mercer

That looks great Jase. Am looking forward to your first video with it. 
 

what settings/ profile?

@Inazuma It is probably too late, but here is some recordings I did comparing the Panasonic LX100, G7, GX80, and Olympus OMD E-M5II.  Skin tones and the X-Rite Video Colour Checker Passport and DSC Labs Colour Chart.  All were set to custom white balance using an expo disk  before recording was started - the light was usual UK grey overcast.
The lens used for the GX80, G7, and OMD E-M5 II was the Panasonic 12-35/2.8 zoom at 35mm at f2.8, ISO 200, 1/50s shutter.  The lens on the LX100 is the fixed 24-75mm (equivalent) lens shot at 75mm (eq), f2.8, ISO 200, 1/50 shutter.
The Panasonic cameras were all shot at 4k 100Mbps and the Olympus using the 1080p ALL-I 77 Mbps codecs.  The video was downscaled to 1080p in FCPX.
The Panasonic profiles were "Natural 0, -3, -4, 0" and "Standard -5,-5,-5,-5"
The Olympus profiles were "Natural 0, -2, 0", "Muted -2, -2, -2" and "Flat Video" profiles.
The original files can be found at: https://drive.google.com/open?id=0B5L5s8IdiEl9c0VvM2oyN2Y4bTg
 

That's what caught my eye too. Like I said, I had a preconceived notion that the Rokinons were sterile, but after testing that lens, I am beginning to think otherwise. 

I guess this is sort of an aside from the discussion on ultra-wides, but the Rokinon 85mm T1.5 cine lens is one of my favorite pieces of glass. It's got a fairly low-contrast, very creamy rendering of things, definitely gives a dreamy look. Sometimes it makes it harder to cut between the more modern, contasty look of something like the sigma 18-35, but I often prefer it! Just very different. The 85 pretty much lives on my camera during weddings. Rokis are sweet!

Monoprice Ultra Slim Series has 6", 12", 18". Very flexible, thin, low cost, Never had one fail on me.
http://monoprice.com
i also like the Hyperthin brand at Hypershop but they cost a bit more.

I would get the coiled Atomos cables. I've been through so many bad cables but the Atomos ones have never failed.

Nice test. Apparently, the GX80/85/7ii with IBIS is no match for a gimbal but every time I see footage from it I am supremely surprised at how good it is. With planned shots and judicial editing, I would have no problem using it for a narrative. 

I have heard of people using the iMac mini as a portable computer. With a small monitor or the iPad Pro as photographer-at-large suggested, you could have a smaller set up than a laptop. 

Atomos makes some, that's the shortest you can get.

Not tried any of these, just what I found:
6inch:
http://www.ebay.com/itm/SHORT-6-INCH-SUPER-HD-2-0a-HDMI-CABLE-1080P-2160P-4Kx2K-18GBPs-for-ROKU3-HDTV-/301482963024
http://www.ebay.co.uk/itm/15cm-SHORT-High-Speed-Ethernet-1-4v-HDMI-LEAD-TV-CABLE-GOLD-FULL-HD-1080p-/351596639258
4 inch
http://www.ebay.co.uk/itm/10cm-SHORT-HDMI-LEAD-0-1M-HIGH-SPEED-ETHERNET-CABLE-GOLD-FULL-HD-1080p-for-TV-/331023715139
http://www.ebay.co.uk/itm/SHORT-10cm-HDMI-LEAD-to-RIGHT-ANGLE-HDMI-90-DEGREES-TV-CABLE-FULL-HD-1080p-v1-4-/351263804723

Good to know that the Rokinon 12mm is a good lens. I was looking at the Cine version in micro 4/3 for my BMMCC. 

Yeah I agree, the Roki 12mm f2 is awesome, and for me, it's the obvious choice for an ultra-wide on NX cameras. It's very small and lightweight, and of course it's f2! I used to own the 10-18mm, loved it, but had to sell it for the same reasons as Ricardo, as sadly it's just unusable with fly-by-wire adapted. I also briefly owned the sigma 10-20mm, which I bought to replace the canon, it was fine, but too slow for my needs. The rokinon 12mm f2 is both very sharp and very fast! Awesome for steadicam stuff (including low light) and astrophotography as well. For me the extra stop was more useful than the zoom and 1 millimeter more width of the tokina 11-16 (the rokinon is also cheaper.) 

If all you care about is the widest glass you can possibly get, there is also the Sigma 8-16mm, which I believe is the widest rectilinear glass ever made for crop cameras. I've never used it, but it's fairly pricey and I have heard it's not the sharpest lens. You never know though! 

Yup, forgot about the 11-16... Probably the best option. 

I think Tokina 11-16mm F2.8 may be good solution for you. It's a s35 lens and you can use the Nikon version, adapt it to Samsung with aperture control.

quick test with gx80 comparing it to gh2 on a gimbal. Of course it cannot replace a gimbl, but i wanted to test the limits. 
 

You can also keep it in manual mode, assign s-af to the back button to get s-af during recording (like the G7 but not the LX100 for some reason).  That is what I sometimes use if I lose focus or I am having trouble seeing peaking.

No I'm good  I'm going to release soon

Try Lock&Load by CoreMelt. 

The GX80 finally arrived in Norway too. First impressions are really good and stabilizer is truly amazing! If anyone is building a rig with an external monitor please share some images of it.

I don't know... Am not really sure why people expect so much from Canon? How many times do you have to get rained on before you bring an umbrella? I mean... They have outright said they are delineating their camera lines. They have outright said their issue with 4K was solving the overheating issues. But one thing is for sure, when they do have all the bells and whistles that Sony cameras have... They will work. 

Coming from editing H.264 files over the years, editing Pro Res from the BMPCC is a delight. I love the codec, and don't mind the size at all when you factor in the speed and smoothness of editing. I'm a huge fan of the whole Pro Res capture + edit workflow and I can totally see why so many shows still just shoot Pro Res with the Alexa.
Agreed that the C300 .mxf files are a good happy medium. Higher quality but still cut like butter. 

Just bought a 1DC for an affordable price.  Pretty pumped to start shooting with something that seemed so out of reach a few years ago. 

Good to know, thanks. Bayer does better aspirins than camera sensors, I suppose. 

I work in a rental house and see Alexas, Amiras and Minis fly off the shelves all day long while F55s and Dragons sit in their boxes. And it's only increased as the attention has turned to the newer models and the original Alexa has come down in price. People who might've once settled for a prosumer-style digital cinema camera like the C300 or F3 can now afford to hire an Alexa, and many do without a moment's hesitation.
It's the only camera that really operates on a "what-you-see-is-what-you-get basis". The Canons come close, and the Reds and Sonys are a hideous mess of LOG profiles, LUTs and complicated menus. And one thing I can say for certain is that the Alexa is the only camera that is dead-on with its ISOs. ISO 800 on the Alexa is a true ISO 800, seven stops over and under middle-gray. The Canons and Sonys are somewhat faster. The FS7 in particular is way off. I would reckon that ISO 800 on that camera is closer to 1600.
Meanwhile, you can take the Alexa out of the box, hit LOG-C on 2K Prores, pull up the Rec.709 LUT on your monitor, light the scene using your light meter like they did in the good old days, and go home with an image that can look good without requiring any special color-correction sauce beyond gamma and color tweaks. And it holds up on a 40-foot screen, And it never breaks or fails. At my workplace, we practically never receive customer support calls regarding Alexas. They come back in perfect condition and our technicians turn 'em around in a matter of minutes. Meanwhile, these Reds are making my co-workers tear their hair out.
Simplicity, reliability and raw image quality independent of specs and numbers is where it's at. Arri gets this, which is why they keep winning despite the exorbitant cost of their products.