IronFilm

Many VICE productions are switching to the FS7, including a lot of their shows on their new channel VICELAND. 

They got back in the game with the GH series. But that is at a different level 

You got double the sensor real estate to cover compared to full frame. It's got to be an incredibly fast readout, or the image is gonna be mush. Especially with the shallow depth-of-field.
Until recently, medium format cameras used CCDs. CMOS sensors are actually a recent development in this arena. Maybe going back to those would be a smart idea. Imagine the motion cadence!
My dream would be a 645 sensor purpose-built for video with a lower pixel count. Maybe 6K or 8K spread out over a 60mm-wide sensor area. Bigger pixels = low-light monster. And then use the space between the pixels for the circuitry required for a global shutter.

I took the Full Frame Look (vs. S35) challenge and created images that were equivalent: http://brightland.com/w/the-full-frame-look-is-a-myth-heres-how-to-prove-it-for-yourself/ . Some folks posted 'debunking' shots with MF vs. FF but didn't use equivalent camera settings per the math (and not even the same framing).
The math and physics also apply to MF vs FF. If it's possible to match via the equivalence equations an MF camera + lens to a FF camera + lens, the images will be identical. However, part of the difference is the sensor technology and software processing, where Phase One appears to really shine. Thus comparing a Canon 1DX II or Nikon D5 to a Phase One (any recent) may still show the Phase One providing a better image. If that wasn't the case, there wouldn't be a market for these very expensive MF cameras.

I said it in the last thread, and I'll say it again. The 'right camera for the job' depends on so many more things than just the type of job. There is a right camera for you, and there is a right camera for your project, that's for sure. But there's no definitive 'right' camera for a particular job. Again, it depends, and the more we suggest that it's cut and dry, the more people get disappointed because this camera doesn't do this or that, or doesn't work the way they like. In the end, they blame the camera system, when it's not really the camera system's fault.
To your point, an Alexa Studio can certainly be used for making a documentary or a wedding video. Is it the best choice? Well, that depends on you. Do you own an Alexa Studio? Do you have clients willing to pay to be able to access that quality of footage? If so, then maybe it is the best choice for you. If not, and you're looking for a camera for weddings, then it's going to depend on a number of different factors. I know wedding shooters who still shoot on prosumer 1/3" sensor cameras like the Z1, NX5 etc. I also know wedding shooters who shoot on A7s'. I know wedding shooters who shoot on F5s and REDs.
I know BTS shooters who shoot GH4, and I know BTS shooters who shoot Alexa.
It depends.
The 'what camera should I get' question may be annoying, but the reality is that people asking that question are better served once you know what their needs are, rather than selecting it from a chart. Big DPs when deciding what to lens a movie with, they don't just go to a chart that says 'Feature - Alexa Studio' and choose that way.
If you really want to serve these people, you'd be better off having a thread that outlines the pros and cons of each camera system, and has a preamble about how to ascertain what you need in a camera system.

The AF100 with an external recorder was the a-camera on The Raid: Redemption, an absolutely kick ass movie I don't recall a single person critiquing for its visuals.
Learn your way around it and you'll be fine.

Hey, Bought my AF100 a few mounts ago.
Just finished rigging it. And just got a used Atomos Samurai (not the blade version).
The AF100 is a tricky camera. It is easy to use, but you have to master the settings to get the best image out of it. I cannon recommend enough the AF100 book.
The package I got was AF100 + Panasonic 7-14/4 + Panasonic 14-140/4-5.6 + 2 batteries and a dead cheap SD Card (which is now stuck in the SD slot) for 1300€
The best thing about this camera is that it is ready to shoot run & gun. No need for external power, recorders or rig for handheld stuff.

They use standard m sata solid-state-drives. Atleast my pix E5H does.

what about VideoDevices PIX E series? BM and CD aren´t full recorder display options. I would like to hear a wider point of view in regard critical gear

I don't know the make as it's a generic chinese thing from eBay. Will try and find a link. Get asked for this a lot. Wish there was a high quality hot-shoe hinge made of metal. This one is plastic and a bit wobbly when something heavy is on the end.

For the price it appears Aputure FineHD VS-2 wins.
That combo of low price and high resolution is a killer combo.
But consider also spending a little more and getting a BMD Video Assist instead.

Too many cameras missing from this!
Where is the BMPCC? Where is the Nikon D750? Where is the JVC LS300? Where is the Sony F3? Where is the Sony FS700?  Where is the BMD URSA Mini 4K? Where is the Panasonic G7? Where is the Panasonic GX80? And the list goes on....  only 6 options in a poll is not going to be comprehensive.

The fact Dual IS was on and you could still get maybe 2 hours continuous is impressive.   This camera really has me interested. 

But a general guide doesn't exist, unless your general guide is a discussion about the pros and cons of each camera for the situation. A poll provides no context. What's best for a feature film? Well, what's your budget? What sort of film? Is it a sci-fi involving green screen and VFX, or a gritty drama? Is it a studio set-up with jibs and dollies and steadicams, or will you be handheld for the whole thing? What's the intended output (i.e. do you need 4k)? Do you have the budget for a lighting and grip package? There's so many variables that it's impossible to say 'Blackmagic Cinema Camera'. The BMCC, for example, is a worse choice for low light than say an A7sII or a 5DIII. So is your film being shot at night without lighting, or on a set with a full lighting setup?
The premise of the thread is not a bad one, but it should be as a discussion, not a poll with a definitive, or 'general' answer.

Personally if I had to choose a ~$1000 1080p camera, I'd go with the F3.

They do deliver... I've had my eye on these for some time, was just waiting for the "plus" version (with V-mount plate).
 

No, it's not like that. It's like saying you can't expect a $3,000 2016 model Ford to perform like a top of the line 2010 model Ferrari. 
My point is Sony already rivals, and in some cases beats Arri, depending who you're talking to. The F65 is a very different camera to the Alexa, of course. But $3,000 cameras, despite being expensive to some, are still built to a price point. 
Let's not forget the F3, lauded by many as the 'mini Alexa' - a camera that also happened to hit the market in 2010, and also cost ~$16k - cheap! 
If Sony could and/or wanted to, they could put that sort of sensor into a $3,000 camera. But they won't. They'd rather you spend $10k+ on an FS7, F5, F55, F65 etc.
The fact that the Alexa still sells at the price point that it does is the reason you can't get an Alexa image in a $3,000 body. If Arri brought something new out, and decided to offload Alexas for $5k, you can bet your bottom dollar that other companies would be selling their Alexa-matching sensors for $3k.
Take a look at the VaricamLT. It has dual-ISO, and an amazing picture, all for ~$20-30k. It can even come with an EF mount. Cheap!
I'm just saying - the reason you can't get an image that rivals an Alexa for $3k is not because no-one can figure it out, or are not allowed to...

Why should they have to? Why should a consumer camera have to match a $50k+ high-end cinema camera? I would argue that the F55 matches, and the F65 beats the Alexa in many areas - of course both have differing looks to the Alexa.
I just don't really understand the comment. Of course a $3,000 camera doesn't 'match' the Alexa.

Seems like the GX85 would be okay.  
You stay in M43, shoot 4K, and you get a nice little camera that can stabilize your hand held shots.  I wouldn't nessecarily invest in a bunch of new glass if you don't really have to.  However, only you know how much low-light you're trying to deal with.  Personally, I've never had too much trouble with LUMIX cameras in low light, but I also have a f1.2 lens with a speed booster for darker shots, which helps tremendously.
As for the "pro"ness of it all, here's my anecdote:  During my wedding I gave my GM1 to my 16 year old nephew.  It had the Oly 45mm 1.8 lens on it.  With the f-stop wide open, aperture priority, and everything else set on automatic, I told him to go to town, frame up faces at eye level from 5 feet away, and shoot stills of everyone at the reception.  No flash, available light.  Because of those simple rules, the nice magic hour light that was filtering into the ballroom, and his personality of being willing and able to effortless socialize with strangers and warmly interact with him, he got twice as many good photographs of the reception than the wedding photog that was paid thousands of dollars to be there and was running around nervously with a Canon 1D, 5 different lenses, and a flash.  Our wedding album is half of my nephew's shots.
And we got all those pictures simply because he was curious about the little camera I was carrying around so I thought I'd let him use it and see what happened.
This incident just shows that photography is more about how one interacts with the environment they're in and takes advantage of it rather than the gear.  (Although the gear does help if you're also good at the craft of it all.)
Anyway, something to consider.

Kinemini 4K? Rock solid camera, great image quality, 2K Cineform, competent hfr, the ability to add a speed booster, and decent low light performance. 

I'm also looking to upgrade from the D750, which indeed has nice colors & DR but is soft (a la 5D III) and can't be pushed much in post. i tried the ursa mini 4.6k (which btw is useable up until 1600, it's the regular 4K that has base iso 400) and has by far the best image for the asking price. 4K 10-bit internal Raw/Prores recording with 15 DR stops gives you a crazy good image that's super flexible in post. BUT the camera weighs a ton once it's rigged up with just handle, v-mount battery, evf. no ND filters and those CF2 cards cost a leg. It's really a RED/ARRI type cine camera, not meant for small crew run&gun.. The C100II is i find way overpriced for essentially a 2012 cam with added dual pixel AF. the image it spits out is nice and sharp but that 24meg AVCHD codec is weak and of course no 4K. The best investment today for run&gun video imo is the A7S2 / FS5 & 1DX2. But in september it could be different since Canon should be announcing the 5D4 and hopefully C100 III (with 4K). Sony is also rumored to come out with the A9 and perhaps A7R3. These new Sony's would have equivalent or better dual pixel AF (which i feel is the current/next big thing to have in video). So if you can wait it out, there should be some interesting products coming out by the end of this year..

I had a c100 ii for a couple months and I don't think the image is anything to write home about. It's definitely very sharp but the d750 has better colours and similar/better DR. 
If you can afford the Ursa mini 4.6k then you should be able to afford the Sony FS5. I would make a decision between the two and plus the kinefinity. Surely you can import one?

Ls300 could be worth a look too

I have one of these lights, but just the mk II not the + version (+ version means v-lock battery option). I really like it and can also recommend it. It's about 1k at full power. Definetly get the mkII version. It's a lot more silent and a bit smaller than the first version.
Also good cheap fresnel adapter for the light is this:
https://www.amazon.com/Nanguang-NG-10X-Studio-Light-Filter/dp/B011HTRTUG?ie=UTF8&camp=1789&creative=390957&creativeASIN=B011HTRTUG&linkCode=as2&linkId=TOJXOS6VGXPT3Q6T&redirect=true&ref_=as_li_tl&tag=nitsapictu-20
Nitsan has reviewed same lights and recommended very much it.

For price get the Yi v2 4K for sure!