IronFilm

USB and SDI are so totally basically like almost like the same ya know!

Yes. And the problem is broader than that, just in general people just don't give any time into sound post or bother finding or respecting the skills needed to it 

Too many directors/producers just leave it up to their visual editor to do it, just doing a tweak here or there to the levels if that. 
Or nearly just as bad, they *do* attempt to take sound post "seriously" and find someone different dedicated just to the task of sound post. But many producers/directors seem to think just because someone is an expert musician / DJ / music producer / whatever, then they'd be good at sound post! Nope, they're radically different fields.
On a proper budgeted film they might have a team of just sound dialogue editors and assistants as part of the wider sound post team. (just look at the credits for the size of the sound post teams, often bigger than for the visual edit!! If you exclude CGI etc. Just out of my own curiosity I thought I'd go double check my gut feeling on this by looking at half a dozen of the most recent on IMDB's top 100. And yup, in every case the post sound department is a little bit larger than the editorial department! Of course I'm not counting VFX people here, which is a HUGE number on modern films!! But then again I'm not counting the music department either, which can be a length credit list for some films)
It is like thinking a photographer would be a good cinematographer! lol. Or visa versa. Yes, they have some overlap with their skills, but in the end they're each their own deeply specialized fields and are totally different to each other overall. And you're just taking a pot luck random shot at luck as to if one will be competent at the other (and you're extremely unlikely either will be great at the other's job, but until they get some experience under their belt first).

Unfortunately I've lately been hit over and over again with experiencing crap craptastic sound post, quite demoralizing when I put all this work into crafting the most golden possible sound files I can under the conditions of the shoot. But of course at wrap I then must hand them over, and it is out of my control. Only to much later on see and hear the final product, which leaves me wondering wtf happened??

Love to hear more about the production and pre production side of this, & what was the size of the crew you used? Any BTS? And your distribution plans?

Do you use the CineD conversion before the ACES input lut?
I've played around with the idea of making a camera, and going full Jim Jannard XD

I have a very early preorder on the Pocket 4k but what I still like about the FS700 w/ odyssey is the internal ND's, two proper XLR inputs, a great quality monitor, S35mm sensor, 4k 50p and even 4K 100p in burst (I'm in a PAL country). 
Yes, its a bigger/more cumbersome  rig than the pocket4k, but then sometimes that's a benefit. I also shoot a fair bit on Red and that's no less cumbersome than the FS700 w/odyssey. I'm not going to pretend the FS700 is ergonomic but it depends what your use to I suppose. Also, I can't really see myself using the Pocket 4k in its basic form all that often anyway. I would need another monitor mounted to it as the non tilting built in one is unusable when using a cinesaddle or any position you can't see the screen straight on. I would also probably want a mattebox for ND's (not a fan of VariNds). Battery life May also be an issue on longer shoots and then I'd brobably want some sort of small cage with top handle for handling. Are these issues for everyone? Of course not, but for my use, the FS700 may still be the better camera of the two but I'll evaluate that when I have the Pocket 4k in hand. 
Some of the work I do uses the Sony F5 and f55 as an A Cam so the FS700 cuts in perfectly with them. 
While the c300 does shoot lovely images, it's frame rate limitations made it a non starter for the work I do. 
Please don't get on here making it sound like I'm bashing on any particular camera, I'm just outlining why one camera may be better for certain people. 
For me, the FS700 is still a perfectly great camera today just as the FS7, f5 and f55 are. The FS700 w/odyssey punches far far above its weight and judging it on its age or current second hand price is just wrong. 
I'm seeing FS700's w/ Odyssey's including 5+ batteries, 4x512GB CD SSD's, full cage etc going for $3500 AUD. I can't see the Pocket4k being any cheaper once I add a second monitor, batteries, the equivalent 4x500GB Cfast cards, ND's etc...but right now I can't be bothered doing the math.
What I am looking forward to with the Pocket4k is the colour science and the compressed RAW options. 
 

USB and SDI are so totally basically like almost like the same ya know!

It's not enough anymore to say the C300 "creates great images" because, at this point, you can use a $500 G7 to create great images. Are there things about the C300's image that are better? Of course, but when it comes to the standard of image quality, virtually every camera maker has gotten to the level where you can get results only dreamed about 10 years ago AND on a budget!
We truly are fortunate / spoiled, given we're even able to have this conversation! 

Yes. And the problem is broader than that, just in general people just don't give any time into sound post or bother finding or respecting the skills needed to it 

Too many directors/producers just leave it up to their visual editor to do it, just doing a tweak here or there to the levels if that. 
Or nearly just as bad, they *do* attempt to take sound post "seriously" and find someone different dedicated just to the task of sound post. But many producers/directors seem to think just because someone is an expert musician / DJ / music producer / whatever, then they'd be good at sound post! Nope, they're radically different fields.
On a proper budgeted film they might have a team of just sound dialogue editors and assistants as part of the wider sound post team. (just look at the credits for the size of the sound post teams, often bigger than for the visual edit!! If you exclude CGI etc. Just out of my own curiosity I thought I'd go double check my gut feeling on this by looking at half a dozen of the most recent on IMDB's top 100. And yup, in every case the post sound department is a little bit larger than the editorial department! Of course I'm not counting VFX people here, which is a HUGE number on modern films!! But then again I'm not counting the music department either, which can be a length credit list for some films)
It is like thinking a photographer would be a good cinematographer! lol. Or visa versa. Yes, they have some overlap with their skills, but in the end they're each their own deeply specialized fields and are totally different to each other overall. And you're just taking a pot luck random shot at luck as to if one will be competent at the other (and you're extremely unlikely either will be great at the other's job, but until they get some experience under their belt first).

Unfortunately I've lately been hit over and over again with experiencing crap craptastic sound post, quite demoralizing when I put all this work into crafting the most golden possible sound files I can under the conditions of the shoot. But of course at wrap I then must hand them over, and it is out of my control. Only to much later on see and hear the final product, which leaves me wondering wtf happened??

One thing I noticed about YT microphone reviews (from people who don't know much about audio) is that they tend to be judging the EQ of the microphone instead of the quality of the sound overall.  I'd hear a microphone and think it would be fine with a bit of EQ and then the person would say something like "it sounds thin and hollow - not even usable!" and I'd just roll my eyes.
@IronFilm is this something you also see across lots of reviews?
In a way it's like filming in RAW and then saying the camera footage looks "too grey - not even usable!!".

I like they had the CS3e in that video. Love my Sanken CS3e, sometimes it is pure magical, but this (the DPReview video) shows how even the greatest mic is going to be terrible if in a bad position at a bad location!

Is why I said "POUNCE" on it! Don't wait around. 

No specific issues with BM and SD cards. The issue was that the Pocket cam required fast write speeds that very few cards had at the time. Card manufacturers were labeling cards with max read speed which confused users when they wouldn't work in the Pocket. BM's only fault was not clarifying this for users. Ultimately, it wasn't their fault, but they could have helped educate users to alleviate the frustrations. Whether BM's intention or not, the Pocket was eaten up by consumers who had little to no knowledge of card speeds. 

I bought the Lilliput A5 since my Sony's and Fuji's don't have a forward facing LCD. Only tinkered with it in test shots, but so far I like it. With the skinny Sony battery its not unwieldy on top of the camera. The bigger Sony batteries will run it all day. Found a seller on Ebay that had it ad $149 shipped obo. I offered $135 and they accepted, three days later it was in my hands. 
https://www.ebay.com/itm/Lilliput-A5-5-1920x1200-8bit-4K-HDMI-DSLR-Camera-field-monitor-F970-LP-E6-Plate/263676993363?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2060353.m1438.l2649
Chris

What ever a person has to do to earn a dollar, I don't judge. 

Have you been digging through my camera bag? ?
I do shoot with 2 cameras, and my second camera is a G7. I bought the G7 back in early 2016 for my honeymoon, it's what got me into M43. I purchased it specifically because I could shoot amazing stills and UHD video.
My set up is as follows:
GH5  is the A camera G7 is the B camera (hacked so i don't have the 30min record limit) RodeLink for my dialogue/explanations Azden SMX-30 for machine/room noises Saramonic sr-pax2 pre-amp to combine the RodeLink & SMX-30 signals as well provide enough clean gain so the gH5 is always set to -12 Besides a tripod, I've also got some cheap custom wall mounts I made so I could get shots where a tripod isn't feasible. Two of them are cheap articulated TV wall mounts, and the other is a wall mounted 4' light boom pole, that doesn't bat an eye at the G7 being mounted to it.
Just today I purchased a Zoom F4  because B&H had them on sale for $420. I eventually want to get some testicle syncs as I hate manually syncing clips.
I have two much light in the shop if you ask my wife, shes says it's like an ER. When everything is on, I'm dumping 86,400 Lumens out at 6500k.

Am thinking if you export to an OMF (how big is it?) then maaaaybe (no promises! I'm a total n00b at post audio, but willing to take a shot at it) I might do some audio tweaks for you? Clean up a little bit of some spots of dialogue. As I've been thinking AATranslator might be worthwhile for me to spend on.

 

Hahahaha!

"Are you sure you're supposed to have that thing on?" (pointing at microphone)
Love it when the grandma thinks she is more of an expert than you!

I, too, switched from 7" to 5" because the large screen was unwieldy. However, the size was not an issue for locked off tripod shots. It was just a problem for handheld or those occasional really tight spaces. I could see 7" being perfect for a one man show, where I assume you'll be using a tripod most of the time. However, if you ever do another project with a crew or handheld shots, I think the 5" will be more useful.
Either way, what about using a long HDMI cable and bringing the monitor with you, rather than leaving it on the camera? You can just set it down out of frame when you're ready to roll.

But the downside is you have to put up with the MX sensor. 

I mean for goodness sake even the AF100 does better in low light than the RED Epic:
http://philipbloom.net/blog/kesslerdoc1/

Using my F3 I really appreciate its lowlight capabilities so I can work with smaller lighting packages and a smaller lighting crew (which I have to do, I'm no big shot DoP!).  Sometimes like last weekend I'll use something as small as a Dedo for a fill, and my key might only be a 1.2K Fresnel Tungsten, and that will be enough for even quite slow F stops so the cam op can handle pulling focus himself even with tight shots and the talent swaying back and forth.
 

Is funny looking back at this thread, as only two years later it dropped even further! To half or even a third of the price!

It costs millions.
From what I've seen (first hand experience that is) at several companies it's a two year development cycle at minimum to make a camera. 
That's dozens of engineers.  Many iterations of sensor fab customising alone. Not to mention the in-house development costs. 
And there's no such thing as off the shelf sensors.  Just ask Apertus. They still haven't made a feasible camera after how many years ?
JB
 

Funny how the cost of a camera warps the expectation of the price of accessories.
JB

Eh, I'd just shoot to SxS cards anyway. Or use an external recorder from CD or Atomos for ArriRaw

Just finished my a weekend of shooting with the Liliput A5 for the first time, and I really liked it! Was a nice screen (in fact the B cam would often be using it for himself! Rather than for its purpose: to be pointed at me, so I could keep an eye on the B Cam shots), seemed to be battery efficient (I think? I wasn't doing battery management though, that was B Cam AC's job) while being super small and lightweight.
 
For its price (only US$149!) I think this was an awesome bargain buy.
 
 
 

Another thread full of white noise and unrelated information. I hope the OP did find something useful among those.