Shield3

This footage looks terrible. Sooo video-y.

Mattias seems to have better search engines than I do for his 1dc and 5d3 pricing.  Everything I've seen is the 5d3 is holding onto the $1800k US mark (Plenty of people tried the Sony route and are buying back in; tired of adapters, poor ergonomics and fiddly adapters).  Hell it may have gone up a bit price-wise in the last few months IMO.  I'm on my 3rd 5d3 now having owned the first one for 2+ years.  They never stopped working; I just buy and sell too much gear.

wow i wish i could find a deal like that!!! im looking right now. here in southern california people are selling bodies for $1800 with 350k clicks!!! (or at least trying to.) at that price im thinking i might as well get one refurbished from canon for a little bit more, with a warranty... im trying to buy used to SAVE money lol

Wow, an amazing gift for your kids and their kids to appreciate!

That video doesn't look bad (it doesn't look great either, it could be from anything), but those are literally the least challenging conditions imaginable. Let's try mixed lighting. Looking at her hair you can see there might be chroma clipping until challenging light but it's hard to know. I wouldn't go for that camera, at least not without Sony's Alexa emulation LUT (can that be installed on the FS5? it is literally the saving grace of the F5 and F55 because chroma clipping cannot be graded out and it solves it completely in camera). And the codec is still a bit weak from what I've seen. Someone sitting and not moving in a well lit environment won't stress it, but I was surprised even the F5 did not have a strong enough codec to completely transform the image in post. Bottom two stops are very gnarly, needs to be rated at 800-1000 ISO base to function then DR is no better than C300.
Also the C100 Mk 1's viewfinder is hot garbage. Useable is a very very generous term. The viewfinder with a loupe is 10X better but isn't that what we were trying to get away from when we spend $6000k instead of $600?
Regarding the above, the 2.5k black magic (haven't used the 4.6k yet) has a nice clean image that cuts well with the Alexa but the rest of the line is not great in terms of IQ. But if you kit that camera out to be production ready it's more expensive than a Canon. Their 4k sensor is rather bad. Like... yikes level.
This is only advice for the original poster. If you like a video look and/or have a lot of time in post or are on the aggressive LUT covering up natural color train and need 240fps then the FS5 will blow your mind, but for someone who's looking to get a neutral Alexa-like look and doing just regular narrative/doc primarily, the Canons and Black Magic 2.5k are the next best thing.

Except that the FS5 has a bad, buggy image with weird video colors in a codec that's too thin to fix them.
But other than that. Yeah. Maybe with some firmware updates and external recorders it'll be great (the FS7 is pretty great), but it isn't now. Honest question, can you load Sony's F5 film and Alexa emulation LUTs on the FS5? These are awesome and everyone shooting Sony should be using them. Big improvement, completely changes what's possible because the chroma clipping makes those cameras near unusable under some lighting with out of the box settings and with these at least you get a starting point that's really cinematic and workable and with a strong codec you can get a very good image with some work in post.
The deal killer on the C100 is the horrible EVF and no 60fps. If you use an EVF enough that a loupe on the LCD won't cut it or shoot 60fps and slow motion... really at all (there's a surprisingly okay 60i to 60p to 24fps slow motion Compressor workflow... Compressor's motion estimation deinterlacing is better than any other... but it's unusably slow and like... come on... no one is doing this unless they're truly desperate) it's not much of a choice. I'd spend the extra but I don't know your financial situation or your clients' needs. 

Yes, it is worth the extra 1000 for the EVF and proper 1080p 60 fps. 

The a6300 actually seems to combine some of the best of both cameras into a slightly smaller, and MUCH cheaper package. It has incredible autofocus using native lenses (better than both a7Rii and a7Sii). Low light is comparable to Rii, not as good as Sii. It is 24 megapixels, so it's somewhere between the Rii and Sii. Definitely enough MPs for great stills. It downsamples 6k to 4k so the footage is extremely sharp. Has a lot of the video features of the Sii. The only thing you'd be losing would be IBIS but you can always use stabilized lenses or a gimbal. The major drawbacks of the 6300 are also present in the Rii and Sii, such as the poor battery life, potential for overheating, and lack of touch screen - which makes the a6300 a better value.     

I have offered to sell my LCDVFE by Kinotehnik to Dave - it's a must have for this camera.  Can't wait to see future pictures of the entire setup if he decides to buy it.  Here's a screen grab from a guy using the 1dc + the LCDVFE (and a mic):
 
From http://www.hkarlsen.no/2013/09/the-canon-1dc-and-kinotehnik-evf/
 
 

Yup that was pretty much my thought process. would much rather have a no fuss C100 with excellent 1080p IQ, great assist features (love the waveform view), shutter angle/gain levels, ND filters, XLRs, C-LOG & Wide DR PPs and last but not least the game changing DPAF.. also keep in mind it doesn't do 4K but uses the same sensor as the C300 and is 4K down sampled to 1080 image. it's a lot sharper then the soft 5D3 and actually holds up ok in full screen on a 4K monitor. when the time comes in a year or so, there will be plenty of 4K options to upgrade to with perhaps not all the compromises of these early gen hybrid cams.. plus yeah it does look the biz and i don't have clients looking at me funny like when using most DSLRs/mirrorless cams heh!

For me the real killer feature of the C100 mk2 is the DPAF

Your inability to expose and grade shouldn't have any bearing on anyone else's purchase. The GH4 has maybe 10-11 stops of DR; Nikons 9-10; the C300 has 12, on par with the Red MX, but below the F5, FS7, AS7, and Dragon (if shot at 5000K+, it's worse than the rest with tungsten).
If you had trouble shooting and grading so you could access the information (you'll lose the entire advantage if you treat super whites incorrectly and accidentally clip them or apply an S curve instead of hard clipping at the bottom and a life on the gamma and gain, unlike true LOG) that's fine, but for someone with extensive experience in post (like the original poster and myself), you will get far more dynamic range out of the cinema camera. And its weakest point is DR.
The ergonomics are really easy to use after a week or two. There are more buttons, but each is mapped to a function, unlike the vast menus of dSLRs (which I find confusing, I even find the Amira more confusing than the Alexa, though, to be fair). 
But "I tried a professional camera and couldn't figure it out" is no reason to dismiss it.
The viewfinder on the Mk I is the worst thing ever, though, I'll give you that. And it doesn't make exposing easy. I use a 758 cine and have had good luck with that, and after learning the waveform monitor I can expose competently without an external meter. If you're having trouble exposing, I suggest calibrating your meter; the sekonics are often off by as much as a half stop and, to be fair, the internal codec appreciates a little overexposure so it can be tricky. 

Funny.. I just bought a 5DIII (there are crazy good deals on it right now) although mainly for stills and as B-cam to my recently acquired C100 DPAF. I just love the L glass.. and Canon skin tones. Ergonomics, doesn't get much better then EOS Cxx. A7S2 is seriously good but for it's price i've got a problem with the consumer-y body, horrible menu/ergonomics and battery life. and yeah S-log3 at 8-bit doesn't really cut it in post.. I'd wait a month or two until 5D4 gets announced if you wanna remain DSLR.. especially if you're invested in Canon glass..

Another vote for the C100 Mk II. Far better image quality than the 5D RAW (and black magic for what that's worth) and best in class ergonomics if you like a pineapple/dSLR rig. I too work 95% with Alexa footage (in post), mostly network/tier one cable, advertorial, and indie features, and have found the C100 and C300 to be the best b cameras and I have shot everything out there. I recently rented my C100 kit to the studio where I worked (I would use it as a B camera for their Alexa, after grading we couldn't tell the difference, but the image is much thinner on the Canon, must be exposed much more carefully, and we had an external recorder and frankly I know how to expose correctly as I grew up on 4x5 slide film) and it was their choice and the DP's choice for Alexa B camera. Where I often work now shoots Alexa with a C300 as back up and for pick ups and they intercut much better than Alexa and Red. I know the camera gets a bad rap for its small efficient codec, but in most of the work it's designed for–low end corporate (Alexa being the high end corporate standard), weddings, low end documentary, etc. it's good to have small files. Beware the lack of timecode sync, however.
The F3 isn't bad but the internal codec (despite a higher bit rate) is poor and the ergonomics are a nightmare, the lens situation is dire due to the PL mount, too. But the F3 is a nice camera, weirdly I have had better luck with it than the F5, though in-camera LUTs can turn the F5's image into a boring one that can be graded well, whereas bare SLOG2 has chroma clipping that's disastrous, a knock against the A7S, too.

I just bought a Sony F3 and absolutely love the look. I wanted something that would put a bit thicker image than the C100ii. At work I use the C300ii, which is also outside of my budget. The F3 gives me really nice color and a really clean image. You can't get the crazy sharp 4k look that the C300ii can get, but the color is definitely there. It has a nice feel. You can get one used for 1500, throw a recorder in with the package it's only 2k. The size sucks, battery life is great, internal NDs, XLR audio. 
C100ii just dropped to 4k, I would imagine used they are around 3500? That's getting to be a pretty nice deal. If you're tired of the 5D, you may want to go for the 1DC. If you need XLR audio, maybe go for the C100.

Have you shot both in C-log and color corrected / graded?  The C100 is top notch IQ wise.  Having a tad more DOF and quick push button AF, built in ND, zebras, waveforms and the ability to punch in while recording are very important.  In fact, I'll bet if you shoot the same scene and downscale it to 1080 you'd never be able to tell which camera took what.
Focus and better exposure tools IMO always trump everything else.  I have 4k sets here - unless you plan on cropping/panning quite a bit I personally don't see the point of having the hassle of huge 500 megabit files, large memory cards, no EVF, no ND, poorer ergonomics, poorer battery life (if you get the larger Canon battery for the c100).  The 1080p60 from the c100 KILLS the 1dc's soft 1080p60 mode.
I hope whatever you're shooting doesn't move much, as holding focus at 1.3x crop is pretty tough.  For DOC work I'd throw on a STM lens (10-18) or even the 18-35 Sigma stopped down a bit.
But hey, to each their own.  c100 has MOJO for days in C-log mode (and Wide DR is pretty damn nice too).  Just my opinion of course.

I was like you - I switched Canon to Sony (a7s, a7r, a7rii, a6300).  I have a small handful of native Sony lenses but heavily invested in Canon glass.  The Metabones adapter works ok but many times it'd lock up and I'd have to power the camera off and on again.  Some compatibility with Sigma EF mount lenses (it didn't work at the time with the Sigma 150-600 C for longer than 1 minute of video).  Random error codes, et al.  Twice this year my a7r2 had an issue that required it to be sent into Sony for repair.  My 5d3's never had this issue and I ran Magic Lantern.  Despite all of this, I never liked the Sony colors esp. skin tones.
So I started going back to Canon - got the 1dc and liked it, but didn't really shoot C-log nor understand how to grade it that well, so for me it wasn't worth keeping it.  So I shot pics with the 1dx for a while (I have since changed my mind about the 1dc now that I'm shooting C-log.  I will admit I was wrong there!)
Then I bought a C100 Mark II.  I figured out after reading and teaching myself how to expose and color (well, getting much better at it) C-log and I'm super thrilled with the results.  Built in ND, proper XLR audio, waveform, 1080p60 that isn't soft (a la 1dc), in camera over/under crank, quick access menus, good EVF.  Specs won't blow you away but the image is stunning.  It's like the 5d3 with Magic Lantern in C-log (provided you get close on exposure) and I love the battery life, form factor and reliability.
My son's spring travel baseball ended last week, so I picked up another 5d3 (and sold the 1dx).  So I've come full circle after 4 years ago buying my first 5d3.  At the end of the day it may not have everything (lower dynamic range, no 1080p60 or faster) but it's plenty fast enough for casual use, has gorgeous colors that need little tweaking in Lightroom. 
All I have to say is if you shoot people, stick with Canon.  Landscapes or something else perhaps not, or the 5dsr.
One more thing - the c100 is really, really, really good in low light.  In my eyes as good as the Sony a7s original or pretty close.  The Sony can crank up higher with less noise, but man, up to ISO 12800 the Canon retains a shit-ton of color detail and the Sony doesn't.

Weird. I saw articles online about it being 1dc. My apologies 
I've been shooting on C100s and C300s for years. I'm completely aware of how practical they are and amazing they are. But they are boring as hell. 
As an artist I get excited about doing things that are different and non conventional. I am choosing to shoot on a camera that I believe outperforms the IQ of the c100 dramatically. There is plenty of budget and crew to assist me in my descion. Not to mention having a "dslr" that shoots cinema quality video in the middle of Mexico City is going to be amazing camouflage  especially if I strip it down. 
The "documentary" is more like a reality show. So we will be constructing everything and will have control over most situations. As a DP I have had to decide to make choices that further my career and challenge me as a filmmaker. Otherwise... I'd go crazy. That's just me and my personality. 
I wish. I just thought a kiwi bird looked cool when I chose a logo for myself. Probably should have thought about that. I'm an LA boy living in Nashville TN. 

Ha!
Actually got it replaced yesterday. Can't for the love of me figure out why I didn't exchange it for a gx80, gx8, what have you. But its like always with Sony, I want them to be good.
Anyway, the new one works.... But the EVF is crooked... Probably my fault as well

Yeah I should. They are becoming a bit of a joke.

So for the Tenth or Twentieth, Ive lost count, time I will give Sony a go.
Just opened the box to a a6300, charged the battery, popped in the SD, turned it on, it crashed
Lets hope it does better this afternoon...
EDIT: Formated the card in my computer, and then in the camera. Now it starts.
Pressed record, recorded 10 sec. Looked at it on my computer... full of vertical static stripes, blockiness and more noise than a smart phone.
Will update firmware and see if it helps.
 

I don't know much but I know canon and I know Sony when it comes to event reportage. Nobody ever said wow to the Sony footage out of the box. Brides, friends, famy... everyone loved anything shot in the Canon XL series.  (Edit: I had a camera owner/ operator work for me on a job and her footage was incredible. But she had spent a lot of time with that Sony z series and knew how to wrestle it into submission. Then it was actually a bit more natural and superior to the Canon. From what I can see, not much has changed in this regard)
They, Canon, simply nailed the DIY, pretty footage out of the box market. 
I can't speak to anything else but this obvious 'fact'. 
These folks with 10 seconds with Lebron are living in a fact based reality. They are showing you indirectly their weapon of choice. To dismiss them as uninformed on the 'plethora' of options available is to quite frankly sound a bit ridiculous.
No insult intended. Just bemusement.
Edit:  the fact based reality is you are making crap money for long hours with stiff competition, and nobody wants to color grade your footage at 1am when you send it to the studio, or listen to your excuses about how your equipment overheated, or has a magenta cast, or is not broadcast ready -yet, or wants you to telepath your filmconvert ritual to get to rec709...

It's a hell of an assumption to assume I'm "regularly using the USB to charge the camera" based on the fact I stated it stopped working.  I had the camera for a while before I'd even tried it.  I have about 14 batteries and 2 dual chargers and 3 single chargers.  No, only tried it once as I had my phone charging and was curious how long it'd take in a pinch - this lead to noticing the failure, and then seeing if it would still sync on my pc (which it didn't).  I could play devil's advocate and remind you Sony lists in the manual that USB charging is fine but I won't bother.
In fact Rich I only cared that the USB worked in order to get the much needed firmware updates.  But, feel free to continue to make all sorts of assumptions.
 

So my a7r2 has had to go into repair twice now.  First time the USB port didn't work at all (would not charge or connect to a PC).  I bought this used with the MACK warranty.  Turnaround time for repair (MACK had to get a part from Sony) - was about 1 month.
Thursday night I was headed out to a game to film - my a7r2 would make a strange noise and only turn on and off for about 1 second (no menus).   It would do this repeatedly 4-5 times then shut off.  Almost sounded like it was trying to initialize the IBIS system upon startup but couldn't.   Leaving the battery out overnight, removing the lens / battery off for hours (and trying 5 different batteries) made no difference.  What is scary is I didn't drop, bang or even slightly bump it - I was testing some picture profiles and had it mounted indoors in A/C.  Since I could not find a way to do a hard reset online and the fact it's under warranty, I sent it back in Friday 06/09.
This is making me very nervous about continuing to buy $3k Sony "disposable" cameras.  While the Canon C models are expensive and don't have the ultra slow mo or dynamic range, they certainly take care of their customers and make much more reliable bodies.
I had 3 cameras I had prepared for the shoot - a7r 2 + Metabones, a6300 for some 120p and an alternate angle, and a 1dx for stills.  I had to rig up the 1dx quickly for the "center field / pitching view shot" and it didn't miss a beat.  0 problems.
Sigh.  Please share your experience with any NEX / A7 series bodies.  I strongly suspect my IBIS module went haywire on my a7r2.

For me resolution is nowhere near the top of the list of what makes a good image.
When I compared the 4K NX1 and RX100iv to the 5Ds HD Raw, the Canon won.
The BMPCC or Bolex runs circles around GH4s and Sonys, imo.
Same thing happens with still cameras.
Plus I don't know how many times I've done blind tests and not even the biggest 4K evangelists of this and other forums can tell the difference.
Now, if we have HD vs 4K and all else is equal, both shooting Raw, wide DR, nice color science, etc.. Then 4K might come in handy. But its not needed for any of the work I do personally. Not until its a standard, and thats years from now.
So with that said, I still buy HD cameras and have gone back and forth from 4K many times.