IronFilm

Honestly, the problem is your budget, which is why I recommended the 50D, and since you mentioned an interest in it. For that money the 50D is the best Raw capable camera around. But in my honest opinion, if you're just looking to get your feet wet with video, don't switch to m4/3. You already own Nikon lenses, there is absolutely no reason to switch. I would search for either an upgrade to your D7000... A D7200 or a D750 which gives you the flexibility and durability to shoot video and stills in one package. Their flat profile is beautiful and the video codec is strong in 24p and 60p.

Yeah, this is what led to a broader search on my part.  At first glance, the 50D looks great, but it's definitely too good to be true.  I'm thinking that a Panasonic G6, GH2, or Nikon D5500 might be best.

120d
http://www.newsshooter.com/2016/09/11/ibc-2016-aputure-light-storm-120d-is-the-daylight-version-of-their-120t-led/
 

I'm very surprised of the versatility of this footage. A lot of Kinefinity footage I've previously seen online has been very brown and muted, this however is very flexible and easily on par with BMCC Prores. Perhaps even better - I'm seeing pleasing results much faster than usually with the BMCC. Getting very close to 5D RAW in terms of ease of grading. I was able to whip up a grade I'm happy with in a matter of minutes.
 

Point taken... Yes I was being lazy. So here are some heavy handed grades to see how far this footage can be pushed before it crys like a little baby. And I can tell you it seems to hold up pretty dam good. Lots of room to get some crazy color grades and it keeps it's cool. This footage is definitely more robust in post than anything from a DSLR. I would love to get my hands on one to see how it handles in the field. 
 

Yes, people are best to grade it themselves before judging it. 

Yes, people are best to grade it themselves before judging it. 

That's probably because you only watched it.
In that case it's the best DSLR footage you will ever see
And that's an understatement. Best footage I ever laid my hands on. Can't get it to break, really impressed.
If I wasn't the amateur I am, I would order a Terra right away.

RED do face online attacks when something goes wrong.
There are plenty of professionals who use forums.
Let's try to see the positive side of this rather public relationship Blackmagic and RED have with their customers. We can all share knowledge and sort out a huge number of support issues online, rather than having to go to a service centre one by one like sheep.
I am sure whatever issues Blackmagic have with the URSA Mini 4.6k, they will sort them out, as RED would do, or Arri, or any of the others.
This is a very grey area and to pretend any of us know all the answers is pretty dangerous.
There are just so many aspects to this. By saying 'designing' you could mean numerous things - inventing new technology, planning out pixel architecture in a design room, or simply asking for a certain spec and having a custom order... it's a pretty broad spectrum. The manufacturing of the sensor is an ocean of different aspects linked in with the design as well, if you're going to invent a new kind of pixel architecture or readout mechanism for example you need to have the tools to manufacture it.
Arguing about where on this spectrum of engineering a custom-made sensor falls is a bit pointless because...
The image is about the whole package - Blackmagic's colour science and sensor calibration is superb. Along with Canon and Olympus I think Blackmagic's colour is one of the most flattering of the talent in front of the camera.
Until we see the exact same 4.6K sensor in any other camera, the URSA Mini has exclusivity...
I'd question why the whole topic even matters, since as I just said, it's the whole package that makes an image unique.
The whole workflow as well - this is an important part and the sensor is just one link in the chain between the lens and the final image.
Respectfully disagree.
RED don't have an entire sensor design and manufacturing workforce in-house.
RED call on similar outside talent to develop a CMOS design, specced out for a particular camera. Probably TowerJazz.
Leica do it as well - CMOSIS and Panasonic both design and manufacture sensors for them. Where's the shame in this?
Fairchild are just another sensor design company to partner with and a very good one at that.
Blackmagic and Fairchild = "lack of expertise" is a really below the belt comment and just not true.
In fact, that is just your assumption. You don't actually know.

I'd also say his post read fairly restrained as far as forum rabble goes. I can't say the same however for the posters he is arguing against, who obviously have some kind of problem with BM for some reason or another... I mean as you said Ed, who cares where the sensor comes from if the image is good, it's irrelevant, the only people who find that relevant are the people trying to shine a bad light on BM for some reason.
As much as I value your word Ed, this topic was geared negatively by you from the start, and all because you saw some problems with a BM display model? I don't doubt BM aren't the highest quality camera producer out there, but the reason the quality is what it is, is because they sell at the price they are (which is what many of us want).
Honestly if you want to write a thread about a camera company going out of existance because you saw a faulty product on display, I could almost write a whole book about all the shity/ faulty Sony products I've seen my friends and family encounter... doesn't mean they are packing up ship.

That's because it is in no way a testing shot. Any cam with 9+ stops would look similar.. be it a DSLR or alexa

Looks great to me...always worth colour correcting footage yourself to see what's what.
30 sec ballpark correction in Colorista from ProRes : 

 

I'm no professional grader, but damn after t3i and Gh4 the grade just cuts through like butter. 

From Kinemax the same sensor as Terra 6k
 

This has the touchscreen I so wish my a7rII and a6300 had.....

Zero excitement from me over this, except...   this should apply pressure on the DSLR/mirrorless manufacturers to add 4K 60fps to their cameras. As consumers will ask why can't it do what their iPhone does already??

Maybe they'll respond by making a camera that doesn't overheat....  but I won't hold my breath!

Just checked Whois - www.craftcamera.com is registered to: E.Saawadi, Mansoura, Egypt
Yep, I'm just kidding.

Perry Mulder on the Kinefinity facebook group (https://www.facebook.com/groups/kinefinity/) gave it a quick grade the sample footage to try it out:
 
 
 

So? They're lower end models you're referring to, so of course they should be replaced by something better fairly quickly.
Additionally the GX series is aimed at photographers, thus naturally their video specs should be easy enough to beat with a soon to come out new model.

No price yet. 

I am guessing more than Sony's 18-105mm f4, but less than their 28-135mm f4

Ty Harper, the H4n had shit shit pre amps. But the H5/H6 pre amps are a leap forward.
 
And the F8 preamps are better than anything Zoom has ever made before!
And the F4 pre amps are the same as the F8.

Ty Harper, the H4n had shit shit pre amps. But the H5/H6 pre amps are a leap forward.
 
And the F8 preamps are better than anything Zoom has ever made before!
And the F4 pre amps are the same as the F8.

I got Netflix recently and, for example, watching Narcos, I miss the grain. Mostly on night scenes. Clean 4K night scenes remembers me we are watching actors on a set!!! 

I suspect the look of film is too in-grained (weak pun intended) for everyone to agree on that, but its an interesting point.
Emulating film is why Arri are still in business after over 100 years and why most modern cinema cameras are continually trying to emulate the characteristics of film negative derived from an optical process. Digital noise in many cameras is still judged by how 'grain-like' it appears. Post process of log and raw images are treated with tools that were built to mimic photochemical behaviour of stock emulsion/print process and chemical bath treatments...all focused on making digital images more relatable to work with and for audiences to accept the look of. It's proof that film is still regarded as the 'gold standard' for digital imagery to aspire too...sometimes including its grainy warts it seems. 
But modern cinema is already at a point where 360 degree shutter, rolling shutter, HFR have crept into modern filmmaking - things that could be regarded as completely non-filmic aesthetics by traditional standards...but the cinematic language has a history of changing...so yes - grain will most probably be eliminated from movies eventually and be considered an unwanted artefact of an 'antiquated' format. Its implementation as an easthetic choice for digital is sometimes subjective but the only bad online examples I've seen are from people who don't seem to understand the basics of colour correction and grading let alone the advantage that denoise and grain treatments can offer.