IronFilm

​You aren't listening. The press release implies that is the case, but does not confirm it. That is the point I'm making.  It only says the full frame mode uses the entire width of the sensor. It doesn't say what it does or doesn't do beyond that.
If I say "there are 2 cars on the race track, the BMW uses its 4 wheels to grip to the road as it speeds round the corner, the Mercedes uses it's V8 engine to deliver explosive power".  That doesn't mean that the Mercedes doesn't have 4 wheels does it? Although it does imply it.  As it happens I do think you're right. Its just a point of logical exactitude that I'm making.

Shame the A7000 is AWOL....
 

Nikon mount. Currently no great option for EOS lenses if you want aperture control. Nikon work on everything.

​Your're correct:  the Speed Booster XL is really a dedicated GH4 focal reducer.  The design is very similar to the BMCC version, but I squeezed out a bit more than a millimeter of extra space to clear the GH4 shutter, and, as you surmised, optimized for the thicker filter stack.  In addition, the coverage was enlarged to encompass the entire m43 image area compared to the smaller BMCC sensor.  However, I tuned the performance to be really good over the reduced area Cinema-4k mode of the GH4.
High optical performance at extreme apertures are what this new Speed Booster is all about.  Metabones seems to be having technical difficulties getting the full press release up on their website, so I'll show the data here.  As you can see from the MTF curves, even at f/0.8 the contrast and resolution are extremely high out to an image height of 8,7mm, which corresponds to the Cinema-4k mode image circle diameter of 17.4mm.  Beyond that point the performance drops gradually to the corners of fullframe m4/3, but is still pretty good.

 

​Personally I like different crop sensor cameras, shooting FF, S35 or even S16.
 
The most important thing I consider in an image is dynamic range and colors, resolution not so much as long as it's 720p. Blackmagic Ursa Mini will be my next personal camera, I really don't see myself buying any new non 4k camera, 4K camera simply gives you a greta advantage when downscaling to 1080p which is something I wouldn't want to lose.

​Apparently already here, and with accurate stops! (woop!):
http://metabones.com/products/details/MB_SPNFG-m43-BM2

Awesome. Hopefully Nikon mount is coming.

Stumbled across this. ​Nice video here from an URSA:
 
 
 
Given it is done in low light it is looking good. Additionally is great seeing a video with flashing lights not suffering from the strobing  you get from a rolling shutter. 
 

I wanted to bring up one thing that happened to me yesterday shooting with the Gh4 and the BMCC Speedbooster. I've been using this combo since the GH4 came out without issue, but yesterday I was filming an event with very challenging lighting combinations so I used Custom White Balance. This may be common knowledge to some of you, but if you have Electronic Shutter on, when you try to set a Custom White Balance, that mechanical shutter activates, you hear the click and real the vibrations and realize you have a BMCC Speedbooster attached. My SP ended up stuck on my GH4, and received a message over a white screen that read something like "Turn off the camera and turn it on again" but that did nothing and I still could not remove the SB only more clicks each time. Frustrated and bummed out, I set it down and wen to sleep. The next day I had another shoot, so I went t put my GH4 away and went for the BMPCC instead, but when I went to move the GH4, I decided to give it one last try. Speedbooster came off without hesitation. All I can say is, don't use Custom White Balance, if using a BMCC Speedbooster. If it's common knowledge, I apologize, but I didn't know this.

Man you guys are a tougher audience than reddit.  
Wow.  
Also I thought Tiny Furniture was whiney, boring, and petty bourgeois issues.  Just like my little film, "The Quiet Escape."
I think Kung Fury is touching, sweet, creative, and memorizing much like the first Matrix and had a sense of humor.  
But hey, I guess we all have opinions.

It's a fantastic camera, but I could use some of the money toward getting an apartment with my girlfriend, and some of it toward a couple of additional lights. I looked back at stuff I shot on the GH1 and thought it still held up well, and I started to like the idea of trying to work harder to make my old camera sing. So, it's part "I need cash" and part "I already had a camera, I should add to my lighting kit and try and get better at that".

Here's how I see it,

This is where they make money.
https://www.blackmagicdesign.com/products

In every broadcast studio or mobile I've visited recently there has always been at least one BMD Product in the racks.
And their model of using as unified parts as possible is smart not only for keeping cost down but also it its easy to recognize and create a brand.
That's why their buttons, displays, connections and such look the same across all the products.
I spoke to a rep that said that they where in fact the worlds biggest customer of many components. Much bigger than Canon, Sony and even Samsung because they use the same in all products and that its the key to keeping cost down (I suspect this is one reason for the audio inputs on the BMCC and obviously why the BMOC looks identical).

So the reason for example the Video Assist to be so low cost is because they could bulk buy the parts. I haven't seen it but I bet the screen for example is found either on one of the URSAs or a scope or something in their line up. Same with connections, SD card reader from the pocket and so on.

And if people start editing in Resolve eventually they might get tempted to try raw, want more DR or higher bitrate. And then there isn't that many cameras to choose from. 90% of them will choose a BMD camera.

For me Raw vs compressed video is what I imagine Heroin is like compared to alcohol. Tuff to get the same fix.
I have a Bolex and love it to death but I've had 5 BMD cameras and if I needed a big crew camera, eng camera or drone camera the choice would be BMD 100% of the time.
(Unless Bolex did a new camera but that might be asking to much from a small company.)

Well the control board is $25 000 or something like that. They sell mixers, complete broadcast trucks, cameras, a recorder, EVFs, capture cards etc etc.
Resolve is just an application to tie it all together. 

​You could buy a used one. I just bought one in mint condition with 7 batteries and a cheap Panasonic lens (didn't even ask which one) for 50% of the pockets current retail price.
Also now when a brand new BMCC MFT is $1800 here the used prices on those are dropping fast. I have an offer of $1200 including a dock and an SSD.
And when the URSA mini and Micro comes out it will be even better times for us that likes to buy used
 
 

Haha, most of them are on the cheap. You should be able to get all of their lenses for less than a hundred, definitely less than a hundred and fifty, if you're patient.
There's an 18mm, an 18mm pan focus (which is unnecessary because the 18mm is practically always in focus anyway), a 20-40mm push/pull zoom, a 24mm, a 50mm and a 70mm.
The regular adapters run about 20 dollars each but the lenses do not have apertures because it was built into the cameras. I used step up rings and fader nd filters to darken the image.
Kevin informed us of the existence of an adapter with a built in aperture, from RJ camera, it costs 75 bucks, but I read from their site that the adapter won't work with 70mm.
So with adapters you could easily get the entire set for 200, 250. If you read the reviews, and I will confirm... The best lenses of the lot are the 18mm and the 50mm. You can probably get both of them for less than 50. In fact, I think there's an 18mm on eBay now for $18 or best offer plus shipping... Which is a great price.
I'd still pick up the 24mm, it's a decent little lens, little being the key word... This thing is tiny... They all are.
Also, you will probably need some kind of lens focus lever, if you pull focus. I have one of those silicone bottle cap openers that were popular a few years back, but a zip tie would probably work as well.
Sorry for the long winded answer.
Just search Pentax 110 lenses. Or more specific Pentax 110 18mm, Pentax 110 24mm... Etc. 

​Yeah, I also figured out that the Kinemax is not much more expensive that URSA Mini 4.7k or AJA Cion. For me, it makes absolutely no sense to spend money on a Cion, which already has an outdated sensor. I played with both the Kinemax and URSA Mini at NAB and they're both lovely cameras, but I can't help but feel that the Kinemax is much more of serious filmmaking camera. It just feels hardcore and the quality of the images coming out of it, in my opinion, are more organic and cinematic than what I've seen in the URSA 4.6k reel on BM's site, or from the Cion. When the Kinemax has internal ProRes (hopefully later this year) that will be a huge plus. I'm undecided though and I need to get confirmation on the audio recording capabilities of the Kinemax. For example, if you can't change the audio levels of the XLR inputs, without needing a separate mixer, that will be a huge deal breaker for me.

I think the 5D was the perfect choice to get the SD look

I prefer to take it as if he has been given a pre-production camera and he is busy preparing a first impressions review under a NDA. Can't believe he couldn't take the time to hype up Pana G7 or Arri's price drop. Those were both big news and I was sure he would post some commentary on the subject.

So much awesome It was crowdfunded on Kickstarter ($630K). Shot on Sony FS700 and Canon 5D
https://www.kickstarter.com/projects/kungfury/kung-fury/description

Title track by David Hasselhof
  

What I dislike about the F35 most:
1) spare parts / repairs / reliability. It still is going to cost you like a quarter million dollar camera will. Is like owning a Rolls Royce, even if you get an older model for cheap, it will still make you broke via upkeep. 
2) the sheer size of it! Even though its price has got smaller, its size hasn't. You still ideally want the full size crew that a film with a budget for a $250,000 camera would command. Even an URSA Mini would be smaller and easier to work with a small crew (and personally, an URSA Mini seems like about the max size I'd go for). 

Personally what gets me more excited is my US$150 Panasonic GH1 bodies and looking forward to getting a Panasonic AF100 later this year for hopefully far south of US$1k. 

With the back-of-the-envelope math, it still seems like the Ursa Mini - 4k version - is the better bargain. Even the flip-out screen on the Ursa Mini gets you up and running right away, no need for an EVF.
@Taranis -- there's no way I'd take that C-Box out in the field. it just doesn't look suited for actual production unless you're in a studio.

I don't think this camera will survive.  I think you'll get a similar resolution and color out of the blackmagic 4.6k ursa and the AJA upgrade - but cheaper and with pro res options as well and better support.  The whole 6k, 7k game is pointless.  Look at the Taylor Swift "bad blood" music video shot on the red weapon in 6k - does not look as good as anything shot on the Alexa which is 2k.  The motion looks weird on that.
I don't know - it's getting to that point I think - where no camera has the edge anymore - it's about options.
Poor guys - picked the wrong time to make a new camera.
There are so many other areas to make products in filmmaking right now - drone technology - easyrig alternatives, etc etc - why so many trying to go the camera route?  Just seems so expensive and risky in this day and age.  Especially now that Blackmagic and AJA have entered the ring.

so, could be that the lx100 is all you need, way at the low end of your price range and super light and portable. it's got to be the best budget 4k right now, the next jump being the nx1/gh4 for interchangeable lenses. The g7 coming out "soon" could be great for you, and possibly slightly better low light than the lx100, which is still pretty decent. you might be able to add a used a7s just in your price range, with like a fast, manual 30-ish mm, making use of the crop modes for different focal lengths. there are pretty good low light performers for way less though if it's going to be a rare occasion. might be worth getting an lx100 and just see if you really need anything else. lots of flexibility in that price range really. Hard to say exactly what would be your best bet

Ah yes..  The kini booster ultra.  
 
The lovely Rob Bannister sent over a squeaky clean speed booster ultra and the sub-pl to adaptor that kinifinity provide for the camera.  from there I could equate what distances need to be adhered to in order for optimal results.   it was just a case of machining a sub pl mount to bolt to the back of the speed booster.
 
Unfortunately the time involved in the job was quite a lot and since Rob has been a friend and regular customer of dso I did it mates rates as a bit of a challenge.  what with the nx1 being very popular, metabones are almost certainly working on a solution as we speak.  For me to undertake another one, the price gets high due to the initial cost of the speed booster as well as labour.  some have asked for me to do the mod to cheaper speed booster copies, however due to the way they;re made, it makes it actually less simple to modify.
 
If Rob or Andrew wanted to rally a group of 10 people who might want to go for a kini booster, it would take prices down drastically and i could just cnc a user fitted sub pl coupling which will fit straight onto the e-mount to ef mount speed booster.

​Yes, just go with the original Tokina 11-16mm for Nikon F mount and get rid of your other UWA.