maxotics

That's the way I thought 30 years ago.  After years and years or watching movies and TV and reading books I've flipped the other way.  Just as there is a technical side to depth of field, or resolution say, there is a technical side to story-telling, how much is focused on one character, what is shown with dialogue.  For example, a filmmaker could be sold on the low dynamic range of a RAW camera.  But if he used it on a comedy it would probably fall flat.  Comedy is always sharp and bright.  Or it could be the other way around, a filmmaker looking to tell the story of a Syrian refugee for example, and shoot with bright camera that can't get a thoughtful mood.  
I know many people will read what I'm saying and think 'what about this exception, or that exception'.   It's not about rules.  It's about what works, and has been working for centuries, though the technology and cultural styles may change.  Creativity, to me, isn't this "personal" thing that is unique to an individual, it is personal to that person in his/her PLACE IN TIME.  An artist serves their generation.  They seldom come up with anything new.  Of course, when you're young you feel omnipotent, powerful, creative, immortal. I can only say from my experience that young artists who try too many things that haven't worked in the past end up with the same result.
So it is important that one understand the basic technical aspects of story telling before they choose camera A or B.   There's a big difference between shooting people in a comedy, a drama, a documentary, or random scenes of buildings and fountains.  The technology of the camera should fit the technique of the story.

That's the way I thought 30 years ago.  After years and years or watching movies and TV and reading books I've flipped the other way.  Just as there is a technical side to depth of field, or resolution say, there is a technical side to story-telling, how much is focused on one character, what is shown with dialogue.  For example, a filmmaker could be sold on the low dynamic range of a RAW camera.  But if he used it on a comedy it would probably fall flat.  Comedy is always sharp and bright.  Or it could be the other way around, a filmmaker looking to tell the story of a Syrian refugee for example, and shoot with bright camera that can't get a thoughtful mood.  
I know many people will read what I'm saying and think 'what about this exception, or that exception'.   It's not about rules.  It's about what works, and has been working for centuries, though the technology and cultural styles may change.  Creativity, to me, isn't this "personal" thing that is unique to an individual, it is personal to that person in his/her PLACE IN TIME.  An artist serves their generation.  They seldom come up with anything new.  Of course, when you're young you feel omnipotent, powerful, creative, immortal. I can only say from my experience that young artists who try too many things that haven't worked in the past end up with the same result.
So it is important that one understand the basic technical aspects of story telling before they choose camera A or B.   There's a big difference between shooting people in a comedy, a drama, a documentary, or random scenes of buildings and fountains.  The technology of the camera should fit the technique of the story.

That's the way I thought 30 years ago.  After years and years or watching movies and TV and reading books I've flipped the other way.  Just as there is a technical side to depth of field, or resolution say, there is a technical side to story-telling, how much is focused on one character, what is shown with dialogue.  For example, a filmmaker could be sold on the low dynamic range of a RAW camera.  But if he used it on a comedy it would probably fall flat.  Comedy is always sharp and bright.  Or it could be the other way around, a filmmaker looking to tell the story of a Syrian refugee for example, and shoot with bright camera that can't get a thoughtful mood.  
I know many people will read what I'm saying and think 'what about this exception, or that exception'.   It's not about rules.  It's about what works, and has been working for centuries, though the technology and cultural styles may change.  Creativity, to me, isn't this "personal" thing that is unique to an individual, it is personal to that person in his/her PLACE IN TIME.  An artist serves their generation.  They seldom come up with anything new.  Of course, when you're young you feel omnipotent, powerful, creative, immortal. I can only say from my experience that young artists who try too many things that haven't worked in the past end up with the same result.
So it is important that one understand the basic technical aspects of story telling before they choose camera A or B.   There's a big difference between shooting people in a comedy, a drama, a documentary, or random scenes of buildings and fountains.  The technology of the camera should fit the technique of the story.

Cool.
I had a similar approach a few monts back when the A7rii was released. I looked at the price and thought "why".
Bought two 16mm film cameras and a bunch of film instead. And still had over $2000 left before reaching the cost of the Sony.
Thats why I have the G7. But now Im back to DSLR + BMPCC.

Glad to hear you're getting back to your core genius!  There continues to be a huge need out there for people who want to do cool things with consumer cameras.  I posted a video on how to run Magic Lantern on an EOS-M two years ago and it has 10,000 views.  It got 43 last week.  A quick NEX7 video I did has 15,000 views.  I bought a Canon 50D a few months ago, and run ML on it again, the same camera that brought me to EOSHD in the first place.  For the money, it is STILL a very powerful creative tool, which I'm sure you'll agree.  Lately, I've been playing around with the LX100.  The 4K photo mode is very interesting, not a lot of work has been done on that, or on other cameras.  Davinici Resolve, I've given up on it because it's just too complicated.  Gimbals are another complex gadget that will need guidance as they get cheaper and better.  Or the Panasonic G6.  I finally bought one and Andy Lee is right, a perfect camera in its way, timeless.  And yes, the BMPCC is a very creative camera but many people don't understand why.  In short, the original reason for EOSHD is as relevant as ever!
I've learned a lot here at EOSHD and I look forward to the old Andrew

I was one or two of those 43 views on the eos-m video. Great stuff. I just recently uploaded ML onto my eos-m and have been having a blast with it... Even though it infuriates me almost every 5 and a half minutes. 

Glad to hear you're getting back to your core genius!  There continues to be a huge need out there for people who want to do cool things with consumer cameras.  I posted a video on how to run Magic Lantern on an EOS-M two years ago and it has 10,000 views.  It got 43 last week.  A quick NEX7 video I did has 15,000 views.  I bought a Canon 50D a few months ago, and run ML on it again, the same camera that brought me to EOSHD in the first place.  For the money, it is STILL a very powerful creative tool, which I'm sure you'll agree.  Lately, I've been playing around with the LX100.  The 4K photo mode is very interesting, not a lot of work has been done on that, or on other cameras.  Davinici Resolve, I've given up on it because it's just too complicated.  Gimbals are another complex gadget that will need guidance as they get cheaper and better.  Or the Panasonic G6.  I finally bought one and Andy Lee is right, a perfect camera in its way, timeless.  And yes, the BMPCC is a very creative camera but many people don't understand why.  In short, the original reason for EOSHD is as relevant as ever!
I've learned a lot here at EOSHD and I look forward to the old Andrew

B&H and Adorama, and many other stores, are run by Orthodox Jews.  It sounds like the warehouse workers have grim work, but so do most Jewish workers in these stores.  They are bused from their communities in Brooklyn and live very spartan lives, which is why these stores succeed (lower prices).  You read about "tribes" in the Middle East but don't need to travel there to see one in action.  Go to B&H.  Then go to Williamsburg, Crown Heights or Borough Park.   You won't see a lot of money flowing about.  Yet they gather round and protect their own.  I find these communities creepy.  Then I remind myself Park Avenue is just as creepy in its own way too.   There are no easy answers here, like boycotting a store.  The truth is, wherever you live, if you weren't born into money getting work is very difficult--especially if you're an immigrant.   In that story the only job many of those workers could get was at B&H.  Again, believe it or not, B&H doesn't treat its own Jewish workers much better.  The difference is that the Jewish employee believes in something more than money.  Or maybe they're too scared of raising prices (to pay workers more) and losing their customers to Mormons.

Anyone who has spent even 30 seconds in B&H picks up that it's run by Orthodox Jews.  To mention that nowhere in the story, whether the New York Times, or Aljazeera makes one question the reporter's competence, if not their eye-sight.  Because of the work-ethic of Orthodox Jews, (like closing on Saturday) I can't see how it is not relevant.  Also, to add to my previous post.  There are probably hundreds of electronic stores in NYC alone.  B&H is not successful because of cheap prices only.  It's a very well-run store.  

Shallow or controllable DOF IS quality to me and I bet every cinematographer who ever pointed a camera at anyone   
One of the interesting aspects of photography is many inventions are created by lone wolfs.  So Go Sanveer!!!!!  However, you might take some classes in optics, or read some books, before you start taking your phone apart, not that I follow my own advice here   
Why don't you get a Raspberry PI and the camera module?  That's how I'd try out your ideas.
https://www.raspberrypi.org/products/camera-module/
 

Unfortunately, most settlements are not instigated by the victims, but are brought on by lawyers.  I'm not saying that B&H didn't abuse workers, only that all companies, when they reach a certain size, are targeted by lawyers who make the real money.  It's the American way.  I have a fair amount of experience in Wall Street settlements and what the public sees as some large number, is actually quite small, a cost of doing business.  In other words, even if B&H were no better or worse than any other company, it would still end up paying $5.7 million to settle SOMETHING.  Generally, various law firms attack companies and join together to get something.  Not pretty!   I'd like to say the government is un-biased, but it too, is run by politicians looking to score points with voters (who never look at the details). 
We all accept that this happens, I believe, because we understand the best we can do is keep a fire under everyone's butt.  If B&H was really bad they would get fined out of business.  
If one doesn't buy what I'm saying then I ask, have you never gotten a ticket (for your car) that really had little to do with safety and a lot to do with shaking you down?  
Ahhh life!
 

Anyone who has spent even 30 seconds in B&H picks up that it's run by Orthodox Jews.  To mention that nowhere in the story, whether the New York Times, or Aljazeera makes one question the reporter's competence, if not their eye-sight.  Because of the work-ethic of Orthodox Jews, (like closing on Saturday) I can't see how it is not relevant.  Also, to add to my previous post.  There are probably hundreds of electronic stores in NYC alone.  B&H is not successful because of cheap prices only.  It's a very well-run store.  

Sanveer, not sure you're listening to the answers given by others above   Sensor size issues are similar to the saying in automobiles, "there is no replacement for displacement".  Certainly a turbo-charged 4 cylinder car match a large engine at high speeds, but not at low ones.  Similarly, in good light and wide DOF cell phone cameras can hold their own.  In LOW light, or when shallow DOF is needed, nothing works as well as a full-frame sensor.  A lot of it is physics.  It is NOT because the companies aren't trying, or are purposely crippling the cameras (for example, why would Apple care if it hurts Nikon, Canon, Sony, etc?).  
Also, zoom lenses HAVE trade-offs.  Look at a RAW file BEFORE IN CAMERA ADJUSTMENTS and you will see this.  Even prime lenses have their issues with DxO makes software to deal with.  As you point out, most lenses don't resolve their sensors.  Think about that!  You're wondering why cell phones aren't as good as DSLR but recognize that DSLRs still aren't as good as they should be!  I agree!

And here's the finished edit:
I have to say that this works quite well, at least sufficient for my needs

Welcome back.  It took longer than I thought
A G6 is really old hat. I'd have recommended the a6000 for that price. Much better DR/noise. No mic input but you can actually get a decent hot shoe accessory for that

This topic needs an image to go along with it.

Now, that looks like a pretty nifty setup right there, such a compact form factor, yet still all the fancy smancy controls.
Is there any dedicated shoulder attachment for it when it comes out? I could imagine an extention for the handgrip and a little shoulder attachment to really make it a mini FS7. - ok, yeah this might be a thing: http://www.sony.co.uk/pro/product/broadcast-products-camcorders-tripods-supports/vct-sp2bp/overview/

If you have 8-bit systems, you can install all the log that you want, but you will always have 8-bit, 10-bit point was needed,  you can always correct it shortly with 8-bit color.
8 bit = 16,777,216 possible colors
10 bit = over a billion possible colors

And Blackmagic have dropped the regular URSA with $1000.
Personally I'm waiting on all of it pushing the used prices of the BMPC4K even further down. So I can by my third  

This whole thread seems to me to be another case of people talking about an issue that they haven't experienced themselves, because they'd rather talk around and around about something that has little to no consequence to them, rather than go out and actually shoot landscapes.

Take the A7rII out and shoot some landscapes. Don't take some awful, 'I've never even held an SLR before' photos off the internet and proclaim 'See! I TOLD you'. Why not go out and take some real-world test shots, with real-world conditions and then come back and say 'well the A7rII has this issue, but here's how I fixed it' OR 'any ideas how to fix this?'

Instead, there's a bunch of crappy photos posted and a small number of people saying 'well if inexperienced newbies can't get good quality, then it just isn't worth buying' and disparaging any and everyone who posts saying 'hey, look at these photos - you actually CAN get great landscapes out of an A7rII' by saying 'yeah well that person probably doesn't know what they're talking about'

Sometimes I wonder if people here are negative for the sake of being negative. I also wonder if you have any product that is 110% perfect?

Xavc-s is essentially the same h264 codec that's used in most other cameras. It's really not even close to the 10 bit prores of the bmpcc
Btw one thing I didn't mention earlier is that the bmpcc's dynamic range is only significantly better in RAW.  ProRes is much more prone to blown highlights. I believe with the right picture profile you might get the same dynamic range on the a6000 as you would with the bmpcc in prores. 
But even so, there is something special about the blackmagic image. So if you have the time to work with it then I say go with it!

​I'm with you.  I'm just pointing out that for professional MOVIE filming only, which the C100 is aimed at, the "better" hybrid specifications are misleading.   

To modify a saying a bit, "If you don't already know what a BMPCC costs (in equipment and time) you can't afford it."   Seriously, BMPCC is only for people who have stretched the limits of compressed video and are willing to make VERY significant trade-offs.  I would cross the NX1 off the list because the platform is new.  Therefore, I think you should choose between GH4 and A6000/A5100.  

To modify a saying a bit, "If you don't already know what a BMPCC costs (in equipment and time) you can't afford it."   Seriously, BMPCC is only for people who have stretched the limits of compressed video and are willing to make VERY significant trade-offs.  I would cross the NX1 off the list because the platform is new.  Therefore, I think you should choose between GH4 and A6000/A5100.  

I want to 2nd what Dahlfors said.  I have photos on an old WD Worldbook.  It failed, and because the card has proprietary encryption whatever, I was about to buy an old unit to try swapping the circuitry out when someone on the Internet said I could snip the diode and it would work again (not something you'll obviously do!).  Electronics die over time.  I was lucky.  That's why I strongly advocate having a few backups.
HEAT is the enemy of ALL THINGS ELECTRONIC.  Put a fan on it if you aren't in a cooled atmosphere.  Also, make sure you have good surge protection, etc.  
 

Here's a very simple explanation, I hope!  A drive head can only be in read or write mode.  Drives slow down when they switch between read and write mode.  The more the drive goes between read/write, checking what it reads, the better.  Also, the hard drive head writes in chunks and can only write so much before it must stop, go into read (catch its breach so to speak), then write another chunk.  In RAID 0, the drives are configured so while one drive is writing a chunk, the other drive is preparing to write another chunk on it.  This means that the first drive will get part of the data, the second drive the second part, and so on, switching back and forth.  Obviously, if anything happens to either drive ALL the data is lost because each drive has a part of the data.
RAID 0 is all about speed!
HOWEVER, For RAID 0 to be maximized, it needs an internal card.  Going through Thunderbolt will probably remove a lot of internal memory bus benefits, so I would skip RAID 0 in Thunderbold.  I'd go RAID 5 if you want redundancy, though I'd KISS (keep it simple and stupid), and just create backups every day.  
In short, be wary of advertising from drive makers.  If you don't see a difference, go back to KISS.
Every time I study this stuff myself, I end up in tears too!  So you are not alone.