tweak

I'm a heavy user of 5D Raw.  I use Komputerbay and Sandisk Extreme cards. I shoot using MLV Raw with the audio on and just about everything disabled except the overlays. You need them to see where the screen is actually cropping your footage.  I definitely cosign the RawMagic to Resolve workflow and the use of MLviewer to preview clips.  RawMagic can correct the vertical line issue and export to 14bit uncompressed or 12bit compressed DNG files which save a ton of space on storage.  I used to save my mlv files but not anymore...just drag and drop from the card to RawMagic and click convert and work on another task while the dngs are created.  It can take awhile depending on how much footage you shot BUT....I guarantee that you will always love what comes out on the other side.

Just wanted to take a moment to congratulate Andrew on a remarkable picture profile.
I have both James Miller's log profile and EOSHD C-Log. The latter, Eos C-log, is remarkable and I can confirm works beautifully on 5DM4 in 4K & HD. 
I noticed quite a bit of digital noise on the Miller Clog, while the EOSHD log seems to crush the noise on the dark end. I noticed banding on only a few under-exposed areas, but actually it faired much better than the NX1 (which owned for 1 year and could not abide by the over sharpening and banding). 
I know there's a healthy amount of 5DM4 bashing in the world right now, but as someone who uses the C100, Digital Bolex, and 1DC regularly, I love the form factor of the 5D and love the image. But that's just me. 
I am also vigorously testing some throwbacks on the 5DM4: VisionColor, Prolost, and Cinestyle. 
And for anyone who is interested, here's a Magic Lantern discussion on profiles, where some very interesting reverse engineering appears to be in the works: http://www.magiclantern.fm/forum/index.php?topic=16299.msg172869;topicseen#msg172869
 

Yes, I had it, that's what I'm talking about.

I found it to be a total waste of money, but hey that's just my opinion.

I made that exact thing in the picture above before, it's a nasty POS. Not worth your 28bucks even, waste of time.

I am rapidly coming to the conclusion that a Zacuto Gratical EVF (any version) is the only choice to be able to focus in bright conditions.
I know there are very bright 1000 nit plus monitors out there and recorder/monitor versions too such as the Flame but given the prices are all fairly similar the Zacutos are the only ones and can be ported to other cameras purchased in the future anyways.
A 1000 nit plus 3.5 inch screen does not exist...yet or a bright small oled.

I would say that by not mentioning it in the launch indicates that there is a better chance of not having it then having it.
Im not saying they wont put it in. I am just saying IMO its more like 85% chance no IBIS and 15% IBIS.

We all laugh but it still arguably shoots a better movie than consumer dslrs...

Crop Factor is the ratio of diagonals for the optical image circles. Width ratio and/or area ratios are meaningless as they don't relate to the actual optical imaging circles, especially when using the correct Crop Factor for matching cameras and lenses for specific shots and DOF via Equivalence math. 
Right now an A7S II or A7R II (much better AF) along with a Canon 5D III could work really well. Use the 5D III to shoot raw stills of the scenes. Then in post color match the stills to the A7x II footage. I've done this by eye and it's not that hard: with the 1DX II and C300 II to the A7S II:
Note that no one could tell which camera was which for sure until I gave the answers. It might also be possible to create a 3D LUT for A7x II to Canon, however shooting reference raw stills will probably work better.

I hope it has an over-sized HDMI port and on sensor swap-able pixels.

I hope it has an over-sized HDMI port and on sensor swap-able pixels.

Are you suggesting that a visually subjective cinematic choice is actually not subjective?  If so, I'd argue that reality is subjective.

Handheld videography is underrated. If Panasonic can reach the 6.5 stops of stabilisation of Olympus, I think it would be as smooth as a steadycam.
Development like this is Far Greater for lower budget indies, and Guerilla Shooting. For large productions stabilisation, ISO and zooms have no place. Too much time and money is spent on things which can be handled otherwise. And FX Artists and Companies are underpaid. 

Anything that can run 16mm or larger stock can shoot a better looking film than a consumer DSLR. 

Oh yeah, no question. That why I found the joke ironic given that Blackmagic is pretty much the only sub $1k camera that can compete with it. The joke kinda took a nosedive from the start

Sorry I thought you said you'd prefer to use magic lantern, not that you don't want to use it... in which case I'm not sure.

We all laugh but it still arguably shoots a better movie than consumer dslrs...

We all laugh but it still arguably shoots a better movie than consumer dslrs...

We all laugh but it still arguably shoots a better movie than consumer dslrs...

mk3 for sure.

My 7D did pretty well, I will test my eosm when in a month or so.

I think so.

Well, E mount does seem the best supported for aftermarket active adapters, nice short flange distance - who says E mount is not available? EF was, so why not E.. do you know that Sony won't license the mount?

Idk, when I was using my Micro, the most fun I had with the camera was using c-mount lenses. Fujinon TV lenses are often compared to Super Speeds for pennies on the dollar... I mean those suckers are sharp lenses. I have an old set of Cosmicar lenses that added just the right character. The Bell + Howell Angenieux lenses are gorgeous and pair beautifully with the Pocket and Micro, as do the Kern Paillards.
They really give you the ability to use fast lenses without a speedbooster/lens combo monstrosity on BM's smaller cams.
I'm selling my Micro and hoping to eventually pick up a Pocket and I will only view the camera as the S16 cam it is... So only native M43 lenses with OIS (when I want to go handheld) and S16 glass/TV lenses for everything else... probably in c-mount.
Sorry, I know this wasn't exactly the discussion you were having, but I don't think c-mounts are that obscure an option for a lot of BM users.

As of today they dont do it. There is no such license. You can apply for approval by Sony to make lenses for it. No one can see into the future but it doesn't look to bright if you want to make an E-mount camera
Mft on the other hand is good to go. The third party mft lenses that are also made for M-mount and E-mount cover APSC/s35 with no vignette on m4/3 APS-C.