Don Kotlos

No it is not. As you can see from my test scrubbing performance is not related to any effects or the playback resolution. It just inefficient decoding of 4K H264. In order to decode a single frame with an interframe codec, multiple frames needed. While the buffer can keep up duting playback, anytime you place the playhead on a random location it has to read a bunch of frames at once and you get the delay.

With slog2 i found Pro to work much better than sgammut. I will give stills a try too. Edit: the difference of stills from pro is less bright red and blues. Not bad at all. Do you find stills closer to canon than pro? The FS5 allows for even finer color matching if you play with the color depth, phase and matrices. In principle you should be able to match clog in camera. I guess the only downside is you can't use LUTs that presume sgammut

Thats how I used to shoot RAW Where do you find the time to play with all these nice toys Matthias?

So a 50 feet roll that gives you 2.5 min of recording with development and scanning is $50 to $75 (just the film is $35). Add the initial price of the camera at $400-$750, and it makes little sense. Its more expensive than shooting RAW with the BM pocket and buying a new SD every time!

Unless I am messing up some setting, or the Xeon is more problematic than the i7, there is no bottleneck that I can think of in my system.

Is this with A7rii 4K files?

I also don't have a problem with playback. Its the scrubbing (or placing the playhead at different timepoints) that is slowing me down a lot. Is it with a7rii 4K files?

Not to mention that the XQD can support >1000mbps... They could have revolutionized BOTH the photography AND the videography fields by implementing 4K compressed raw at 24p. Even with a crop. But given the 3min limit, that sensor has severe heat problems and I believe they are trying to protect the long term usage of the camera. P.S. My dream D5, other than shooting RAW 4K, had an EVF when the mirror flipped up similar to the hybrid viewfinder of X100T.

With the zooms it is expected to have better coverage at the long end. The primes usually are not that good, but specifically the 35 1.8 is decent at near focus distances. It has been reported here: http://photo.net/nikon-camera-forum/00VLHs?start=0 . Its nice to have these unique lenses. I use my 25 T/0.95 m4/3 lens on the S35 area of A7rii all the time!

I do feel the same. From what I read H264 4K from GH4 does not have the same issue (can anyone verify this?), so it might be related to Sony's XAVC-S implementation.

while the d16 can produce some great footage and it offers great support, it is still a bit too expensive and too big for what i had in mind. A bellami type of camera literally fits in your pocket with a lens (but quality is awful).

I was thinking of the same. There are some nice new sensors out there like IMX249 and IMX174 from Sony that are cheap enough and offer good dynamic range and global shutter. Although I really like the BM micro I feel that it is was not meant for handheld shooting. Some more coverage: http://www.newsshooter.com/2016/01/06/kodak-goes-back-to-the-future-and-announces-a-new-super-8-film-camera/

http://petapixel.com/2016/01/06/kodak-is-bringing-back-the-super-8-as-a-film-camera-with-digital-features/ http://www.newsshooter.com/2016/01/06/kodak-goes-back-to-the-future-and-announces-a-new-super-8-film-camera/ http://www.wsj.com/articles/BL-DGB-44507 http://www.hollywoodreporter.com/behind-screen/ces-jj-abrams-backs-kodak-852128

UHD of D5 is DX crop and 1:1 readout http://www.nikon-image.com/products/slr/lineup/d5/features04.html "4K UHD video × dot-by-dot reading × EXPEED 5 Dot by dot information reading is less processing after shooting for the number of recorded pixels of the number and the motion picture pixels is the same used on the image pickup device, which provide high extremely sharpness image rich in detail." "4K UHD video × wide range of NIKKOR lineup Imaging range of 4K UHD video [3840 × 2160] almost the same as the [DX-based movie format (video imaging range)]. "

I am telling you they must feel some strange pride when they mess video up. Just like with the Df.

WTF? Nikon knows very well how to screw themselves over.

Alister has been of great help to many sony users. I was surprised to read his post trying to defend the undefendable. As you say, if everyone pushes Sony on this one, the fs5 can only become better and all users benefit. Hell, even Canon is helping too http://nofilmschool.com/2016/01/canon-c100-mark-i-ii-price-drop-cost

Thanks Nate for all these tests. We have shared some a7rii settings here: http://www.eoshd.com/comments/topic/9191-playing-with-sony-a7r-ii-heres-my-fav-picture-profile-post-yours/#comment-103712 Its amazing that Sony has provided a method to match cameras with the picture profiles and very few people actually play with it. It would be of great great value if while you are doing the test that Ebrahim suggested, to try and match the colors of a7rii with the 1dc by playing with color phase and color depths (probably with a cine gamma so you can see it in camera...). Then people can just use these settings if they wish to have a 1Dc profile with their Sony's. No need to color grade every time! Edit: Find the color matrix that best matches the Canon colors before start playing with the settings... I would guess Pro, Cinema or Movie would be it. You will find more information on the picture profiles in the following link: http://helpguide.sony.net/di/pp/v1/en/contents/TP0000909111.html From here: https://www.google.com/url?sa=t&source=web&rct=j&url=https://docs.sony.com/release/Help_C198100111.pdf&ved=0ahUKEwis8M2Y1JHKAhVQ7GMKHfnyDW8QFggnMAQ&usg=AFQjCNFq1tYWvMsGfbF0GLBSTj4mcktgsg&sig2=tg-TYrEDf3hhv7gSIbV9tw Again, I would be grateful if you could play with the picture profiles.

OK lets demand 10 bit XAVC QFHD Long422 200mbps.

Have you tried playing with the color phase and depth settings in FS5? With the A7rii, I have the feeling that you can fix color much easier in camera than in post, and another advantage is you do it only once.

And hopefully a fixed XAVC-L... If they indeed support it well, the FS5 can become quite a unique camera.

Yeah Sony's problem is exactly what you mention in the article: "Segmenting the market by codec". If they do indeed update the codec to XAVC-I then there is little to be had extra with an FS7. So unless they charge ~$2000 for the update I am guessing they will just fix the XAVC-L. Which is still fine cause the FS5 is a great little camera.

Must feel cheap being screwed by codec. 200Mbps XAVC-I, com'on Sony!

Don't confuse critical review with bitching. People are rarely happy these days and mostly look like spoiled consumerists. I believe that an aggressive log profile would be disaster with such a camera. Even on my A7rII Cine modes deliver much better results than s-log2. This is from Andrew's report on the new firmware here: Here is a test found on Vimeo: Here is a test found on youtube.

This is a bit exaggerated unless you own the FS700 and have the hands of T1000 from terminator.