IronFilm

jeffpb7, love the look of it! However the audio is messed up :-/ I'd focus on that next time.

Yeah, but Zach, '2220 Euro'... you do realize the topic has 'on restricted budget' in the title and is specified to be 800 EUR, right?
And even then... a new Nikon D750 is about 1700 pops right here, looks great and is pretty much a champ in lowlight. For that kind of money just forget about tuning (pumping money into) an outdated body that has already been succeeded in the market segment.
I like the mentality: 'only advance when you've reached the max of your current camera, but still leaves you wishing for more'. But you take it to the extreme by using an almost ancient camera and giving it hip replacements and a pacemaker. Cosmetic surgery to get those wrinkles under control. But eventually it's going to end up on life support. Maybe time to let go and move on; could be time to stop trying to patch it up one more time.
Time is ticking and every day new technology advancements come into this world. They're not here to make your life a hassle, they're here to improve it, open up new creative possibilities. The A7S-series has pushed the lowlight bounderies. It gives filmmakers a new scale of options to explore. Time to embrace stuff like that.
I feel like because the T2i is all you really know by some hardcore experience, you've come to love it and accept its image quality. I think you have realistic expectations of the T2i, but that's kinda of a weakness as the bar has been raised so much higher by now and your expectations might not quite be in line with that of people nowadays. Still think other cameras are a way better deal and atleast easier to get some decent results with! And with less time wasted on pushing a camera beyond its limits, you have more time left to figure out other things... we always agree that 'content is king', but doesn't the king belong in a palace rather than some abandoned cabin in the woods. What if Kendy Ty had used a D750 instead of the T2i. Would those videos have been off better or worse?
Kinda with araucaria on this one.

Here's the trailer for a movie I shot last year using an Iscorama/helios/jupiter9/minolta 35mm and FS700 with Blade recorder. It's a no budget, lowbrow, dark comedy. It's no Oscar winner, but it's my first feature film and it's almost ready for distribution(hopefully). 

This forum has been very good to me in the past few years. I appreciate everything very much ... To be able to continue to shoot video and make movies with your help..
I do have a problem right now regarding my GH2s...
I shot an event recently that required 2 hours of non stop recording on both of my hacked Gh2's (Flowmotion hacks on both). I use two 64 GB SanDisk Extreme PRO 95 SD Cards with this hack.  I shot the event on tripods and everything went smoothly, both cameras recorded a couple hour takes and everything seemed fine. I then got home and put in my SD card into my macbook and  opened up FCPX and only 3 files showed up- the last few clips of the event... I didn't panic because I have had this happen before so I knew to look under my private folder and then AVCHD > BDMV> STREAM  to find .mts files that were my footage.. I then converted them but still lost some footage from the whole mess..
Why does this happen? The hack has been working fine other than this but with this long event shoot, I figured its why my SD card acted funny. It happened on both cameras and it seemed to have happened when I changed batteries during the shoot.
Is there a new hack you recommend? I know the gh2 is old news but are there any new hacks or solid ones?
Thanks again for all the help. This old community.

I just finished a feature in which we used the Pix E5 extensively. For our main cams we had Fs7's with Speedboosters. But we wanted to use a Steadicam Tango which has a weight limit of 5 lbs. So we paired an A7s at the end of the Tango and Pix E5 as the operator's monitor. In short, the Pix E5 is bullet proof. In prep we tested Shoguns but found them too fiddly and power hungry. With the E5 we'd get a couple hours use with (2) NP 970 batteries. Also, their media system is well thought out. Pop out drive, stick it in computer, no intermediate interface. Also, noteworthy, it's at least a stop brighter than the Shogun which helped for brightly lit locations. The downside, no 60p. The interface is pretty simple. Buttons and touch screen. As a reference monitor, it'll take LUTs, display Histo, Waveform, Vectorscope, etc. 
I bet it becomes a standard "director's" monitor on movie and TV sets as they'll be able to review and que takes without having to summon the VTR guy and do it privately without everyone else watching. The union is going to hate this one. 

I actually got my hands on one of these and an URSA Mini not long ago and knew right away how BMD has the potential, if they stay focused, to push the competition very hard in (affordable by the masses) digital cinema in the next 36 months.  Its not always how well developed a product is at release, but how it effects the market and this release is actually petty important in that way because it puts the competition on notice to stay competitive or loose out.

But that is actually an advantage of the Blade. You can get faster SSDs with larger capacity much much cheaper than SDXC. 
For example a 128gb Sandisk Extreme Pro is $100.
A 120gb SSD is less than $50 ...
 

But it offers waveform, peaking, false color, zebras, histogam, punch in, and record triggering. None of which the Video Assist offers. I'd take that over 60p any day.

Then the Ninja Blade offers way more functionality for the same price.

I'm going to get the BMMCC as soon as it goes on sale for half price! ;-) Same way I got my BMPCC....  :-D

AliExpress for example. Today (11.11) is a special day over there too.
Gotta love China indeed. Even visited the Hong Kong Electronics Fair and Shenzhen around this time last year, because they just amaze me what things are possible for such low prices.
 
- Though, fair warning, I'd say possibly 90% of the stuff out there is actually that cheap for a reason. Stuff can be good for cheap, if they put in the effort to get it right. Doesn't mean this is always the case. Most of the times it's just something half-assed to look the bizz, but in all actuality is far from it. So you got to know your stuff/read into it or be adventurous and trust your own good judgement. I'm a fan of Chinese brands though. It usually means something if they're willing to put their name on it. But still, for stuff like batteries or so, better buy something legit (don't have to buy original, but you can get a good B-brand (I like Patona for example)) than to fry your expensive gear looking to save a few pennies (almost lost my GH2 on a Chinese DSTE battery).

If you didnt already have Canon glass I would recommend the D600 since it has a superior image sensor to the 5D2. Better DR, low light, etc. 

5dii inferior sensor, ML raw send you with card way more than 800euros, OVF, huge body, AF not at all stellar. no way i would go   for that. A7 all the way if were talking pictures, d750 if video

Hahaha ... Panasonic could make a short film on this. It's like that scene from Superman (the Christopher Reeves one), where the guy selling the Leaning Tower of Pisa breaks his pieces, when he realises that Superman has brought the tower back to its leaning position, after straightening it before:

https://www.youtube.com/watch?v=iMOnOjASyKk

Thats unfortunate. You should rent one and try it again with the Ninja Blade. IMO it's worth every penny.

It's worth pointing out that XAVC-L is still better than XAVC-S of the a7s. While it seems obvious now, I didn't exactly realize that until watching the presentation. I think Alistair does a pretty good job of explaining what this camera is, and more importantly, what it isn't.

Superb video.  starts to become a bit of a goldmine for concise information about s-log/cine/rec709 - and backing up already known information.

Since the d750 is outselling the A7-line they are probably not in any hurry.

From my point of view, the NX1 is a terrible design because the deep "canyon" in which the sensor is located prevents development of a Speed Booster for it.  However, with a little re-sculpting of the mechanical area near the sensor . . . . . .

As said elsewhere, they should partner with samsung, rebrand the nx1 as nikon, and they would sell millions (and be praised as the best apsc in the world). While nx1 sells poorly because it's a samsung.

At 1h50min. into the video, does Alister basically say: "If you record in 8bit, do not use SLog3, period."
Or am I mixing something up?

Edit//
This comparison makes a lot more sense to me now, after hearing Alister talk about Slog3 in 8bit vs 10bit:
https://vimeo.com/143132608
There is so much more colour information available in the 10bit files from the FS7.

This is different than I've seen on Blackmagic cameras. There, the blown highlights just turn black. Easy to fix with one click in Resolve. Here, there's this gunky purple transition from normal overexposure to black hole. I don't know how well Resolve will handle that. 

Black hole aside, am I the only one here that thinks the NX1's image looks better than the Sony?

Just a note on the OP's desire for XLRs but wanting to stay with a DSLR - I use the Tascam DR-60D as an external recorder, and feed the line out into my Nikon for synch. But what I've found: use the camera's meter and stage the gain properly (mic in, line out level, and camera recording level) so nothing peaks, and keep the Nikon on the low side - under the center of the gain control scale (use the Tascam for your primary gain) and… you don't need to synch footage. Basically use the Tascam as a preamp. My interview audio has sounded great this way (generally with an AT4053a or a Senn G3 w/ OST 801). Very surprised at this, and I do record to the Tascam as a backup (since the tascam records a safety track at -6DB so I'm covered for unexpected peaks).
I'm fairly picky about interview voices and usually run my final edit through Pro Tools to reduce any room noise/reverberance and do a pass with nice EQ and comp plugins - I really like a crisp high end with lots of presence (vintage EQ and Massey CT-5 kind of sings with the AT mic) and I've been surprised, but happy. The Tascam ships with PluralEyes so synch is pretty smooth if you use the tascam tracks.