I was able to get some time in our HD edit suite today, here's what I found so far:

The original h.264 files provided by Vincent Laforet imported perfectly (and quickly) directly into the Avid Symphony Nitris. No fancy conversions, they dropped right in. In fact, these files seem to be very efficient and should work well with most home editing solutions.

We imported at DNxHD 220 (compressed) and 8-bit and 10-bit 1 to 1 (uncompressed).

We checked the imported 1080p 30fps video on calibrated Panosonic BT-LH2600W LCD and a $12k Sony BVM-A20F1 CRT reference monitor/display. Video signal was checked on a Leader LV5800 multi-monitor scope.

The quality of the video was outstanding. It was close to impossible to see a difference between the compressed and uncompressed imports, so in the future we would use DNxHD 220 to save media space.

The clips were shot with manual focus (as they should have been for pro-level production values). The actors would occasionally miss their marks, but when they hit the focus plane, sharpness was stunning and film like, no line delays or artificial enhancement like is usually associated with typical HD video cameras.

It was a real revelation to see the footage play on something other than a computer screen at a reduced compressed size. After being prepaired to try the many options in the dual boot DS and other "tricks" for converting to a 24p "look," we didn't bother. 30fps progressive is not 30fps 1080i (which is 60 interlaced fields per second). On a "real" HD display, 30fps progressive is VERY film-like as each frame is a complete 2mp image. Any motion showed the film-like stepping, and motion blur on each frame adds a rich film quality, most observers thought it was a film transfer.

We're used to seeing top-notch HD production footage, much of it from film, on these same monitors, and the 5DII video was up there with the best we've seen, except for small compression artifacts (on VERY close inspection-video pixel peeping) and the tiny amount of high ISO noise. But we couldn't even imagine what ISO 1600 16mm film would have looked like.

I pulled 3 different experienced editors into the room to evaluate the clips. They all work with high-end HD video and super-16mm film transfered footage. They expected to be disappointed, but ended up excited and impressed. At first, several asked if the producer composited the shots to get the shallow DOF in the helicopter and "kissing" scenes.

And so far all we've seen is ISO 1600 with small hot lights, some battery powered.

The photographic lenses provide a very natural, organic sharpness when seen on larger screens, and the sharpness is very un-video-like.

The bad news is that I can see some union issues ahead. But in non-pro environments that won't matter.

When I can get back in the room we'll play with frame rates. But the lack of 24p is no longer an issue for me. 30fps progressive, from a 35mm-size low light-capable sensor is simply geourgeuos and well worth the ergonomic problems inherent in a DSLR video camera.

I see now why Vincent was so excited and spent his own money to demonstrate the potential of this video quality. If my company doesn't buy one of these cameras I'll make them use mine! It'll be very hard to go back to the flat, "everything is in focus," over sharpened video cameras we usually use.

I'm not a techie, but if you have questions I'll try to find the answers. Thanks for reading.

Sal