What happens if, as rumored, the next step beyond the FS100 moves to 4K resolution with the price staying closer to the FS100 than Sony's current 4K model, the F65:
Only a rumor, but between competition from the RED Scarlet-X and the Canon C300, and Sony's interest in promoting 4K as the next big thing in video, a quite plausable rumor.
It seems to me that if Sony (and Canon) can continue this trend of sharing sensor technology between still and motion cameras, the economies of scale that have made digital cine-cameras so much more expensive will be improved, and then the huge cost advantage of using something like a 5D2 will be reduced, shifting back in favor of using a tool that is designed specifically for motion work. Leaving the video-still combo cams as good for some roles like journalism for online presentation where both stills and video are useful, but not for movie makers and television production.
I never, ever think about what's going to happen in the camera world, because we all know it's going to change and Sony needs a lot more lenses in E mount that autofocus before they do anything else.
One thing I'd like to add is I don't think any camera today is a one sized fits all camera, still or motion or combination.
Digital video is going through the same rip and claw for brand supremacy that digital stills went through almost a decade ago.
4/5k raw, 2k prorezz arris, hvcd 2k sony's and of course the camera of choice by everyone . . . the 5d2/3/4/5/6/7/8/910.
I originally thought RED raw was the ONLY way. I mean why worry about it when you can change anything in post, but honestly you really can't change everything in post.
If your too far off on white balance, or if your exposure isn't spot on you can't just pull a slider over and make a bad file a good one. It reminds me of when still photographer went from transparency to neg film, thinking neg film was bullet proof, but in reality a badly exposed piece of neg film would sometimes scan worse than an underexposed transparency film.
Any, owning a Sony, two R1's, one Scarlet, one 5d2 in the way I'm shooting my current project the best look I get out of camera (or with some small post processing is the RED One, #2 is the Sony (with a lot o testing) and #3 the Scarlet.
The scarlet is much easier to use than the R-1's due to size and form factor, but the screen is a PITA. It's glossy, must be used for a lot of settings, sensitive to the touch and I've yet to find an in camera setting that looks anywhere within 200 miles of what the file looks like in computer.
The Scarlet file is flatter than Kansas but in computer looks pretty good, though it will only run RED Gamma and RED Color 2 not the original REd color which I like more and has more bite and contrast.
Since I paid retail for all of my cameras, I have no agenda here (disclaimer), but I find the RED's to be the medium format cameras of the motion world, the Sony is the dslr equivalent and I don't mean it's a 5d2 I mean there are things you can shoot with it with one person that would take 3 people to use the RED ONE.
I love my RED's won't ditch them, but the Sony has given us the most exciting footage.
Right now I'm in a project that started last year in Southern Asia and now is in Europe. We just returned from Munch, now on our way to Moscow, Milan, the London.
We're shooting real people, though scripted, but since they are real people we want to add some excitement to the imagery. Using a RED takes patience, time, and if you get tired (who isn't tired during long production days), can look flat footed.
The Sony is light weight has amazing autofocus with the kit lens and is such a nice form factor it makes you want to move it around.
Technically the 2k Sony file is not 100% as good (whatever good means) as the RED, but an in focus, exciting piece of imagery, (still or motion) is a lot more important that 10% more technical quality.
Personally, as expensive as digital video is (especially in drives, post production, add ons, sound, continuous lighting) I think the sweet spot for a camera body is 5 grand. 8 to 10 thousand dollars is high given you need backups, AB cameras to do two shots, etc., so if Sony can get this rumored 4k camera to 5 or 6 thousand then they can become a big player, if they're not already.
All I can say is before you drop a trillion dollars on anything get your hands on one of these fs100's and test, test, test, test for your settings, work them in post again and again, then shoot, shoot, shoot, shoot.
I know until I did the testing I hated the files of this camera, now I love them and though I own the RED's extremely respect the company, we move so much heavy stuff around the world, I really wish I had three of the Sonys. I could cut down our cases by 5.
Just one thing to remember if this matters to you. No camera I've ever owned draws the attention of the RED ONE with big ol' PL mount lenses. On every project client's walk over and take snapshots of the R-1, the scarlet they don't even notice.