The non-OLED EVF looks a bit goofy with it's mirror (wonder who designed that) & does extend too far back. Seems the OLED will be better, but may still need a 3rd party mount.
While Raw is always intriguing, many high-end productions will still rely on other options, & the F55 needs to compete with Alexa. This is where a flavor of ProRes would have been welcome. Nobody is clamoring for another codec to transcode, & who knows how long 3rd party software development will take.
I think it's interesting how we view things.
If Sony had produced the RED camera system and had it in place and a new startup like RED had produced these two Sony cameras, the critics would have eaten RED alive.
But just like the Arri is established in the mind of film DPs, Sony is established in video so overall the impression is cool, looks great.
The reality is in my use, having used Sony SD engs, early Sony hdv engs, to owning the FS100, sony files looks like video and the color is just a nightmare to make it film like.
A lot of people complain about having to process out raw to prorezz or some other format, but in our work, it takes us 1/4 the time to get a good pleasing prorezz file ready to edit from the RED's than it does to transcode Sony, or Canon footage to prorezz, do some kind of third party one light to make corrections for a proxy file and then go back after edit and round trip the footage to di-vinci for final grading.
I'll bet dollars to donuts that the people that complain about RED raw don't shoot multi cam on the fly where they have to match footage and don't own a RED rocket or two. If they did, they probably wouldn't have the same impression.
And as a sidenote, the R1's produce three sizes of proezz to use as proxy's out of camera and when you add to the fact most NLE's now accept 4k RED raws ready to edit, Premier even will transcode on the fly, The Raw issue, is no issue. Actually, I find that anyone that thinks RAW is an issue has been fed misinformation.
Regardless, I hope the Sony's are good, though I still have questions about color and file format, but I know today going into production in the next few weeks, I have no worries about the RED's performing exactly as we need.
Still, as Morgan said DP's from video to film will still sing the praises of Arri and Sony regardless of total costs, regardless of what the file looks like out of camera, but DP's don't set in front of a computer and grade any file.