Cinegain

These are looking to be pretty cool:
 

These are looking to be pretty cool:
 

The RX100M4 sounds nice, but the time constraint on the 4K (5 min) and slowmo (2 sec) I believe I read about is quite painful I'd say. That would make it a no-go personally.
I use the LX100 all the time, love it. Can't get myself to give the FZ1000 the love it deserves, only take it along when I'm on some longer trips and need its all-in-one versatility (but then again, that's the exact reason I got it, I'm just using it purposely).
Haven't shot with the A6000, but when they added XAVC-S, I was quite tempted to ditch my D5300 and get one. But for the time I'm managing to keep myself from doing so.
The A6000 actually sounds pretty terrific right about now. It offers a lot and in a small package too. What David says as well though, you might even want to consider the G7. Little bit heftier in price perhaps, but seems like great value considering what it's capable of...
So, personally I'd give it a close call between fixed lens LX100 and versatile system camera such as the A6000/G7. But YOU'RE the one who needs the camera, so it's of little value what I think I would do. It really does depend on how you're planning to go about shooting stuff. The LX100 might fit the bill. Maybe the A6000 would be the best choice for you by far. You're the only one who can really tell. Fuzzy really hits it home on that one, they all give you great quality, so that's not even the main thing you should be looking for to differentiate these camera's, rather look at their other advantages and which would fit in best in your operation.

Panasonic LX100.
 
But, I'll tell you what the other forum members told me (rightly so). Try Panasonic DMC G7K. In my opinion, best video.

​There's no singular answer.  They're all good.  It comes down to what kind of footage/style you're trying to get.  If you can articulate that, then you can get some really good advice here.
(Not from me though, but from other folks that seriously analyze the IQ stuff.  I tend to believe it's how you use a camera, not the gear itself.  This opinion of mine is in the minority so take what I say with a grain of salt.) 
At any rate, I tend to believe if you can't articulate in detail what you're trying to do, then the answer can seriously be: "get anything." This would be because you're not likely not going to be doing much considered or sophisticated shooting anyway.  That being the case, just about any new camera will allow you to grab some pretty great shots.
Except Fuji.  Don't buy Fuji for video.  Even that IQ is too lousy for me.

I have the 35-70mm f/4 as well. It's the only FD I got so far. That thing is surprisingly light (as in: doesn't weigh much). Unfortunately my FD -> M43 lens turbo arrived in pretty rough shape. The lens elements became loose on transportation and were full of scratches (you couldn't see through anymore), so I needed to replace the optical core, which took a while to get resolved (really ran into Murphy's law with that one). In meanwhile everything is lovely jovely again, but have yet to put it to good use. Nice to see mercer's test!
What portrait and M43 concerned. I do love the SLR Magic HyperPrime CINE 25mm T0.95 as well for its bokehlicious look. Not so sure however to put it to use as a portrait lens. 35mm already seems like a more sensible range shooting with the 4K crop. Although I think the best portrait lens for M43 is probably the Olympus 75mm f/1.8. No hate for the longer focal lengths here. Of course, if you have limited space to work in, longer focal lengths will prove to be challenging and you'll have to compromise.

I have the 35-70mm f/4 as well. It's the only FD I got so far. That thing is surprisingly light (as in: doesn't weigh much). Unfortunately my FD -> M43 lens turbo arrived in pretty rough shape. The lens elements became loose on transportation and were full of scratches (you couldn't see through anymore), so I needed to replace the optical core, which took a while to get resolved (really ran into Murphy's law with that one). In meanwhile everything is lovely jovely again, but have yet to put it to good use. Nice to see mercer's test!
What portrait and M43 concerned. I do love the SLR Magic HyperPrime CINE 25mm T0.95 as well for its bokehlicious look. Not so sure however to put it to use as a portrait lens. 35mm already seems like a more sensible range shooting with the 4K crop. Although I think the best portrait lens for M43 is probably the Olympus 75mm f/1.8. No hate for the longer focal lengths here. Of course, if you have limited space to work in, longer focal lengths will prove to be challenging and you'll have to compromise.

If you're looking for a nice midrange FD zoom... Try out the Canon FD 35-70mm f4 lens. Metal construction, compact, constant aperture, parfocal and it has a reputation as being as sharp as a prime wide open. And even at f4, it has some pretty nice bokeh. It's often overlooked due to the 35-105mm, but let me tell you... It is nice. 
Here's a quick and dirty lens test I did with the 35-70  
 
 

It bridges the gap between compacts and dSLRs/mirrorless cameras. It has an all-purpose superzoom lens that ranges from 24-400mm. Really flexible. I consider the FZ1000 a mini GH4. Downside is the dynamic range... it clips rather quickly, operating noise of the lens and it's harder to create a shallow depth of field. Of course you can't really throw another lens with specific characteristics in front of it either. But it does make for a nice all-in-one solution and does offer dSLR-like controls and features.
The LX100 is more compact and unlike the FZ1000 that sports a 1" sensor, the LX100 has a four thirds, 4/3, 1.33" sensor. I like the image out of it a lot. Surely the lensrange isn't as flexible and doesn't feature some more advanced features the FZ1000 and GH4 do sport.
On another note, I don't know how much of what you do includes photography, but the 24MP APS-C sensor cameras offer that little more for shooting a bit higher quality stills.
I briefly touched on this subject in my first reply. If you want to adapt lenses to Sony and/or Panasonic, you can. There are cheap adapters from e.g. Fotga that hardly cost a thing. Going with vintage/2nd hand glass will get you great quality lenses for fair prices, they usually have full manual controls with an aperture and focus ring. Some newer Nikon lenses lack aperture rings, but because they're still mechanically operated, the cheap adapters feature a basic ring for closing and opening the aperture. With newer Canon lenses the aperture ring is missing as well. However, these are electronically operated. You need a fancy expensive adapter with electronics built in to take full advantage of those lenses. So you might want to pass on those.
Then even better, if you get one of these Sony/Panasonic cameras you can get a focal reducer/lens turbo/speedbooster. These adapters contain glass elements that compress the image from the lens that's originally meant for a bigger sensor sized camera onto the sensor of the smaller sensor sized camera you're shooting with. This recovers some of the crop factor essentially giving you a wider field of view than a regular adapter, which also translates to a shallower depth of field and increased light gathering ability.
Look into the possibilities. Take your time to figure out what suits your needs best and drop by a camera store for some hands-on experience.

You said you used two lenses and only really ever used the wide one, right?
Nikon D5500 w/ 18-55mm II ~ 719,- (D5300 about ~ 599,- )
Sigma ART 18-35mm f/1.8 ~ 679,-
For some more range, two suggestions: 2nd hand Nikon AI-s 35-70mm f/3.5 ~ 110,-* , 2nd hand Tokina AT-X PRO II 28-70mm f/2.6-2.8 ~ 299,-* (* target price for excellent condition lenses (or in other words: the price I got mine for))
For wider the Tokina 11-16mm f/2.8 II ~ 449,-
More about lenses: http://www.eoshd.com/comments/topic/6396-lenses/

I'm really not trying to bump this thread but people keep being incredibly helpful and need to be thanked. That is some great info on the Nikon Primes. I was indeed finding it overwhelming and you have really helped to clear that stuff up.
 
In the end, (I still can't believe I have done this) I ordered the Sigma 18-35mm. I figured I am hoping to get pretty serious with this and it seems to be a few primes rolled into one.
 
I can handle beans on toast for a year or two!
 
Thanks again for all the fantastic help from everybody
 
Nick

Take a look at the new H1+ from Pilotfly, upgrades from previous: 32bit and dual IMU. To me this for the time seems to be the best pistol grip deal out there.
What normal handheld stabilizers concerned, the CAME Mini 2 might be the winning choice. Both the H1+ and Mini 2 are just about toolless and easy to set up.
Don't forget to check out the YouTube channels of Dave Dugdale, Nitsan Simantov, MrCheesycam, Erik Naso and Tom Antos. They get in bunch of gear for reviews and know a thing or two about these stabilizers.

Buy a 3-axis gimbal instead.
Getting cheaper and takes about 5 minutes to balance.
It's worth it  

You can denoise using Neat Video to have a nice solid base without that ugly digital noise. Now, denoised footage can really give off this watercolor painting vibe. So, to add some definition back in there, you use film grain derived from scanned-in film stock. So yeah, you can add some back in there. Et voilá. Looks a lot better. Nice and organic. With nicely shot footage and a proper grade that will definitly give you a nice look.

​It is always much much much better idea to spend more on lenses, and less on the camera body. 

Get even a Panasonic G6 on sale, or a second hand GH2, and leave the rest of your budget for areas that matter such as a few nice lenses. 

​Nah, forget that cheapo Canon 50mm f/1.8 altogether if you're going M43. There's no aperture control possible for these Canon lenses with cheap adapters. If you can, get the G7, with a 100-ish costing lens turbo (Nikon -> M43), with the Sigma ART 18-35mm f/1.8 in Nikon mount. That's a super solid starting point. Then get some cheap Fotga adapters (like 15 USD each) for like M42, Pentax and Minolta (full manual lenses) and start gathering some vintage glass where you feel you're lacking range. Like a Pentax-M SMC Asahi 50mm f/1.4 for example. Maybe save up for a native MFT T0.95,f/0.95 lens from SLR Magic/Voigtländer.

I'd opt for G7 with a lens turbo and throw some vintage bright glass in front or something.

​Nah, forget that cheapo Canon 50mm f/1.8 altogether if you're going M43. There's no aperture control possible for these Canon lenses with cheap adapters. If you can, get the G7, with a 100-ish costing lens turbo (Nikon -> M43), with the Sigma ART 18-35mm f/1.8 in Nikon mount. That's a super solid starting point. Then get some cheap Fotga adapters (like 15 USD each) for like M42, Pentax and Minolta (full manual lenses) and start gathering some vintage glass where you feel you're lacking range. Like a Pentax-M SMC Asahi 50mm f/1.4 for example. Maybe save up for a native MFT T0.95,f/0.95 lens from SLR Magic/Voigtländer.

I don't like their ancient forum systems to begin with. Then there's the philosophy...
I think that sets a very healthy climate where people aren't afraid to participate, even if they're just starting out and haven't got the best gear or technical knowledge. That makes for a very fresh and diverse community where discussions can go anywhere and values creativity as much as the technical side of things. To me that really kicks ass indeed.

I guess creatively, the weird "stars-in-a-day-scene" look does help the alien planet SF story line, but in my (cynical) opinion the real motivation for shooting in moonlight was for marketing/buzz reasons. I mean, isn't that why we're even talking about this short? And people discussing low light and A7s will likely cite this as an example, at least in the near future. Clever. Looked a bit too fuzzy though, probably from heavy noise reduction. Acting seemed better than what we see in shorts.

I'm not a person, I'm just a ghost.

I think camera/lens selection can affect the mood or style of the story. I tend to choose gear to match the story. My camera choice for a documentary would be different than that for a film. It's all important to producing the end product. Of course story comes first. Lighting is important. But they all work as part of a system.
No one buys a drill because they want a drill... Problem is they don't sell the holes.

Are you available for parties?

Nice work Edward.
 

Grain? Grain of salt. That looked more like digital noise to upset the pixel peepers.
Thanks Julian, for posting the intended final version as well. Looked great. Slowmo was pretty epic.