IronFilm

The terra 6k is shipping, ready to buy... The thing with the 5k is the same that got us exited about ursa mini at launch: global shutter. And really and cannot stress this enough: it IS handhold able, not shoulder mount heavy, handhold heavy, size wise is close to a 5d (remember the revolution the 5d II made? It wasn't only the price and sensor size, it was also the possibility of using it in your hand in thight spaces, the combination of size, weight, image quality). And ssd  as record media, from them or other vendors.

It is quite hard for a new companies to come up with an actually usable product. Look at how long it has taken AXIOM to come up with one. How many years did it take BM to be able to ship bug-free cameras within a reasonable time frame and offer semi-decent support? And the competition in this tiny market is pretty hard, just look how quickly Samsung left the market or the exit of Digital Bolex.
If we want to see better & more competitive cameras at lower price points (even from big players) then new camera companies need even more support from the community and certainly not bashing.
Sure if you plan for a shoot now, buying a Terra does not make sense since it is not immediately available and if something goes wrong it might have to go roundtrip to China.   
But vaporware? Hell no. Look at all the footage from people actually using the camera. 
vaporware: software or hardware that has been advertised but is not yet available to buy, either because it is only a concept or because it is still being written or designed 

Wouldn´t guess, people sayin that about the GH cameras. People have always been exited about the image quality. Some like Panasonic the best, some Sony,
a lot of them like Canon, at least for the colors:). Different tastes. But there are hundred times more people liking GHs and G7,8,85 for what they are, low price
cams with some of the best image quality of its range. Too bad, Panasonic has lost love for HD quality in their GX85 and possibly G85 cameras.
Here are two examples what a GH3 was and still is capable of. For the Mekka music video, I don´t dig the prologue with the icecream shop, but the rest looking awesome.
 

In 2017, it's definitely not the camera. It's the user. All of them can deliver great results, if you make it so. 
I've seen A6300 footage which at first sight I though was RED footage (these users happen to be very skilled). 
The GH5 will have crap loads of poor footage out there. It's price is very accessible and amateurs will be pushing around Vlog like you would an elderly person on the edge of a cliff. 
The GH5 in great hands will be a monster. 
I'm absolutely astounded by the 4k image from the A6500. I shot a paid music video project using only the A6500 and the 18-105 f4 in autofocus and absolutely no other gear at all (to see what would happen). I think you need to put the camera (and yourself) under pressure, it forces better results. This video might be out this week. 
 

On the camera front yeah. Two things I'm super excited about are the Teradek iOS wireless feed, and the Aputure 300d.

You can't just put the GH5 into a bigger body, slap a huge price on it and call it a day. I mean, you have the XLR unit for on top of your GH5 now and can use the Aputure DEC vND EF-mount as well. BOOM! Done. They also can't create a Varicam LT with the exact same specs in half the size and price.
But to give it some proper production value the S35 is just about a must. It will especially help to more easily get some great dynamic range and lovely colors going for it, the thing we all expect to see out of a camera like that. Of course, it would also be one less reason for people to look at other cameras that are in fact S35, which kinda is the production standard. Should help with the crop and in turn to easier establish a shallower depth of field as well I guess (nice with S35/APS-C lenses, but I do see an issue here if it does in fact come with a native EF-mount, because... how are we supposed to speedboost fullframe lenses then??? So yeah, seems to me it makes more sense to bring out cameras with the shallowest mount possible for most flexibilty, E-mount would be ideal here, since that even adapts MFT, but you know...).
So... I think dynamic range & color science is what people will really appreciate. Other than that, just to have something that's all-in-1 and covers the basic conveniences such as ND filters (evND?), XLR interface, more controls, awesome flip-out screen, long battery life, ability to run it offa external power, things like that. No more frankensteining with little cages and coldshoe mounts, external monitors, magic arms, ballheads and cable jungle. Just drop it on a tripod and hit record. Speaking of which... for a recording media it might be interesting to pull a Videodevices on this... see, they have the PIX-E5 recorder and use a so-called 'SpeedDrive'. They will sell you empty enclosures which house a mSATA drive and functions as a USB3.0 thumbdrive. You can buy like a Samsung 850 EVO 250GB mSATA drive for about 100,-. You'd just pop it in your camera and once you're done: fuzzless and speedy offloading onto a computer. The mentioned Samsung mSATA drive is rated at 520MB/s writespeed. Should be no problem for high-bitrate recording anything I imagine. Concerning that, I'm guessing this will write away files similar to the GH5, but can do it all internally. So... you get that 4:2:2 10-bit 60p at 400Mbps and FHD slow-mo at up to 180fps. The big difference? It would additionally support RAW output to an external recorder, though it would of course be great if they could manage that internally or give us internal ProRes. Just... probably not.
Anyways. Legit reasons to get one, but no groundbreaking ones. It wouldn't really be innovative or do mind-boggling things. But it would be a superb step-up for people with GH-range cameras. Because that's always been the question... where do you go from a GH-camera? But then it all comes down to pricing... they're not suddenly going to sell a ton of these if they're exactly in the range of Blackmagic/Sony/Canon/Kinefinity/2nd hand RED/etc... these are systems that will get you far north of $5k, more like 10k once you're fully configured and accessorized. If it does nothing that hasn't been done before... why bother at all? That's where the price comes in. If you're a small production house, maybe just a single dude or dudette doing his/her thing, 10k is quite a stretch to up your productions from the GH5 to something with a little more oomph. It's far more likely to get people looking for a step-up from their GH-range camera interested in something like a JVC GY-LS300 or something 2nd hand perhaps. But... if you can get a camera as described above... for a little bit more than say the launchprice of the LS300 or DVX200, so perhaps 4995,- then I forsee a bright future for it.
So for me, I'd be pretty stoked to see, whilst being fairly realistic about it:
S35 sensor with great dynamic range and color science a fairly compact professional body with ND filters, XLR interface, plenty of controls and easy navigation/menus GH5 resolution/framerates, all capable of being recorded internally RAW output $4999 Like an AG-AF100 successor with 2017-like Panasonic specs. A mash-up of things I like about the JVC LS300 & Panasonic DVX200/GH5/AF100. Not a hardcore cinema camera, more something to use as a production camera, where the GH5 would start to feel a little out of its element. Still great options with the GH5, though. And it does have that 5-axis B.I.S. and all that good stuff that makes it the most perfect B-cam. They should compliment eachother rather well.
Should this come in at 6999-9999, well... tough...

BMD's customer service hasn't exactly been stellar either, and they're native English speakers so not sure the comparison really holds water. To me, the advantages of the Terra cameras over BMD are the higher ISO, less FPN in the shadows, lighter weight, cheaper media, ability to add speed-boosters, and more lens mount options. The Ursas obviously have native RAW support via Resolve and faster shipping times. and the UM Pro has native ND which is huge. They're very even competitors in my book, all the way to their near-identical pricing.

I think it would be smart for Panasonic to make this smaller Cine Camera usable with their native glass...you can still adapt any FF stuff but the M3/4 flange distance is attractive as would be s35 sensor size....and one could argue that JVC copied the m3/4 mount from Panny Oly...also the s35 to m4/3 crop would be something like etc. on their earlier GH cameras...technology they already use...and people talked about on this very forum, when speculation and features wanted for the upcoming GH5 were being posted a few months back...looking at the Leica fast primes that Panasonic's releasing now, why not...the glass is amazing...sell more of their glass for this camera and for those already invested in the M4/3 system, the attractive idea of buying a s35 camera with which they can use their already owned stock Panny glass....but hey, I could be wrong!...would not be the first time lol...??

I think if Panasonic put a s35 sensor with a m3/4 locking mount capable of cropping to m4/3 also for use with their native lenses (ala JVC LS300) and some nd, xlr connections....kept the price point reasonable and made all other aspects modular...and SSD media instead of SD, they would hit it out of the ballpark, just as they're doing now with the GH5....I suspect the response to the GH5 which, if you ignore the AF crowd, and just look at how difficult it is to even buy one now, has been overwhelming and has affirmed for them that there is a market for this camera...and I suspect that they will come out with a camera that far exceeds the features and image quality at the price point they release at...they are already doing that with the Varicam LT...that camera produces image quality and features that can go up against any camera out there in the world....the Varicam 35 & LT are both Netflix accepted production cameras (Netflix is rapidly becoming the largest "studio" producing content if not there already), so Panasonic is well positioned with their Varicam line, the astonishing features and IQ they released in the GH5 (because they pay attention to what shooters really want and need) and now with the pending release of this smaller Cine camera, they will firmly establish themselves in the marketplace in that middle pricepoint that Sony and Canon are grabbing now.

The Varicam LT sensor for 4999 would be amazing.

MFT mount, that awesome Varicam (LT) sensor and full Vari Log, great intra and interframe codecs, though locked to 10bit without RAW or 12 bit option,
internal ND- the awesomest possible successor to the AF100. Maybe some additional innovative features such as stepless cropping options,
lossless digizoom for HD and 2K and so on and that beautiful industrial design style of the LT and GH5. For 4999.99,
my dream camera dream come true
 
Edit: but then shitty display and micro hdmi and bad preamps

There are plenty of examples if you are willing to look:
 
They are also at NAB:
 

Actually it's a Canon 5D2 upgrade program. Hence the 200 moniker. Sensor unlocked to shoot in 16K resolution up 9000 fps. Only thing is you have to send the camera into the factory as they take a hammer to it and rebuild it with super glue.
Oh yeah, plus they need to stencil on the two 0s, so you know it's a 200.
What do you mean I'm full of shit? I heard it from a Canon rep.

Maybe he means the Tascam DR-10CS? (or DR-10X) I've mentioned it a few times. 
Doesn't have a mic built in however. 
Tascam have a few models kinda like the H1 as well, like the Tascam DR-22WL.

Saramonic is bringing out a recorder as well:
http://ironfilm.co.nz/saramonic-sr-vrm1-new-xlr-sound-recorder-coming-soon/

I've already been swamped reading all the new audio announcements related to NAB.... There are a ton of them! So so so many new time code options, plus the shocking announcement from Sound Devices of new low priced gear. And more!

I've already been swamped reading all the new audio announcements related to NAB.... There are a ton of them! So so so many new time code options, plus the shocking announcement from Sound Devices of new low priced gear. And more!

Exactly, even an old Panasonic GH1 is still a better choice than many filmmakers out there get to make.

That is the sweet sweet awesomeness of Panasonic, is very very extremely affordable to pick up their older cameras! I started out years ago with one Panasonic GH1, and over the years I've got very cheaply indeed: GX1/GF3/G3/GH1(another one!)/G6. Plus a little Nikon/Sony/Samsung/BMD in the mix too.
Haha, thanks! Not sure about the truth of that...  But OK! :-D

That is the sweet sweet awesomeness of Panasonic, is very very extremely affordable to pick up their older cameras! I started out years ago with one Panasonic GH1, and over the years I've got very cheaply indeed: GX1/GF3/G3/GH1(another one!)/G6. Plus a little Nikon/Sony/Samsung/BMD in the mix too.
Haha, thanks! Not sure about the truth of that...  But OK! :-D

Now that the market is dominated by uneducated and unexperienced directors producers, all they need is a G3 and a ME2 capsule!
The other day I did a shooting for 1/3 of my going rate (which is small anyway, to help a friend DP, and just for the connection) and brought to me my usual setup, and the directress ask me why we do not just put "the bug", as they call the lav mics here in Greece! See doesn't even know what wireless system, or any type, model, or anything about lavs, "the bug" can do it all for them! We were near the center of Athens, and normally the G3s sound was more interference than sound, and it was too street-noisy anyway. Good old 416 did the trick.
My friend told me that they did the rest of the shootings (a decently low-budgeted documentary, easily could fit my usual - low - rate) with a G3/ME2 and a Rode NGT2 on the camera! 

That week of the Rangefinder debacle was one of the most memorable forum dramas of all time.

I thought that too, but then I'd be on DPReview.. not worth it

Haha, the irony of that statement. ?

Believe the random DPR commenter!