Most of the cameras we've all been comparing the Mavo LF to are not Large Format cinema cameras, but are Super35 sensors. Someone above said they should price the Mavo LF at $8000 to compete. There is in fact a Super35 version of the Mavo for exactly that price (http://www.kinefinity.com/shop/mavo_preorder/?lang=en). Comparing the Mavo LF to even a RED Raven or Varicam LT is like comparing oranges to a grapefruit.
Someone said you could find an Alexa Classic with High Speed license for the price of the Mavo LF body. The Mavo shoots in 6k. The Alexa Classic shoots in 2k. It's been at least a year since I've seen or heard about an Alexa Classic on a set, for film, music videos, commercials...no client wants less than 4k footage anymore. No Cinematographer wants to rent a Classic. They're a pain in the butt to use on set, they're bulky, and because of their weight require the use of support equipment that costs many times more than equipment that will support the 2.5-lb body of the Mavo. (Side note, the Alexa LF body is 17.5-lbs!)
The general pool of producers and directors have caught on, and now everyone wants 4k or they feel they're not getting their money's worth. Heck, even the Alexa Mini and Amira don't shoot in true 4k, their saving grace is that DP's can have the camera digitally upscale the 3.4k sensor (which records 3.2k 16:9) to "4k" so directors and producers are happy XD
The sad thing is, the Alexa LF was only made so Arri could have a camera that was Netflix and Amazon approved. They only approve cameras for their content that have 4k+ sensors, and Arri's ALEV III sensor (in all of it's beauty) only has 3392×2200. Essentially, were the Kinefinity cameras actually sold by a retailer in the US, then they would be approved for streaming service content all the way back to the Terra 4K and KineMax 6k.