IronFilm

Bringing FULL SD DIRECT TO TAPE! you can CAPTURE IN INTERLACED AVI!
/LOL/
those were the days...

I like how they use the headline to showcase 720p.

I haven't used those lenses. But the AF has certainly not been useless on the 50mm f/1.4 AF-D nor the 50mm f/1.8 AF-D.

I believe so too. It's reminiscent of RED (kinda).
It just feels wrong to ask for money first, or I guess advertise the cost, before really announcing anything other than that it's a camera and there'll be an HD and 4k version.
The pricing is pretty damn cheap, but who knows? It could have an EF mount, a PL mount, it could have an obscure mount we've never heard of. It could be raw, it could be a 2/3" sensor, it could be anything.
Advertising the price first just feels wrong, and feels kinda shady. But we'll see Monday I guess! Will they be at NAB?

Isn't it a bit shady the fact that they give you more details about the money they want than the specs of the camera? 

thats the developmental name of RED® TOMBSTONE PILEDRIVER™® – 8K for $80k coming soon

You should also look into the Kinefinity Terra, or a battle tested Kinemini 4k for that matter. 

I certainly wouldn't panic buy a Raven in fear of the prices going up... RED have halved prices in the past, based on their competitors actions and this is NAB week... Give it a week and see how the land lies. If RED put up their prices, you will doubtless have a bunch of other stuff to choose from.

I'm not well versed with many of the lenses that have come up here, I can vouch for a couple of Nikon lenses that are your desired focal lengths being very light though:
The Nikon 35mm f1.8 G- although it felt a bit plasticy out the packaging, that plasticy-ness translates to it being light. It's a metal mount still. It's built for aps-c sensor sizes. I use it on a G7 with metabones XL and can confirm there's no vignetting in video modes. Possibly slightly for stills. Weighs under 200g.
The Nikon D 50mm f1.8 is even lighter still. In your budget you could get the f1.4 version, which is still lightweight.
I also have the Nikon D 85mm f1.8. Seems like a great lens from my use of it so far.
Hope that's of some use.

If you can deal with the focus direction, NIkon. They can be adapted to almost anything and boost well.

Who needs a prototype.   it's a c100mk2 without recording or monitoring.  They've told us that.  We know the size.  Logic tells us everything we need to know.  

They do have "sports mode" which massively reduces rolling shutter.
 
Also the new 5K sensor will have a global shutter 

Not saying that it will over take normal film making, but I think it'll help you get extra jobs over someone else if you know how to edit or shoot VR. It's getting pretty competitive out there and utilizing new tech helps to give an advantage. With that being said, if it's not something you enjoy then it's not worth it. No reason to get into new tech if it's something you'll hate doing every week.

There is more to video than just narrative. VR is going to be way bigger than 3D, imho... Anyone who has tried it recently will know that it is starting to become very interesting for many, many fields.
I expect some truly amazing horror films in VR. The cardboard VR "Incidious" game creeped me out more than any film for a long time, even with sub SD quality. The feeling of something being just behind you is 100X as powerful as any 2D or 3D film

I think all DP's, editors, and VFX artists should start getting familiar with VR. It'll give you a leg up in the near future.

Kinefinity: I understand why you are adding ProRes, but why did you drop cineform? It is the codec that I prefer.

On the other side you can t push a7s footage that far without having artifacts.(and I m not talking about greenscreen work).
You tend to get a lot of red color noise in the shadow with a a7s when you push a bit , and even neat video have trouble getting ride of it 
I just sold mine to get the Terra , even with a shogun ,8 bits is still 8 bits, and the colors, even if better than a GH4, are still far from any recent cinema camera  (I m a VFX artist/colourist btw). 
I m not saying that the terra will be mind blowing as there is no footage out yet , but from what I saw the kinefinity colors science is definitely not con/pro-sumer grade .
 

Found something decent shot on the Kinemini 4k - nice and organic looking.
Also love the use of lenses in this short. 
https://vimeo.com/159982174
 
 

GH2 was 2010 (October)
6 years later and Canon haven't matched its video quality, overall.
Like I say time and time again, only Canon seem to be able to get away with this year after year. If it were any other company, people would be astounded.
At the same time, since 2009 their APS-C stills quality has inched forward only a bit from 18MP to 20MP and now 24MP with a tiny bit cleaner shadows.

I bought the NX1 pretty shortly after the relese. That was not "years ago" and definetelly not when the GH3 was released. And the NX1 has its own problems. Or is being discontinued a new and fresh feature?
This constant bashing of cameras by people that have never ever used them is getting so old. 
I dont find the 80D all that exciting, but Ive never used it. So I dont bash it until I have.
I absolutely hate my rx100iv, but I still dont constantly post bs in the rx100iv thread. The G7 is one of the worst cameras Ive used, but I let those who are interested discuss it in peace without unfunny jokes and bogus links. I would rather jam a fork in my eye than get a a6300, but I dont feel the need to tell every one that have bought it how wrong they are...
Im out until someone actually has the camera.

IMO auto focus and 'cinematic' shouldn't really be uttered in the same sentence.  However for things like an impromptu talking head in a run and gun environment with a large sensor, a good af system capable of tracking focus of a face will always be welcome.  I highly doubt I'd ever use such a thing since I actually like the aesthetic of a human being pulling focus by eye.  
If people like to think a Canon will make their colours nicer without having to learn how to set up wb, profiles and learn how to use curves that's up to them.
The fact here isn't about af or colour.  It's about the fact that the image from the 80D doesn't even deliver true 720p.  it's mush.  and is noisy.    The lack of video ergonomics of a mirrored camera can be worked around when the image is worth working around for - the 1dc, 5dmk3 in raw, etc.  But entertaining any positive discussion about Canon cameras not of the Cinema EOS range or ML hacked for film making is madness.  Those still buying such devices for cinematic type film making are either ignorant to what else is available, blind or buying out of sympathy for Canon.  I see no difference between the 80D and the 550D/T2i in terms of video performance.  Canon hasn't made any worthwhile video improvements on their non cinema eos cameras since the 5Dmk2!    

Yeah, because Canon cameras work really well attempting to autofocus Nikon lenses....
Again, not all that long ago it was blasphemy to even suggest one would use autofocus when shooting video. Now, Canon having better AF is a major plus point for Canon...
I just don't get it...

The simple fact that this shot has been graded introduces a factor that is totally independent of the camera itself. I think the problem is people were so damn keen for Slog and never learned how to properly grade things.
I recently saw a commercial shot on an FS7 and was surprised it wasn't shot on an Alexa. The F3 was, for a time, considered a 'mini-Alexa' and has very similar colours to that which you can get out of an A7s.
If you've been a Canon shooter for a number of years, you may find it more difficult to get the colours where you want, but the same goes for anyone switching manufacturer. Every manufacturer has different colours and different colour science. I can't think of one manufacturer that has objectively bad colours, it's just that some people are used to one or another, and when the Sony footage they've spent 2 months working with takes a bit longer to get where they want it to than the Canon footage that they'd been working with for 5+ years, it's the camera's fault.
You may find the Sony a bit more difficult to get where you want it to be, but that doesn't mean that it's the camera that's bad, or faulty.
Also, how can you possibly take at face value the grading attempts of an amateur colourist? I wouldn't expect an amateur colourist to get amazing looking results out of anything, let alone base a purchase decision based on their results. The 'ungraded' versions of those images look significantly better.
 

An interesting point with this announcement.....
Canon and Nikon might respond to this and finally bring raw vidro shooting to DSLR 
 
They don't give a shit about Sony, lumix etc... But when other big hitting still cameras make a move, they might follow

This. x100 x1000 x10000
 
However it is easy to see that NOW with hindsight. But when the first NX camera  came out the MFT system was still very young, & it probably seemed easy to catch up with at the time.