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Some of us cannot access private Facebook groups. Excellent! Thanks!

Thanks! Will try this at my earliest opportunity. Please update with any new builds. Is there more info anywhere on the Amit Kattal builds other than the github page?

I have heard good things about the Laowas, but my experience with the Meike cinema line and the Metabones 0.64 speed booster is that they have excellent performance that would work well with the high resolutions and the smaller sensor.

One just cradles the lens in the left hand. Gopro offers a cage/handle with a shutter release that makes it easier. The Meike and Metabones 0.64 should pair perfectly with the 8K and 50 megapixel resolutions. At NAB, Gopro's entire booth was a gallery of huge, spectacular stills of horses shot at 50 megapixel raw, with the fixed-lens version of the Mission 1. The photographer has an amazing eye, and I was fortunate to get to talk to him at the booth. This current version would make a great hybrid -- if it only had a way to sync flash (and at a decent shutter speed). As an Olympus user, I don't spend much time worrying the interface. Yes. That's not a "stills only" problem. I certainly appreciate small rigs and the charm of using lenses with a proportional size. However, this camera offers a unique opportunity to inexpensively get a lot of performance with relatively low cost optics. Also, cameras are continually getting miniaturized, so it might not be long before the have the Alexa "Micro" with a PL mount. We all might have to learn how to work with a tiny box on the end of a lens.

If this camera lacks a mechanical shutter, the Metabones BMPCC 0.64X speed booster is an obvious choice (as long as it doesn't hit the sensor filter). Also, the excellent Meike M4/3 cinema line that bottoms-out at 8mm is worth consideration. Meike has still versions of these lenses, but they seem to be the same price as the cinema versions. I only wish this camera had a way to sync strobes.

I've been using Kdenlive for years:

Great find! This is an exciting project!

I miss Gunpowder! Burling's YouTube channel went down a few days ago, and the only thing that remains is the title, "ICE was here." It's a shame, because he created some exceptionally informative videos. Some of the transcripts from his videos are archived here.

Kendy Ty and his T2i?

The design DNA of the OM-3 seems to flow from the OM-1 SLR of the 1970's:

Micro Four Nerds video:

Rossmann made three recent videos:

With a dark teal subject, it should be possible to remove a key green or a key blue background. Many digital keyers come with parametric filters that allows selection of a precise keying range in regards to hue, saturation and luminance. Of course, the same parametric controls can be used to key out other colors than key green or key blue. If your camera can be locked down, you could use a difference mask. In this method, one shoots the background without subject, and, then, with the camera still locked down, the subject is shot in front of the background. The difference mask then keys out any part of the image that is identical in both videos. So, the unobstructed background becomes transparent. Here is a video that shows a few other possible keying techniques using After Effects:

Ricoh just announced a monochrome version of the Pentax K-3 Mark III DSLR. Evidently, it is 25.73MP, and it shoots up to 4K 30P video. Here is a video showing footage and stills from the camera.

Here is a video showing ways to install and use AgX in Resolve: It's free and open source. The way it attenuates saturation in the highlights is similar to what Arri does in-camera (and similar to film emulsion). I think that AgX additionally reduces saturation in the shadows. If you have suffered "rat piss yellow" and "nuclear cyan" in the brighter/highlight areas, it might be good to try AgX. After using the related Filmic RGB module in Darktable, I want to go back and regrade all my images with AgX/Filmic.