IronFilm

Sounds good. I wish Olympus was more like that.

I thought "YAG6T" is another/new type/variant of the YAGH.... the thread title fooled me!

I thought "YAG6T" is another/new type/variant of the YAGH.... the thread title fooled me!

Have you read the comments? Honestly I saw 0 cooments that wasnt about them being girls.
And ive never seen this reaction to any of the other Turtles, Avengers, etc.
And Sony, if your reading. Big cuudoos on using regular women and not some Charlies Angles gang.

Very cheap, and elegant:
http://www.ebay.com/itm/BMCC-4K-BMPCC-Camera-DV-Battery-Mount-Plate-Power-Supply-For-Sony-BP-U60-U30-/231491513424?hash=item35e5f82c50:g:fIcAAOSwT6pVilrh

I think your proposal though wins slightly for overall value for money.

But I think for elegance, and overall versatility (as BP-U is a very common battery format that gets used in lots of things), I think mine takes the edge over yours.

In the end, which is a best for a person, depends on their personal preferences/needs

Hearing about those "GH5 will be 6k" rumors makes me really annoyed. There's basically no really good, usable large sensor 1080p camera (I know, 5DIII ML, but a lot of people don't want to deal with the tinkering) and we jumped to 4k with weak codecs, now we'll directly jump on to 6k with probably the same weak codec but even more post issues?
Forums are full of people arguing that you can't get the good stuff because SD cards are too slow for higher quality, but why can't we at least get 10bit out of the cameras via HDMI? The High Frame Rate also doesn't go out so you shoot 120fps FullHD on some super compressed codec.
Are clips with the BMPCC out there that look like detailed, polished, modern footage e.g. like out of a commercial? All I find on VIMEO is low resolution / badly focussed, dark muddy grades stuff that looks like FilmConvert overdone times 10. I think the image out of the BMCC 2.5k is amazing but that camera ergonomics are meh, the extra resolution really helps over the BMPCC sensor in post for the finished product though.

BMCC 2.5K sensor in a C100 body with Sony IBIS and active MFT mount... TAKE MY MONEY!

Im not a big fan of Scandinavian Photo, don't know what gave you that idea. Just use prisjakt.se, who has the energy to look around.
The price is on three of the biggest retailers, http://www.prisjakt.nu/produkt.php?p=3144178
"600-700 USD"... what a rip off.

Could definitely be a picture profile/settings thing. I'm sure, with tweaking, we could coax a little more resolution and shadow detail out of the G7. However, while the Panasonic has more blocked up shadows, it also has a clear advantage in the highlights. Not only is there more latitude, but it doesn't show any of the hue shifts, bright color ringing, or hard clipping I see in the A6300. Check out the underwater lights in the second example scene. Horrendous performance by the Sony. The Panasonic has much nicer color overall too, struggling less to render the mixed sources naturally. 

With used G7 prices dropping to around $400, I'm struggling to think of reasons not to buy it. No LOG profile I guess, but those things cause more problems than they solve in 8-bit cameras. Image looks acceptable at 6400 and rather good at 3200. 

As to people bashing it for stills...you're full of shit. I'm sorry, but even measurebaters can look at DXO and see that raw performance is less than a stop away from APS-C. There is so much amazing work being shot on M4/3 that no one can claim the camera is their limitation to getting good results. Panasonic's DFD autofocus has also been shown to be faster and more accurate than any other current mirrorless. Time will tell on the A6300, but "it doesn't have PDAF points" is an asinine argument. The last thing to look at are lenses. Last time I checked, the Sony APS-C stable was pretty pitiful. There's like...2 or 3 Zeiss lenses that are pretty cool I guess? Micro Four Thirds, on the other hand, has a gigantic selection of both AF and MF glass, almost all of which are stellar pieces of glass. 

As someone who's shot and edited a couple dozen commercial and portrait shoots with a GH3 and A6000 side by side, there's basically nothing in it. The Sony is higher res, but the M4/3 glass has the edge. The Panny has lower DR/higher noise, but the Sony's 11+7 bit compression makes it a wash. The Sony is smaller and lighter, the Panasonic much better built and better-handling. Neither have great color on Adobe defaults, and benefit greatly from profiling in ACR. The GH3 battery life is enormously better, the A6000 has almost double the burst rate. 

I would never argue that Micro Four Thirds is the best stills platform available, but I do believe it represents the best mix of compromises for most photographers. The system's image quality today is where APS-C was a couple years ago, and I don't recall many people complaining then. In a few more years, it'll be where class-leading APS-C is now. And so on and so on. So as technology marches on and sensors get better and better, I'd rather have the smaller size, better glass, and stronger features of a M4/3 body than a bump in performance less than 1% of shooters would even notice, let alone need.

Some samples to ponder: 

https://www.mu-43.com/threads/featured-mu43-wedding-experience-by-sssyurrr.61628/
https://www.mu-43.com/threads/m43-portraiture-by-livingloud.61610/
https://www.mu-43.com/threads/featured-photographs-from-morocco-by-ggibson.62877/
https://www.mu-43.com/resources/voigtlander-nokton-42-5mm-f-0-95-real-world-review.36/
https://www.mu-43.com/threads/featured-my-portrait-work-with-m43-can-it-hang-with-the-big-boys-by-spatulaboy.58189/

Cheers.

FPN is only a problem if you under expose. Ive never had it on the production camera. Lowlight, daylight, nolight doesnt matter, no FPN.

All of those are way too huge to put directly into a shoulder or tripod rig. I mean to have it be "form fitting and out of the way and clean".
Heck - we can hook a car battery up if we want. There are literally a million of these batteries out there in all shapes and sizes and if they have the 9v/12v outputs they all work the same.
They're all the same in function. All of them. That's not the purpose of my recommendation.
The XT Power is of a specific shape, size, and weight that to me lands RIGHT on the sweet spot. Plus it has LARGE power-remaining lights that are extremely clear when you need to see them. They're not hidden off on one side. It's all these little details that make it so much more pleasant to use busy shooting day after busy shooting day.

Those Ankers are like attaching a pizza box to your rig compared to the XT Power.
Same with that large RAV Power. Now, I use a much smaller square RAV Power to power my audio recorders - and you can't even hardly tell it's there. Size matters. LOL!
Even that "Aukey" brand is a half-inch wider and FIFTY PERCENT longer that the XT.
If you want a really big powerful battery? Get a V-Mount - superior in every way. But much much heavier and much more expensive.

If you watched my video were I showed the battery mounted on shoulder/tripod rigs you'd see that even the XT Power is not small at all, and that anything larger is going to be an enormous pain in the ass.

BMPCC is "too small" yet you use it on a gimbal? Sounds rather contradictory!!

Plus it sounds like you've got very very few lenses.

I'd recommend instead investing in more lenses (and likely you need more lighting gear), and getting a Blackmaigc Micro Cinema Camera (60fps FHD! Plus global shutter!) when it ships.

Rather than squandering your money on a RED Raven.

I was actually thinking of the other Sony FS, as the FS7 indeed is a little big. The one in the image showed above with the MOVI was a FS5.


And what would keep you from using your Samyang EF lenses on a Sony FS5 (the smaller Sony) exactly? I don't get that bit. It has the flexible Sony E-mount.

When Sony do a subsequent version of the Pentax 645Z sensor with proper 8K RAW video, the dynamic range on that will be astounding
A lot of people still think of larger sensor = shallower DOF and with most medium format lenses being F2.8 this might not be the case vs F1.4 on full frame but once we overcome that kind of binary thinking, we see the image of medium format is unique and I definitely want to shoot a film on the format.
FORBES70 is a thing of beauty.
PS I missed the NAB 2009 announcement of that RED solution... quite amazing really, I'm surprised they haven't made good on it 7 years later seen as though they are chasing some of the high end stills market and not just cinema.

Well it can only be, there are no SLRs bigger than 6x8 ,nor have there ever been  Imagine the mirror, it could be used by ISIS to cut off heads from the infidels.

FWY, its not allowed to criticize Red or claim that they have missed deadlines on the internet, otherwise some Hummer driving dudes in Okleys will come to you're house...

six 19w 90+CRI LED heads.  With CREE XT 4000k diodes.  each on a flash tripod, and each with 10meters of cable.  3 of the heads are 30 degree spots and 3 are 140 degree floods.  works out at under 120watts for the whole setup, but I recon this kicks out the same usable light as 2 or 3 500w halogen worklamps.
 
Worked out at just under £400 for the entire setup.  so way more expensive than halogen floods but I recon I;d get 2hrs run time off a 18hole sealed lead acid golf battery.
 
 

Over the holiday season, I strayed from my S II prime kit, and had a very short and intense affair with an NX1, the 85, 30, and 16.  After the rental ended, I felt, well, lonely.  Like I'd given back the best mirrorless hybrid effort to date. 
Watching the NX1 hack thread unfold, and thinking about that 4k, and that in-video PDAF - which I openly abuse - I took a chance on a zoomy "daytime" NX1 kit: NX1, 16-50 S, 50-150 S, 12-24, 16, grip, batteries, etc.  Out the door, $2800 - this is a good deal in the states. 
Arrives early next week.
Couldn't be more excited. 

In all seriousness, there are a lot of very enthusiastic people here that really understand (or strive to understand) the strengths and weaknesses of all the cameras out there and I think you need to do that to get the absolute best out of them, in addition to a great grasp of lighting, of course.
It would be cool to collaborate with some guys from this forum on this (or another) project, for sure.

Yes. But with the D750 Nikon completely step up on maturing 1080p full frame. Before Andrew's review on it I would of never consider it back in early 2015.

I just sold my A7rii today. After having it for a few months I had nothing but huge headaches. I did many test with a 4k video devices recorder. Besides the worst rolling shutter I've ever seen no one seems to be talking about the horrible judder when panning. At first I thought it was just I'm shooting in 24p and viewing on a computer monitor at 60hrz. But further test in every setting, shutter speed and frame rate seem to have far more than every other camera I've shot with. Another problem is in 60p and 24p 1080 the noise level is bad. I also kept getting bad moire and aliasing in full frame 4k and 1080p especially in the highlights.
Granted as a small compact photo camera it's frickin pretty awesome. But for video the image only looks good in crop mode 4k and as soon as it moves or things in it moves it falls apart. I barely took it on a shoot because of how much testing I had to figure out before I felt comfortable with all its down sides. And is not worth it.
I went back to my Nikon D750 with a external recorder for now until I decided what to get next, but even though the 1080p image is softer everything else is far better. Rolling shutter very little. Noise level very clean upto 6400. Slow motion just as good as the 24p and very smooth. Color science far better. Dynamic range little less. Post with it is super easy. It's a shame this camera has gotten no attention, but it such a reliable camera its what we wanted out of the 5D Mk iii but quickly forgot about with all the 4k cameras that just keep adding more new problems, headaches, time and money all for the sake to say its 4k.

Wow..I was deadset on the a6300 as my b and c cam, but that g7. For £350 used, can pick up 2 and change for the price of an a6300 here.

Why does the Pocket & Micro footage look so much nicer? Simple, it has to be the S16 sized sensor!
Personally, my favourite lens combo with the pocket is the Nikon 24mm f2.8 & Iscorama 54 (no speedbooster or lesser clone).
Anyone thinking that S16 is a format or sensor size that isn't used, then you must be kidding yourself - its everywhere simply because it has that something...
DSLRs & the introduction of FF for filming has created a snobbery towards S16, which is completely unfounded.
I'd take S16 over FF any day of the week, it just has such a pleasing look to my eye - S35 is the standard (obviously).

I'm with you man. I'm loving the BMMCC footage way more than the Ursa 4.6K. A good analogy of how I feel: You're driving down a highway looking for an exit with a good place to eat. You pass 3 or 4 exits thinking you'll find something better soon. Suddenly you're at the edge of a town and realized you passed up the best option. You turn the car around and go back an exit to the best choice.
For camera tech we've been chasing the perfect camera and I believe we've hit the point where it's passed "the sweet spot" and we're taking back a notch to find the best images.
 
EDIT: Image quality is subjective, but I'm speaking for the people who want something similar to 16/35mm film. The classic look.

http://www.xdcam-user.com/2014/03/understanding-sonys-slog3-it-isnt-really-noisy/

i know you didn't ask me but iam also a sony shooter and i've found shooting at -1 magenta and +2 to orange makes the image very apealing and nice to work with.