IronFilm

I don't think this camera will survive.  I think you'll get a similar resolution and color out of the blackmagic 4.6k ursa and the AJA upgrade - but cheaper and with pro res options as well and better support.  The whole 6k, 7k game is pointless.  Look at the Taylor Swift "bad blood" music video shot on the red weapon in 6k - does not look as good as anything shot on the Alexa which is 2k.  The motion looks weird on that.
I don't know - it's getting to that point I think - where no camera has the edge anymore - it's about options.
Poor guys - picked the wrong time to make a new camera.
There are so many other areas to make products in filmmaking right now - drone technology - easyrig alternatives, etc etc - why so many trying to go the camera route?  Just seems so expensive and risky in this day and age.  Especially now that Blackmagic and AJA have entered the ring.

so, could be that the lx100 is all you need, way at the low end of your price range and super light and portable. it's got to be the best budget 4k right now, the next jump being the nx1/gh4 for interchangeable lenses. The g7 coming out "soon" could be great for you, and possibly slightly better low light than the lx100, which is still pretty decent. you might be able to add a used a7s just in your price range, with like a fast, manual 30-ish mm, making use of the crop modes for different focal lengths. there are pretty good low light performers for way less though if it's going to be a rare occasion. might be worth getting an lx100 and just see if you really need anything else. lots of flexibility in that price range really. Hard to say exactly what would be your best bet

Ah yes..  The kini booster ultra.  
 
The lovely Rob Bannister sent over a squeaky clean speed booster ultra and the sub-pl to adaptor that kinifinity provide for the camera.  from there I could equate what distances need to be adhered to in order for optimal results.   it was just a case of machining a sub pl mount to bolt to the back of the speed booster.
 
Unfortunately the time involved in the job was quite a lot and since Rob has been a friend and regular customer of dso I did it mates rates as a bit of a challenge.  what with the nx1 being very popular, metabones are almost certainly working on a solution as we speak.  For me to undertake another one, the price gets high due to the initial cost of the speed booster as well as labour.  some have asked for me to do the mod to cheaper speed booster copies, however due to the way they;re made, it makes it actually less simple to modify.
 
If Rob or Andrew wanted to rally a group of 10 people who might want to go for a kini booster, it would take prices down drastically and i could just cnc a user fitted sub pl coupling which will fit straight onto the e-mount to ef mount speed booster.

​Yes, just go with the original Tokina 11-16mm for Nikon F mount and get rid of your other UWA. 

never in a million years will a distributor let something like "it's not 4K" stop them from distributing a movie they think they can make money on. 

Don't take advice.

I'm not sure I can reciprocate this sentiment, but I'm guessing my experience, or perhaps just my perspective, is different. Here in Denver, I pay my PA's $100-300 a day, depending on the shoot. My business is modest, but that's right on spec with most any production in town, and I firmly believe in paying my crew appropriately. I also occasionally act as a PA for friends shoots for the same rate, sometimes for no fee at all. Personally, I know I expect focus and hustle when I'm paying, and exude these same qualities when I'm the low man on the totem pole, but I've never mistreated a PA, and never really been terribly mistreated when I've played that role. It's certainly an unsung position, but I dunno, my friend. I'm actually rather fond of the moments I've had in the past playing the part of a PA, and all that it entails. In a business that is so savagely saturated in over-inflated egos, sometimes our own, it's a very straightforward and humbling role. Pay attention, anticipate, move fast, and be thorough. I dare say it's downright good for you. Heck, I tended bar through film school, and though I made more money, I'd have jumped at the chance for regular PA work. I think it's pretty awesome you had that chance, and looking though your work, I'd say it benefited you greatly. You've some fine work there, my friend. Consequently, if you're ever in a pinch, I'd PA for you in a heartbeat. Sans union and all. =]
As for the Fury Road PA's, perhaps I missed it, but I didn't see anything in the article you listed that mentioned the wage of the film's PA's. I did see mention of the wages for the extras (locals), which was $12-59, a day, which looked low, until I looked up some info on Namibia's economy. Namibia's per capita wage is only $8,200 a year, which already sounds low. But then I read on and find out  that roughly 90% of it's population live on $2 a day, which is crazy low. Now factor in that these extras are not even wage earning adults, but school-age boys, and I gotta say this kids made some pretty good money (in practical reference) being part of a movie that many would have paid to be part of. Not a bad deal at all.
 

lenses will only increase in value.  think of them as money in the bank.  if in debt, sell the lenses.  if in credit, keep them and earn interest.
 
 

Where's the frontpage article?
Revolutionary camera imo, for the budget shooter. The GH2 of 2015

DAMN YOU..... I'm a kiwi! :-D

Panasonic is doing some really cool things, but I feel like their lineup isn't fully realized. The GH series is awesome, obviously. And the new Varicam has features that have simply never existed before, like a sensor with 2 native ISO ratings. All the technology is there. All they need to do is fill out the middle of their line-up.
This is what I'd love to see from Panasonic:
Tier 1 - DSLR style B Camera - GH4 - It already exists. It's awesome. It's the only DSLR that I don't actively hate shooting with. It's got 4k internal, a super versatile mount/sensor combo, v-log, it can fill the memory card without stopping the recording (I can't believe that's a feature nowadays), and don't forget my favorite feature, the insane battery life.
Tier 2a - The "News" Camera - DVX200 - It already exists. From what I can tell, they ripped the guts out of a DVX100 and replaced them with a GH4. That's a great idea. The m43 sensor size is perfect for this style of camcorder. It's big enough to get a nice looking image, but not so big to be constantly searching for focus. The DVX form factor is battle tested with XLRs, ND filters, timecode I/O, AC power options, you know, everything video cameras used to have. It's not going to be adopted by the "micro-budget film" crowd, but plenty of people shoot news, docs, and events. If I shot more of that stuff, I'd buy a couple of these in a second.
Tier 2b - The "Pro" GH4 - AF200 - Everyone was bummed out by the DVX200's fixed lens. I have to imagine Panasonic is going to release an AF200 which is basically the DVX with the lens ripped off. Sell it for under $4,000, and I'll buy 2. Rigs suck. Recording audio to a zoom recorder sucks. No timecode I/O sucks. No ND filters suck. Please Panasonic, just release this camera and take my money.
Tier 3 - The "Shoulder" Camera - Varicam35 Mini - I would love to see this camera. It would be Panasonic's answer to the FS7. I imagine a shrunk down Varicam35, designed for a single operator. It would have a similar 35mm sensor, but with a m43 mount (like that JVC camera), 2 native ISO's, 4k, high frame rates in HD, ND's, XLR's, V-lock batteries, ENG style viewfinder, v-log, and great LUT integration. They can keep the RAW capabilities. As far as I'm concerned, if clients are asking for RAW, they've got budget for a rental. Give me a solid 10-bit 422 codec, and I'll be happy. Price it anywhere from 10-15 thousand, and it'll give the C300/FS7 crowd another great option.
Tier 4 - The Rental - Varicam35 - It exists. It's an extremely well thought out camera. Panasonic may have been a couple years late with it, but they didn't cut any corners. Rent one. The LUT integration is really awesome. And let me repeat, 2 native ISO's!?!?! The traditional thinking would say my proposed Varicam Mini would cannibalize sales, but as long as they hold back that one high-end feature (RAW maybe?), it won't cannibalize the high-end projects that the Varicam is aimed at anyway.
GET TO WORK PANASONIC

I zink yu shut wörk e liddl bit mohr on zat akzent

DAMN YOU..... I'm a kiwi! :-D

​Nooo.... don't get them in m4/3 mount! The safest bet is to get them in Nikon F mount. I went into a bit more detail as to why when I purchased my set:
http://ironfilm.co.nz/rokinon-cine-lenses/

While I agree with your general comments about DSLR sales trending down and the market fragmenting, Canon is still so big that even if the 5Dmk4 is a sales "flop" for Canon, that still means it sells many many more than most of its competitors would. 

I don't think a camera out of the mirrorless system works for video anymore. That's obviously though, my own philosophy. I just don't know what to do without an EVF anymore. An OVF feels like a step back. Especially if you don't want to use a loupe and being a hybrid shooter that relies heavily on a good liveview experience as well.
Then I also don't think Canon is very forward thinking. They will have to rely on their brand awareness and people wanting to stick to their native selection of L-glass and willing to take hits in the form of compromises without questioning it. They might have the some of the latest Canon implementations donated by previous models, such as the 5DmkIII, 1DC, 7DmkII and XC10 like Ebrahim speculates, which would be nice. However, it's still Canon. I think you can forget that A7S lowlight performance. You won't get any high speed shooting done with this either. In fact, you won't have a lot of bells & whistles which is standard for most mirrorless cameras. Then they want to keep people from buying something like that rather than a Cxx-something camera, so they'll find a way to really cripple it, I'm sure of it. Yet it has 4K, so it has to come in at atleast 4K USD as well. Makes sense, right?
People can hate on the GH4 and new G7 all they want. But it does do an incredible job for the price. EVF, Vari-angle touch display, internal 4K, flexible mount system with focus peaking and everything. Those are really key selling points to me. Yeah, sure, I would've liked better lowlight performance, but I'd be happy enough if in the near future they would work towards a fairly clean ISO6400 and amazing ISO3200, as I don't really finding myself having the need for ISO400000 or the likes. It's harder to get a really shallow depth of field. Well, a lens turbo and a fast lens at a carefully picked focal length helps already. Wouldn't it be great if the next GH was the next BMPCC doing RAW? Well, yeah, but a good codec, bitrate and LOG profile would come a long way already. Personally am hoping for great things from the GX8... I would have something that size and those features, most notably so, sensor stabilization during video recording would be amazing! Perhaps not even at 4K. I was really excited when the press release of the E-M5II came about, had already put up an pre-order, just to regret that after noticing the shortcomings. The concept was nice, I feel like now it's up to Panasonic to do it right. I would love something that I can put to good use for both photography and videography and that can be used either in an elaborate set-up, or very compact and minimalistic with nothing more than a tinie tiny lens.
You might not like the color coming out of the Panasonics, but you must've seen some footage you later found out came out of an GH4 that you quite liked that proves that in some skilled hands it is capable of great things. Which actually goes for any camera. If you're only getting junk, you might just got your process all wrong. And if you never even gave it a go, just judging on bias... well, give it a try. You might spend a little longer on color, but then perhaps you find yourself suddenly noticing the 5DmkIII footage looking out of focus the whole time. But it's also a question of: do you have that kind of time and patience/skill to do so? Do you, in the end, still prefer the look of one camera over the other either it being color science, softness or 'motion cadence'? What are you willing to spend? And so on. Different preferences, tastes, uses and budgets lead to different answers. In the end you just gotta do what feels right by you.
Personally. An A7SII with built-in stabilization, internal 4K and articulated screen would be damn tempting. The fullframe magic, shallow depth of field, just bokehlicious, the lowlight performance!! But you know, I'm kinda married to the M43 system... and fullframe glass, especially if you want some native mount electronic lenses for hybrid shooting, would be quite the investment and added bulk. I'm pretty sure I wouldn't go 5DIV in the end either. I have no Canon glass whatsoever and not looking into buying some either. And as said before, not the biggest fan of OVFs. I do like the image out of the D5300, but for hybrid shooting the OVF/Liveview kinda ruins it for me. For me the future is in the feature packed mirrorless cameras like the GH4, NX1 and the A6000. With sensor stabilization needing to be the next big thing to win me over. So many primes and third party lenses, with third party adapters that would instantly become crazy useful handheld. It's a matter of time... until then, there's lots of gear to enjoy shooting with already!

I'm with Cinegain. An EVF is a personal requirement for video work. I'll never have my primary camera be a DSLR again.
 

​Call her D810.
:-)

Do we even need to speculate about the Canon 5Dmk4?

As it is sooo easy to predict:
1) they'll sell bucket loads of it. (thanks to their marketing machine, their size, and retail presence, and idiot friends giving recommendations to their mates while not having a clue....)
2) but tech spec gear heads like ourselves who actually know their sh*t will be very very disappointed in what a flop it is. 

Do we even need to speculate about the Canon 5Dmk4?

As it is sooo easy to predict:
1) they'll sell bucket loads of it. (thanks to their marketing machine, their size, and retail presence, and idiot friends giving recommendations to their mates while not having a clue....)
2) but tech spec gear heads like ourselves who actually know their sh*t will be very very disappointed in what a flop it is. 

Do we even need to speculate about the Canon 5Dmk4?

As it is sooo easy to predict:
1) they'll sell bucket loads of it. (thanks to their marketing machine, their size, and retail presence, and idiot friends giving recommendations to their mates while not having a clue....)
2) but tech spec gear heads like ourselves who actually know their sh*t will be very very disappointed in what a flop it is. 

Do we even need to speculate about the Canon 5Dmk4?

As it is sooo easy to predict:
1) they'll sell bucket loads of it. (thanks to their marketing machine, their size, and retail presence, and idiot friends giving recommendations to their mates while not having a clue....)
2) but tech spec gear heads like ourselves who actually know their sh*t will be very very disappointed in what a flop it is. 

YIKES!!!
Just got back from reading the comments on DPReview, regarding the 1.30 update. Jeez, it's already eroded into a flame war with members fighting over everything from VHS vs. Beta, to Sony/Samsung washing machines. Basically anything but the new firmware.
In contrast, EOSHD community members are actually testing and discussing the firmware in a civil manner.
Gotta say, we've a good thing going on here, fellas/ladies. I'm pleased to be a part of this community.

The Nikon 11-16 is probably the easiest/best way to get close.

You can get a used 11-16 v1 for not much more than the 10-18 goes for, and you get a lot in return for the extra money, the fast, constant aperture being the biggest one.

​
 
​So they are listening.  This is what I put forward (among others probably).  A half way house between bad detail and bad rolling shutter: acceptable both.  Obviously its imposible to eliminate aliasing with line skipping but perhaps it isn't as bad as before?  It will be very interesting to see tests of this.
The sound with 120fps is also realy cool.