IronFilm

Panasonic G7 is 599$ by now at B&H with a Rode Videomic for free on the package. It's 4k for cheap with a 100mbps codec and a good mic for run n gun. Black Friday deals ¯\_(ツ)_/¯

Thanks for that. I guess for my purposes I wouldn't miss those features. Also, the G7 cannot be switched PAL/NTSC.
I'm not too bothered about headphone/input jacks as I bought a used Shure lenshopper with the built-in recorder to get around these audio limitations (noisy em5II preamps, no input on LX100). As long as there is a hotshoe, I'm good.
I got a body-only G7 from Amazon for £249 after rebate. Too good a deal.  You could get 4 of the G7 for less than a GH4.
I am now debating getting the Olympus 7-14/2.8 for my wide angle or adapting the Tokina 11-16/2.8 with the metabones.

I was all set to get choose between an LX100 or RX100 but swaying towards the G7 now! I previously had a G3 and this looks like a big step up.
@Cinegain I thought you typed kittens and was like Lumix Kittens

http://www.eoshd.com/2015/11/official-statement-samsung-withdraws-from-camera-market-in-germany/
Andrew suggested Samsung should make a cinema camera, and thought that is such a great idea it deserves its own thread. (waves to Samsung reps! Hopes they're reading....  one can but hope!)
I don't think it would take much more to get there (well.... it would be a significant sized project for Samsung for sure, but easily well within their grasp to pull off). 

All they need to do is increase the size of the NX1 body the minimum amount needed so it can do this (perhaps C100/C300 shape/size? Although, I'd much much rather have the ergonomics of an FS5/FS7! But even if, g-d forbid, it has the shape of an FS100/FS700 then I'd still be "ok" with that that!):
Make space for dual mSATA slots, perhaps mSATA already in their own simple plastic casing like what Atomos does with SSDs (I think Sound Devices made a good choice going mSATA on their small PIX-E5 recorder, and in a small camera it makes even more sense over the large SSDs). Dual slots are needed so you can write a proxy to the 2nd slot, or just simply if you need the extra bandwidth when doing 6.5K raw at high speed. Can't stick with SD cards, as they won't handle 4K ProRes HQ, which leads me onto my next point.... Add DNxHR / ProRes, whichever licensing of DNxHR or ProRes is easiest for them to get. Though having ProRes HQ would be preferable I suspect over DNxHR (just because ProRes is more commonly recognised by the market, thanks to BMD and others widely using them), plus ProRes 444 or even raw would be dreamy! (but maybe a little unrealistic in a $3k camera?!) Add two XLR inputs.  Make its HDMI port a full sized HDMI port.  Add two SDI outputs (important to have two, what happens if one breaks? You'll have a nearly useless camera for many people, as SDI is for them *essential*. Plus is very common to run more than one monitor in a production environment, thus got to have two) I think if Samsung did this (and nothing else, just the five points listed above: mSATA + DNxHR/ProRes + XLR + full HDMI + SDI inputs) for US$3,000 then they'd have a huge huge indy cinema camera hit on their hands! The next DVX100 or 5Dmk2 of our generation??
Even if it came out at US$5k I reckon it could maybe still be rather successful, although it would be up against the URSA Mini 4.6K, Sony FS5, and Canon C100 mk2, all at a similar price point. (plus whatever else comes out in the next 6 months) 
For bonus points Samsung could do:
Camera mount: just before, I'm assuming they're sticking with the Samsung NX mount that the NX1 has, and only making the body a little bit bigger. As Andrew mentioned perhaps their mount held back sales of the NX1, maybe this cinema camera should have a different mount? Ideally I'd like to see them use the Sony FZ mount (as this would mark it out as a true cinema camera, able to be used with the best of the best cinema lenses, yet also allowing tremendous flexibility with this mount!), next best choice would be using the Sony E mount, 3rd best is Micro Four Thirds (like the JVC LS300). Branding/marketing/licensing issues mean I expect sadly all of these are out of the question. Thus I feel the best Samsung can realistically do is create their own open cinema mount, which has similar features to the Sony FZ mount. But make it completely open and easy for anybody else to adapt. Thus Samsung will start off by selling their Samsung Cinema Camera with the high prestige PL Mount, but in a blink of an eye we'll see third party manufacturers offering adapters for everything you can possibly imagine (like they do now for the Sony FZ mount!). High Speed Options: apparently their engineers managed 6.5K 240fps in testing, maybe we could at least get this cinema camera to give us 1080p 240fps or 4K 60fps? High than 4K resolutions: give us all 6.5K resolution from the sensor!! :-o Raw: need I say any more? This could hit it out of the park!
What are your thoughts? Remember, it should be based on the existing underlying NX1 technology (so not too much more R&D is needed for Samsung to get it to market), or using commonplace readily available tech (such as mSATA, or SDI connections) and hit a US$3k price point or at least not more than a couple thousand over that. 

jeffpb7, love the look of it! However the audio is messed up :-/ I'd focus on that next time.

Yeah, but Zach, '2220 Euro'... you do realize the topic has 'on restricted budget' in the title and is specified to be 800 EUR, right?
And even then... a new Nikon D750 is about 1700 pops right here, looks great and is pretty much a champ in lowlight. For that kind of money just forget about tuning (pumping money into) an outdated body that has already been succeeded in the market segment.
I like the mentality: 'only advance when you've reached the max of your current camera, but still leaves you wishing for more'. But you take it to the extreme by using an almost ancient camera and giving it hip replacements and a pacemaker. Cosmetic surgery to get those wrinkles under control. But eventually it's going to end up on life support. Maybe time to let go and move on; could be time to stop trying to patch it up one more time.
Time is ticking and every day new technology advancements come into this world. They're not here to make your life a hassle, they're here to improve it, open up new creative possibilities. The A7S-series has pushed the lowlight bounderies. It gives filmmakers a new scale of options to explore. Time to embrace stuff like that.
I feel like because the T2i is all you really know by some hardcore experience, you've come to love it and accept its image quality. I think you have realistic expectations of the T2i, but that's kinda of a weakness as the bar has been raised so much higher by now and your expectations might not quite be in line with that of people nowadays. Still think other cameras are a way better deal and atleast easier to get some decent results with! And with less time wasted on pushing a camera beyond its limits, you have more time left to figure out other things... we always agree that 'content is king', but doesn't the king belong in a palace rather than some abandoned cabin in the woods. What if Kendy Ty had used a D750 instead of the T2i. Would those videos have been off better or worse?
Kinda with araucaria on this one.

Here's the trailer for a movie I shot last year using an Iscorama/helios/jupiter9/minolta 35mm and FS700 with Blade recorder. It's a no budget, lowbrow, dark comedy. It's no Oscar winner, but it's my first feature film and it's almost ready for distribution(hopefully). 

This forum has been very good to me in the past few years. I appreciate everything very much ... To be able to continue to shoot video and make movies with your help..
I do have a problem right now regarding my GH2s...
I shot an event recently that required 2 hours of non stop recording on both of my hacked Gh2's (Flowmotion hacks on both). I use two 64 GB SanDisk Extreme PRO 95 SD Cards with this hack.  I shot the event on tripods and everything went smoothly, both cameras recorded a couple hour takes and everything seemed fine. I then got home and put in my SD card into my macbook and  opened up FCPX and only 3 files showed up- the last few clips of the event... I didn't panic because I have had this happen before so I knew to look under my private folder and then AVCHD > BDMV> STREAM  to find .mts files that were my footage.. I then converted them but still lost some footage from the whole mess..
Why does this happen? The hack has been working fine other than this but with this long event shoot, I figured its why my SD card acted funny. It happened on both cameras and it seemed to have happened when I changed batteries during the shoot.
Is there a new hack you recommend? I know the gh2 is old news but are there any new hacks or solid ones?
Thanks again for all the help. This old community.

I just finished a feature in which we used the Pix E5 extensively. For our main cams we had Fs7's with Speedboosters. But we wanted to use a Steadicam Tango which has a weight limit of 5 lbs. So we paired an A7s at the end of the Tango and Pix E5 as the operator's monitor. In short, the Pix E5 is bullet proof. In prep we tested Shoguns but found them too fiddly and power hungry. With the E5 we'd get a couple hours use with (2) NP 970 batteries. Also, their media system is well thought out. Pop out drive, stick it in computer, no intermediate interface. Also, noteworthy, it's at least a stop brighter than the Shogun which helped for brightly lit locations. The downside, no 60p. The interface is pretty simple. Buttons and touch screen. As a reference monitor, it'll take LUTs, display Histo, Waveform, Vectorscope, etc. 
I bet it becomes a standard "director's" monitor on movie and TV sets as they'll be able to review and que takes without having to summon the VTR guy and do it privately without everyone else watching. The union is going to hate this one. 

I actually got my hands on one of these and an URSA Mini not long ago and knew right away how BMD has the potential, if they stay focused, to push the competition very hard in (affordable by the masses) digital cinema in the next 36 months.  Its not always how well developed a product is at release, but how it effects the market and this release is actually petty important in that way because it puts the competition on notice to stay competitive or loose out.

But that is actually an advantage of the Blade. You can get faster SSDs with larger capacity much much cheaper than SDXC. 
For example a 128gb Sandisk Extreme Pro is $100.
A 120gb SSD is less than $50 ...
 

But it offers waveform, peaking, false color, zebras, histogam, punch in, and record triggering. None of which the Video Assist offers. I'd take that over 60p any day.

Then the Ninja Blade offers way more functionality for the same price.

I'm going to get the BMMCC as soon as it goes on sale for half price! ;-) Same way I got my BMPCC....  :-D

AliExpress for example. Today (11.11) is a special day over there too.
Gotta love China indeed. Even visited the Hong Kong Electronics Fair and Shenzhen around this time last year, because they just amaze me what things are possible for such low prices.
 
- Though, fair warning, I'd say possibly 90% of the stuff out there is actually that cheap for a reason. Stuff can be good for cheap, if they put in the effort to get it right. Doesn't mean this is always the case. Most of the times it's just something half-assed to look the bizz, but in all actuality is far from it. So you got to know your stuff/read into it or be adventurous and trust your own good judgement. I'm a fan of Chinese brands though. It usually means something if they're willing to put their name on it. But still, for stuff like batteries or so, better buy something legit (don't have to buy original, but you can get a good B-brand (I like Patona for example)) than to fry your expensive gear looking to save a few pennies (almost lost my GH2 on a Chinese DSTE battery).

If you didnt already have Canon glass I would recommend the D600 since it has a superior image sensor to the 5D2. Better DR, low light, etc. 

5dii inferior sensor, ML raw send you with card way more than 800euros, OVF, huge body, AF not at all stellar. no way i would go   for that. A7 all the way if were talking pictures, d750 if video

Hahaha ... Panasonic could make a short film on this. It's like that scene from Superman (the Christopher Reeves one), where the guy selling the Leaning Tower of Pisa breaks his pieces, when he realises that Superman has brought the tower back to its leaning position, after straightening it before:

https://www.youtube.com/watch?v=iMOnOjASyKk

Thats unfortunate. You should rent one and try it again with the Ninja Blade. IMO it's worth every penny.

It's worth pointing out that XAVC-L is still better than XAVC-S of the a7s. While it seems obvious now, I didn't exactly realize that until watching the presentation. I think Alistair does a pretty good job of explaining what this camera is, and more importantly, what it isn't.

Superb video.  starts to become a bit of a goldmine for concise information about s-log/cine/rec709 - and backing up already known information.

Since the d750 is outselling the A7-line they are probably not in any hurry.

From my point of view, the NX1 is a terrible design because the deep "canyon" in which the sensor is located prevents development of a Speed Booster for it.  However, with a little re-sculpting of the mechanical area near the sensor . . . . . .

As said elsewhere, they should partner with samsung, rebrand the nx1 as nikon, and they would sell millions (and be praised as the best apsc in the world). While nx1 sells poorly because it's a samsung.