Emanuel

I'd rather get the camera in the hands of more people which inevitably means more creative content that will show off the technology rather than the community be a bunch of stuck-up entitled assholes who think they're better than everyone else.
PS.  I drive a 911 and I think Caymans and Boxsters are great cars and they don't "dilute" the Porsche brand.  
High-and-mighty people ruin it for owner communities.  

don't talk about gh4 nor A7S 2 , same stuff, just enjoy this simple video recorded in Full HD prores HQ on the 4K mini Ursa (not the 4,6K 15 stops version, so let's imagine)...RED and Alexa or not so far this time...
 

Blackmagic ursa mini 4K starts at only 2800€, this time we play in the big guys yard.

I want a camera that renders like that kodak scan.

the reason there is no difference is because you are using a grayscale image so there is only luma information in your image so nothing gets subsampled.
It is the foundation of how chroma subsampling works:
"Chroma subsampling is the practice of encoding images by implementing less resolution for chroma information than for luma information, taking advantage of the human visual system's lower acuity for color differences than for luminance"
only color information gets discarded when using chroma subsampling, in your images there is none.
4:2:0 4:2:2 4:4:4
^ first number is the luma component, as you can see there is no reduction no matter the chroma subsampling.

http://admiringlight.com/blog/the-sliding-scale-of-camera-capabilities/
That applies 100% to video. 

Interesting to see how Canon was a killer, democratizing the industry for stills and then for video (5D2) by releasing affordable devices with pro features. 
Such a shame it is not the case anymore. What changed at Canon? 
All of this because of their Cine line   I hate it, and hate all of you who are buying C100, C300, C500 that make money to Canon and make them cripple the 7Ds/5Ds bodies for us non professional ... 
Without this Cine line, we would get a 5D4 with 4K with great bitrate and Canon Log - DPAF and so on.......
I still think 5D4 will have 4K unlike many of you (don't imagine how a body can come in 2016 without 4K, that would be non imaginable) when even iPhones get 4K. 
But it will probably a 5D3 like video, which means not clean, poor bitrate, no HFR, ...
Anyway. 

I wonder how they will call it. Red-uzi, pistol, knife, bonebreaker, baseballbat, shrepnell...

4:2:2 to begin with, even much more important.

Now I do like Canon colour, but it's not worth 3 times the price for a C300 MKii over this.
Sony pricing is hammering Canon at the moment... At this rate we will end up 100% Sony within the year from 100% Canon a year before. 
Come on Canon, catch up!

There is only one single feature that imo makes this camera very considerable to the competition. 
4K RAW in Future Firmware

Mattias, Emanuel said the same example before. You misunderstood him. He just cares for resolution more than you.

Thanks, I'll give it a read.
I completely agree that better acquisition will improve your final delivery.
However, seeing that an enormous amount of streamed video is watched on tiny displays I struggle to find any differences at all between well done HD and 4K while having two or more windows open at the same time in my Mac or PC. 
I would propose that we are slowly veering towards a "YouTube aesthetic" versus a "Hollywood/BBC video aesthetic" were the latter is more pleasing for narrative visual work, instead of 4 minute clips of people ranting about why the new iPhone sucks.
Cheers.
 

"Dji stealing costumers?"  They don't want costumes, just the people that make them!
But let's be fair, the OP is probably someone that's not using English as a native language.  Still, DJI has a rep for having non-existant "costumer" service, so it's most likely a legitimate complaint.
Still, you have to be prepared.  If your business success is dependent on one battery, you need to reconsider things.

it matters a lot in situations where there is only one of the basic colours: for example under water, where only blue is left, (green and red gone)
you only have 8 bit blue left, and this give clear banding
10 bit is much better in this case

Well since most people can only perceive about 1 million colors and only one person has been discovered that had the wetware to perceive more, it might not matter.

It matters when shooting log and grading. 

This confusion between acquisition and delivery is absolutely a swamp (this thing here walks in circles!)
"I was used to this usual mistake when in the early 90s, my video dealer was often trying to convince me that a VHS tape from video recording would equal the 260 lines of a hollywood blockbuster when downsampled.
Nyquist is mandatory reading"
http://www.eoshd.com/comments/topic/9355-canon-announces-development-of-8k-cinema-eos-camera-and-120mp-dslr/?do=findComment&comment=105951
 
Yeah? Funny. So, they don't see any difference on higher resolution (actually, the most probable for bad of our best intentions), but they will care about color and latitude... LOL
I wonder how many of people HERE are used to really have average people out there to directly evaluate their final work... That's what comes to my mind now.

No idea where you were 20 years ago (once I have no grandparents alive anymore, unfortunately, for your example -- no worries, I got the rhetorical intention behind of it, I guess you fit in a younger generation and both experiences follow accordingly) but exactly, as TV-producer in national and international broadcasting, that was my job in the business, then.
I can assure you "they" (our relatives, I bet yours too, so average viewer) they probably don't give a damn (more accurate to write like that) for a difference between 4K and native 1080p, but that's the real point. Because, neither they don't give a damn (even less, more likely) for better DR and color depth. Hence to tear off a bit, my analogy with the reality today in (ex-)communist regimes. Your point can also be mine, ours as geeks or filmmakers, but the way you all defend it as you know very well what they care about, it is pretty useless IMO.
And if you are so focused to give them what they want as they could care for any quality (they won't), I assure your egg ends fried in boiling water before you can see anything worthy to watch from there, because the final work will always be crap, it doesn't matter how pure our intentions are. For some reason, I've exchanged to bet in another screen size for the result of my efforts as producer, not because of audiences* but for the sake of my product. Where resolution counts -- to pair with everything else you/we like. For a better product, more chances and windows of distribution/exploitation, future proof (yeah, why to deny the obvious?) and so on.
 
* Nino Moretti (a hard-core communist : D or former one, no idea) has one very interesting on it when he answers in some interview more or less like this: "Audiences? What audience are we talking about?" So, here you have: What audience are you talking about?

Senti... There's a much improvement from 1080HD to 4x 2160UHD, there's no doubt on it (a proposito, I did this comparison Yesterday night on two TV sets with native footage, respectively).
On big screen, I've always gotten the difference, night and day on wides, since the beginning when RED delivered it for first time 8 years ago*.
So please, let's not try to match tangerines with melons.
As second thought, delivery has nothing to do with acquisition. Your SD copy from 4K or 8K capture will really shine much more "natural" when you just accept it as a simple truth à la Palice : D Sharp pictures comprehends softer samples whenever you want. Softness hardly the higher.
I was used to this usual mistake when in the early 90s, my video dealer was often trying to convince me that a VHS tape from video recording would equal the 260 lines of a hollywood blockbuster when downsampled.
Nyquist is mandatory reading, amico mio! :-)
- E.
*PS: Never had the chance to watch anything from Dalsa...
It just depends on the application as you well know... One thing is a f/1.8 close up, another one a really wide blue sky at noon or sunset... ;-)

Certainly, the scope of the convergence of form factor and hybrid concepts will synergistically target future-proof users and compellingly empower technically sound bandwidth to optimize superior functionalized systems and streamline value-added catalysts for heightened verticals.

In Rome, be a Roman : D hey, in any case, that just was the early beginning... the post is a bit longer ;-)

Codecs will have to follow that, as well; as same as for example, H.265 is a fair improvement of the predecessor. And not forget it is a delivery tool, no more no less.
Specialized tools always existed and ruled when we have the need of them. Except when they are not needed... : D That said, I hope HFR will never win the race. But, I guess high pixel density will. a7RII is the ultimate proof of it. No surprise so many people bash it. It happened the same with RED. Anyone here has memory of the reaction on the specialized forums? People hated it when started to see newcomers to take place. Today, 4K is norm at prosumer level acquisition. Funny, to say the least. HFR will never be, though! : P

I hope all their high end cameras come with 8k and 16k 12 bit 4:4:4, so that their regular DSLRs get 4K 10 bit 4:2:2 lolz

Not really understanding the negativity on this announcement. Can only assume the Canon name, coupled with the likely high cost.
Worth remembering though, if the flagship C500 II is 8K/60fps then the lower models have room to move up a level without threatening the flagship, eg 4K/24fps and 1080/120fps
Probably good news all around.