IronFilm

Bet this will go a long way towards further improving RED's reputation on the high end. 

Bet this will go a long way towards further improving RED's reputation on the high end. 

I had a go with your footage - for which I can't thank you enough.
I am pretty satisfied with what I am seeing here. Well, I only spent a few minutes on it but so far the image feels very similar to my BMPCC.
That first image with the girl standing in front of the river, I think it's just a matter of a few unfortunate circumstances. When I checked that in 4K the focus seemed off, the highlights were clipping a bit and there's some ghosting around them too. Hard to pull a decent grade on it. Actually it is always hard to work with skin tones if they are in the shadows with a strong back light.
I found the rest of the shots very agreeable, for example this one I could drag in any directions:
 




 
I intentionally pulled up the luminance on the oranges and yellows, to separate the guy from the background better, but I could have easily made them more contrasty. This one is a good scenario, you have the black asphalt and the blue sky, easy to make the skin tones pop without changing the rest of the shot, unlike the other one with the girl where the colour of the sand/rocks were in a similar range to her skin.

I get what you're saying. The FS700 is really nice to use because of the slow motion, internal ND, XLR, and the 4k. The sony FS7 seems to nail color a lot better and there's some magic cameras like the Sony F3 that just have beautiful color. I use the c300ii at work, the 5D raw for personal stuff, and I just recently picked up a micro cinema camera as well. The only camera I struggle with color wise is the FS700. It doesn't matter how flat the image or how many bits I am supposedly getting...
The first frame below is 4K FS700, the second is 1080p Black Magic Micro. I just can't get a film look out of the Sony. It always makes skin look too white, and if I warm up the scene, everything gets murky looking.
I have some 4K footage currently uploading if anyone is interested in grading it, I would love to see your results.
That being said, the Sony FS700/7Q is not a bad investment. I doubt the value will drop too far below what it is currently. It is probably good for another 4/5 years, which is insane because it's already 4/5 years old.
 


Edit: Link to raw footage if anyone wants it. A bunch of 4k/60p in various lighting.
https://we.tl/xE0joWj5Tw

Ted, any word on availability for the 120t?

You're asking if Canon will release a firmware update which will very significantly increase the video capabilities of one of their products.....  ?? LOL LOL

We all know the answer to that!!

You can sync dual system audio using Genlock timecode and/or with a slate.
I don't know how you'd monitor your internal audio either, unless maybe you use an external monitor or recorder with a headphone jack. Realistically, unmonitorable line-level audio is little more than a good cue/scratch track.

ProRes being edit friendly is key to the Alexa's success on the high end. Look at Sony and Red quickly trying to catch up.
If you bring in an assistant editor to transcode footage and it takes an extra day to transcode it all, that's $400 at least to hire an ae. Pretty quickly the difference in price between an Amira an F55 become irrelevant. With the Red this is an even slower process.

Always loved this Alexa highlight reel: 
 

I bought an "indian" one when DSLRs started really taking off, figured I'd eventually replace it. Still use it every week though, guess I got lucky -it was like $250.
Look for:
At least two stages & at least one rotates;
Height adjustable;
Detachable flags that don't have gaps between the flags and the main hood assembly - and hopefully the front flag stays put when used without the side flags;
A swing-away front is really handy;
If you use different sized lenses (DSLR style shooting), I found it's easier to just get screw-on rubber lens hoods to seal the lenses against the matte box opening vs. nun's knickers or swapping out foam donuts. If you use cinema lenses it's not such an issue. (You usually need something though - the first time you get back to your NLE and see the reflections of focus gears in your ND - yeah, that bites!)

The Micro, unlike the Pocket, will let you record in "BMD Film" while sending the Rec 709 "Video" signal with increased contrast and saturation over HDMI to your monitor of choice. So no, you do not need a monitor with LUT capabilities.

The only other monitor I've used and can compare it to is the RED 5" monitor, which it beats soundly for both resolution and features. Trying to pull focus on that thing was a nightmare.

I second using f/8 and a small sensor. But to answer your question, I recently bought an Aputure FineHD VS-2, and it is EXCELLENT for pulling focus. Nice and sharp, big enough to see, very effective peaking. If your rig can handle it, I think you'll enjoy the addition.

I work in a rental house and see Alexas, Amiras and Minis fly off the shelves all day long while F55s and Dragons sit in their boxes. And it's only increased as the attention has turned to the newer models and the original Alexa has come down in price. People who might've once settled for a prosumer-style digital cinema camera like the C300 or F3 can now afford to hire an Alexa, and many do without a moment's hesitation.
It's the only camera that really operates on a "what-you-see-is-what-you-get basis". The Canons come close, and the Reds and Sonys are a hideous mess of LOG profiles, LUTs and complicated menus. And one thing I can say for certain is that the Alexa is the only camera that is dead-on with its ISOs. ISO 800 on the Alexa is a true ISO 800, seven stops over and under middle-gray. The Canons and Sonys are somewhat faster. The FS7 in particular is way off. I would reckon that ISO 800 on that camera is closer to 1600.
Meanwhile, you can take the Alexa out of the box, hit LOG-C on 2K Prores, pull up the Rec.709 LUT on your monitor, light the scene using your light meter like they did in the good old days, and go home with an image that can look good without requiring any special color-correction sauce beyond gamma and color tweaks. And it holds up on a 40-foot screen, And it never breaks or fails. At my workplace, we practically never receive customer support calls regarding Alexas. They come back in perfect condition and our technicians turn 'em around in a matter of minutes. Meanwhile, these Reds are making my co-workers tear their hair out.
Simplicity, reliability and raw image quality independent of specs and numbers is where it's at. Arri gets this, which is why they keep winning despite the exorbitant cost of their products.

Alexa is king, Alexa Mini is queen...Amira is the prince.
VariCam is probably one or two generations away from entering the castle with it's sword drawn...but King Arri will probably put stop to that revolting nonsense. F65 is a Knight at the round table
If the big boys stopped waving their resolution and iso performance stats around - and instead worried more about colour rendition and simply a 'nice looking image', then Arri would have a contender. As it is however - nobody understands what a filmic image should be, or how crews are meant to work around a camera - quite like Arri does.

The lack of C-log on the 1dx ii is a pretty clear indication that they are committed to protecting the c-line of cameras. 
 
 

http://www.theverge.com/circuitbreaker/2016/5/25/11767134/xiaomi-mi-drone-release-date-price-specs-features
very exciting times with all these amazing devices dropping so much in price.

Currently working with BBC on audio integration for VR - they're taking it very seriously especially nature programming.

KineMax is getting a free ProRes upgrade this summer.

My thoughts exactly. The image feels dense, as opposed to the "thin" look to color Blackmagic has sometimes. That richness really gets you more invested in what you're seeing onscreen, even if it isn't technically as "good" on an image quality level.

That shot in the thumbnail of the girl standing by the lily pond is an excellent sample of the DR, roll-off, tonality, and color rendering of this camera. The gentle highlight on the shoulder of her white shirt, the gentle slope into shadow in the distant foliage, the skin tones/hair/lily pad colors...it all feels really good. And I'm serious--you can grade this footage every which way and it holds up like a champ. Even my BMPCC doesn't have this kind of color integrity. Certainly not in ProRes. The Kinefinity seems much less "brittle" in this regard (judging purely by the Cineform files, as tthat's all I've been able to get my hands on).

These images look like they would be good for narrative work. They seem to make it easy to empathize with the subjects for some reason. Maybe it has to do with the 'organic' look others have mentioned. I'm considering the 5k terra for a feature film to be shot in Seoul instead of renting a red package. I hope some images start dropping soon.

i must say that i prefer the colours form the Yi

Yes, but it also makes it pointless swapping a Nikon mount version for a Canon mount version like the guy I quoted was proposing to do. 

There is no one mic which is perfect for everything, you'll often be using a different microphone for indoors vs outdoors. 
So don't write off a mic because it is not suitable for outdoors.
There are many different NTG models from Rode, the two most popular ones are the NTG2 and NTG3. The NTG2 is a solid enough cheap entry level mic, I have it myself, but it is not a hot mic at all by any measure as the output is rather on the low side. The NTG3 is a totally different kettle of fish, is more expensive, and is highly regarded and also seen as very good value.