IronFilm

That camera basically exists. It's called the Kinemini 4K.

12-bit linear RAW is exactly the problem. That's why Blackmagic encodes in 12-bit logarithmic RAW, which unpacks to 16-bit linear in Resolve. 

120fps firmware is out. Will hopefully have a chance later this weekend to test it out.

They're asking for money now? And food?!? Who do they think they are?!?
In Portugal there's no union, so no union rate, but for TV it's 200/250€ a day.
For a film you're payed by the project, if it's a short and it didn't get public funding, you're most likely doing it for free - with some exceptions.
 
 

You're not paying for the accessories. You're paying for the added monitoring features, like false color.

I am currently using 2 Aputure 672s lights on lightweight 10' stands with 43" shoot-through umbrellas mounted for SERIOUS run-and-gun stuff... I mean like we have from 10-minutes to maybe 30-minutes to get the shots before we get either nailed by security or flat out arrested.
The guy carrying BOTH light fixtures may even have to climb over fences, etc.,

Using these Aputures was the only way this was going to work. And it surely does work. Killer. 
 

Actually, I just thought of a great idea! Since you're based in Los Angeles as well, how about I swing by one of your shoots with a light? Coincidentally, the Aputure product manager and I are already doing a tour of film sets in Los Angeles anyways. Seems like you've done your homework on lights so you could give us your input and feedback, which would be invaluable. Likewise, regarding your questions, the product manager is better suited to have this kind of a discussion with you anyways. You can post your findings back here afterwards.
Send me an email at ted.sim@aputure.com. Let's do this! 

Hi Tupp,
The light isn't out yet or released yet. These shows are just to show what we've been working on and what is still coming out. We'll have full photometric charts once the light is released at the end of May. Not really here to argue with you. We hold to what we say about our lights and I can assure you that the 120T will be no different. 

Shots fired! But I would say in the independent filmmaking scene, a Director or DP should know his gear or equipment, both for aesthetics as well as technical reasons. Not unusual to see a Director op, let alone a DP. What you lack in funds, you make up in knowledge.

It would be the standard Osmo X3. I've decided to go with the Beholder MS1 v2 to use with my LX100

Personally I think the A7s mk2 is in a tough price spot, as that is such a large chunk of change to buy an A7s mk2 when an FS5 would be so much much much better! Yes the FS5 is even more expensive, but by the point you're at this level, the extra overall cost vs the revenue you'd earn from it in the next couple of years, I don't think it is such a big difference (of course the FS5 is itself in a tough spot...  when the FS7 is only a little more than the FS5! And so the slippery slope continues.... I've seen F5 go for amazingly good prices secondhand? Or how about that F65....).

However.... A7s mk1 are now going secondhand for heaps cheaper than A7s mk2 would cost. And as you just want good quality HD, and don't care about 4K. Then it seems A7s mk1 is the obvious choice over the A7s mk2. 
 
The BMMCC is the most interesting of them all. It is very new so not that much info out there, but already a few interesting ways to rig it up:
http://cheesycam.com/custom-mods-for-blackmagic-design-micro-cinema-camera-w-diy-remote-handle/
And with time even more and more will be made, by third parties such as Zacuto or Wooden Camera (and then knock offs from China after that, at a fraction of their price). 
Am especially looking forward to rigs with handles that communicate with the BMMCC!
Plus the BMPCC has already been favorably compared with and shot with RED cameras, the BMMCC is following in the BMPCC's heritage, I'm sure you'd like the BMMCC in some role or another. It would make for a great B cam on RED shoots as well! (such as an action camera, or drone camera)
Final thought for high quality 1080 footage:
Sony PMW-F3 with BMD Video Assist (or Samurai Blade). 

Don't think there is a better bang for buck 1080 camera than that! (can go for as little as US$1500 or less secondhand)

Is the one I own and frequently shoot on myself. Together with a BMPCC (and have a Panasonic G6 for the ultra low budget shoots :-P ). 
 
EDIT: Final final thoughts:
How about a Kinefinity KineMINI 4K? A battle tested one loaded with all the options is available now for a mere US$3.5K!! :-o 

That is a downright insane deal for so much camera! It has the option of interchangeable mounts, raw 4K, slow motion, uses cheap standard off the shelf SSDs, can use focal reducers to get that VistaVision / Full Frame look. 
Could be perfect for a RED shop where the productions doesn't have the budget to use their RED.

Having a link there would've been handy ;-) So here we go:
https://www.facebook.com/groups/AputureUsers/

Personally I think the A7s mk2 is in a tough price spot, as that is such a large chunk of change to buy an A7s mk2 when an FS5 would be so much much much better! Yes the FS5 is even more expensive, but by the point you're at this level, the extra overall cost vs the revenue you'd earn from it in the next couple of years, I don't think it is such a big difference (of course the FS5 is itself in a tough spot...  when the FS7 is only a little more than the FS5! And so the slippery slope continues.... I've seen F5 go for amazingly good prices secondhand? Or how about that F65....).

However.... A7s mk1 are now going secondhand for heaps cheaper than A7s mk2 would cost. And as you just want good quality HD, and don't care about 4K. Then it seems A7s mk1 is the obvious choice over the A7s mk2. 
 
The BMMCC is the most interesting of them all. It is very new so not that much info out there, but already a few interesting ways to rig it up:
http://cheesycam.com/custom-mods-for-blackmagic-design-micro-cinema-camera-w-diy-remote-handle/
And with time even more and more will be made, by third parties such as Zacuto or Wooden Camera (and then knock offs from China after that, at a fraction of their price). 
Am especially looking forward to rigs with handles that communicate with the BMMCC!
Plus the BMPCC has already been favorably compared with and shot with RED cameras, the BMMCC is following in the BMPCC's heritage, I'm sure you'd like the BMMCC in some role or another. It would make for a great B cam on RED shoots as well! (such as an action camera, or drone camera)
Final thought for high quality 1080 footage:
Sony PMW-F3 with BMD Video Assist (or Samurai Blade). 

Don't think there is a better bang for buck 1080 camera than that! (can go for as little as US$1500 or less secondhand)

Is the one I own and frequently shoot on myself. Together with a BMPCC (and have a Panasonic G6 for the ultra low budget shoots :-P ). 
 
EDIT: Final final thoughts:
How about a Kinefinity KineMINI 4K? A battle tested one loaded with all the options is available now for a mere US$3.5K!! :-o 

That is a downright insane deal for so much camera! It has the option of interchangeable mounts, raw 4K, slow motion, uses cheap standard off the shelf SSDs, can use focal reducers to get that VistaVision / Full Frame look. 
Could be perfect for a RED shop where the productions doesn't have the budget to use their RED.

Why EF mount? Just get the Kinemount with an EF adapter. Then you have the option of a speed booster (KineEnhancer) or another mount down the line.

If they can price a Terra 4K between $2000 and $2500 and get better U.S. distribution/support, I think they could dominate the low end market. It even provides a great upgrade path, since Kinefinity takes trade-ins and all the same accessories work on the 5K/6K. 

I'd be all over a Terra 4k at $2500 with the EF mount. Pair that with the two Sigma f/1.8 zooms and a small lens for gimbal work, damn...

With a BMPCC speedbooster you get a virtual almost APS-C sized sensor 1.7x crop. So no gopro look.

The 1080p from the f3 is better than the 4k from any camera system within the same budget (sub $3-4k).

I think by far and by far the best ultra affordable option is the Aputure FineHD VS-2 monitor, however it is a little big... wish they had it available in a 5 inch option!
 
http://www.newsshooter.com/2015/12/21/a-7-full-hd-hdmi-field-monitor-for-less-than-200-aputure-launch-vs-1-finehd-monitor/
Keep an eye out for the Nikon DL18-50
Has a fast f1.8 lens, large 1" sensor, shoots 4K, and has a *MASSIVELY WIDE* 18mm FF FoV!! :-o Much much wider than the 24mm on the RX100 IV, and better if you want to use it as a PoV camera with a very wide FoV.
http://www.bhphotovideo.com/c/product/1234156-REG/nikon_26512_dl18_50_f_1_8_2_8_digital_camera.html
Ohhhh..... that is one cool benefit of the BMD Micro over the Pocket!

Strongly doubt Panasonic will go S35 for the GH5 and make obsolete overnight their entire lens collection!! That is just business madness.
You could say "oh but it will still work with all the m4/3 glass in cropped mode". No, just no. This could spin into a marketing disaster for Panasonic, as it would be a very bad look for them and would send out a terrible signal about the m4/3 system and its future.
MAAAAAYBE they might do S35 with an "AF200" (kinda like an ultra low end Vaircam S35), but absolutely not with a stills camera.
All Panasonic needs to do is DCI 4K 60fps with 10bit internal and people will go absolute nuts over it buying the camera, and then Panasonic will easily maintain their lead over Sony for another year or more.
But I won't deny, also getting as a bonus a multi aspect ratio sensor like in the GH2 would be nice. This would give it a "larger" sensor kinda, but still would work 100% with all their existing lenses. Plus of course I want full sensor read out for 4K with no additional crop.  VLOOK or raw to an external recorder would also be nice too. When it comes to ergonomics, if they took a leaf out of Sony's book and had a detachable handle on the GH5 like on the FS7 so you could rig up a GH5 into a mini FS7 style camera that would be aaaamazing (however photographers would hate this! So don't see this happening). But the first two of 60fps 4K and 10bit internal are all a GH5 really needs to make a hit on their hands!

Had they managed to get the global shutter to work and also offer a compact EVF, sales would be much much stronger.
Just my guess

I haven't even acknowledged those comments because he's deluded.  There's nothing wrong with his camera.  My pocket reacts exactly how his does - as does every other bmpcc.  All his actions do is increase the price of future products from BM because they have to add costs for the idiot factor.  
 
BM's customer service personel:-
"We got another email from a customer expecting his camera to perform with a iphone torch as lighting.  What should I do boss?"
BM's customer service manager:-
"just send him another one.  Don't bother wasting Mr Petty's time.   The sooner we get his unit back, the less time he can spend shooting crap 'low light tests' and uploading them to youtube"

 

You can buy stick-on buttons in various colours that will likely fit.  maybe look for stick on rubber feet for hi-fi furniture and the like.
http://www.ebay.co.uk/itm/16x-Round-Rubber-Foot-Self-Adhesive-Black-Feet-RF05-Size-6mm-WIDE-x-3mm-HIGH-/191688158450?hash=item2ca1812cf2:g:3i0AAOxyPc5SAhXY
 

Indeed ISO in raw is done in Resolve, there is a control for ISO in the Camera DNG box in version 12 now
However for ProRes shooting of course it would be useful to have an ISO button.... no... a dial, it should be on there but isn't.
I miss the BMCC's cute touch screen.
The Micro is pretty darn cute in itself though. Here's my rig...

Kept it simple and small:
Wooden Camera top handle
Blackmagic View Assist via HDMI
Metabones Speed Booster (BMPCC) version for 1.74 crop, almost Super 35mm
Tamron 24-70mm F2.8 VC
Heliopan vari-ND with hard stops
Articulated hinge mounts the screen (I hate the spidery arms) - this part was a cheap generic part from eBay
Base is my quick release plate!! It needed something to stand on even when not on a tripod because the camera body is so insignificant!
 

as superb as @Brian Caldwell 's glass is, I've found that on nearly every speed booster I've used or modified the optical cell is usually not perfectly concentrically aligned in the metalwork.  the small set screw that prevents the cell rotating pushes the optics off centre and also at an angle (skewed) meaning the projected image doesn't fall onto the sensor perfectly flat.  so centre will be sharp and corners will be out of focus.   - one side will be focused forward of the in focus middle and the other side will be focused behind the in focus middle area.
 
my fix has been to remove the set screw all together, remove the lens cell, and then apply a heavier grease which fills the threads more effectively - this means the set screw is no longer needed since the cell wont rotate or move unless you physically adjust it by hand.  
 
if you want to see what I mean, follow metabones's instructions on how to adjust the back focus of the speed booster: http://www.metabones.com/article/of/infinity-adjustment-speed-booster-only 
you'll see that when you untighten/tighten the setting screw the cell will shift sideways as the screw makes contact with it.  i think it's because the thread between the optical cell and the metabones adaptor metal work is a bit too loose allowing wobble/skew of the optics.  The application of a heavy silicone based grease fills the thread up so the optic is perfectly centred.  Only then do you obtain the best from the glass in these great adaptors
 
Obviously without a locking screw the cell is prone to adjust through hand contact if you regularly remove and fit the adaptor, but if it remains on the camera all the time the cell won;t ever change its optimal position. 

Don't know if the forum has ever discussed this Feelworld viewfinder (US$229) or this Feelworld monitor (US$139).  Both of these items are spec'd to handle a 1080P, 60fps/59.94fps signal through HDMI, so they might work with the BMMCC's 60P output.