Fatalfury

Not sure if the megapixel label on the lens is necessary, but 100% agree on the T-Stop. I used to wonder why the Samyang cine versions are slightly darker, but they have the accurate T-Stop instead of F-Stop listed, of course the cine versions let in the same light as the standard versions. T-Stop for videography is absolutely crucial. I'd be furious if i had bought the Canon F2.8 L for video work and later found out that the T-Stop is actually close to 4!!! Wonder how my Zuiko OM 35-80 F2.8 compares.
 

Totally agree. $2.5k "drone" camera with a a zoom lens and no lock button... Meanwhile, BM micro camera will have a PWM & S.Bus port !!!  With a Lumix 7-14 or the new Zuiko 7-14 2.8 the BM micro should be less expensive than the XC10 crapmera.
Don't get me wrong, I own a 6D with a ton of glass and I love it for photo work. I'm not anti-canon but this camera is a joke. I'm keeping my GH4 for video and I'll buy A7sII and GH5 when they'll come out. Never going to buy C100 or Xc10 stuff. The first one is too expensive, the last one is an insult.

How exciting! Im crossing my fingers for a BMPCC update with the same form factor with a 2x mft sensor with the ability to select lossless 16mm crop, so that the 16mm lenses would be still usable. I also wish that Ursa mini had a possibilty to for a micro four thirds mount version, like the JVC s35 mft camera.

Yeah, the BMPCC is one camera where I'd actually be pleased to see a steady evolution not a revolution!!

I read that title as "3D Blackmagic Camera"  
Hoping it's a BMPCC 2.0 - so I can still use my damn x0.58 Speed Booster
 

It's really hard to take him seriously after what he said about 5D Mark II trashing GH4.

It's really hard to take him seriously after what he said about 5D Mark II trashing GH4.

It's really hard to take him seriously after what he said about 5D Mark II trashing GH4.

Just to let you with this music video i directed and shot with a GX7

Here's another pro tip: Never make gear purchases this close to a shoot. You never know what hiccups you can run into.

I actually think it a blessing because it seems you may need more time to pick your camera, long-term.  Borrow any Canon/Nikon from a friend is what I'd suggest.  Don't worry too much about the expose to the right (which is really better with RAW; h.264 isn't as forgiving).  Also, your DP is going to be focused on shots he wants to do, it sounds like you represent the client.  In any case, ONE of you needs to pay attention to making sure you get the shots you need.  Shooting should be second-priority to one of you.  
 
Many of my favorite videos and photographs were taken with old cameras I never meant to use but had to, for one reason or another.  And to follow-on to what Leeys says, don't try new stuff at shoots, you never know what hiccups you can run into.  Borrow a camera, put it on auto mode, and focus on framing, composition, and help your main DP.  You'll have fun and I bet you'll be pleasantly surprised!
 
One story, I went to my niece's concert and they said no photography.  Don't know why, they usually didn't say that.  Anyway, I had brought a BMPCC to use, was really excited.  But I knew it would be obvious if I took it out.  And ushers did go through the audience slapping wrists of camera users.  I also had a Panasonic G5 with me, which I had gotten about a day or so earlier, knew little about, so I put it on auto mode and shot through my coat.  The video was great!  Better than I would have gotten with the BMPCC--definitely a lot longer ;)  It PAID TO BE AN IDIOT :)  
 
Don't sweat not having the camera you want for your shoot!  

Yes and no.  The only real difference between the BMPCC and the GM1 is that the BMPCC has peltier cooling around the sensor, and the circuitry, allowing it to dump up to 30 frames a second of RAW sensor data, either as DNGs, or compressed into ProRes.  That means you can make it look more "film like" if you want, because you're dealing with 12-bit depth frames, but you can also do what the GM1 does in camera before writing to the card, make it 8 bit with about 6-8 stops of DR.
 
Keep in mind, the BMPCC has as hard a workflow, and focus gotchas, as the GM1 has as easy a workflow and good autofocus.
 
Others can chime in here, but I have a radical idea for you.  Shoot your A-cam the GM1 and make the BMPCC the backup.  I say this because I worry, if you don't have a lot of experience, that you may not be able to grade the BMPCC to something you like.  It's true that it gives you a lot more flexibility in post, but can also be unforgiving if you don't expose it correctly.  What I LOVE about the Pannys is they give me good video in idiot mode.  Not true with the BMPCC.  
 
On the lights, you should know that all lights have CRI rating, that is, how even they illuminate each color.  I don't have much experience with LEDs, but I believe you would get better food color from quartz-halogon than LED.  LEDs are better these days, but I'd be wary.   These are things working DPs can work around.  Seems you're dealing with a lot of unknowns.  
 
Maybe use the BMPCC for the food shots where the color depth may help (and you can take your time) and use the GM1 for the people scenes and long-shots where people are impatient.

If you go after a certain type of dynamic range none of the Panasonic cameras will match the bmpcc.  I have a GM1 and love it, but it doesn't have near the DR as a RAW based camera.  I don't know what "look" you're going for.  If you try to maximize the strengths of the BMPCC it will work against you with the 8-bit cameras.
 
Here's a video I did about my choice of going with the GM1 instead of BMPCC for personal stuff
 

 
You'll see certain scenes where the BMPCC has a kind of lighting depth the GM1 can't match, like the basement of the Goodwill.  Or my desk.  Outside in high contrast, they can probably match very well.
 
The small size of the GM1, and it's ability to mount all kinds of lenses, makes it a unique camera.  The silent shutter is also very useful.  As Andy says, it is better in low light than the g6, so even though 10%, I think it makes enough of a difference to lose the EVF (or go with GX7).
 
I have an a6000 too.  Great camera, and better low light than the GM1 BUT will still not match the BMPCC in my opinion.  Where the a6000 can have shallower DOF than the GM1, and less noise, the Panasonic image is cleaner.  Again, though I'm saying you may have problems matching to the BMPCC, the Panny cameras are amazing if you've never used one.  In fact, I had a guy in my office today who shoots professionally on Canon gear and when he played with the GM1 he was floored.
 
In short, I believe you will have problems matching cameras, but if you experiment before hand, in what you want to shoot, and with what camera, you can find ways to match them fine and YES, the GM1/G6/GX7 will allow you to get shots you can't get with the BMPCC.
 
As Andy said, "Amateurs talk bodies, pros talk glass, and photographers talk light."  

save the money and get some lights , lighting is the key thing!
.....all the rest in number crunching pixel peeping -

My company just finished a documentary shoot with a GX7 and the GM1 was the b-cam.  Their image IQ is the same from my experience.  We put a loupe (a cheap Hoodman) on the GM1 for focus assisting.  Not a bad solution.  Looks ugly as hell, but it works.
 
It's my stealth camera.  We use it to shoot clean and impressive video in locations where we need to fly under the radar.
 
We also do a lot of run and gun small business work; shoot lots of restuarants.  One of my main gigs in the past was filming restaurants and galleys on cruise ships.  Most of that was done on NTSC cameras and 2/3" CCD sensors.  
 
That said, if there's an attractive evenly lit small business on the planet I've yet to find it.  
 
Here's my easy solution to make the lighting in businesses look better:  Turn off their lights.  Always.  Then utilize the natural source as best you can and supplement with your own sources only if needed.  2 or 3 good LED's will do the trick since most cameras these days are decent in lower light.  
 
Many times just having some natural light pouring in with good drop off into the distance is enough to get by.  Hitting your subject with some side rim/back light makes a ton of difference.  Strategizing effective angles that take advantage of that new light is the final step.  It's fast, simple, and effective.
 
You do that and your work will look better, doesn't matter what camera it's shot on.  
 
If I could pound one sentiment into the heads of video and photography enthusiast it would be this:  Stop worrying about camera bodies and lenses until you understand light and learn to control it.  An education in this stuff is free on the interwebs.  You can become a better shooter than most overnight with an earnest ambition to apply good lighting to your work...but since knowledge is not something you can purchase from B&H not as many people rant about it online.

in day time outside in bright light the gx7 and g6 are very similar iq wise
at night in low light the gx7 is maybe 10% better - cleaner than the g6 - less noise in the blacks

g6 is a superb camera and will do the job for you very very well ,
 
but - gx7 is the best panasonic 1080p camera they have made to date - it has the same sensor as the gh4
 
its is very very clean , produces a superb image .so if you can get one its a better camera longterm

Only solution:
 
http://www.ebay.com/itm/EdMika-Canon-FDn-FD-85mm-1-2L-EOS-mount-conversion-kit-/181006816741?pt=US_Lens_Adapters_Mounts_Tubes&hash=item2a24d8d5e5
 
I have read that on standard fd to eos adapter the lens is pretty much useless.

Would have been quite funny if Upstream Color was nominated.

Would have been quite funny if Upstream Color was nominated.

Would have been quite funny if Upstream Color was nominated.