IronFilm

I can see the point if you want to use it in tests, but for 5000 pounds a medium format back like the p45 would add so much more to your gear bag and blow your mind, even if it's only for stills. I hope you can resell  it again without much loss after spring.

Seeing shadows cast by the moon in this A7s video will I reckon stick in my mind for a while to come:
 
 

Not all the users of this forum are doing commercial work for clients. Some are doing creative personal work, some are shooting features, shorts, documentaries.  Personally I'd rather try and push the envelope and get a more unique look - with anamorphic on a full frame camera, in low light and with S-LOG for a fraction of the price of the C100. Though I can fully see why you might not want to do this on a commercial for a bank. Feel free to setup a new topic about that.

Yeah you're wrong I'm sorry! Right from the start of the blog I was more of a Panasonic user because the GH1 at the time did video properly, and it was more accessible / much cheaper than the 5D Mark II.
 
Canon slipped ass backward into DSLR video, and whilst proclaiming to be great supporters of independent filmmaking and creative consumers with higher than average knowledge, took DSLR video out of our hands and decided to start charging $15,000 for it.
 
And indeed, when I haven't got an axe to grind, there's not much point covering their newest releases because they're so boring anyway.
 
Not just in terms of video but stills to.
 
Let's discuss the G1X Mk II vs LX100 shall we?
 
The G1X Mk II is such an awkward, ugly, minimal effort by comparison... it's almost like they don't care.

For the price of C100MK2 one could get a much better Cine kit with:
 
Sony A7S Body $2,499
Metabones EF Adapter $399
DJI Ronin Stabilizer $2,999
 
This setup will significantly minimize rolling shutter, lights investment and provide a better post experience with a 4K upgrade option for the future. Plus, you can swap out the body for A8S or 5D4 when it comes out for example. Much more modular. 

Hmm. A feature - shot using lights and graded to who-knows-what degree - then uploaded to youtube. Not the best situation for assessing image quality. You could tell us this was shot with a GH2 and we'd hardly be able to dispute it.

For the record, I sold my C100 and 5D3 and went with an A7s and A7r. Way happier with the results for stills and video. I'll have a review on my site next week that I'll share here

This camera is not a good sign for 5Dmk4 :(

New Mercalli is so amazing that we can almost forget that the rolling shutter exists in 4k cameras. Also easy to get tripod-like shots and pans handheld.

I feel these kind of questions are a bit like "If you'd have to kill one of your children, who would you pick?" - however you motivate it, you'll always feel like you miss your dearest child
Anyway, this is why I have a 16-35mm zoom for the wider end. In addition I usually pick 50, 85 and 200mm lenses along in the bag. If I had to go down to three primes, I think it'd be 28 + 50 + 105. Or perhaps 35 + 85 + 200.
My preference is to have my bag nearly packed with equipment and lenses nearby - so I can pick the ones that I think are right for the situation when I head out somewhere (anything from one lens to five, depending on situation). 

35, 50 105
but....I dont shoot full frame - only super 35 -

i prefer 135mm instead of 150.  but 50, 85 and 135 are the best IMO

​yes FF -
 
my main super 35 fave lengths are 28mm 40mm 70mm  you can shoot a whole film on those 3
 
 
just out of interest why are we doing this at FF - ??? and not super 35mm

Another thing to consider is what kind of work do you plan to do with it. I'd seriously consider the Sony Fs7. It may end up being cheaper than the Red 1. Even though the R1 may list cheaper once you add in support, media, drives, batteries/charger, accessories, you may end up spending more. The FS7 will give you 4k and better high speed options. Whether its IQ is as good remains to be seen. In terms of work, assuming the FS7's  IQ is up to the task, it would probably work more as it's well suited to small crew/doc as well as narrative. R1 is not a good doc / run and gun camera.

Red files need transcoding before you load them into Avid etc - this adds time and cost onto any job you do - worth remembering

Despite what has been said above(good points)...
I would still really consider the KineMINI... I know that there are plenty of people in the states that have one.
One thing about www.kinecommunity.com is that there are not that many members yet, and has only been started a few months ago. with more and more orders being fulfilled you will definitely see this grow.
I personally waited a few months to get mine, although I live in the middle east, I still got it, and am well pleased.
It's still a Chinese brand and is not without it's little quirks, but the image quality is exceptional, the Build is strong and robust and the company is always releasing new firmware updates that continue to utilize the sensor and beef up the camera.
The potential problems with the cameras listed above are:
BM cameras- still a newer company than even Kinefinity... has had many issued with vertical banding, sunspots and poor in camera management. you could always try the URSA which is really big and heavy if thats your thing...
Sony FS700- Awesome camera, but if you want to go all out, you really need an external recorder(for RAW) which will always add to bulkiness and $$$, as if the FS700 isn't big enough already.
Sony FS7- Also a great camera, but your still working with Sony's step my step upgrade system, which is kind of annoying, firstly you will still need an external recorder for RAW and they still don't have a firmware update for the true 4K yet.
 
I would look into Kinemini for a few great features like:
internal 4K RAW (DNG) recording
3:1 compression (KRW) format which means- in camera recoding that saves space( and then convert them to DNG's later or just compress them to CineForm RAW.
3K options including- RAW slow motion up to 60FPS (IN CAMERA) and 4:3 anamorphic options that are awesome!( if only I had some anamorphic lenses)
2K CineForm RAW-great codec where you can work with the live metadata and speed up your workflow while still having a ton of latitude with your grades.
KINEGRIP- this means that you can power the camera from a side grip (make sure to get the right batteries-makes a big difference - 30min vs60-90min) that essentially makes your camera way smaller, lighter and compact( I have done this recently being able to get into places that would usually not allow big cameras to film, and achieve RAW 4K on the run.
Great SLOW MOTION-up to 120FPS Cineform RGB 444 in high speed modes (I would make sure to have a diffusion filter to take care of any potential Moire or Aliasing-like most cameras, even the F5 and F55 have this problem in 2k if they haven't had switched out the thier 4K OLPF for the expensive 2K optimized one)
There are dozens more features like WIFI control and S16 modes and more that would take me forever to write in this, but still, if you are unsure of committing to company that is on the other side of the globe, I understand... I would probably stick with the FS700 or the FS7... other than that, I am testament to a happy user who is using his camera on a daily basis, and lovin it!
I personally ordered mine from hdvideoshop.com which is in Berlin, Germany... that might make you feel better that you have some accountability there(not being in China).
 
Hope that this helped
 
 

Of course is not using iOS, I meant iOS usability! Sorry  
My daughter operated an iPad when she was two years old...

Very comprehensive, professional overview of the Shogun (+ 4K sample clips on YouTube):
 

This'll sound snarky, but it's written with honest sincerity: Go ahead and place your order. What exactly are you waiting for? Are you scared to actually start making videos or something?

Again, not trying to be rude, just curious why you seem to be here asking for affirmation to spend your own money? I'm always curious about that.

The Gx7. If you already have the M43 glass, why not? It's under $500 in the u.s..

you should also really consider Samsung NX1
 
- great color
- 15fps 8k
- fantastic autofocus
- best slow mo next to fs700

(Almost) any camera!
 
5 years ago, there were very few excuses to just go and make it happen. Today, there are none. My own experiences let me recommend a Lumix as a first camera. Just because they teach you how to work manually, without being too complicated to handle (and lightweight as well, compared to DSLRs). Price-wise, quality-wise and with all your described expectations in mind, they probably offer the best compromise.
 
The said 5d Mark III with raw is definitely not the ideal beginner's choice, and without raw the quality is not worth mentioning anymore. 

Sure and while you're at it, drop some videos from a GH2 here as well.
Remember this post earlier this year? http://www.eoshd.com/2014/05/kendy-ty-t2i-one-guy-amazing-things-5-year-old-dslr/
Nobody says last generation cameras immediately suck as soon as something newer comes out. They've been used to great extent for a reason.
But does it really make sense to put your money down and get that kind of camera, when there's so much else out there that's affordable and has 2014-tech? Not so sure...

Why are you worried about Matching with ART lenses with anything else? You have so much different glass does it even matter? Do you plan to only use the ART glass with the new lenses you buy to match them and never use them with your other lenses?

To answer your question
 
>Zeiss Otus

Glad you got the FS7.
 
The more people keep buying the old 1080p stuff from Canon the more they are going to keep the 4K stuff in the vault and coast along. They can sell us a $5k 1080p camera and then also a $8k 4K camera at some point in 2015. Such profit. Please people stop buying dated equipment and reward the innovators like Sony...