It's not how it runs at all, though it is nicer on a mac flipping through quicktime .MOV's. the issue is that it is much more compressed. You wont be able to see it much and especially since most of what we do ends up on the internet anyways. BUT, where it really helps out is when you do any kind of post process that's based off of interpolation. Motion tracking, Twixtor, WARP, mercalli, screening, etc. What may look like a solid color at face value is made up of all kinds of garbage underneath, so when the software looks for a certain color or value to lock onto it confuses it more. Messy shots that have distracted back grounds are that much more difficult to "fix." I did a few promos(no aerials) for a product shot all in the studio on a black BG. I used my 7d and the results were decent but all the things I had to do in post were next to impossible. it was all my fault for not planning it out better. But working with solid colors can be really hard as it is not a clean value anywhere. So when you see the higher bit rates on certain codecs, it does help for this stuff. If you are just using your footage right out the camera and maybe slapping some stabilizer on there it will most likely be fine. But i refuse to buy another h.264 camera. The BMPC definitely is the one I have my eye on. The extra res is nice too. As you may think "who needs 4k unless you are showing on the silver screen?" Well, again, for that studio shot if I had a higher res I could use markers on the black bg I had and done some better camera tracks and still cropped to 1080, no one would ever know. Blah blah blah......
