Shepard HS

Multi Cam is great for dialogue scenes as you can shoot over the shoulders in both directions at the same time and sneek in a 2 shot wide side on plus ECU head shots in both directions at the same time too !
5 cameras for all that and the actors love it as they can play the whole scene in one pass and its all 'real' the performance can be cut for one actual take so it all edits together perfectly , yes you have to light for it and set up the shots but I do highly recomend it !
its so much faster then with one camera .
I started shooting multi cam on my pop videos after I stopped shooting on film as its so much more useful to get all that coverage faster, so its not something new to me and when the Director of Pandora embrased this way for filming for this movie it was great to be let free to hunt down cool shots with all the extras cameras I had to use.
here you can see a shot from the movie and below it a BTS photo of the set up and how I lit it and shot it multi cam , I used 5 cameras on this sofa scene shooting both sides at the same time. cu head shots, 2 shots and wides all at once - saved loads of time !!

Lighting for 3 cameras something I did alot on this movie, you just have to think ahead so one angle doesn't take a 'bath' with the lighting, I would often use a Arri 150 as a shadow killer on the C camera angle , so as long as camera A and B are good with camera C I will shoe horn in to get a usable angle, 'coverage' is the word thrown around alot by Directors these days  , lots of DOPs say you can only light for 1 camera and thats the traditional way , well its not true you can light for multi cam If you think it through carefully it does work , 6 cameras is possible I did that quite a bit stacking them in pairs a close together  like  40mm and 75mm with the 75 slightly higher for a close up head shot , if you have enough light and big enough set you can do , I designed the set with the director so I could put the windows and the practical lights exactly were I wanted them , this helped alot . see pics below of some typical multi cam set ups on the movie

So I just found out that Magix acquired sony Vegas Pro with the whole Sony Creative Suite, and just announced a new version that will launch in September.
But what they seem to highlight as the newest feature beside a redesign along with 4k and HEVC Hardware Acceleration support, is the native ProRes capabilities and support. So will this be the go to Prores editing software for Windows users ?
They also lowered the price from $600 to $200 and are giving Vegas Pro 14 for free if you purchase the 13 !!
Thoughts ?
Here is the offer link http://www.magix.com/us/specials/vegas/exclusive-welcome-offer/

You can go blue in the face looking for perfect camera there is no such thing I bought Red one MX 4.5k pro camera with all the trimmings and sold it why? because its big and takes shit load of post work to get it nice. I bought Pocket camera with metaboone and i love it is it perfect camera it is for me. Can you shoot nice videos films or music videos? sure you can
 
This short shoot all  on BMPCC really good work
 

Taking the rear shroud (which is what interferes with the speedbooster) off of the Canon 17-55mm f2.8 is pretty simple and easy. And 17-55 is a much more usable range for general work than 24-70, 24, or even 10-18 (although the 10-18 would be a perfect partner to it).
I would definitely stick with the Pocket-specific (.58X power) booster though. The Blackmagics have a thinner filter stack over the sensor than regular m4/3 photo cams, and the BMPCC and BMCC boosters are engineered to accommodate for this, while the regular m4/3 boosters are not.

Good question.  I think it is a relevant question because it is a real choice you have. You only have one lot of $3000 so cant get both and you don't have a camera so you have to get something and you are free to get anything.

I cant really say much extra about the NX1.  The fact that you are considering it shows that you don't care that Samsung is pulling out of the camera business.  That is something that may bother some, including myself, but it depends on how you look at it.

I suppose you would have to think of it as getting a fixed lens camera as you know you wont be able to use native lenses on anything else in the future.  You cant with fixed lens cameras either but people buy them.

The bmmcc part of the question is really a subject in itself.

A few things I can think of that may be of note.

You say the 24mm 2.8 is the widest lens with IS.  Its the widest prime with is, and its actually the joint widest EF lens with IS.  Its not, however the widest ef-s lens with IS
You've got the 18-55,18-135, 15-85 and the widest the 10-18.
And that appears to be one big advantage with the Aperture DEC LensRegain over the metabones XL, that it seems to have enough room for the protruding rear element protector of EF-S lenses. (Although I haven’t been able to find confirmation of this yet)

If this is the case then the 10-18 f4.5-5.6 would become a stabilized 7.5 - 13.5mm f3.2-f4
Giving 21.6 - 38.9 equiv on the bmmcc. And 15-27mm equiv on a full mft sensor.
That's one big advantage over the bmpcc specific metabones as well, you can use it for still photography and any other mfr camera in the future.

Its true that having the bm view assist would be overkill in the sense that the bmmcc already has a recorder, but the good thing about it is that it would enable you to easily switch to the micro studio camera if you needed resolution/even lower rs over dynamic range in any shots.  And of course, any other camera with 4k output.

Back to the overall question.  I think you have to remember that the bmmcc gives 10bit all - i frame prores with true HD resolution.  If it weren’t for 4k being all the rage right now we could appreciate how amazing that is.

All in all the NX1 would give you a self contained system which doesn’t require many extra purchases but cant be upgraded in the future. And The bmmcc route would give you a modular system with a lot of choices, flexibility and future possibilities beyond the bmmcc.
 

Don't see a huge need for a speedbooster with the NX1, I'd be surprised to see one appear. I guess going wider with a stop of light could be popular for people without a full kit of fast glass? But if it's in the usual speedbooster price range ($500 or so) it would likely be smarter to buy a fast wide prime in a Nikon or EOS mount.

you should also take in consideration the motion cadence or the rolling shutter which is so different on these to cameras. Micro being more organic and filmic.
 On the other hand NX1 got a hack recently and the DR gain a bit haveing more details in the shadows and almost no bending. Also people are working on a speed bosster adapter but nothing is confirmed yet. Although it is a dead system, people are still working on improving it. For me NX1 could be the best compromise if you want good stills and strong video. The only thing you have to work around is the rolling shutter. Choose wise.

You're sort of comparing apples to zebras here...
I'm interested in the micro myself, since it's raw/prores with up to 60p for basic slow motion.

The lens regain - it's only a 75% FOV increase on the 3x BM sensor, so your 24mm FOV will be somewhere around 60mm? (Or someone correct my math...) Who knows how useful the AF will be. If I went with the Micro, I'd look at the micro/pocket-specific Speedbooster.  No real stills capacity.
The NX1 - APS-C, 4K, very nice image, not bad jello at 1080, much less DR than the micro (assuming "much less" anyway). Killer stills cam.
The NX is a "dead" system is many people's response, but adapters exist for a pretty crazy range of lenses. Hopefully one will get several years out of the body, but spending a lot on Samsung glass means eventually it's a throwaway. Unless lenses and body will just run for years and years and service and parts remain available. I still shoot film on 1970's gear. But that stuff's much easier to repair, all mechanical, no electronics. I think the best bet for the NX1 is to get the best deal possible on the body and use your existing glass, or buy glass you can use for years or decades (my NX1 often has glass I've owned for 10-20 years). If I suddenly landed a bunch of stills gigs, I **might** go for the 50-150 S. Might, if it paid for itself in a couple days. As a still camera with a native lens, the NX1 blows away my Nikon in many ways.
The main issues between the two systems - tiny sensor vs. a filmmaking standard size (then again, super-16 was/is a standard, but realistically you'd want to chase down super-16 glass and the hassles that entails). Gobs of DR, RAW and Prores vs. a very efficient but still 8-bit codec. 1080 vs. 4k (though many NX1 users learn when to choose 4K and when 1080 is better - as someone who does a lot of interviews, I will never be without 4K, life changing for me). 60p max 1080 slowmo vs. a pretty nice 120 FPS. And the rigging issues with the micro, which aren't a huge issue to people with a range of existing gear. Generally useable AF on the NX - with native glass, maybe iffy with the Regain. 
It's not insanely far afield to choose between these 2 systems, but likely there are many more choices to consider, in some ways an odd comparison. I like the NX for planned "filmmaking" type uses. I could see the Micro having its place in that workflow as well, but mainly because I'm not reliant on AF and am more interested in the right glass for the gig. For me it's a question of DR and image beauty vs. bigger sensor, 4k, and more slowmo options.
Optimally I'd take a 4K micro with raw/prores, a super-35 sensor and 60p/1080... (an Ursa I suppose).
 

Aputure FineHD VS-2 is even cheaper, and is a greater than FHD monitor. 

But a BMD VA is a solid choice too.

if you can spend more than a SmallHD 502 would be ideal.
You'll want way way more than just one lens??? What do you already have?
 
Consider getting a cage as well:
http://woodencamera.com/Micro-Cage-BMMCC-BMMSC.html
Consider the Tamron SP 15-30mm f/2.8 Di VC instead, as the versatility in going from 15 to 30mm will be worth it, plus it is just as fast at f2.8

990g will be is fine for the Beholder DS1 (1700g payload) or PilotFly H2 (2200g payload).  You could probably get by with the ligher-payload gimbals like the Pilotfly H1+ (1200g), Came-TV Single (1200g) or the newer Z1 Crane 3 (1200g, EOSHD thread here) but since you're close to the payload limit you might have more issues getting it balanced / be using up more battery as the motors work harder.
In terms of running with the recorder at 1512g, the H2 should be able to do it in theory but I've yet to find people running a rig this heavy (I've been asking on the PilotFly Facebook group because I'm considering using my A7R2 with a heavy lens on my H2).  Should be possible but it might take a fair bit of work / time getting it balanced and tuning the PID settings.

If you mount the cables with enough care, I think you might be able to mount the screen on the handle. The motors are very strong, so a loose HDMI cable like the Atomos or similar might work. I don't have a monitor but will try to "simulate" it somehow.
You would of course loose the whole 360 spin thing, but how often will that be really needed.

Thank you for this review Mattias. I've been on the fence whether to dive into gimbals(have used Glidecam stabilizers) and what has always put me off is reading the reviews of others struggling with trying to get them stabilized and or needing something of a computer science degree to program. If your opinion is it's easy to setup and go, I'm sold. The only thing that concerns me is I'd be attempting to use this with a BM Micro and smallhd dp4 so I think it may be over the weight limit.    

Finally got a shoot in with BMMCC for a new passion project and coupled with it old Angenieux super 16 glass. I absolutely love the image and all this 12bit raw colour business. It's going to be go to for all arty projects. A few grabs... 
 
 
 

As Jim said, you can edit ProRes but not the DNG files.
However, I use "Raw Photo Processor 64" (its a free download) to convert the DNG files to 16-bit TIFF files. RPP has the best Highlight retrieval of anything that i've used, it has 4 different curve types (Film-like, L*, Gamma & Colorimetric Gamma), Custom or Auto White Balance (which is v.accurate), a load of TruePaper & TrueFilm simulations and so much more. Oh, did I mention that its free!
So no need for Resolve...

Just finished my first Music Video, not exacly as I planned it would go, had some setbacks on filming and what not, but yet still pleased with how it turned out. Everything was shot on the NX1 and the aerials on the P3. Was a great challenge, doing something as "big" with such a tight budget, but loads of fun ! Let me know what you guys think =) 
 
 
Also, to anyone interested, heres the band iTunes page, they got some great songs =) https://itunes.apple.com/pt/album/new-dawn/id953049235?app=itunes&ign-mpt=uo%3D4

While I can grade the A7S color to look pretty good, it's always extra work. More importantly, talent and clients always prefer 5D3 colors over the A7S, even after color correction and grading. The A7S provides better low light, more DR, more resolution, and slomo. For stills and skintone, the 5D3 is superior. I recently upgraded to 95+ CRI lights and the 5D3 still produces much better skintones for far less effort. If Sony would at least license Nikon color science (perhaps possible since Nikon uses Sony sensors), that would be a huge improvement.
If the 5D4 only has (actual) 1080p with 60p I'll will purchase them over the A7II or A7S II. Or maybe it's time to just get a C300 II or ARRI mini- color is the most important feature for professional work. In other words, if color isn't great, all other features are irrelevant if shooting mostly people/skintones.
 
 

More information, son! What do you like to shoot? What's your lens budget? Are you a prime guy or a zoom guy? Is the IS important to you, or do you like to stay on a tripod? The more we know, the better advice we can give.