IronFilm

Hey, Bought my AF100 a few mounts ago.
Just finished rigging it. And just got a used Atomos Samurai (not the blade version).
The AF100 is a tricky camera. It is easy to use, but you have to master the settings to get the best image out of it. I cannon recommend enough the AF100 book.
The package I got was AF100 + Panasonic 7-14/4 + Panasonic 14-140/4-5.6 + 2 batteries and a dead cheap SD Card (which is now stuck in the SD slot) for 1300€
The best thing about this camera is that it is ready to shoot run & gun. No need for external power, recorders or rig for handheld stuff.

They use standard m sata solid-state-drives. Atleast my pix E5H does.

what about VideoDevices PIX E series? BM and CD aren´t full recorder display options. I would like to hear a wider point of view in regard critical gear

I don't know the make as it's a generic chinese thing from eBay. Will try and find a link. Get asked for this a lot. Wish there was a high quality hot-shoe hinge made of metal. This one is plastic and a bit wobbly when something heavy is on the end.

For the price it appears Aputure FineHD VS-2 wins.
That combo of low price and high resolution is a killer combo.
But consider also spending a little more and getting a BMD Video Assist instead.

Too many cameras missing from this!
Where is the BMPCC? Where is the Nikon D750? Where is the JVC LS300? Where is the Sony F3? Where is the Sony FS700?  Where is the BMD URSA Mini 4K? Where is the Panasonic G7? Where is the Panasonic GX80? And the list goes on....  only 6 options in a poll is not going to be comprehensive.

The fact Dual IS was on and you could still get maybe 2 hours continuous is impressive.   This camera really has me interested. 

But a general guide doesn't exist, unless your general guide is a discussion about the pros and cons of each camera for the situation. A poll provides no context. What's best for a feature film? Well, what's your budget? What sort of film? Is it a sci-fi involving green screen and VFX, or a gritty drama? Is it a studio set-up with jibs and dollies and steadicams, or will you be handheld for the whole thing? What's the intended output (i.e. do you need 4k)? Do you have the budget for a lighting and grip package? There's so many variables that it's impossible to say 'Blackmagic Cinema Camera'. The BMCC, for example, is a worse choice for low light than say an A7sII or a 5DIII. So is your film being shot at night without lighting, or on a set with a full lighting setup?
The premise of the thread is not a bad one, but it should be as a discussion, not a poll with a definitive, or 'general' answer.

Personally if I had to choose a ~$1000 1080p camera, I'd go with the F3.

They do deliver... I've had my eye on these for some time, was just waiting for the "plus" version (with V-mount plate).
 

No, it's not like that. It's like saying you can't expect a $3,000 2016 model Ford to perform like a top of the line 2010 model Ferrari. 
My point is Sony already rivals, and in some cases beats Arri, depending who you're talking to. The F65 is a very different camera to the Alexa, of course. But $3,000 cameras, despite being expensive to some, are still built to a price point. 
Let's not forget the F3, lauded by many as the 'mini Alexa' - a camera that also happened to hit the market in 2010, and also cost ~$16k - cheap! 
If Sony could and/or wanted to, they could put that sort of sensor into a $3,000 camera. But they won't. They'd rather you spend $10k+ on an FS7, F5, F55, F65 etc.
The fact that the Alexa still sells at the price point that it does is the reason you can't get an Alexa image in a $3,000 body. If Arri brought something new out, and decided to offload Alexas for $5k, you can bet your bottom dollar that other companies would be selling their Alexa-matching sensors for $3k.
Take a look at the VaricamLT. It has dual-ISO, and an amazing picture, all for ~$20-30k. It can even come with an EF mount. Cheap!
I'm just saying - the reason you can't get an image that rivals an Alexa for $3k is not because no-one can figure it out, or are not allowed to...

Why should they have to? Why should a consumer camera have to match a $50k+ high-end cinema camera? I would argue that the F55 matches, and the F65 beats the Alexa in many areas - of course both have differing looks to the Alexa.
I just don't really understand the comment. Of course a $3,000 camera doesn't 'match' the Alexa.

Seems like the GX85 would be okay.  
You stay in M43, shoot 4K, and you get a nice little camera that can stabilize your hand held shots.  I wouldn't nessecarily invest in a bunch of new glass if you don't really have to.  However, only you know how much low-light you're trying to deal with.  Personally, I've never had too much trouble with LUMIX cameras in low light, but I also have a f1.2 lens with a speed booster for darker shots, which helps tremendously.
As for the "pro"ness of it all, here's my anecdote:  During my wedding I gave my GM1 to my 16 year old nephew.  It had the Oly 45mm 1.8 lens on it.  With the f-stop wide open, aperture priority, and everything else set on automatic, I told him to go to town, frame up faces at eye level from 5 feet away, and shoot stills of everyone at the reception.  No flash, available light.  Because of those simple rules, the nice magic hour light that was filtering into the ballroom, and his personality of being willing and able to effortless socialize with strangers and warmly interact with him, he got twice as many good photographs of the reception than the wedding photog that was paid thousands of dollars to be there and was running around nervously with a Canon 1D, 5 different lenses, and a flash.  Our wedding album is half of my nephew's shots.
And we got all those pictures simply because he was curious about the little camera I was carrying around so I thought I'd let him use it and see what happened.
This incident just shows that photography is more about how one interacts with the environment they're in and takes advantage of it rather than the gear.  (Although the gear does help if you're also good at the craft of it all.)
Anyway, something to consider.

Kinemini 4K? Rock solid camera, great image quality, 2K Cineform, competent hfr, the ability to add a speed booster, and decent low light performance. 

I'm also looking to upgrade from the D750, which indeed has nice colors & DR but is soft (a la 5D III) and can't be pushed much in post. i tried the ursa mini 4.6k (which btw is useable up until 1600, it's the regular 4K that has base iso 400) and has by far the best image for the asking price. 4K 10-bit internal Raw/Prores recording with 15 DR stops gives you a crazy good image that's super flexible in post. BUT the camera weighs a ton once it's rigged up with just handle, v-mount battery, evf. no ND filters and those CF2 cards cost a leg. It's really a RED/ARRI type cine camera, not meant for small crew run&gun.. The C100II is i find way overpriced for essentially a 2012 cam with added dual pixel AF. the image it spits out is nice and sharp but that 24meg AVCHD codec is weak and of course no 4K. The best investment today for run&gun video imo is the A7S2 / FS5 & 1DX2. But in september it could be different since Canon should be announcing the 5D4 and hopefully C100 III (with 4K). Sony is also rumored to come out with the A9 and perhaps A7R3. These new Sony's would have equivalent or better dual pixel AF (which i feel is the current/next big thing to have in video). So if you can wait it out, there should be some interesting products coming out by the end of this year..

I had a c100 ii for a couple months and I don't think the image is anything to write home about. It's definitely very sharp but the d750 has better colours and similar/better DR. 
If you can afford the Ursa mini 4.6k then you should be able to afford the Sony FS5. I would make a decision between the two and plus the kinefinity. Surely you can import one?

Ls300 could be worth a look too

I have one of these lights, but just the mk II not the + version (+ version means v-lock battery option). I really like it and can also recommend it. It's about 1k at full power. Definetly get the mkII version. It's a lot more silent and a bit smaller than the first version.
Also good cheap fresnel adapter for the light is this:
https://www.amazon.com/Nanguang-NG-10X-Studio-Light-Filter/dp/B011HTRTUG?ie=UTF8&camp=1789&creative=390957&creativeASIN=B011HTRTUG&linkCode=as2&linkId=TOJXOS6VGXPT3Q6T&redirect=true&ref_=as_li_tl&tag=nitsapictu-20
Nitsan has reviewed same lights and recommended very much it.

For price get the Yi v2 4K for sure!

So my original plan here was to use the sunlight from the window as a key, and the 120t as a fill. Unfortunately it started raining so I had to use the 120t as the key, and use a white board as the fill bounce. It's really bright and definitely needs some diffusion with faces b/c of the hard shadows. My favorite 2 things are the dimmer and the running temperature. It runs cool the whole time and you can pick it up to store as soon as you shut it off. Hopefully the daylight version will be out soon!
 

It is fascinating. I remember his earlier stuff from years ago.
 
I don't see what is the big deal.
 
Just walking down the length of my local main street will get myself filmed by HUNDREDS of cameras! Permanent installed cameras.
 
Who ever complains about them? Nobody. Ever.

Perfect for photogrammetry!

It is fascinating. I remember his earlier stuff from years ago.
 
I don't see what is the big deal.
 
Just walking down the length of my local main street will get myself filmed by HUNDREDS of cameras! Permanent installed cameras.
 
Who ever complains about them? Nobody. Ever.

Have a Terra 5k on order - pending a trip to bejing to test it out - end of July they informed me - pushed back a month...so far....will let you know how it goes.

Actually the Terra has ignored me.
I'd love to try one out in Berlin at some point, I can't buy absolutely everything just to review it.