independent

But it'll be 8-bit with 30+ ms of rolling shutter

I think it would be a misstep to go back to 8-bit after showing the goods in the 1DX III.
 

32bit float?  So it's the Sound Devices version of the Zoom F6 that has been delayed into October? 

It is continuous but we were just moving between two targets.
If the man had come over to steal the plant it would have tracked him and ditto if the plant had come to eat us.
It tracks nearest point but is driveable.
Take what it is that you see it doing now as a jumping off point for what is possible as more info and nuance will be released over the coming months.
I'll keep it out of this thread now and in the main one so normal Pocket4K discussions can be resumed.

Looks great for photographers. I like the leveling ball-head, but I wonder how stable it would be with a fluid head and camera setup. I had a similar combination with the gitzo cf traveler and arca Swiss P0 ball head, but I didn't feel confident putting a fluid head on top of all that. But weights on hook and legs should help. 
No experience w/ the Millers, but I used Sachtler aluminum tripods before. They were OK, but a little fiddly with a bit of play due to the mediocre locking mechanisms for the legs. Ronford Baker makes rock solid alum tripods, but they are heavy. CF itself is much more rigid for the size/weight. Gitzo has very reliable locks, but they're not fast (like sachtler flow tech) and they're expensive. I just carry my Gitzo as a monopod though, it's that light.

Time of Flight / LiDAR continuous autofocus is really quite remarkable technology. There are rumours Panasonic will implement it on future cameras like the GH6. Don’t you wish the current autofocus-challenged cameras like the Blackmagic Pocket Cinema Camera 4K or GH5 could have amazingly smooth Dual Pixel AF-like performance?
Well, you could soon be in luck. Time of Flight Autofocus is a reality and I’ve seen it working.
With this prototype add-on, a Time of Flight sensor sits in the hotshoe and talks wirelessly to the Pocket 4K. The autofocus motors in the Micro Four Thirds lens are commandeered based on real-time depth sensing information from the LiDAR beam.
I met up with CDA-TEK’s Ian (BTM_Pix on the forum) this week in Manchester to take a look at what he’s been working on.
Read the full article

A decade ago when I shot on RED, Mark Toia extensively (exclusively?) shot on a monopod. Those Red Epic setups were fairly hefty, yet he got great results. He shot outdoors in exotic locations with rough terrain, and I think he was a major proponent of the monopod's suitability. I myself used a Monostat monopod with a manfrotto 701 head. I upgraded to the Gizto CF traveler tripod because it was nearly as light (2 pounds?) and maneuverable but obviously much more stable and flexible in use, and I've used that tripod more than any one camera, lens, etc. 

Consider a monopod

Gitzo CF traveler w/ hook for added stability when moving the flat-base fluid head. 

Then you should know how hard it is. With a big sensor and a still lens? Do you have any idea how difficult it is to keep unrehearsed movements in focus, while framing the shot and moving the camera?
No offense, but you're full of shit. It's easy as being a "Cameraman"? Yeah, if you're shooting on a documentary camera - but not something like the 1DC, which is what we're talking about. Ever hear of a "focus puller?" There's a reason why there's a specialized job for this task. A focus puller has one of the most important jobs on any film shoot - it's one of the hardest skills. And anybody who actually has experience on a film shoot would know this obvious fact.
Either you're talking out of your ass or you're the best focus puller in the world. Or, in your words, just a "cameraman."
If you've never heard of a focus puller, it's time to start keeping your mouth shut and start learning. 

Shallow DOF doesn’t have any drawbacks in of itself. It depends on the intended effect and the technical contingencies. 
Also, you might find your aperture control affects your depth of field more than sensor size. Try it.
And, yes, historically, video camera sensors have been increasing in size. Right now it’s at super 35mm, which wasn’t a standard a decade ago (Red One came out 10 years ago).
Alexa 65 and Red 8k are already full frame. It’s definitely going to happen in less than 10 years, and on the horizon are medium format sensors.

Here's what we know so far about high resolution RAW recording on the 5D3.
Technical stuff:
Maximum horizontal resolution for continuous 2.39:1 recording = around 3.3k
This is only achievable at ISO 100. If you need to raise ISO, you need to lower the resolution (I can get continuous 16:9 at 2.4k for ISO 3200)
The 5D3 has around 11.5 stops of dynamic range and a moderate rolling shutter
It has lovely colour
Practical stuff:
The preview has a very low refresh rate when recording, and is mostly low resolution, and greyscale - so it's hard to see what you're doing.
There's no sound
As squig mentioned earlier, if you want to see what it looks like, take a 3.3k crop out of a 5D3 still. I also posted a link to DNGs some pages back.
 
The short in full is an incredible piece of work. If anyone has a chance to check it out at their local festival this year I'd highly recommend it.

Oh the crazy Japanese. Oh wait, Apple does it too. Oh wait, so does any consumer electronics company. It's called economics in the 21st century, with mass production, globalization, etc. 
Ah, the days when you had two sets of clothes, one pair of shoes, and it cost you 6 months salary to buy that "television?"
You're demanding a perfect camera so you won't have to buy another camera again for the rest of your life. If you want that bargain, then you'd have to make it profitable enough for that company. Buy that Alexa.
No? Then you have to deal with compromises and shop at h&m like the rest of the masses and follow the seasonal trends.
Look, even apple is struggling because the 5s is good enough for too many people. Ironically, their phones became too good, satisfying consumers as well as pushing their competitors. So Apple now has pressure because consumers are spending less money than expected. That's the power you as a consumer wield.
These are consumer electronics companies, and you are the consumer market. There's really only one way to clearly communicate to the company. Buy or don't buy. 
That's why blackmagic is a welcome addition. Competition lowers prices and drives innovation. 
There will never be that "perfect" camera if you have the purchasing power of a consumer. Technological advances and expectations will always keep you wanting.
 

Preference for either the Sony or Canon's color science is subjective. The A7SII's advantages in low light and the 1DX II's autofocus are not. Each has its pros and cons, leaving it up to the project to determine either's suitability. Both are great cameras. I'd be leery of putting too much of an emphasis on the out-of-box image for either camera. Too many factors play a role in the final image. Neither camera is going to make your movie for you.

Preference for either the Sony or Canon's color science is subjective. The A7SII's advantages in low light and the 1DX II's autofocus are not. Each has its pros and cons, leaving it up to the project to determine either's suitability. Both are great cameras. I'd be leery of putting too much of an emphasis on the out-of-box image for either camera. Too many factors play a role in the final image. Neither camera is going to make your movie for you.

I'd say it depends on your needs and style of shooting.
If you're in a sound-controlled room, yes you can get away with a quality mic into a quality recorder. 
But when you increase the number of subjects/actors, or need better isolation because of the shooting environment, or meet the expectations of the client or studio, then you need more tools. in many situations a mixer would be essential - regardless of how good a cameras preamps are.
In the end, that's why you really do need a person for location /production sound, for the majority of shoots. You need experience and the tools to capture sound in the most appropriate way.
Can you shoot without one? Sure. But it would have to be very limited to a specific situation, or your results will be compromised. Maybe that's ok - I know eng guys often use a mic with a wider pattern and just shoot close with a wide lens. Depends on your needs and limitations.
But for a more dynamic single operator you should have a mic with decent reach and rejection, and two sets of wireless mics. And a mixer with quality preamps.
Even for a single subject interview in a treated environment, I would send a lav into one channel and the mounted/boomed mic into the other, for safety. Again, clipping, self-noise, batteries, too many potential problems, avoided with not much more effort.
It depends on the project, but sometimes getting out of the way and letting the story come through means doing things right, which can mean hiring a sound guy. Even if that sound guy is your buddy you roped into holding a mic for eight hours.
 

Haha I love audio. Here's a big pile of ego: for my day job I wrote real-time audio DSP software for years and wrote the real-time audio engine for MySpace Music's Karaoke software. Also play acoustic and electric guitar and compose on keyboards (basic stuff using Logic X for our video productions; now hiring more experienced folks as I'm not fast enough at my skill level). Familiar with signal processing theory (and applications writing low level code) through music theory and intuitively understand what sounds good by ear.
Years ago a friend put a pair of Stax electrostatic speakers on my head through a Carver Magnetic Field Amplifier after utilizing certain plant compounds and it blew my mind! Later I listened through Stax headphones at NASA Ames Research Center through a Convolvotron 3D VR system with a Polhemus 3D tracker- another level of audio mind-blowningness. Finally, hearing Bowers & Wilkins Nautilus Speakers and similar in prepared rooms (including an anechoic mixing room at GTE Imagetrek) topped out the high-end audio listening experience. As time progressed, consumers got used to and were OK with highly compressed MP3/AAC audio on comparatively very low quality headphones and/or home speakers. I realized the 99% of people didn't care about ultra high quality audio and would never hear audio at these levels of quality. Additionally, listening to crap audio helps keep the high end stuff sounding killer. Otherwise there's a never-ending chase for more quality. Steve Martin summed it up here with the Googolphonic (note the proper spelling before Google bunged it up :)).
After years of software and product development, I'm focused on creating and using the simplest systems possible, where quality is balanced with cost and system complexity. For our own productions for Cosmic Flow (my current day job, software tech is now part time), in-camera audio is ideal. C300 II preamps are good enough, and so is the $500 Audix (I use it with the Schoeps for two channels vs. 2 Schoeps). Even the A7S II's preamps are good enough when using the Sennheiser G3 wireless on location. For separate audio I wouldn't use anything less than a Sound Devices 702 (and would hire a sound person). I used to use an RME Fireface 800 for computer audio, then replaced it with a $140 FocusRite Scarlet 2i2 (v1) which actually has better sounding preamps. After many years the budget 2i2 hardware crapped out and I replaced it with a Sound Devices USBPre2 I had purchased as a tool to get high-quality preamps into DSLRs years ago. The USBPre2 doesn't turn off when the computer is in sleep so I had to purchase a USB switch (not a big deal but was surprisingly hard to find a USB switch that cut power and handled data lines properly too- that was the only one I found that works).  
After so many years of going deep in tech, for the final product, and in the case of video, the story and emotion are far more important.
The C100 II with an Audix, Shure, Audio Technica, or Rode mic, and a Mogami or similar quality cable (tried budget cables- not worth it), will provide a perfect balance of good enough quality, low system complexity, and highly versatile usability to be just about perfect for the OP and others wanting to get things done quickly with low effort, low cost, low headache, and least time to produce something cool. Ultimately, we want the gear to just work and get out of the way of the creative process.

The 1DX II isn't a video camera? It shoots video. It's a video camera. We're past the time when a dedicated camera necessarily means a better image capturing machine. As far as dynamic range, most of the good dslr's have about 11-12 stops (s-log3 is problematic for sony's 8-bit codec). Blackmagic does give you more usable dynamic range, and they have excellent noise control/grain structure. But some people have their issues with them.
Now does the c100 II have a better image? Well, no.
The 1DX II gives you high quality 4K with low rolling shutter and great out-of-the-box color. Also, the best video AF w/ touchscreen. And the c100 would not give you any practical advantage in dynamic range, color, low light, noise, etc. Even the 1DC's advantage is way overblown here...c-log has limited use because of the 8-bit codec, and you need to shoot at native iso, in many/most situations you'd probably be using a different picture profile. 
 As far as audio, yes the C100 does give you XLR inputs, but the quality of the preamps aren't even as good as the consumer Sony PCM-10 (<$250) or the newer Zoom products, which give you far more options in a compact package. Unless you absolutely need the super low bitrates of the c100.
Also, the 1DX II is a world class stills camera. 
Why would you be investing in an old video camera and an old stills camera when their combined price is pretty much the same as the 1DX II? 
The 1DXII is both a quality 4K video camera + top stills camera. 
 
 

You must definitely be a video guy, raw dogging a schoeps into your dirty camera's xlrs. 
I previously owned that mic, and it's beautifully clean and transparent. But it can sound thin and it's pickup pattern is both forgiving and promiscuous. No mic can read your mind. Not a problem in a studio, but like you noted, on location it's different, you really need to maximize that s/n: mic placement, proper gain staging, etc., and you need the right tools. You really need to raise the gain if you can't boom tight enough, which is often on an indie set, where challenging conditions (lack of noise control, short crew, limited takes, etc.) calls for quality mixers and recorders. 
And I'd highly recommend redundant audio for a one man band, for safety. Doesn't have to be complex. 

Nothing shot on the 1dc would be identifiably unique. It's just a camera.
What is far more recognizable is style of lighting or grading. 

Of course it looks good, it's pretty close to the 1dc, clog be damned.
But slow motion (and cute music) are naturally crowd pleasers. A bit of a cheap trick, really. 
24P, under challenging light, with movement, capturing motion - those are the stress tests. 

Hi.
You may think I'm a brand ambassador, but lets examine what that would actually mean. It would mean that I get paid to promote and generally aid the cause of Blackmagic and their brand awareness and experience with their users, is that right ?
I am not a Brand ambassador for Blackmagic, mostly because I don't get paid to be one, and I'd rather speak my mind openly in public forums like this.  I've believe I've been honest in my views of the pros and cons of their products.  I have a personal relationship with many of the people that work there and I've had a lot to do casually with helping with test shoots, iterations of changes to fundamentals,  which again, I'm not paid for.  In return I get to be involved with the development of cameras, furthering my own understanding of how a camera is built from the ground up, I get to see some of my input make it into the development cycle and I get some cameras.  Blackmagic once flew me to IBC to help with the launch of the MFT version of the 2.5K, a version I strongly lobbied for internally with BM.
None of my involvement with Blackmagic has EVER lead to me getting work as a DP, or increasing my profile.  If you think that's what producers go for then you'd be wrong.
If you don't think I'm polite enough then it's really your problem.  I would much rather remain independent and be able to speak my mind frankly.  It's exactly because I'm not a Blackmagic Brand ambassador that I can do this and the more I do this job, the less patient I get with armchair experts like Kino.
I feel like I've earned the right to be able to speak on that which I know something about and I don't really have the patience to argue points of fact with someone anonymous like Kino who has no ability to back up his claims nor legitimacy in his identity.  Anyone who's been on camera forums knows me and my history and has that posting history to inform them.  I have been on CML since nearly the begining, on C.com for many years and DP review, REDUSER, DVXUSER  all long before Blackmagic came along.  I have a blog where I try to write meaningful and helpful work and share my very own camera tests from actual shows with anyone who wants to see them without monetising it or having any kinds of adverts or kickbacks.
Because I like to be able to speak my mind when I wish to. I'm not building a profile with this audience because I am not tied to you guys for money.
JB
 
 

Then you should know how hard it is. With a big sensor and a still lens? Do you have any idea how difficult it is to keep unrehearsed movements in focus, while framing the shot and moving the camera?
No offense, but you're full of shit. It's easy as being a "Cameraman"? Yeah, if you're shooting on a documentary camera - but not something like the 1DC, which is what we're talking about. Ever hear of a "focus puller?" There's a reason why there's a specialized job for this task. A focus puller has one of the most important jobs on any film shoot - it's one of the hardest skills. And anybody who actually has experience on a film shoot would know this obvious fact.
Either you're talking out of your ass or you're the best focus puller in the world. Or, in your words, just a "cameraman."
If you've never heard of a focus puller, it's time to start keeping your mouth shut and start learning. 

Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. 
Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time.
And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. 
Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). 
All their moves have helped the independent filmmaker. 
Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively.
They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. 
The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. 
This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there. 
 

Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. 
Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time.
And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. 
Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). 
All their moves have helped the independent filmmaker. 
Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively.
They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. 
The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. 
This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there.