IronFilm

You can sync dual system audio using Genlock timecode and/or with a slate.
I don't know how you'd monitor your internal audio either, unless maybe you use an external monitor or recorder with a headphone jack. Realistically, unmonitorable line-level audio is little more than a good cue/scratch track.

ProRes being edit friendly is key to the Alexa's success on the high end. Look at Sony and Red quickly trying to catch up.
If you bring in an assistant editor to transcode footage and it takes an extra day to transcode it all, that's $400 at least to hire an ae. Pretty quickly the difference in price between an Amira an F55 become irrelevant. With the Red this is an even slower process.

Always loved this Alexa highlight reel: 
 

I bought an "indian" one when DSLRs started really taking off, figured I'd eventually replace it. Still use it every week though, guess I got lucky -it was like $250.
Look for:
At least two stages & at least one rotates;
Height adjustable;
Detachable flags that don't have gaps between the flags and the main hood assembly - and hopefully the front flag stays put when used without the side flags;
A swing-away front is really handy;
If you use different sized lenses (DSLR style shooting), I found it's easier to just get screw-on rubber lens hoods to seal the lenses against the matte box opening vs. nun's knickers or swapping out foam donuts. If you use cinema lenses it's not such an issue. (You usually need something though - the first time you get back to your NLE and see the reflections of focus gears in your ND - yeah, that bites!)

The Micro, unlike the Pocket, will let you record in "BMD Film" while sending the Rec 709 "Video" signal with increased contrast and saturation over HDMI to your monitor of choice. So no, you do not need a monitor with LUT capabilities.

The only other monitor I've used and can compare it to is the RED 5" monitor, which it beats soundly for both resolution and features. Trying to pull focus on that thing was a nightmare.

I second using f/8 and a small sensor. But to answer your question, I recently bought an Aputure FineHD VS-2, and it is EXCELLENT for pulling focus. Nice and sharp, big enough to see, very effective peaking. If your rig can handle it, I think you'll enjoy the addition.

I work in a rental house and see Alexas, Amiras and Minis fly off the shelves all day long while F55s and Dragons sit in their boxes. And it's only increased as the attention has turned to the newer models and the original Alexa has come down in price. People who might've once settled for a prosumer-style digital cinema camera like the C300 or F3 can now afford to hire an Alexa, and many do without a moment's hesitation.
It's the only camera that really operates on a "what-you-see-is-what-you-get basis". The Canons come close, and the Reds and Sonys are a hideous mess of LOG profiles, LUTs and complicated menus. And one thing I can say for certain is that the Alexa is the only camera that is dead-on with its ISOs. ISO 800 on the Alexa is a true ISO 800, seven stops over and under middle-gray. The Canons and Sonys are somewhat faster. The FS7 in particular is way off. I would reckon that ISO 800 on that camera is closer to 1600.
Meanwhile, you can take the Alexa out of the box, hit LOG-C on 2K Prores, pull up the Rec.709 LUT on your monitor, light the scene using your light meter like they did in the good old days, and go home with an image that can look good without requiring any special color-correction sauce beyond gamma and color tweaks. And it holds up on a 40-foot screen, And it never breaks or fails. At my workplace, we practically never receive customer support calls regarding Alexas. They come back in perfect condition and our technicians turn 'em around in a matter of minutes. Meanwhile, these Reds are making my co-workers tear their hair out.
Simplicity, reliability and raw image quality independent of specs and numbers is where it's at. Arri gets this, which is why they keep winning despite the exorbitant cost of their products.

Alexa is king, Alexa Mini is queen...Amira is the prince.
VariCam is probably one or two generations away from entering the castle with it's sword drawn...but King Arri will probably put stop to that revolting nonsense. F65 is a Knight at the round table
If the big boys stopped waving their resolution and iso performance stats around - and instead worried more about colour rendition and simply a 'nice looking image', then Arri would have a contender. As it is however - nobody understands what a filmic image should be, or how crews are meant to work around a camera - quite like Arri does.

The lack of C-log on the 1dx ii is a pretty clear indication that they are committed to protecting the c-line of cameras. 
 
 

http://www.theverge.com/circuitbreaker/2016/5/25/11767134/xiaomi-mi-drone-release-date-price-specs-features
very exciting times with all these amazing devices dropping so much in price.

Currently working with BBC on audio integration for VR - they're taking it very seriously especially nature programming.

KineMax is getting a free ProRes upgrade this summer.

My thoughts exactly. The image feels dense, as opposed to the "thin" look to color Blackmagic has sometimes. That richness really gets you more invested in what you're seeing onscreen, even if it isn't technically as "good" on an image quality level.

That shot in the thumbnail of the girl standing by the lily pond is an excellent sample of the DR, roll-off, tonality, and color rendering of this camera. The gentle highlight on the shoulder of her white shirt, the gentle slope into shadow in the distant foliage, the skin tones/hair/lily pad colors...it all feels really good. And I'm serious--you can grade this footage every which way and it holds up like a champ. Even my BMPCC doesn't have this kind of color integrity. Certainly not in ProRes. The Kinefinity seems much less "brittle" in this regard (judging purely by the Cineform files, as tthat's all I've been able to get my hands on).

These images look like they would be good for narrative work. They seem to make it easy to empathize with the subjects for some reason. Maybe it has to do with the 'organic' look others have mentioned. I'm considering the 5k terra for a feature film to be shot in Seoul instead of renting a red package. I hope some images start dropping soon.

i must say that i prefer the colours form the Yi

Yes, but it also makes it pointless swapping a Nikon mount version for a Canon mount version like the guy I quoted was proposing to do. 

There is no one mic which is perfect for everything, you'll often be using a different microphone for indoors vs outdoors. 
So don't write off a mic because it is not suitable for outdoors.
There are many different NTG models from Rode, the two most popular ones are the NTG2 and NTG3. The NTG2 is a solid enough cheap entry level mic, I have it myself, but it is not a hot mic at all by any measure as the output is rather on the low side. The NTG3 is a totally different kettle of fish, is more expensive, and is highly regarded and also seen as very good value. 

There's only so much one can be critical of Canon, really. It's like screaming at a wall. Also, back in the nebulous days of DSLR filmmaking, it was exciting to see higher video quality from small packages like GH2 and later Magic Lantern Canon. I guess we sort of have gotten used to it. Nowadays, even if Canon doesn't deliver, Panasonic, Sony, Blackmagic, and even Samsung have already jumped in to fill that void. It's come far from the GH2 days.

I only hope the Samsung hack receives similar coverage from bloggers. It could be a big push to have that sort of coverage and enthusiasm that EOSHD did for the early HDSLR cameras.

I'm amazed that not one response here has included the word "impedance". Generally, (in the realm of microphones) XLR gear is expecting a low impedance signal; and mini-plug gear is expecting a high impedance signal. I'd at least get a barrel-style XLR to 1/4 transformer adapter, and then add a 1/4 to 1/8 (though these days someone may make an XLR to 1/8?). The other issue is that those three pins each do something. Most camera-in jacks are TR (tip ring) for a mono input, or TRS (tip ring sleeve, three conducters) for a stereo input. I believe most DSLRs have a stereo mic input, but could be mistaken? So you have the potential for grounding problems as well.
The design of the XLR connector is "purely for the stability of the connection" - it's pretty robust - but most XLR mics - and any you'd really want to use on-set - will be XLRs that are using the three pins to carry the standard low impedance signal. You can do low impedance with any three-conducter setup (1/4 TRS is popular) but mics for on-set audio (ecluding lavs) will use the full-sized XLR, will require phantom power, and will be low-z.
Speaking of phantom power - some mics have an internal battery, but if not, you're limited to using dynamic mics which generally aren't used for film sound for a host of reasons.
There's another current thread here dealing with this exact subject. Unless this is just a hobby for the OP, I'd say at the very least get a decent preamp that converts the XLR input to a preamped 1/8 output. And for probably the same money, you could get, say, a Tascam DR60D ($169 if you shop around, and showing up used all over), which has phantom power, mic power, meters, headphone and camera out level controls, minus 6DB safety tracks, low cut, a limiter, slate tone, etc. Far as I know it's about the best budget solution to beginner's audio needs, and the adjustable camera out allows you to stage your gain and at least try to get a clean and strong signal to the camera if you don't want to synch in post (and still have a nice clean recorder track if the camera audio isn't optimal). I imagine it would really up the quality of something like a blade as well.
I know some of the monitor/recorders have audio ins and meters, but you're missing a lot of really necessary features - features that can really save your butt - and you're not talking investing thousand of bucks to get those features. If you're planning to charge money, I'd really recommend a pro solution, even something entry level like the DR - it will outlive your next ten cameras.

How close can you get the Zoom with a capsule stuck on it to the actor's voice? I'm not super-familiar with that setup, but I'm thinking it's for ambient sound or recording concerts and such. If you're doing narrative work or interviews, you need a decent mic as close as possible to the subject. And optimally it's a mic that captures as little extraneous sound as possible. A Sure 57 2 feet from the talent is going to trump a zillion-dollar hyper across the room - much less a Rode videomic on the hot shoe. Think about getting a hyper on a stand, or a quality lav on the chest, while you're trying to shoot with a lens long enough for the look you want - usually 5 or 6 feet away for starters. Work backwards from there - what's it take to get up-close audio, with as little ambient sound as possible, into your edit? Not necessarily into your camera, but on your timeline?
There's no super-secret formula you'll find that beats a hyper mic just out of the frame. Plug that mic into a proper recording chain (balanced low impedance cables, decent preamp, decent recording medium). Stage yout gain so you get the max signal to noise with no distortion. Find a way to synch it to the camera (even FCPX has auto-synching built-in, or synch by ear). And it will synch to the built-in mic on about any DSLR - your synch track doesn't need to be amazing. Get a clapboard if you're worried.
That's it. A $1500 Schoeps mic is just icing on the cake. The basics are the basics and they work.

But Red Weapon users are very few in number and the market for medium format is very large in comparison (much larger than leica R). The prices will go up when there is the 5D equivalent of medium format (When the D3 came out, many lenses sky rocket, the 28 1.4 for example, because nikon had a poor new fullframe lens lineup).

Leica R - f2 or faster..  native e-,ount and m4/3 lenses will depreciate in value since they'll always be less adaptable than slr lenses.  personally I feel if a lens requires electronic contacts to allow it to be used, it's almost certainly gonna devalue rather than increase.

likely, a completely new form of art will emerge for the technology. Something that combines the gaming and film narrative experience. Imagine Myst/Riven as a VR experience...