LaneMc

I have no problem with Cinema5d posting a 40k cage. Many of us were creating video content professionally far before the "dslr revolution", and we continue to do so. Back in the day we could get a 5d mk2 and create images that were arguably better than the $30k video cameras of the day. But, since then the industry has moved on... and many of us have moved with it. We still like the smaller mirorless and dslr cams that produce great results, but as our careers have grown, so have our camera options. We have easy access to Alexa's, Reds, Varicams, Fs7's on down... Most pro jobs cover the cost of renting these cameras rather then sinking $45k into ownership anyway. 

As an independent producer I appreciate knowing what's happening across the entire landscape of digital cinema. All the shooters I personally know feel the same way. 

I have no problem with Cinema5d posting a 40k cage. Many of us were creating video content professionally far before the "dslr revolution", and we continue to do so. Back in the day we could get a 5d mk2 and create images that were arguably better than the $30k video cameras of the day. But, since then the industry has moved on... and many of us have moved with it. We still like the smaller mirorless and dslr cams that produce great results, but as our careers have grown, so have our camera options. We have easy access to Alexa's, Reds, Varicams, Fs7's on down... Most pro jobs cover the cost of renting these cameras rather then sinking $45k into ownership anyway. 

As an independent producer I appreciate knowing what's happening across the entire landscape of digital cinema. All the shooters I personally know feel the same way. 

I just like a camera to get out of the way.  For me, the best one so far has been the C100 (Mark 1 or 2)  - Doesn't need a cage.  You can hand hold it easily without micro jitters.  Great image.  Super useful built in ND filters.  (I really dislike external ones, I do find them too time consuming for my liking, and it's an extra thing you need to deal with.  Heck, I don't even like changing lenses that much.)  A 17-55 with a 70 - 200 is a great combo.  I can handle run and gun and interviews without issue.  Only drawback for me was the codec.  It's fine for Web, but not for TV.  I shot 13 episodes with a ninja connected, which I also disliked.  The magic arm kept getting in the way or falling out of place.  I don't shoot it anymore because I like 4k, but don't have a great replacement at the moment.  Didn't like the C300 as much because it's bigger/heavier than I like.  Same with Mark 2. 
 

I own a BMPCC and a GH2.  I rent other cameras for gigs... C100, C100 mk2 and most recently GH4.  All of the work I rent those for is corporate style paid gigs.  I have some strong opinions on the BMPCC.  It really is a love/dislike sort of relationship.  
When I began freelancing (after 12 years of being a media producer for corporations) I needed a camera.  I bought a Sony Nex5n. Soon after, I replaced it with a GH2.  (The overheating drove me mad on corporate gigs).  My next camera purchase was the BMPCC.  For months, it sat on the shelf - only getting used in one project.  That project was a short film which I was producing on my own time.  I didn't have to fit my shooting into a 2 - 4 hour window, like with many corporate clients.  And this is precisely why it sat on the shelf - It was a pain in the butt to use for corporate work.  1. The LCD screen isn't great.  2. The crop factor is crazy!  3. Battery life... not fun.
So now, it sits in my bag on every corporate gig still.  BUT!!! I have a couple short films in the works and I will certainly go for the BMPCC.  The image is LOVELY.  I purchased the speed-booster (just factor this into your cost - you want it.)  I also bought the Sigma 18-35 and a 50mm 1.8.  You may also want an EVF.  I bought a 5" LCD, but think I'll get an EVF at some point.  You also need shoulder rig at least...
The GH4 is really nice to use.  It sits in the hand really well.  The image is nice - but I really wish the image was more like a C100.  It's not as detailed to my eye and the color science isn't quite as nice.  But, it'll probably be my next camera purchase.  For the money - its really great and the ability to crop in on the 4k image is good to have.  BUT - I still would use the BMPCC for narrative work.  And I mean - every time!  (unless I needed a slow motion shot)
So basically - in my experience Blackmagic is for narrative work where you have time to set up shots.  The others (GH4 and similar) are for quicker turn around, run and gun, corporate work etc. Most corporate clients think DSLR footage looks just fine.  But, in storytelling - the feel of the image really can add to the overall piece.  And I would rather spend the time to have the image that I really love.
That's just my experience... hope it helps.

I love this comment, by which i mean its just plain idiotic.
Everything you've seen from the FS7 has been shot within the first 5 minutes someone has had the camera. Let's wait a few months before making such a wide declaration. Early A7s footage/GH4 footage also looked pretty crappy. Give people a few shoots with a camera - then make your judgements. 
 
Now to your "video" point. It has zero to do with frame interpolation. Its called over-sharpness. What really annoys me is people who shoot a digital sensor camera that isn't a RED, want a "cinematic" output, and yet use no softening filters (RED deliberately keeps their image as soft as they can get away with). None. An Alexa can look over-sharp shot poorly. 35mm film can too. When we shoot film (too rare!) we often have 3 layers of softening in front of the lens. 3 layers! When shooting a commercial or drama we have a range of Tiffen softeners ready to go for the Alexa or the F55, and we often will soften the highlights again in the grade. 
 
However - if you're shooting for broadcast, and you're matching $150k studio cameras which are horrifically sharp, being able to look 'video' is actually a plus! Sony and Canon and Panasonic understand this.
 
You want a more pure 'filmic' camera that's value for money? I can't recommend the BMs enough.
 
You need a camera that can shoot reportage, TV interview, a feature doc, a music video AND an indie feature? Better to start off hella sharp and adjust to taste.
I tell people all the time: A Swiss Army knife is actually a pretty terrible hunting knife. Unless you NEED that flexibility. 

The dynamic range just gets me on the GH4.  I preferred the 5d in every shot.  It jumps out at me in highlights mostly.  

The dynamic range just gets me on the GH4.  I preferred the 5d in every shot.  It jumps out at me in highlights mostly.  

The dynamic range just gets me on the GH4.  I preferred the 5d in every shot.  It jumps out at me in highlights mostly.  

Fun fact:
 
If you take the letters after the "5" in this NEX series you get, "NRT"  a nice anagram for "Not Really Trying".

Fun fact:
 
If you take the letters after the "5" in this NEX series you get, "NRT"  a nice anagram for "Not Really Trying".

Its funny that everyone screams "workflow" problems from the get-go.  Not too long ago we were capturing everything in real-time from tape... remember??  My film-school experience was that we shot on 16mm - had to get it processed overnight (while praying that your exposure readings were actually OK so you wouldn't have messed up footage) and then we edited on pre-final cut pro systems... meaning Steinbeck machines with white gloves and scotch tape and razor blades... And I'm not even old!!
 
In 2006 we were so impressed when we began producing tv with a big production company that had a TERABYTE!! of storage.
 
In my estimation - the color on this footage is BEAUTIFUL! - A drastic, marked difference that any non-pro can easily see.  Honestly, this stuff makes me want to buy a 5D3.  An option I would absolutely not have considered two weeks ago.  

Its funny that everyone screams "workflow" problems from the get-go.  Not too long ago we were capturing everything in real-time from tape... remember??  My film-school experience was that we shot on 16mm - had to get it processed overnight (while praying that your exposure readings were actually OK so you wouldn't have messed up footage) and then we edited on pre-final cut pro systems... meaning Steinbeck machines with white gloves and scotch tape and razor blades... And I'm not even old!!
 
In 2006 we were so impressed when we began producing tv with a big production company that had a TERABYTE!! of storage.
 
In my estimation - the color on this footage is BEAUTIFUL! - A drastic, marked difference that any non-pro can easily see.  Honestly, this stuff makes me want to buy a 5D3.  An option I would absolutely not have considered two weeks ago.  

Its funny that everyone screams "workflow" problems from the get-go.  Not too long ago we were capturing everything in real-time from tape... remember??  My film-school experience was that we shot on 16mm - had to get it processed overnight (while praying that your exposure readings were actually OK so you wouldn't have messed up footage) and then we edited on pre-final cut pro systems... meaning Steinbeck machines with white gloves and scotch tape and razor blades... And I'm not even old!!
 
In 2006 we were so impressed when we began producing tv with a big production company that had a TERABYTE!! of storage.
 
In my estimation - the color on this footage is BEAUTIFUL! - A drastic, marked difference that any non-pro can easily see.  Honestly, this stuff makes me want to buy a 5D3.  An option I would absolutely not have considered two weeks ago.  

Its funny that everyone screams "workflow" problems from the get-go.  Not too long ago we were capturing everything in real-time from tape... remember??  My film-school experience was that we shot on 16mm - had to get it processed overnight (while praying that your exposure readings were actually OK so you wouldn't have messed up footage) and then we edited on pre-final cut pro systems... meaning Steinbeck machines with white gloves and scotch tape and razor blades... And I'm not even old!!
 
In 2006 we were so impressed when we began producing tv with a big production company that had a TERABYTE!! of storage.
 
In my estimation - the color on this footage is BEAUTIFUL! - A drastic, marked difference that any non-pro can easily see.  Honestly, this stuff makes me want to buy a 5D3.  An option I would absolutely not have considered two weeks ago.  

Its funny that everyone screams "workflow" problems from the get-go.  Not too long ago we were capturing everything in real-time from tape... remember??  My film-school experience was that we shot on 16mm - had to get it processed overnight (while praying that your exposure readings were actually OK so you wouldn't have messed up footage) and then we edited on pre-final cut pro systems... meaning Steinbeck machines with white gloves and scotch tape and razor blades... And I'm not even old!!
 
In 2006 we were so impressed when we began producing tv with a big production company that had a TERABYTE!! of storage.
 
In my estimation - the color on this footage is BEAUTIFUL! - A drastic, marked difference that any non-pro can easily see.  Honestly, this stuff makes me want to buy a 5D3.  An option I would absolutely not have considered two weeks ago.