:08 in this video) that shooting 6k 4:2:0 and downsampling to 4k in FCPX gave superior results to shooting in 4k 4:2:2 in the camera.  In other words, FCPX makes a better job of the downsampling (and notwithstanding the lower color subsampling of the 6k footage) than does the camera on the fly.  The implication of this is that, if a user has a computer with sufficient grunt power, they should shoot everything in 6k, even when they don't need to crop in post.  The DCI (4k) resulting from shooting in 4k and downsampling in post will be even higher quality than the 'native' (out of camera) DCI 4k. (Paul notes in the comments that he only tested this using FCPX - the quality of downsampling 6k->4k might not be the same with other NLEs...though, logically, it might be that some are even better in this respect...who knows...)
 

Andrew, just a suggestion for an interesting sub topic for your S1H analysis and review, should you have time.  Paul at ExtraShot found (see 12:08 in this video) that shooting 6k 4:2:0 and downsampling to 4k in FCPX gave superior results to shooting in 4k 4:2:2 in the camera.  In other words, FCPX makes a better job of the downsampling (and notwithstanding the lower color subsampling of the 6k footage) than does the camera on the fly.  The implication of this is that, if a user has a computer with sufficient grunt power, they should shoot everything in 6k, even when they don't need to crop in post.  The DCI (4k) resulting from shooting in 4k and downsampling in post will be even higher quality than the 'native' (out of camera) DCI 4k. (Paul notes in the comments that he only tested this using FCPX - the quality of downsampling 6k->4k might not be the same with other NLEs...though, logically, it might be that some are even better in this respect...who knows...)