WyattMaurer

First off, don't buy one tonight. Spending 4k shouldn't be done on a whim. Take time to consider your options.
The Red One MX shouldn't be considered if your looking to do stuff in a commercial context as it is huge and will be a PITA logistically.
If you already have a CY to MFT speedbooster you could use that with a MFT BMCC 2.5k and have a 1.7 crop factor. This is pretty close to S35, but you would have to use only CY glass which is great glass, but expensive and slow at the wide end. You should probably just sell your speedbooster and put it towards your budget as it is going to be very limiting to only be able to use CY glass if you want to use the SB.
You don't need 4k for professional looking images. It is more important what is in front of the camera and who is operating the camera. Don't hesitate to consider 1080p cameras. If someone insist on 4k you can always rent another camera.
Does your budget need to include lenses? Because this is
Do you need raw? And do you have a computer that can handle a raw workflow if you do?
If you are fine without RAW and cool with 1080p then I would recommend either a C100 Mark i or a BMPCC (or BMMCC) w speedbooster lens wise if you need one I would go with a Canon 17-55 2.8 EFS and some sort of long zoom maybe a CY 80-200 F4
The C100 is 800,000 times better than the black magic from a usability and workflow perspective and will motivate you to get out and shoot as dealing with the footage and using the camera is relatively easy. If you are doing mostly commercial stuff I would recommend this option.
The BMPCC w a speedbooster is a spectacular option as well, though not as streamlined.
The reason I don't reccomend the BMCC 2.5k w speedbooster is that it is hard to control EF lenses w an electronic aperture.
 
Hope this helps good luck

He's been around forever. Used to be a speech writer for Reagan. Was married to Ann Coulter who is another top notch troll. Just go back and look at his old writings/twitter/books. He claimed Obama was a secret Muslim who was planning on destroying America. I've read some of his books on religion which are actually pretty interesting. He's a very smart guy but he's gone totally bat shit crazy in the past few years on conspiracy theories. He was arrested for campaign fraud and is crying out that Obama is after him, and sent his minions to arrest him.
Don't get me wrong. I'm not a super political person and I respect all points of view but the people like him and Rush Limbaugh, Sean Hannity, Michael Moore, (sometimes) Bill Maher are just bad for the country. They cause so much unnecessary divisiveness.
It's actually quite sad b/c he used to be one of the best debaters around. He would debate Christopher Hitchens frequently on religion and hold his on. Hitchens respected him and they were friends. He wanted to debate Richard Dawkins but Dawkins was hesitant. They finally debated on Hawkins terms (which was prerecorded responses). Great debate.
Just in the past 6 years or so he's gone kind of crazy and paranoid. Such a bummer.
I saw the Obama movie just out of curiosity and it was so awful. I don't think I could sit through this. Check out Rotten Tomatoes though and you'll get an idea of the reviews: https://www.rottentomatoes.com/m/hillarys_america_the_secret_history_of_the_democratic_party

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Have only had my new D16 for a few hours and shot just to make sure it works.
But damn.. The iso 800 looks pretty darn OK to my eye... Need more testing though.
Feels nice to have CCD on both stills and video.

Mad Max: Fury Road!!!
Amazing production design. Tom Hardy is the man.
 

Mad Max: Fury Road!!!
Amazing production design. Tom Hardy is the man.
 

Mad Max: Fury Road!!!
Amazing production design. Tom Hardy is the man.
 

I talked to Elle about that at NAB. She said that would be the dream. But for now with the BMPCC speed booster you do get super 35 already and it looks great. 

I think a s35 version of the d16 sensor in a higher end body would be pretty desirable to narrative/studio/hobbyist shooters.

This is all very subjective, but the reason I'm excited about future Kine cameras is that to me the images coming out of the Kine sensors all have a nice matte like characteristic as opposed to the glossy feel of a lot of modern cameras. Feels very organic and cinematic. I know those words get thrown around a lot, sometimes to the point of wanting to claw your eyes out sometimes, but I can't think of any other way to describe it.

Smart move to make nearly all of their announcements from BMD be available *NOW*!  
 
 
In the interview the BMD guy said "not yet", but they hope so and they are working on it to try and make it happen (but it isn't certain).

I hope LUTs are available at some point :/

Yeah, it will be interesting to see some actual footage. If they can get around (BMPCC, BMCC) level of DR with a global shutter in both the sensors and execute all of the design features they are showing off well that would really be impressive.
ND slide is a little confusing to me. From the website it looks like there are contacts for electronic control on the bottom. Is that for switching ND strength? Can it be toggled to no ND at all with the ND sled still in? If it can what is the point of the sled being removable? I'm sure we will find out eventually.
 
Yeah, it will be interesting to see the specific tech specs. They list the 4k sensor as 13 stops, while Blackmagic list the production camera as 12 stops. Companies claims of DR are always to be taken w a grain of salt though.

They definitely have a lot to prove with execution and image quality, but they get an A for innovation. I really like the mechanical ND sled, and the hot swappable lens mounts.

Ursa Mini on left. Cannot wait to see some footage out of these things.

This is all very subjective, but the reason I'm excited about future Kine cameras is that to me the images coming out of the Kine sensors all have a nice matte like characteristic as opposed to the glossy feel of a lot of modern cameras. Feels very organic and cinematic. I know those words get thrown around a lot, sometimes to the point of wanting to claw your eyes out sometimes, but I can't think of any other way to describe it.

Agreed. Their cameras don't try to do too much. (And I was there for the Tom Antos Kinemax test posted earlier in the thread). On the Kinemax the menus were very straightforward, responsive. The color science gives a nice flat image that's ready for grading. No wonky "Sony colors", no BS. There were some issues with that camera, though, as Tom pointed out in the video.
I believe the team at Kine are working overtime on the engineering side to add features and solve issues. But the biggest question mark before I pay that much cash (admittedly much less than similarly-spec'ed cameras) is whether the box is production ready? Does it work in the cold and in the snow? In the Rain? In blistering heat? How reliable is it? That's the $5000 question that separates the Terra and, say, a used Sony F5, or Epic Dragon. If it were priced to compete with the Ursa Mini 4.6k I'd be ready to buy, but in that FS7 range the reputation of the company, and resale value does carry a little more weight. That said, the Terra looks very promising. I want one. Or, at least, to test one.

This is all very subjective, but the reason I'm excited about future Kine cameras is that to me the images coming out of the Kine sensors all have a nice matte like characteristic as opposed to the glossy feel of a lot of modern cameras. Feels very organic and cinematic. I know those words get thrown around a lot, sometimes to the point of wanting to claw your eyes out sometimes, but I can't think of any other way to describe it.

This is all very subjective, but the reason I'm excited about future Kine cameras is that to me the images coming out of the Kine sensors all have a nice matte like characteristic as opposed to the glossy feel of a lot of modern cameras. Feels very organic and cinematic. I know those words get thrown around a lot, sometimes to the point of wanting to claw your eyes out sometimes, but I can't think of any other way to describe it.

This is a really weird post Policar... I don't understand how you can dismiss this lens on the aesthetics of it's image when only a press release has been released. It's a Canon cine zoom so it will probably look and perform great. You act like people who are using it would be compromising their precious artistic integrity somehow and that all people who do video work without artistic motivations are hacks who are below the great minds of this forum. Then you assert that the person you are quoting shouldn't be so small-minded...

This is a really weird post Policar... I don't understand how you can dismiss this lens on the aesthetics of it's image when only a press release has been released. It's a Canon cine zoom so it will probably look and perform great. You act like people who are using it would be compromising their precious artistic integrity somehow and that all people who do video work without artistic motivations are hacks who are below the great minds of this forum. Then you assert that the person you are quoting shouldn't be so small-minded...

The article is written in a techincal fashion by someone with no technical knowledge.  But the points he's making I think on the whole are valid.
 
Mathematics aside,  old lenses provide a 'look' that's more appealing.  not to tech heads or spec sheet readers, but to real people who actually take pictures and use their equipment.  A 24bit/96khz uncompressed audio file should sound better than a 12" vinyl single, but it doesn't to my ears.
 
Transformers movies on paper are shot with cameras and lenses that far outdo those used for The Godfather, Apocalypse Now, etc.  Which look more appealing?  The older films.

This is an interesting video that someone posted in regard to this article in the comments on a facebook group. It's not about vintage lenses, but Cookes.
 
 

This is an interesting video that someone posted in regard to this article in the comments on a facebook group. It's not about vintage lenses, but Cookes.
 
 

Again, how gorgeous is that!