IronFilm

I am expecting a C100markIII announcement, or else I see myself going for the FS5, the variable ND filter is a good reason as it is already. 
In the end, as I see it, even a JVC LS300 for 3000euros (we already have one) is great to bring some bread on the table and the budget can be spend on lights and/or some sound equipment (Zoom F4 anyone?!) to complete my set.
This announcement is quite exciting, but I do not see taking too many customers from Canon and Sony, even though they will definitely take some. This camera seems like a work-sheep, not a work-horse.
I am waiting for the first reviews and future announcements from other companies, just hope to push Canon and Panasonic make a move, at last.
I just can't understand how Panasonic is out of this game with a Varicam Ultra Light Tiny, C100/FS5 killer!

I thought it recorded 10bit 1080p internal?

Yeah, these were almost exactly my comments there. C5D does far too often technical mistakes like this, it happens in basically every article. They look more knowledgeable than they actually are and I've seen this in so many articles, enough so I follow the news, but take any technical report with a grain of salt.
They are confusing compression issues with color depth issues, two very distinctive things, propagating terrible misinformation for those that know even less than they do.
To clear this up, they should have done an external recording to rule out compression and codec issues before jumping into 10-bit is no good. Plus, I'm not really into this level of pixel peeping anyway. They even missed some other observations about the other cameras artifacts or even other GH5's advantages too.
In the end, they are spreading a lot of misinformation which will only confuse even more people that already don't eff understand what color depth and chroma subsampling is, this is already a complicated topic to discuss out there because there are already a lot of poorly done tests about this matter and this isn't doing it any favor at all.
 

Bravo! I like Cinema5D, among other websites like yours, but I appreciate your breakdown of this article. Also, I enjoy reading your articles in general!
I plan to buy a GH5 when it comes out and these little criticisms... Don't really bother me. I have used the GH4 for two years, and I 
I have used previous GH models in the past, so I am looking forward to getting my hands on the GH5!

The camera can write 160MB/s to SD cards:
http://www.cameramemoryspeed.com/olympus-e-m1-ii/sd-card-speed-comparison-test/

I bought my f3 for $12,000.  Slog upgrade was $3000.  I just sold my last one for $1,500 including tons of batteries and media.  
Out of every piece of gear, cameras depreciate in value probably the fastest.  

You might be better of keeping your F3, the prices are so low now it could make you cry   besides the Canon C100 II, with the limit to 8 bit out is still nice, but it's not the 10 bit of the F3! I like the locking SDI connectors on the Sony, the C100 HDMI is too weak. The C100 original and C series cameras are lovely cameras, but you have more DR range shooting RGB S Log, with the F3. The Sony F5 would be a nice upgrade path, but it gets bulky when you add on the extras.
  

100% Agree with this, I run with an F3 (S-log) + Gemini 4:4:4, and they're built like bricks, never had any issues. Often my clients have difficulty re-focusing from "need 4K" to "need awesome image quality", but after the shoot when I start going through the dpx footage, all debates stop. Biggest downside for me: It's a light cinema camera, but it still heavy as a cinema camera compared to stuff like the C100s. I'm usually a one-man band, so that means a lot more work, but if that doesn't bother you, I can't recommend better IQ for the price. In addition, the native FZ mount can adapt to pretty much anything other than E-mount for the price of a cheap adapter. 
 
My reel, shot mostly with available light, with this rig for demonstration: 
 

I'm happy I held off with upgrading computers. The Ryzen 7 1800x and Vega will be the centerpieces for my new 4K video editing workstation, with MAGIX Vegas Pro 14 at the helm!

Maybe its time to ditch my i7 and GTX1060, going all AMD this year! (Ryzen + VEGA combo)
Sick of seeing my 4core i7 is still relevant after all this years and 8 core Intel setup is still waay over priced (cpu + mobo is too high priced)
8core cpu at only 65W is massive! Intel 8core is pretty power hungry at 140w!
 
Quicksync is irrelevant IMHO, doesn't care since my GTX1060 does big improvment over my old GTX660 on rendering time, 8c16t >>>>>>4c8t any time of the day, especially on vfx heavy projects

I do like my F3, ( I have three of them now for multicam shoots ) I find for WEB and TV it has all the resolution I need, the image is wonderful going out to my Odyssey 7Q+ S Log RGB 444, it does have a great film like image when handled well, It is built tough and has so many solid HDSDI connections, just make sure you get the RGB S Log upgrade either installed already, or with the key! If I want to step up to a client that request 4K I bought a Canon C500, I do find 2K to be more than enough for everything I'm shooting these days. Some good information on the old F3 is out there.
F3 in fact has a 3.4-3.6 megapixel sensor. And from further reading it seems engineers find that, while very small pixel pitches bring with them increased noise, once you reach a reasonable size -- 4-6 microns -- the benefits of larger pixel pitches in terms of noise are reduced. Thanks for the comments -- that's exactly the kind of info I was trying to suss out.
Here is the full read:
http://nofilmschool.com/2011/03/sony-f3-times-light-gathering-ability-red

KineMINI 4K "battle tested" (read: refurbished) were going for $3K last year?
I'd undoubtedly go for that in your situation if you can't afford a Kinefinity Terra, & don't care about other stuff such as size.
 
Otherwise you could get a secondhand Sony FS700 (as you're not counting the cost of extra stuff....   such as an external recorder to tap into the FS700 raw).
Other options I'd consider is Sony PMW-F3, BMD Micro Cinema Camera, and maaaaaaaaaaaaaaybe the URSA Mini 4K. Plus of course the GH5, but wait for it to be selling first for a month or two.
What do you mean "lacking in resolution"? Or is 1080 not enough is what you mean? 
That is kinda my plan.
Get the FS5 once they show up cheap secondhand. I kinda want the 10bit 4K internal of the FS7 however..... but the variable ND and small compact size of the FS5 is tempting. 
 
Or a Kinefinity Terra if they show up "battle tested" in the future. 
Would you mind please linking to your reduser post on the F35? :-)

People on reduser band together all the time for group discounts. (Not for something like a GH5 though...  that couldn't happen)
 
Can't see why not EOSHD could do this as well in a similar manner?
 
Just don't let anyone from Cairo organise it....

Can't speak on 5D raw, but honestly, the only thing holding back blackmagic pocket raw from being viable is hard drive space. RAW compatible memory cards have really fallen. Couple of 256gig cards would get you almost 80 minutes each. The footage runs really smoothly in resolve. I often shoot corporate videos, and I load the clips in resolve first. Whip through them with a basic grade, export them out and use them in premiere. They cut like butter in both instances, and I have a pretty old computer at this point. If you wanted to do extensive grading, it'd take more time... but for your standard real world looking color correction, it's super quick. You get a ton of lattitude, quality is excellent and workflow is barely impacted at all. 
Hard drives would absolutely add up with a ton of footage but that's gonna happen with any decent codec in 4K as well. Price you pay for quality, really. 

I thought they were down to a lot less now. I think you'd be surprised how much the MX has aged. It was good for its time and put Red on the map (the original sensor was too slow/noisy to be useable and was unusable with tungsten light using the old processing) but the DR is no better than your F3 and you need substantially more light to get a clean image. Alexas are down to around $17k for a kit and are in another league entirely from any Red. You can rent Epics here for a couple hundred bucks a day so I'd just do that rather than buying one but it depends on your market. Depending on what you're after you might love it but also might not. With some work it can produce an awesome image. 

I would invert your list as Magic Lantern raw has nowhere near the dynamic range of Black Magic or Digital Bolex's cameras

In addition to the suggestions above, you might consider a used camera:  the Digital Bolex; the Sony F3 (w/4:4:4 capability); the Sony FS700 (w/raw recorder); or a KiniMini refurb.
 
Also, I've heard good things about the DJI X5R.

When should I book my flight to Brooklyn?
By the way, you happen to know anyone in town who has a F35?  I wanna swap my new F65 for it and some cash.

Your eye is not trained enough. To my ears, all fighter jet engines sound same, but there are people who can hear the difference. Does it matter? I don't know. 

If you cant tell, I'll take your F65. Who wants that heavy, expensive old thing anyway. In trade, I'll take you out to Walmart and let ya pick out whatever camera ya want and then I'll buy ya dinner at Applebees.

"5 axis stabilisation" is bullshit, its a software only thing that you have with every normal Video editing software.

I am curious why you think it would be more of a 'perfect' Magic Lantern raw video candidate than the 5D Mark IV or 80D or even EOS M6.
There's nothing even unique about the 77D, even within the Canon range.
I can't speak for them but Magic Lantern would probably prefer to crack the 5D Mark IV before touching the most uninspired, basic, boring camera on the planet.
77D is practically the same camera as the 80D. I am shocked it even exists.
The "5 axis stabilisation" is a con... it is the same old lens IS plus a digital crop, which softens the image even more.
I can think of a million other cameras that are more interesting from a technology point of view.
It's not even that cheap!

Yes, as a number of posts have said, I don't think the chromatic aberration is down to the X-T2! Andrew just happened to be shooting with the Canon F1.2 which was the one he had to hand (which uncorrected does have significant CA); shooting with a lens like the Fuji 35mm f2 or 56mm f1.2 there probably wouldn't be any CA to speak of. Some comments also about the softness - Andrew chose to shoot in the Astia (soft) film simulation (also with sharpness dialled right back), so that was a creative choice (which for me worked very well here). There are quite a few X-T2 videos available now, which show very sharp images, if that's what is wanted. 
In addition to the great colour profiles,  the superb Acros black and white film simulation helped tip the balance for me on ordering an X-T2 (should arrive in a week or two). Here's an example (shot on X-T2 with the Fujinon 35mm f2). For me, this is really nice - French Art film, anyone?
 
 

Kisaha, audio preferences can be very subjective. And circumstances vary from shoot to shoot also which one is "better".
So I don't say it is so clear cut which of the Audio Technica or Audix is "better".
I agree Curtis Judd is not an expert specialist soundie (but there are very few of those on YouTube! Matt Price is the only independent one on YT who regularly updates), he is just a videographer generalist, but he is the best regular one of those on YouTube for audio info.

Canon has threatened ML if they touch the 1DC they will unleash their lawyers on them. It will more than likely never happen unfortunately. 
http://www.eoshd.com/2013/01/1d-x-has-traces-of-1d-c-firmware-but-magic-lantern-will-never-touch-1d-series-as-canon-threatens-potential-hackers-with-legal-trouble/