IronFilm

People are easily tricked by numbers when looking for something new. That is why you see cameras with 60x zoom, 24MP and tv's with 800Hz, this and that, etc.
If his wish is 4K without even considering 'why', just because it's the latest and hottest issue... I'm not sure that's the right choice. Of course 4K has tons of benefits and I would be the last to say you shouldn't, but given you need to work with somekind of budget, putting everything in a camera body because of 4K... meh. Might want to reconsider that there. How about glass, fast cards, a tripod with fluid head, audio gear, tons of other accessories.
But maybe he has been borrowing or renting gear and this is his first camera to actually own... and purposely has a use for 4K, then I agree with the above, the FZ1000 is one fine camera. It's like a lite GH4 14-140mm kit. The LX100 has great image quality and up to ISO1250 noise is really well controlled, but yeah, is a little less flexible to use. The 4K GH4 and NX1 can be bought as well, but remember you're gonna need glass, cards, et cetera. Not to mention processing power and storage solutions (although with the GH4 not as bad as with some other 4K cameras). You can get a focal reducer from eBay and some cheap vintage/legacy glass to not stretch the budget too much. But if there's no real purpose to having 4K... there are some great 1080p choices out there.

​Not a bad suggestion if he's just starting out. 1080p is much easier to work with for most home editing systems, and I was damn impressed by the quality from my little Sony A6000 when hooked up to a good lens. Shame it didn't have an external mic jack, but for the price the image it was fantastic. 

This will have video quality like the 50MP+ medium format cams...
In other words, abject shit.
And a crop.
At best it will do D810 standard 1080p!
Hope I have to eat my words but that's how I see it!!

Remember to grab an Otus and shoot 3 stops closed down to deliver 50mpx onto that sensor.  And I hope they have the ability to read all 50mpx at once, without rolling shutter.  I think not and as such the new 5d will be worse than the 5dmk3 due to line skipping of 3/4 of the pixels.  
 
Sony on the other hand will respond with a 50+mpx camera with a sensor size that actually allows such resolutions to be a design benefit.  The D800E pushes even the Otus to its limits of resolving power, and that's the best (technically) 35mm format lens ever made.  For more mpx you need physically more image area for it to be worthwhile IMO.  

Cool for photographers.
Irrelevant for film makers. ISO sensitivity for photos is 100-6400...uh oh. I doubt it will improve on 5D Mk iii video.

Yawn, I couldn't be less interested. The video specs will be underwhelming (is anyone actually expecting anythibg decent from Canon? Lol)
They are notorious for protecting their Cinema EOS line so this is going to be underspecced for video with the same shitty for video DSLR form factor and complete lack of decent video functions.

I'm going to make the crazy suggestion that perhaps he doesn't need 4K

So instead a few to consider are: Panasonic G6/GX7, Sony A5100/A6000, or Nikon D5200/D5300/D7100.

Agree on the 720p unfortunately when I was shooting I didnt have a comparison in mind so I didnt ensure both were 1080p or even 4K. But if its not immediately obvious that one is 720 without me mentioning it then its a testament to how nice the 720p in on the A7s.
​The cage is from Motion9 called the A7s Cube cage. I can honestly say this cage is AMAZING!! Sounds silly to say about a cage but this cage is so well thought out and so well machined and finished.  I have a Movcam top plate on the F5 and it was very poorly machined with sharp edges. Machining aside the Motion9 cage is precision and a very snug fit around the A7s and the thumb rest is excellent. They also have rails and their own battery option. 
The Shogun was positioned with a Noga style arm. Easy to reposition.
The box to the left of the cage is actually part of the cage. It is an ingenious way to clamp the HDMI and other cables exiting the camera. And its a handle!!
 

Given that
​Coupled with the rise of online streaming the differences in that area might not even mean that much. It's kinda a bit like MP3s in the audio world. It's good enough for most and the convenience won out.

​I could say the iPhone 3G is better than them all.
It being my personal opinion would not make the claim any less preposterous.  
I agree they are all great instruments. But I think certain things should be clarified for those that may not know better.
I was once learning and have found myself on EOSHD looking for information. This list is just a disheveled mess.
A monkey could pick up an FS700 and get a better image than with a 7D. I'm not sure which of you (besides the author) would dispute that.
I understand it's a personal opinion thing, but it's published on a public site. So I'm just airing my opinion of his opinion. 
Feel free to take mine with a grain of salt as well. ;)

I would mainly like a 35mm. All round lens that I could do a whole film on if needed.

It appears Cooke's imperfections help create their magic: https://www.hurlbutvisuals.com/blog/2014/03/why-do-we-want-flat-glass/ .

Panasonic FZ1000 or LX100.

Like 99% of full frame lenses, no??

​Yea, seems like the FS700/OQ7 combo gets overlooked by alot of indie filmakers, but it really is the very, very best image out there for a sub $10k price and crazy versatile.
I've had ours for just under a year and the image is sublime. Sharp 4K (to 60fps, 120fps burst), 2K (to 240p), raw, prores, 4K to HD, 13 stops, built in NDs, built in XLRs, great screen, amazing exposure tools, good low light

"The GM1 is $749 with 12-32mm lens." The GX7 kit is even cheaper, $589,99 in eBay.

FS700 + O7Q, FS7? Both cameras can provide a 1.1x crop in 4K (SpeedBooster), the 4K has more real detail than the 1DC, XLR pro audio, tons of fastmo/slomo options, built in NDs, etc. The FS700+O7Q can also do 12-bit RAW, including bursts of 120fps 4K, continuous 2K RAW (up to 240fps), and very high quality 4K and 1080p ProRes (10-bit 422). The FS7 does up to 180fps in 422 10-bit XAVC (1080p), up to 60fps 4K. It also supports ProRes and RAW with the interface unit (extra bulk, but worth it for some productions). The 1DC is only 8-bit with a 1.3x crop, no XLR audio, no 4K slomo, and very large files with an ancient codec.
For faster turn-around, Canon has the best look out of camera- looks the most filmic, etc. However, once the camera is understood, it's possible to do whatever you want in post for a filmic look using 3D LUTs, Filmconvert, from-scratch in Resolve/SpeedGrade, etc.
ARRI/Canon produce the best looks with the least effort so far, however Sony is catching up. Here the F55 matches the Alexa: http://www.hingsberg.com/index.php/2014/06/f55-matches-arri-alexas-color/
Sony cameras do indeed take a bit more research and work in post, but once figured out, do very well against ARRI/Canon, along with many more useful features. At which point the FS7 can closely match the Alexa in post, it will deserve the top spot on any list which includes cameras in the $8000 range.
Things will get interesting when Canon releases a new camera to compete in this space. If they follow their traditional business model, they'll leave out critical features provided by Sony/Panasonic, and thus leave the door open for Sony/Panasonic (and now perhaps Samsung) to get their out-of-camera color science for skin tones closer to Canon (Nikon is also doing well here).
Sony's F65 can look better than Alexa in terms of color, including skin tones (not clear how much work that takes in post). Examples: Oblivion and Lucy. If the F55 can match the Alexa for skin tones using just software (in the test above, I was surprised that the F55 looked better to me), it's clear that the A7S/FS700/FS7 can look even better than they do now with firmware+LUTs-in-post. After many hours of testing the cameras side by side, it's clear that the A7S's sensor (and even the FS700's) are superior to Canon's sensor in the 5D3 (apparent even when using RAW).
If the 5D4 has 4K and a decent codec (422 10-bit), at least 60p slomo, it will be very appealing to be able to use Canon lenses without adapters (and hopefully with high-quality autofocus- extremely helpful in many situations, especially 4K shooting of dynamic scenes). If Canon drops the ball, there's now lots of other compelling options for video. For stills, the 5D3 is currently the best for the money.

Useful list, but you forget to include the Sony A5100. It's better than the A6000 in video mode: Xavc-s at 50Mb/s and almost 100€ less expensive.

Blackhat means malicious intent, and that sure isn't ML. Otherwise cool news if true.

The blackhat group, commonly known as "Magic Lantern" has been working with Samsung allegedly to create more functionality with the NX1

The Grand Budapest Hotel had so much excellent camera work that I purchased it to study. Great story, acting, pacing, art direction, music too! Haven't seen Birdman- heard it was great, will watch it soon.

These kinefinity cameras are so tempting. Just annoying that nobody speaking English seems to use them! 

Andrew can you please share the criteria of ranking the list?
Because if we are talking about bang for buck tools for the entry level filmmaker, considering the additional gear needed to operate the cameras, the 1DC comes dead last, 
and the difference between dumping that cash in the camera, and using it for your film... I'd back the guy putting more money into his film.

Yes, the omission of the FS7 seems weird. I've got the A7s + Shogun, but the FS7 is clearly a breakthrough 2014 camera, whereas the 1DC is not.

This is so impressive! The technical evolution is just staggering. I remember talking to a freind about 8 years ago and he told me about his 4K camera which was
cutting edge at that time and I had no idea about what 4K was. The price of that thing and the media was fabulous.