Kurtisso

Yeah running the Trial version of the Tiffen set for Premiere. Had an imprompu interview the other day and really needed to soften it. With about 10 minutes of tweaking i'm getting pretty great results. This is the pro mist filter.

I use a Tiffen Digital Diffusion FX filter on every 4K shoot that I do. Sometimes Pro Mist if it's on female talent or a beauty(ish) shoot.
I've done tests with the filter vs post diffusion and there's definitely a difference. I haven't tried the Tiffen version above though. Maybe it's great.

Personally I think the A7s mk2 is in a tough price spot, as that is such a large chunk of change to buy an A7s mk2 when an FS5 would be so much much much better! Yes the FS5 is even more expensive, but by the point you're at this level, the extra overall cost vs the revenue you'd earn from it in the next couple of years, I don't think it is such a big difference (of course the FS5 is itself in a tough spot...  when the FS7 is only a little more than the FS5! And so the slippery slope continues.... I've seen F5 go for amazingly good prices secondhand? Or how about that F65....).

However.... A7s mk1 are now going secondhand for heaps cheaper than A7s mk2 would cost. And as you just want good quality HD, and don't care about 4K. Then it seems A7s mk1 is the obvious choice over the A7s mk2. 
 
The BMMCC is the most interesting of them all. It is very new so not that much info out there, but already a few interesting ways to rig it up:
http://cheesycam.com/custom-mods-for-blackmagic-design-micro-cinema-camera-w-diy-remote-handle/
And with time even more and more will be made, by third parties such as Zacuto or Wooden Camera (and then knock offs from China after that, at a fraction of their price). 
Am especially looking forward to rigs with handles that communicate with the BMMCC!
Plus the BMPCC has already been favorably compared with and shot with RED cameras, the BMMCC is following in the BMPCC's heritage, I'm sure you'd like the BMMCC in some role or another. It would make for a great B cam on RED shoots as well! (such as an action camera, or drone camera)
Final thought for high quality 1080 footage:
Sony PMW-F3 with BMD Video Assist (or Samurai Blade). 

Don't think there is a better bang for buck 1080 camera than that! (can go for as little as US$1500 or less secondhand)

Is the one I own and frequently shoot on myself. Together with a BMPCC (and have a Panasonic G6 for the ultra low budget shoots :-P ). 
 
EDIT: Final final thoughts:
How about a Kinefinity KineMINI 4K? A battle tested one loaded with all the options is available now for a mere US$3.5K!! :-o 

That is a downright insane deal for so much camera! It has the option of interchangeable mounts, raw 4K, slow motion, uses cheap standard off the shelf SSDs, can use focal reducers to get that VistaVision / Full Frame look. 
Could be perfect for a RED shop where the productions doesn't have the budget to use their RED.

This. I would say if you love working with great raw images than either 5D3/2 with magic lantern or a used Kinemini 4k is the clear choice. More so the 5d as with the Kinemini you will need a D-tap power source and a monitor.
A7s makes no sense to me unless you need 4k. Currently cutting a project shot on both 5d2 raw and A7s mark II and it isn't even comparable.
Never used the Micro but the cinemadng workflow is exactly what you will get with Magic Lantern and MLVFS.
 
 
 

and one of his recent posts basically claimed the MK2 with raw was one of the best "forgotten cameras" for cinema. EOSHD likes tech and gets excited by the latest specs, but that doesn't always equate to the most balanced review... once the dust settles.
I traded my 5D3 for an A7s and have hated it since day one... Everyone is different though. As soon as I can shoot 1080/60p raw on a Canon, I will move back.

I got extremely lucky and managed to do a straight swap on some lenses and custom work.  The guy is a very high end photographer who had literally just bought the iq3-100 and had no need for the back.  It had been sitting unused for a few years after some of his hy6 lens shutters died and he moved to PhaseOne.  he'd seen that I was using HY6 lenses on FORBES70 and took a punt and asked if I wanted a back that I could use with them.  Put it this way, I never thought I'd get hold of a full width medium format back. - The going rate is still madness.  Goes to show there are some guys so high end they literally do jobs that pay for these things outright, and still pay the mortgage.

Even now, comparing it to arguably the most advanced sensor available (the A7Rii) I can't see the Aptus-10-iir ever not being something that delivers less than astounding images.  For my own personal photo taking the only thing that gets use is the 8 year old Aptus!    
 
https://c2.staticflickr.com/2/1532/25534678965_dd130814ee_o.jpg
https://c2.staticflickr.com/2/1585/26240955421_1f76d23d84_o.jpg
https://c2.staticflickr.com/2/1579/26138128015_a359966ef0_o.jpg
 

Probable
A 4K Ninja Star type recorder for us that don't want a monitor, just the 4:2:2.
Hopeful
A new BMD camera with a s35 sensor and m4/3 mount (its gold Im telling you).If not m4/3 I guess a EF is ok.
Wishful
That more brands realize that thin bit 4K isn't worth more than colors, ergonomics, DR, workflow, etc.
Something from Digital Bolex that I can preorder

No one in high end fashion will discard a phase one mf camera for the benefits of having video functions of a canon or nikon.  in high end fashion the stills are done one day on medium format and the video another - on an Alexa or Red.  Usually with the same creative director, but two different shooters.  That said, a lot of the guys I've dealt with in the high end fashion world are stills photographers who now shoot or more often direct video.  I can;t see them ever moving to a canon for the benefit of being able to shoot low quality video - not until they offer a medium format sensor and lenses that match or outdo the offerings from Phase One.      
CCD has only just started to be matched by cmos in terms of image quality in the Medium format world (the IQ2-50, and the IQ3-100 - both are Sony developed sensors). - due to the smaller market there was less demand for development of cmos sebnsor of medium format size than there is in the dslr market.  - tech always moves quicker in the consumer sector.
CCD tech reached its peak 5-10 years ago and even now my Dalsa 56mpx sensor in my leaf aptus 10-ii (released in 2008) delivers an image that makes my a7rii cry.  Dynamic range is around 3 stops less than the a7rii but it's the 16bit colour, and refinement of overall image that has the edge on the dalsa sensor.  not to mention how good Phase One's 'Capture One' software is at processing the 16bit raw files out of the sensor.  Main reason for lack of live view is due to the number of pixels they're dealing with, and the prehistoric processing (when compared to the processing within an a7rii or a dual digic7 canon camera) - the buffer on even the fastest mf backs only permits around 1 frame per second for 50mpx-80mpx sensors.  I think this is the main reason for lack of live view.  
I'm definitely looking at the kipon medium format to Fe-mount with excitement.  They won't give a genuine medium format look, but will get close.  but to obtain worthwhile results it'll be down to what MF lenses you stick on the front.  atm there is only really the hassy 110/2 that really offers an exciting proposition to me - a resultant 80mm/1.4 will be magic.  however probably wont come close to an otus 85/1.4 and will only be slightly cheaper. 
I'm certain there will be a 50mpx fixed lens camera from sony using the iq2-50 sensor some time soon.  then naturally a interchangeable lens version a year later! 

Larger CCDs seem to have trouble with liveview/video, no idea why, but the CCD era is over.
The focal reducer from baveyes will be released in April (that's what they told me at Kipon)

Totally, that film grain will look absolutely delicious!
Yeah, I don't know if I subscribe to the "35mm is 4-6k, S16 is 2-4K and S8mm is HD" or that you can get "4k out of Super 8". From the little that I understand and can remember from photo class about analog film (so please correct me if I'm totally wrong), but I believe the "resolution" is happening at a molecular level? And because of that, technically the resolution is denser than our camera sensor pixel array, unless we can create pixels that are even smaller! However, these tiny chemical reactions do not always behave in a "clean, individual molecule" kind of way, and have chain reactions based on proximity so you get "less pixel-sharp" images in certain areas like bright skintones which are softened...maybe highlight blooms too? The things we tend to like from film and try to emulate with digital cinema.
So I assume that on the 4k scan of super 8 film, it picks up some details "in 4k" and some are lost in a lower resolution. I also assume sharpness of your glass makes a difference too in creating that sharpness on the film itself..  Cool thing too, if the scanners keep getting better, it's possible that your film's resolution can get better too!
I realize I've veered away a bit from the OP's topic, so to bring it back... Kodak is launching the new camera with the model of "You buy it, shoot it, ship it. We process it, scan it, deliver it". Seems like you won't have to hunt down high quality scanners. Might be an option for narrative that won't blow the budget. Then again, Kodak might charge a $$$hit ton for the round trip. I'm excited to see though! :D

A used Ikonoskop, used Digital Bolex D16, Battle-Tested KineMINI or @Ed_David's F35? Those F3's look great too. Lots of great options out there... I've only used the KineMINI of all those but it appears that they all provide a pretty darn excellent image, have good colors and have some sort of way of dealing with rolling shutter artifacts (all Global shutter I believe except for the KineMINI which has hiSpeed mode).
I find the entire Canon Cinema eos line to provide little bang for your buck outside of renting it out and recouping your sunk cost. For me personally, I have no real interest in renting out my gear, so that is not part of my business model. I shoot on what I want to shoot on. I understand that won't be the case for everyone. 
Man, it's easy to get stuck in camera-lust. Audio, lenses, filters, lighting, good story and talent etc... all very important. Outside of the cams, I have had good results with my Rode NTG4+, Old cheapo Nikkor primes, Tiffen Black Pro Mist 1/4, Leica achromatic close-ups (1-4) and A BOUNCE/diffuser. Seriously. The bounce is probably the most underrated and cheapest lighting tool I have encountered. Lots of small little tools to make digital cinema on a budget.
 

Imagine the resolution on the film grain
Seriously, I love film and will defend it as much as possible... But you can't say 35mm is 4-6k, S16 is 2-4K and S8mm is HD....
And then turn around and say you can get 4K out of Super 8.
With the new 8k cams coming out, Kodak will soon be saying that 35mm gives you 10k!
I'll concede that resolution on film doesn't really work the same way as a digital sensor, but you'll really just be getting finer detail on the grain - which sure, can give you the appearance of extra resolution..

A used Ikonoskop, used Digital Bolex D16, Battle-Tested KineMINI or @Ed_David's F35? Those F3's look great too. Lots of great options out there... I've only used the KineMINI of all those but it appears that they all provide a pretty darn excellent image, have good colors and have some sort of way of dealing with rolling shutter artifacts (all Global shutter I believe except for the KineMINI which has hiSpeed mode).
I find the entire Canon Cinema eos line to provide little bang for your buck outside of renting it out and recouping your sunk cost. For me personally, I have no real interest in renting out my gear, so that is not part of my business model. I shoot on what I want to shoot on. I understand that won't be the case for everyone. 
Man, it's easy to get stuck in camera-lust. Audio, lenses, filters, lighting, good story and talent etc... all very important. Outside of the cams, I have had good results with my Rode NTG4+, Old cheapo Nikkor primes, Tiffen Black Pro Mist 1/4, Leica achromatic close-ups (1-4) and A BOUNCE/diffuser. Seriously. The bounce is probably the most underrated and cheapest lighting tool I have encountered. Lots of small little tools to make digital cinema on a budget.
 

mmmmm tasty diffusion... nice blooming highlights...Now that's a battle! Tomas Bangaltar vs Ice Cream Coney.
On another side of things, the super 8 revival is looking really interesting with the Logmar and Kodak (coming in 2016 supposedly) cyborgs! It seems that the film scanning technology is getting really good and affordable.
Kodak is claiming they will provide 4k or 5k resolution for super8 scans when you use their film stock!

I love the Coney Island video above...but i'll raise you that Ikonoskop video, with this one - made by one of the guys from Daft Punk, just...
 

I like to think of it as a vertical anamorphic flare :-)

Th
There certainly is something magic about CCD sensors... Ikonoskop, D16, F35, Leica M8/M9 all have some special mojo (micro contrast, tonality) that make for such a nice image.

Until you encounter that magic smear  

A used Ikonoskop, used Digital Bolex D16, Battle-Tested KineMINI or @Ed_David's F35? Those F3's look great too. Lots of great options out there... I've only used the KineMINI of all those but it appears that they all provide a pretty darn excellent image, have good colors and have some sort of way of dealing with rolling shutter artifacts (all Global shutter I believe except for the KineMINI which has hiSpeed mode).
I find the entire Canon Cinema eos line to provide little bang for your buck outside of renting it out and recouping your sunk cost. For me personally, I have no real interest in renting out my gear, so that is not part of my business model. I shoot on what I want to shoot on. I understand that won't be the case for everyone. 
Man, it's easy to get stuck in camera-lust. Audio, lenses, filters, lighting, good story and talent etc... all very important. Outside of the cams, I have had good results with my Rode NTG4+, Old cheapo Nikkor primes, Tiffen Black Pro Mist 1/4, Leica achromatic close-ups (1-4) and A BOUNCE/diffuser. Seriously. The bounce is probably the most underrated and cheapest lighting tool I have encountered. Lots of small little tools to make digital cinema on a budget.
 

A used Ikonoskop, used Digital Bolex D16, Battle-Tested KineMINI or @Ed_David's F35? Those F3's look great too. Lots of great options out there... I've only used the KineMINI of all those but it appears that they all provide a pretty darn excellent image, have good colors and have some sort of way of dealing with rolling shutter artifacts (all Global shutter I believe except for the KineMINI which has hiSpeed mode).
I find the entire Canon Cinema eos line to provide little bang for your buck outside of renting it out and recouping your sunk cost. For me personally, I have no real interest in renting out my gear, so that is not part of my business model. I shoot on what I want to shoot on. I understand that won't be the case for everyone. 
Man, it's easy to get stuck in camera-lust. Audio, lenses, filters, lighting, good story and talent etc... all very important. Outside of the cams, I have had good results with my Rode NTG4+, Old cheapo Nikkor primes, Tiffen Black Pro Mist 1/4, Leica achromatic close-ups (1-4) and A BOUNCE/diffuser. Seriously. The bounce is probably the most underrated and cheapest lighting tool I have encountered. Lots of small little tools to make digital cinema on a budget.
 

A used Ikonoskop, used Digital Bolex D16, Battle-Tested KineMINI or @Ed_David's F35? Those F3's look great too. Lots of great options out there... I've only used the KineMINI of all those but it appears that they all provide a pretty darn excellent image, have good colors and have some sort of way of dealing with rolling shutter artifacts (all Global shutter I believe except for the KineMINI which has hiSpeed mode).
I find the entire Canon Cinema eos line to provide little bang for your buck outside of renting it out and recouping your sunk cost. For me personally, I have no real interest in renting out my gear, so that is not part of my business model. I shoot on what I want to shoot on. I understand that won't be the case for everyone. 
Man, it's easy to get stuck in camera-lust. Audio, lenses, filters, lighting, good story and talent etc... all very important. Outside of the cams, I have had good results with my Rode NTG4+, Old cheapo Nikkor primes, Tiffen Black Pro Mist 1/4, Leica achromatic close-ups (1-4) and A BOUNCE/diffuser. Seriously. The bounce is probably the most underrated and cheapest lighting tool I have encountered. Lots of small little tools to make digital cinema on a budget.
 

Im not going to read the pages and pages of wining going on here from people who have not owned a camera from kinefinity so please forgive me if I say something thats already been covered.
Kinefinity is totally a reliable company. I actually get great access to support online and they have been very open to suggestions. They added an anamorphic mode within 2 versions of the firmware. Kinestation is great, their codecs are great KRW is a lossless format that can be converted directly back to DNG (if its not shot in highspeed mode which is 4:4:4 not raw. I would say they push their cameras way further then any other company because they have no top end to gouge so why not make the cameras the best they can be.
Now for the cameras. Ive owned the Kinemini when it first came out and then upgraded my body to the Kinemini4k. I was about to upgrade to the kinemax but then the Terra got announced. Who doesnt want this camera??? You are crazy, just go and spend more money on a Red Camera then. I personally dont have $40k+ to spend on a cinema camera. The image on the kinemini4k is already lovely. A good mix or the red and Alexa honestly. The noise pattern is organic and the range is there.The kinemax 16fstops in Golden 3k, this sold me along with the highspeed options. Now with the Terra comes global shutter and 15/13 stops in a smaller body. I want one so I really hope none of you do so I get one faster.
I got Rich off the forumn here to modify a speedbooster for my Kinemini and then Kinefinity made one shortly after. They are a company who does listen I feel. The mount is awesome, its a sub PL mount with many options. The sensor is Super 35.....
I dont know what else to say really, its a sweet vcamera and Im glad I didnt go with the black magic cameras in the end or other cameras. If you really want to know more then just speculation you can join us users over at Kinecommunity and the Kinfinity User group on facebook.
 
Rob

I'm gonna ask @Rob Bannister to chip in on this discussion.  He's a user/owner of the kinemini 4k and from what I've seen him create with it, I started looking seriously into the kinemax as a primary camera for DSO rental purposes.  The plan was a camera and lens setup with loads of options as far as focal reducers, behind the lens filters etc - all the exciting stuff the sub-pl system permits!   

Moot.  Kinefinity wouldn't be broadcasting about prores support if they didn't have the licence in the bag in some way or another.  The person who responded to your email probably just went on their own website, saw the brand isn't listed and responded accordingly.  I seriously doubt the person handling random unsolicited emails is taking the time, let alone even able to access the list of pending licencing deals going on in one of the biggest technology companies in the world!

 

I'm not sure anyone does.
My friends did have good luck with the C300 (their feature got into Cannes, won an award there, then Sundance thereafter–but more importantly, the camera worked equally well for a traditional 30-person crew as it did for a one-person splinter unit) and I think now it's a good deal if you can rent it to other friends, too, and I just like using it–but apparently they bought it more to look cool on set, who'd a thunk it, even though they were used to shooting Alexa!
But just buy whatever doesn't get in the way. If you only care about storytelling or performance just get a t2i and focus on that. That camera is great, it doesn't get in the way and the image looks good enough with the least unnecessary effort. The quest for a good story is hard, but the quest for better image quality is a sadder one because talent is free and production value is $$$$. So your holy grail quest to eek ever so much more out of that GH4 isn't worth a thing compared with a day in private equity. Whereas Hollywood is voracious for that story the millennials love and they're gonna give you five Alexas and hundreds of thousands in fees from an eight figure budget to direct it–you know, the one you shot on your iPhone.