Kisaha

MONITOR: http://ikancorp.com/productdetail.php?id=1738
CAGE: http://www.came-tv.com/cametv-cage-for-blackmagic-micro-cinema-camera-p-721.html
ENG GRIP: http://varavon.com/products/eng-grip-b-type?variant=860241427
SHOULDER PAD: http://kamerar.com/collections/rigs-stabilizer/products/shoulder-pad
RODS + CLAMPS - all from SmallRig: http://www.smallrig.com/

Of course they're not native 4K, not even phone screens are 4K in that size yet. Personally I think 1080p is plenty for 4", especially with a loupe, as long as it can accept a 4K signal. Are there even any 4K on-camera monitors in any size yet?
It would seem Neway is Ikan's manufacturer. On Personal-View you can get the 5" for $289 and Vitaliy just put up a 5.5" version, with an ugly rubber bumper cover ala the newer Shoguns, for about $400, that has waveform, vector scope, false color etc. 
I'm actually surprised none of the Chinese brands have come out with an affordable 5" loupe, for the Video Assist, PIX-E5, and these cheaper 5-inchers. I did just express this on P-V and Vitally said they're working on it, though.

Hey guys,
I wanted to share with you an awesome and affordable monitor made by IKAN that can, with a tiny bit of work, be used as an EVF.
The main reason I wanted an EVF + loupe for my Micro setup was to create a fourth-point of contact between my Micro and my body. 
With my right-hand on the ENG grip, left-hand on the len's focus-ring, chest-pad against my right-shoulder, having the IKAN + loupe pressed up against my right-eye added that extra piece of stability I have been looking for - not to mention being able to monitor and pull focus perfectly in bright daylight.
For those interested, the monitor is called the IKAN VL35 and can be had for as little as $259USD: http://ikancorp.com/productdetail.php?id=1738
I rigged it together with an old ViewFinder that I used to use with my A7S and A7RII. Having sold those cameras, I decided to use it as a loupe for my IKAN VL35.
It doesn't fit the VL35 perfectly (as it is designed for 3" monitors, and the VL35 is a 3.5" monitor), but it will do for now.
However, the good news is IKAN recently told me that they will be releasing a loupe specifically designed for the VL35 - and given the affordability of the monitor itself, I'm sure the loupe will be priced very nicely.
As for the quality of the monitor itself - all I can say is that it's great Very similar to the monitor on the BMPCC. 
I haven't conducted any scientific or methodical tests yet, such as running down the battery or precisely measuring colour and luminosity, but I have used it plenty in the real-world, and it has functioned flawlessly and beautifully. Highly recommended for those looking for a setup like this
Anyway, here are some pictures for those that are interested

 

Can't wait to shoot with this in 720p120fps in 2035! LEL.

Enjoy

This is really the point i'm getting at... The C300 is still ideal for that market and quite a few others, where 1080/24/25/30p is enough.
I'm not sure that the FS7 is taking those jobs from the C300 ii any more than the C300 is ....
I think C300 ii didn't really have a defined market and it is suffering for it, a case of bad timing from Canon... the events guys don't need it's additional features... the music / narrative guys have options that cover more bases... When events/reality tv etc move to 4K, it will probably regain some dominance.

With these kind of anecdotal stories... You need to ask yourself some further questions before drawing any kind of conclusion:
Is the C300 mk1 still renting well?
Have rentals simply dropped across the mid range, now people can afford truly good cameras as owner/operators?
Are people just renting the FS7 for occasional slow-mo shots to go with another camera?
Has the FS7 taken rentals away from the F55, RED etc too, eg, we have hit saturation point where that camera is good enough to scoop up all kinds of work?
It seems to me that alot of the market that the C300 was so successful in.. what I would call throw away tv (reality, interviews etc)... Is still 1080p based and the C300 is still king. I can see the C300 ii slowly grabbing back ground as the price comes down and the need for 4K in that area grows. Too little info and too little time passed to call it a flop.

The FS7 is great for slomo, the C300 II is great for AF, color, and skintones. Getting ARRI-like color from the C300 II is an amazing deal and the DPAF is super useful. Not having to mess with color AT ALL (if just wanting accurate/pleasing skintones) is a great advantage of the C300 II over the FS7. That's why Canon is still so popular.

I see where you're coming from but...
That is the same as saying H.264 wasn't designed as an acquisition format, yet now it's the basis for Sony XAVC and Canon XF codecs.
As long as H.265 has the hardware encoder / decoder chips to support it there's no reason why it can't be an acquisition format and an edit-ready codec.

RIP Samsung,  you were way ahead of your time. Too smart for your own good! 

Samsung was ahead of it's time with the NX1... Too bad they got out of the DSLR business. They showed real promise. 

Bringing this back to life, this time with a picture :

I was talking about an adapter, not a speedbooster, it could be possible to adapt to m4/3 or other APS-C. NX lenses are a lot of thousands in the wild, maybe the sales weren't encouraging to sustain a whole ecosystem for a couple more decades, but a one-off adapter  is something that could sell easily a few thousands copies, in perspective, if someone makes one and sells off ebay, then it is not a bad business to do. In 4-6 years time, when NX won't be relevant any more, it would be nice to use S lenses, or the amazing 85 on a 8K camera. I believe most people with such lenses (or a collection of primes, or the 60 macro, etc), will be willing to spend 400-600$ to sustain their collection of lenses. Definitely it will be cheaper than built from the begining in a different system.

Ah so I see what is happening.
C300 is everywhere and cheaper.
Sony FS7 if you need slow-mo
C300 Mark II butts up against the higher end RED and Alexa stuff, whereby you may as well rent one of those instead.
It is kind of in no mans land and a victim of the C300 and C100's continued popularity.
Canon have blundered - ooops.

C300ii is a beast. You will see it near 3000$ in no less than 10 years time.
For whoever mentions Sony A7 series as the only true hybrid cameras, I am pointing them to the active little community of Samsung NX1 owners around here. In our opinion, NX1 are more hybrid than hybrid! I am not going to mention specs (even though most are in favor of the NXs) but ergonomics/battery life/menu/heat management is from your cameras of the future.

I was describing the rental situation in my country. I can understand not a lot of C300ii being rent, as for most cases version i is just sufficient.
C100s are the clear leader in sales as most customers do not even care (or know that exist) about 4K.
Honestly, only in special occasions we rent a Sony for slow motion, in any other case, why would we?
I have the NX system for 4K, plus we use a JVC LS300, all the other cases it is C100i & ii and C300i. We still use 3 Canon markIII occasionally, but if I could convince my other partners they would have been replaced by NX1s instantly! For anything more, there is always a Red with a dedicated assistant for cheap (like 300$ per day), or Alexa.

C300ii is a beast. You will see it near 3000$ in no less than 10 years time.
For whoever mentions Sony A7 series as the only true hybrid cameras, I am pointing them to the active little community of Samsung NX1 owners around here. In our opinion, NX1 are more hybrid than hybrid! I am not going to mention specs (even though most are in favor of the NXs) but ergonomics/battery life/menu/heat management is from your cameras of the future.

OlikMIA: No, WE are representing a minority segment! As the forum is more video orientated, it is normal to expect people to be more enthousiastic with "cheap" C300iis, than expensive hybrids.
Panasonic is always interesting but they have to overcome their sensor size (I do not see them going FF with the GH5), Sony is Sony (in a bad way). For many people mkIV is just right, maybe it is ok for you too.
Hybrid/mirrorless cameras are the present and the near future. I do not see the point of dSLRs anymore and I am not that crazy about conventions such "I want full frame".

100% Agree with you Andrew. I discovered the first footage of the NX1 through your video in Portugal if I recall correctly. Now I'm filming a documentary about handicapped kids in Ukraine with the NX1. This morning we filmed in a swimming pool using an underwater sleeve and it was great. This camera sustained rain, snow, and some falls. We already have over 2TB of footage (using hacked NX1 with 120 to 140Mbs bitrate) and almost shot everything with the 16-50S lens. This thing is so amazing. I keep looking for something better and considered many times changing but after renting a FS5 + Shogun and a BMD Urasa mini, I am keeping my NX1. It just seems the only 4K camera (not talking about Red or Arri) out there that actually resolves a resolution of 4K. Everything else (especially Sony) seems like FullHD + to me. Now it's disconnected... and it sucks.
(also we are using a Lensbaby 56mm macro velvet which is an NX mount lens. Beautiful crazy footage coming out of it ! Very interesting alternative to the 60mm macro Samsung)
 

I believe 1.64 is overly generous.
Relative to the full frame sensor is is 1.74
My pre-release calculations based on 30MP were right... around 1.7x crop.
It certainly looks like it based on the 8MP hole in the 30MP frame.
A severe crop make no mistake
Don't let the 'explorers of light' sugar coat it by making comparisons to Super 35mm!
Nah Canon are like Sony
Enormous corporate giant plodding along with giant marketing and hype
Sony are like Nikon... A more hardcore focus on non-casual 'gamers'
Nikon are like...... Sega. Obsolete
Panasonic are like Nintendo. Innovative, smaller specs, lower budget but famous nevertheless

OMG (I have never written these 3 letters in an order like this before), Gopro's new update brings REAL manual exposure to hero 4 black! We can now adjust the shutter and iso and keep constant exposure!
Just wanted to share these great news 

Use only proven spec to ensure cameras work well is one thing. Cripple a 3500$ camera just to protect your 10k$ one is another.
Why not adding C-Log for example? Is that something that will put in danger the 5D reliability....?
stop defending Canon when they do shit. 

wouldn't be nice to have the nx1 tech inside a d750 nice body with a ff sensor at hearth? just saying.

Rode is good for low budget equipment but in the end you get what you pay for, the Rode boompoles and the blimp are the worst I have ever used, recently I bought the new Boom Pro which is a Rycote rip off, and it is worst than the Rycote (there is a licensing thing going on I think).
Now with the Rode-Rycote lyre co-operation the whole line is going up a notch.
The mics are very good value for money, but after a year using continously their mics for work, when I went back to Sennheiser the sound felt right and the Sennheiser blimp, even thought a bit outdated and pricy, it does the job much better. K-Tek as well, in general, boompoles and blimp are a no go for me (I kept the boom pro because it is really light, and for easy tasks it can be ok, but for film/TV certainly is not).
The dSLR kind of mics are very good value for money and very right (again, with the new Lyre system), and much better offerings than other companies, here Rode are pioneers.
I would like to use the RodeLink, I haven't.

No, but if you ever see me selling an Alexa for $5k, western union only... IT'S HIM!!!