IronFilm

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.
 
 

Even at 5K (gbp) this is hardly a camera anyone would buy that doesn't have a business making enough money to justify it's cost. As a business owner getting a new fs7 would be a much better investment for just a bit more and you can write off the tax. It might not take pretty pictures but you'd have a production ready camera. I also never would buy second hand gear for that amount of cash because you don't get any warranty, if something would malfunction repaircost could be a nice surprise as well.
I"m also not surprised why the 1dc starts to show up at half the new price, any photoprofessionals I have worked with all work with 5dIII and they often either have a second mark3 or a mark2 as b-cam and videoprofessional rather invest in canon's c-line. Anyone doing professional work and one who needs a 1dc for either photo or video buy's it new, they have to sell it at least with a 50% loss when they replace the camera's because they know no other professional will buy it second hand if it's only 20 to 30% cheaper and no amateur has that amount of cash to spare, they have to go a lot cheaper just to get rid of it, then it might become interesting for a pro who just needs a b-cam backup or a enthusiast amateur but I"m sure there are not many that are willing to cough up 5K GBP for a second hand camera, not if there are alternatives for a lot less money.
Ofcourse if you buy this camera just for the sake of putting other camera's up against it you can inform your readers better about the real value of other, much cheaper camera's. You might even be able to add a 26th point to your list of why the a7s/shogun is a better option then the 1dc. 
 
 

My FS7 review is coming in January if I fit it in. Disclaimer...Sony are lending me one! Why? Because I'm skint now!

I can see the point if you want to use it in tests, but for 5000 pounds a medium format back like the p45 would add so much more to your gear bag and blow your mind, even if it's only for stills. I hope you can resell  it again without much loss after spring.

Seeing shadows cast by the moon in this A7s video will I reckon stick in my mind for a while to come:
 
 

Not all the users of this forum are doing commercial work for clients. Some are doing creative personal work, some are shooting features, shorts, documentaries.  Personally I'd rather try and push the envelope and get a more unique look - with anamorphic on a full frame camera, in low light and with S-LOG for a fraction of the price of the C100. Though I can fully see why you might not want to do this on a commercial for a bank. Feel free to setup a new topic about that.

Yeah you're wrong I'm sorry! Right from the start of the blog I was more of a Panasonic user because the GH1 at the time did video properly, and it was more accessible / much cheaper than the 5D Mark II.
 
Canon slipped ass backward into DSLR video, and whilst proclaiming to be great supporters of independent filmmaking and creative consumers with higher than average knowledge, took DSLR video out of our hands and decided to start charging $15,000 for it.
 
And indeed, when I haven't got an axe to grind, there's not much point covering their newest releases because they're so boring anyway.
 
Not just in terms of video but stills to.
 
Let's discuss the G1X Mk II vs LX100 shall we?
 
The G1X Mk II is such an awkward, ugly, minimal effort by comparison... it's almost like they don't care.

For the price of C100MK2 one could get a much better Cine kit with:
 
Sony A7S Body $2,499
Metabones EF Adapter $399
DJI Ronin Stabilizer $2,999
 
This setup will significantly minimize rolling shutter, lights investment and provide a better post experience with a 4K upgrade option for the future. Plus, you can swap out the body for A8S or 5D4 when it comes out for example. Much more modular. 

Hmm. A feature - shot using lights and graded to who-knows-what degree - then uploaded to youtube. Not the best situation for assessing image quality. You could tell us this was shot with a GH2 and we'd hardly be able to dispute it.

For the record, I sold my C100 and 5D3 and went with an A7s and A7r. Way happier with the results for stills and video. I'll have a review on my site next week that I'll share here

This camera is not a good sign for 5Dmk4 :(

New Mercalli is so amazing that we can almost forget that the rolling shutter exists in 4k cameras. Also easy to get tripod-like shots and pans handheld.

I feel these kind of questions are a bit like "If you'd have to kill one of your children, who would you pick?" - however you motivate it, you'll always feel like you miss your dearest child
Anyway, this is why I have a 16-35mm zoom for the wider end. In addition I usually pick 50, 85 and 200mm lenses along in the bag. If I had to go down to three primes, I think it'd be 28 + 50 + 105. Or perhaps 35 + 85 + 200.
My preference is to have my bag nearly packed with equipment and lenses nearby - so I can pick the ones that I think are right for the situation when I head out somewhere (anything from one lens to five, depending on situation). 

35, 50 105
but....I dont shoot full frame - only super 35 -

i prefer 135mm instead of 150.  but 50, 85 and 135 are the best IMO

​yes FF -
 
my main super 35 fave lengths are 28mm 40mm 70mm  you can shoot a whole film on those 3
 
 
just out of interest why are we doing this at FF - ??? and not super 35mm

Another thing to consider is what kind of work do you plan to do with it. I'd seriously consider the Sony Fs7. It may end up being cheaper than the Red 1. Even though the R1 may list cheaper once you add in support, media, drives, batteries/charger, accessories, you may end up spending more. The FS7 will give you 4k and better high speed options. Whether its IQ is as good remains to be seen. In terms of work, assuming the FS7's  IQ is up to the task, it would probably work more as it's well suited to small crew/doc as well as narrative. R1 is not a good doc / run and gun camera.