Matthew Hartman

Dude, you're going to have quite of few of us on the edge of our seats for this one. Please do update us ASAP. 
Of course this is speculation, but the current 15fps RAW photo buffer is quite short. 

^ This in spades. ^
I've learned this quickly over the years. So many people understandably focus on the camera, but really that's only half or less of the entire picture. 
In my view you want a tripod, a shoulder rig, a 3-axis motorized gimbal, a glidecam, a slider, a vest, a drone, a jib/crane, a gorilla pod. You want it all basically. It is not very difficult to find justifications to purchase or rent it. 
To not have it available to you is like a mechanic trying to fix everything on a car with just one socket wrench. It's not happening. 
This is an expensive field. You're going to be paying considerable costs for this interest and profession regardless how big or small your setup is. The tools of the trade are pricey, and if they're cheap they're pricey in other ways that make you uncomfortable on location or set. 
Give us your set up time. ?
Do you show up to the gig early or are you having the client waiting on you for setup? 
I always try to show up early. I personally hate having clients and talent watch me set up my rig and start asking technical questions, or look at me like, "Is this really nessecary, can't we just point the camera somewhere and hit record?" 
I worked recently with a very impatient Director. It was hell. Instead of mitigating the expectations of the talent on the ground, the director made setups much worse by trying to rush me through them and encouraging the talent (mostly amateurs) to start telling me what my job should intel and how long it should take. I mean, how much time does it take to whip out a smartphone and hit record, right?  
Lots of sighs and moans and sideway looks. It put a lot of pressure on me and ultimately the shoot suffered big time. Also, the Director didn't believe in blocking or storyboarding or anything that resembled planning.  
Never again. ?

I would see if the RAW internal recording on the NX1 comes into fruition. If so, and it's as remarkable and reliable as being touted, we may have to reclassify the NX1 to king of the hill. We'll see what April brings. Hopefully not a cruel joke.  

@kye
This guy does a lot of videos on best practices for handheld gimbals. You may find it useful. 
https://www.youtube.com/channel/UC8sibhG707qg5AlVlj5P3mw

I should have known better that this was going to spark a my camera is better than your debate. 
Don't get caught up in specs. If you've taken a good shot, its a good shot regardless what camera took it. The horse goes before the cart here. 
There's nothing inherently better about full frame in the context of good or bad photography. If that were the logic, then simply owning a medium format camera would make you the "best" photographer in the land.
At the end of the day crop factor is entirely arbitrary when you speak in terms of talent and message. The differences in field of view to shallow depth of field ratio is physical, but not creatively insurmountable.
A lot of clients hear things said about this or that camera, but don't really know or understand the difference between them. All they know is that their buddy had a recent shoot and the photographer used XYZ camera and they liked the result and thought it looked professional to them. What they don't realize (because they are uneducated) is that in the right hands there's a bunch of other cameras that could also deliver this. In other words, it's the photographer not the camera.
The camera simply captures the frame. But what is your frame communicating? 
 

Here is a VFX heavy short film I shot on the Samsung NX1 years ago, finally decided to finish it and get it online so here it is!  The last scene is the canon T3i 
all lenses used are the rokinon 24mm f1.4 and Canon 50mm f1.4  
Watching in 4k is strongly recommended as YouTube loves compressing things 
 
 
 
 

You could have mitigated the blown out sky by not backlighting your subject matter. Had you simply turned 90° or 180° you  (or had a bounce board) could have brought down your overall exposure and you wouldn't have had such a high contrast ratio. You had golden hour working to your advantage but didn't utilize it. 
You have to be more selective with your staging when working with cameras that have limited dynamic range. It's about knowing your tools and how best to use them, instead of trying to force them to do something they weren't designed to do and then blaming it. 
Please note: I'm using you and this post as a springboard for a teachable moment. 

Were you doing tatical military training? ?

I should have known better that this was going to spark a my camera is better than your debate. 
Don't get caught up in specs. If you've taken a good shot, its a good shot regardless what camera took it. The horse goes before the cart here. 
There's nothing inherently better about full frame in the context of good or bad photography. If that were the logic, then simply owning a medium format camera would make you the "best" photographer in the land.
At the end of the day crop factor is entirely arbitrary when you speak in terms of talent and message. The differences in field of view to shallow depth of field ratio is physical, but not creatively insurmountable.
A lot of clients hear things said about this or that camera, but don't really know or understand the difference between them. All they know is that their buddy had a recent shoot and the photographer used XYZ camera and they liked the result and thought it looked professional to them. What they don't realize (because they are uneducated) is that in the right hands there's a bunch of other cameras that could also deliver this. In other words, it's the photographer not the camera.
The camera simply captures the frame. But what is your frame communicating? 
 

You could have mitigated the blown out sky by not backlighting your subject matter. Had you simply turned 90° or 180° you  (or had a bounce board) could have brought down your overall exposure and you wouldn't have had such a high contrast ratio. You had golden hour working to your advantage but didn't utilize it. 
You have to be more selective with your staging when working with cameras that have limited dynamic range. It's about knowing your tools and how best to use them, instead of trying to force them to do something they weren't designed to do and then blaming it. 
Please note: I'm using you and this post as a springboard for a teachable moment. 

Recently worked with a director (for a long running children's TV show) who gave a call time of 3pm and also expected to start shooting at 3pm.....   errr.... what???

People forget about color profiles all the time. You can't expect different apps to automatically display/read the same colorspace even in embedded ICM profiles, some apps simply don't respect this, rather use a profile that best covers a wider gamma by default. 
So what you did was force your app, in your case Chrome browser, to match the embedded ICM color profile of the video file, because Chrome was overriding it automatically, prefering a different colorspace instead.  
Also, don't forget that monitors and TVs all have their own preferred calibrated colorspace too. When you talk about color calibration and conformity, it's not difficult to get in the weeds quickly. 

IF you have to stay m43, then your choices are obviously limited. That being said, GH anything is not renowned for it's stills. That doesn't mean it's bad, but it hasn't been turning a lot of heads to say the least. 
In my opinion there's only 3 choices when you want equally good video and stills in one camera body. 
Sony A "pick your poison"
Samsung NX1
Fuji H-X1 (as controversial as it's been here)
Interestingly enough all have 8bit output.

^ This in spades. ^
I've learned this quickly over the years. So many people understandably focus on the camera, but really that's only half or less of the entire picture. 
In my view you want a tripod, a shoulder rig, a 3-axis motorized gimbal, a glidecam, a slider, a vest, a drone, a jib/crane, a gorilla pod. You want it all basically. It is not very difficult to find justifications to purchase or rent it. 
To not have it available to you is like a mechanic trying to fix everything on a car with just one socket wrench. It's not happening. 
This is an expensive field. You're going to be paying considerable costs for this interest and profession regardless how big or small your setup is. The tools of the trade are pricey, and if they're cheap they're pricey in other ways that make you uncomfortable on location or set. 
Give us your set up time. ?
Do you show up to the gig early or are you having the client waiting on you for setup? 
I always try to show up early. I personally hate having clients and talent watch me set up my rig and start asking technical questions, or look at me like, "Is this really nessecary, can't we just point the camera somewhere and hit record?" 
I worked recently with a very impatient Director. It was hell. Instead of mitigating the expectations of the talent on the ground, the director made setups much worse by trying to rush me through them and encouraging the talent (mostly amateurs) to start telling me what my job should intel and how long it should take. I mean, how much time does it take to whip out a smartphone and hit record, right?  
Lots of sighs and moans and sideway looks. It put a lot of pressure on me and ultimately the shoot suffered big time. Also, the Director didn't believe in blocking or storyboarding or anything that resembled planning.  
Never again. ?

^ This in spades. ^
I've learned this quickly over the years. So many people understandably focus on the camera, but really that's only half or less of the entire picture. 
In my view you want a tripod, a shoulder rig, a 3-axis motorized gimbal, a glidecam, a slider, a vest, a drone, a jib/crane, a gorilla pod. You want it all basically. It is not very difficult to find justifications to purchase or rent it. 
To not have it available to you is like a mechanic trying to fix everything on a car with just one socket wrench. It's not happening. 
This is an expensive field. You're going to be paying considerable costs for this interest and profession regardless how big or small your setup is. The tools of the trade are pricey, and if they're cheap they're pricey in other ways that make you uncomfortable on location or set. 
Give us your set up time. ?
Do you show up to the gig early or are you having the client waiting on you for setup? 
I always try to show up early. I personally hate having clients and talent watch me set up my rig and start asking technical questions, or look at me like, "Is this really nessecary, can't we just point the camera somewhere and hit record?" 
I worked recently with a very impatient Director. It was hell. Instead of mitigating the expectations of the talent on the ground, the director made setups much worse by trying to rush me through them and encouraging the talent (mostly amateurs) to start telling me what my job should intel and how long it should take. I mean, how much time does it take to whip out a smartphone and hit record, right?  
Lots of sighs and moans and sideway looks. It put a lot of pressure on me and ultimately the shoot suffered big time. Also, the Director didn't believe in blocking or storyboarding or anything that resembled planning.  
Never again. ?

You're probably right, but I hate upscaling to 2k, which is what I typically target for my output resolution in case my clients want to take their work to festivals. 2K is still the main theatrical standard with 4k projectors on the rise, which is probably why Arriflex stuck with that resolution for so long. It's a tradeoff, and I would consider lower resolution in fast paced scenes as opposed to that rolling shutter. 
Thankfully, the Ursa Mini is on it's way and I won't have to worry about so much pronounced rolling shutter, just my back instead. 

54 pages on this freaking camera. (Or any) Why is this particular camera so controversial here? I feel bad for the people that actually bought and like this camera, I'm sure they came to this thread to enjoy talking about it with others that like it too. I wonder if Andrew can close this one and start a new one for those that actually care about it? For those that don't, simply disregard it, it's really not that hard. 
I have to say, it's been a long time for me where I've seen people so vehemently debate each other's opinion and preference, as if that were even debatable. It felt like I was reading an Android vs iOS or Windows vs. OSX comment section. 
I'm officially checking out of this one fellas. Seen you on the flip side of the moon. 

Well that did it. Now my obsessive curiosity just kicked in. ARGH!  
If this is true and the record time is decent (get ready for large and fast SD cards) this renders this camera up there with the top of the line cinema cams. That image sensor has a 14bit 6.5k RAW signal. 

People on eBay right now when they try to outbid EOSHD members for used NX1's.
 

54 pages on this freaking camera. (Or any) Why is this particular camera so controversial here? I feel bad for the people that actually bought and like this camera, I'm sure they came to this thread to enjoy talking about it with others that like it too. I wonder if Andrew can close this one and start a new one for those that actually care about it? For those that don't, simply disregard it, it's really not that hard. 
I have to say, it's been a long time for me where I've seen people so vehemently debate each other's opinion and preference, as if that were even debatable. It felt like I was reading an Android vs iOS or Windows vs. OSX comment section. 
I'm officially checking out of this one fellas. Seen you on the flip side of the moon. 

54 pages on this freaking camera. (Or any) Why is this particular camera so controversial here? I feel bad for the people that actually bought and like this camera, I'm sure they came to this thread to enjoy talking about it with others that like it too. I wonder if Andrew can close this one and start a new one for those that actually care about it? For those that don't, simply disregard it, it's really not that hard. 
I have to say, it's been a long time for me where I've seen people so vehemently debate each other's opinion and preference, as if that were even debatable. It felt like I was reading an Android vs iOS or Windows vs. OSX comment section. 
I'm officially checking out of this one fellas. Seen you on the flip side of the moon. 

Record time is unlimited. There are other limitations though...
Photo buffers are mostly limited, even on pro line cameras. But our phantasy and ideas are UNLIMITED...
And now let me go back to learning for exams. Spending too much time with fiddling and shooting is NOT good for my graduation.

Google Drive. I have 2TB for $10/mo. You can upload/link anything you want. You can choose to sync or not. 

This may be the case and the device may turn out to be awesome. I think most reasonable people can accept the time it takes to develop technology like this, especially as a mom and pop venture, but that's no excuse for long periods of silence. Does it take a lot of time to jump online and post a weekly status report? A paragraph or two?
You're sitting on people's hard earned money, they deserve updates just as any investor would and typically demands. 
Had I been working on a project for work and gone silent in communicating status with my director I would probably end up getting fired.
Do what you want with your own money, but you have certain obligations tied with investment. When you have to repeatedly apologize to your backers, you're doing something wrong. 
This is good news for the product and I'm interested to see what it offers, but I'm hoping the creators can pull away with some valuable take aways on better PR practices. Again, I dont think anyone was asking for much. 

There are a handful of Android storyboarding apps on Google Playstore, but nothing as refined and polished as "Blocker" in terms of including augmented reality into the workflow.
To avoid platform restrictions (which is an old business model approach for successful app building in 2018) we can start looking at web based tools, so that anyone with access to browser can use them.
I've played with the following application for a few months and it does require some massaging but it has a pretty nice feature set and it's 100% free too:
https://wonderunit.com/storyboarder/
Some others for Android
https://play.google.com/store/apps/details?id=com.plotagon.plotagon
https://play.google.com/store/apps/details?id=com.webgames3d.shotproandroid
https://play.google.com/store/apps/details?id=com.PowerProduction.StoryBoardQuickDirect
https://play.google.com/store/apps/details?id=com.brakefield.storyboard
https://play.google.com/store/apps/details?id=air.us.hollywoodcamerawork.shotdesigner
https://play.google.com/store/apps/details?id=com.reelapps.RAShotListerApp
https://play.google.com/store/apps/details?id=com.chemicalwedding.artemis
https://play.google.com/store/apps/details?id=com.celtx.script
Cheers