Hanriverprod

Here's another... Ticks alot of boxes, will be very pricey
They give details about the CX15 here too at 3:40... nothing too exiting, as expected:
 

Yeah likewise, I do kinda like the images, but something is off (sharpness, resolution) the videos I have seen look like SD footage to me. Not sure if it is a camera thing, or the uploaders mistake.

The build quality of the Mini probably won't be end of BM's cameras after all it seems the 4.6K is a very popular camera. One of the most concerning ones is that they apparently designed the camera to have a CPU right behind where the side handle attaches. There have been a few reports of the camera taking a fall and landing on the handle, breaking the outer housing, which in turn hits the circuit board breaking a CPU. In these instances BM has refused to repair the cameras leaving the owners SOL. 
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=51171
My biggest issue with BM is that I really don't like the way the company, at least when it comes to cameras, operates. It is awesome that BM offers free versions of their software but the way they conduct themselves otherwise is downright disrepectful at times. They over promise and under deliever, they are deceptive and not really trust worthy. With the Mini two features were lost GPS in September 2015 and global shutter in March 2016 yet they announced at NAB the camera was going to be shipping in July 2015 when they were clearly nowhere near ready to ship. Some say it was over optimism but I don't buy it, I think they knew full well they wouldn't make that date an announced it anyway. Then for the following eight months they moved the ship date one month at a time stringing customers even though I am sure they also knew that it would not be shipping that following month in the many instances when they changed the date. It seems they like to create a buzz, offer a BS ship date to get people excited and focused on the product then string them along until it is finally ready. 
There are many other instances dating back to their very first camera and their communication still an issue. The biggest one for me is how they treated their URSA owners. At NAB they said that URSA owners would be given priority for the 4.6k sensors and would get their turret upgrades first. They even announced a lower price for the 4K URSA so new customers could buy it then and pre-order the turret for the same price as just pre-ordering the 4.6K URSA. That way the can use the camera now and would also be given first priority on the new sensors. Yet when the time came they backed out of their promise and released the 4.6k Mini first. Now I understand it is a business and clearly the Mini was the new flag ship camera. With it being so overdue they decided to release it instead of living up to their promise. Understandable but how did they handle it? An appology or at least an explanation to the URSA owners? Nope, they said absolutely nothing at all. They released the Mini and didn't even bother to mention the URSA in their announment email or video. They left the URSA owners in the dark with out any official announcment or explaination. The URSA owners still have no idea when they might be getting theirs but they are clearly at the bottom of priorities now. 
If someone can come up and offer what BM does I am sure many BM users would happily jump ship, especially if they are respectful and communicate well. Until then BM probably isn't going anywhere. 

New news, it is shipping :-D
 
 
http://www.newsshooter.com/2016/08/31/birtv-2016-kinefinitys-6k-terra-starts-shipping-and-gets-new-accessories/

A lot of great footage in this thread. Thanks for sharing guys. Is it just me or does the gx85 handle highlights more gracefully than than the g7?

@Hanriverprod the gx85 handles everything a little better than the g7. 

A lot of great footage in this thread. Thanks for sharing guys. Is it just me or does the gx85 handle highlights more gracefully than than the g7?

For low budget indie, get something with high quality focus tracking and manual focus assist such as the C100 Mark II (we use the C300 II and 1DX II). While the A7S II is great for low light, and we can make skintones look decent, Canon color is still much better for skintones and requires less time in post, which is very valuable. Getting your shots in focus, especially moving shots will save time and money. If you have an experienced focus puller available, this is less of an issue, however your camera rig will be much more complex, and some shots such as gimbal/steadycam benefit greatly from solid autofocus. The C100 II is razor sharp 1080p- the soft wide comment must have been the lens or focus. The files are also very small and easy to edit. Sony is getting better with skintones with each new camera release, and their autofocus is improving as well. I would expect their next release to be very competitive. Until then, the C100 II is a great sweet spot camera for bang-for-buck, reliability, autofocus, low light, and skintones.

Im going to throw Panasonic into the equation, I just shot a Feature film with 6 Panasonic G7 cameras with Nikon Glass and Metabones XL speedboosters and Gini Rigs cages
 
G7 in 4k is an amazing camera I tested it at length against a RED Epic and Arri Alexa and we all prefered the image fom the Panasonic especialy in low light it out performed the Epic , so much cleaner image off the Panasonic no noise or fizz in the blacks like the Epic had.
I shot the movie with these lenses
Nikon 80-200 f2.8 'Bourne Lens'
Nikon 28-70mm f2.8 'Bourne Lens'
Nikon 20-35mm f2.8
all on Metabones speedbooster XLs to give a Super 35mm field of view on the G7 it also made the f1.7 contant apperture zoom .
The Nikon Glass with the Metabones XL gives a look very similar to Zeiss Master Prime lnes its that sharp and good.
with those 3 lenses you can shoot your entire movie
 
 
 
 
 
see pic

Yes.  Seems like you have a handle on things.  
When it comes to small productions, unless you have a good reason (story) to actually use a camera and film something interesting I really don't see a reason to put the cart before the horse.  When you're finally really excited about what's on the page, then take time to worry about the tech.
If your film was on a budget wherein you were the DP and your main concern was the camera, then you could burrow into the rabbit hole.  Otherwise, just get what you can with that 8K and you'll be fine.  
Personally, I sometimes wonder if too many production people feel like the subjective issue of skin tone/color is something that'll make or break a movie.  I mean, I care about it too, but it's waaaaay down on the priority list.  That's me though.  I tend to do work wherein I'm the beginning and end of everything, so my priorities need to take into account much more than just camera... The first one being, would a viewer even find this story interesting?

Personally, I would not mess with the FS700. I shot with that a lot and the colors and skin tones are just off. Not too sure about the FS5, but I think an F3 is like 1/3 the price and the savings could be spent on glass rental...
I bought an F3 a month ago, maybe my favorite camera I have owned. The color you can pull from the camera is just so nice. Excited to be working with it. It reminds of the BMCC or the pocket, with NDs, really nice battery life, and the reliability you expect from a camera in that class. 
Attached a couple stills. There's tons of F3 footage online, but just wanted to give that camera an up vote. I would get the F3 and a the 7Q recorder used. The whole package should be under 3 grand.
 

I'd be more inclined to rent Angie DP Rouge's - I freaking love those lenses!
Again, don't underestimate the importance of glass - say what you will about Sony, but shooting F5 or F3 with Angie's or Ultra Primes is magic.
Mine has the full upgrade, and I can confirm that you can do 50/60p 10-bit 422 over single HD-SDI. Can't attest to whether it would need dual-link without. 

Yes they are basically the same size, the 18-100 is the newer design of the same lens. It is a little bit sharper, so I am told, and considered a better lens but it goes for around $9000-$10000. I believe the 20-100 is about 14" long, has a 144mm front and weighs about 10.5 lbs. It has a min focus of a little over 2 feet so it can be used for closups on the long end. It is decently fast and has a slot for rear filters if you find one that still has the filter holder. It is a fantastic lens, if you can handle the size.

Oops, just realised I put a pic of a Cooke Varotal 18-100 T3, but it seems the one you're referring to is a similar size anyway?

True but the difference in price is marginal and doesn't it also allow for 60P 10bit 422 over a single SDI as well where it would require dual link without?

Take a deep look into what people are doing with the FS7 and LC709a, such as over on dvxuser and other places. Give great images from it, Arri like. 
 
Also, this:
 
 

Yes it is big and fairly heavy but not as heavy as I thought it was going to be. I own one that I use with my F35, beautiful lens but definately not run and gunning with it. It also has a interchangeable mount design so it can be easily changed from PL to EF, etc... 

Not 100% essential, but important to look out for anyway.
However there was a free s-log upgrade available which you can get if you don't have the paid version, and that allows you to have s-log 10bit 422. Just you miss out on 444, but the gain there is marginal in most use cases.
I used to have a big bulky set up (using V mount batteries even!). But my set up now with the Samauri Blade and a 24-70mm f2.8 is quite a nice compact set up, can even be usable for run and gun shooting with my Sony F3. 
Yes! Shows even $500 cameras now can do amazing work. 

This thread:
 

Maybe you missed focus on the wide shots as it wasn't properly calibrated for infinity focus??? Seems strange for RED 4K wide shots to be thought of as too soft?!

And shooting 4K for 2K delivery to give "more options in post" doesn't come with pitfalls, you'll need to be spot on with your focus, and the crop will mean deeper DoF than if you'd shot it originally with a longer lens without cropping. Plus 4K means heavier demands on data storage during production and in post. 

All of these can of course be overcome, but shouldn't be ignored casually. 

Even just 1080 10bit 422 will chew up a lot of space over a feature! Is what I'll be doing on my next feature. 

Maybe for my feature after that we'll have the budget to use 4K 10bit 422 cameras for the whole thing. (as would like to use a Sony FS700 with FSraw down converted to 4K ProRes HQ on the fly with an Atomos Shogun, but that would stretch our budget too far So Sony F3 it is! If we do get any spare budget at all, it will be to buy a second Sony F3 so we can shoot with two at once)
Yeah the director Colin Trevorrow shot his first narrative feature film on an F3: "Safety Not Guaranteed".
Note however, I believe this was shot with a pre-S-log camera and all internal. Or in other words, you now in 2016 using the F3's S-log and 10bit external would be getting a much much better camera than the version of F3 which shot "Safety Not Guaranteed"!

Colin Trevorrow went on to make Jurassic Park (4th highest grossing film of all time!) and will next be making Star Wars: Episode IX.
 
 
Oh wow, a Cooke 20-100mm T3.1, that sounds like a handy and great zoom range with a fast enough T-stop, all this with the Cooke name for $4K? Can't afford it now, or even probably next year, but sounds like something I could aspire to own in the medium term future!
But then I looked up what the lenses looks like on an F3.....


WHOA!! That seriously pushes the limits for me for an "everyday" lens to shoot a feature on. Hmmm....

I have a Panasonic G6 too! :D Often times when a lightweight easy to use G6 is preferable. 

And for multicam shoots such as weddings using my G6 to roam around for sniper shots along with a few GH1 bodies locked off on tripods, makes for an effective and very low budget set up. 
You can now find the F3 at US$1500ish prices without too much trouble, I would never pay US$3000 for one!
Heck I paid just US$1.2K for mine, and that was over a year ago when prices were higher then on average than they are now. 
https://www.maoritelevision.com/tv/shows/reset/S01E003/reset-series-1-episode-3

The entire water fountain scene at @1:23 was pick up shots I did using my F3 with ProRes HQ.

The rest of the episode I was DoP for & shot with a Sony FS7.
Great deals on the battle test Kinefinity KiniMini 4K on their website! US$3K I think? 

Or get the Kinefinity Terra 5K for $5K.

I'm not such a big fan of renting even glass on extremely low budget productions. You can go far with a set of zooms: Tokina 11-20mm f2.8 + Tokina 28-70mm f2.8 + Tokina 80-200mm f2.8 (and throw in the Nikon 50mm F1.8D, too cheap to not include!). This entire set of lenses can be got for just over a thousand bucks (and half the cost is just for the 11-20mm UWA!).
Or get a set of Rokinon Cine DS lenses:
http://ironfilm.co.nz/rokinon-cine-lenses/
 

Depends what you call 'proper' colour correction  
Firstly, the F3 and F35 are very different beasts to the newer Sony cameras, with totally different sensors that behave differently.
Secondly, having shot extensively with both the F5 and F55, I'll say they're both different cameras to say an FS7. Perhaps the difference between an FS7 and F5 isn't as pronounced as say the FS7 to F55, but it's still different.
Realistically, an F55 kit should probably still sit within your budget, and the F55 is an great camera. As always, each has their quirks, but I'm very happy shooting with both the F5 and F55 if I can't rent anything else.
Keep in mind the F55 has the same CFA as the F65, so the picture is closer to an F65, the F5 has a picture closer to an FS7. Either way, if you think you're going to get A7s-looking stuff from any of these cameras simply because of SLog2/3 then you are mistaken. It's sad that Slog has had it's name somewhat tarnished by people using it in 8-bit 4:2:0.
I think more important is the glass you put on the front of it - it can transform the look of a camera.
You may also want to see if your local rental house has the new VaricamLT or an Alexa Mini - you might be able to fit them in your budget.

The Sony F3 and F35 are older cameras and don't the same Sony look as the current cameras do, especially the F35.