IronFilm

I honestly wish they would keep cineform in the camera's alongside Prores, I much prefer the Cineform codec.

The Kinefinity rep at NAB claimed that the Terra 5K version will have a "dual gain" sensor (for an expanded DR) as well as an improved rolling shutter mode in contrast with the 6K, which has the same specs as the Kinemax 6K. He made it very clear that the 6K version will perform exactly the same as the existing Kinemax 6K:
 
A lot of the Kinemax shooters seem to love the golden 3K that is for sure. Here is a very useful review of the Kinemax 6K by someone who owns and operates the camera for a living:
To me, 5K is absolutely the perfect resolution as 6K simply results in little visual improvement at the price of much larger file sizes and storage requirements. Just ask some of the RED Dragon shooters. Meanwhile, the improvements with DR and rolling shutter performance make the 5K a much better option in those areas. If I can only see some footage soon, I will consider cancelling my Scarlet-W order and moving to the Terra 5K. It has an amazing feature set and is almost too good to be true.

Stills cameras or digital cinema cameras? Before or after a grade? There's a very big difference between an A7s and an F55, and a huge difference between a GH4 and a Varicam.
Plus, they all get graded. And look, making actors look good is part of the job, but most of the time I'm shooting to serve a story, not simply to do beauty on an actor or model. Of course, there are times when you are shooting for exactly that, but to be honest, I'm yet to hear a complaint about a RED or an Alexa on those shoots. In fact, most of those types of shoots are more likely to request a RED well before a C300.
If I was doing stills only, I'd probably use a Canon. But we're not talking stills. We're talking high-end digital cinema cameras.
A video camera and stills camera are two very different things, but apart from that, the fact that there are more people shooting stills on Canon means only that Canon has a good brand name in a large market. Arri has a better brand name in a smaller market. There are also a lot more people watching television on cheap HD sets than expensive 4k ones. That doesn't mean the cheap HD sets are better, nor does it make their manufacturers more knowledgable about how to make TVs look good. Arri have also made film scanners (not just image scanners), the sensor in the D20 is essentially straight out of an Arriscan. Arri have been making cameras longer than Canon have, and have collaborated with some of the best lens manufacturers in the world to make lenses. 
Canon certainly have some knowledge and expertise, but I couldn't say definitively they know more than anyone else. Selling printers and scanners doesn't inherently mean you know more about colour, nor does selling more of your product in one market than another product in a different market (especially when you consider you appear to be comparing numerous camera bodies that range in price from <$1k to $30k, to a handful of bodies that start at $30k).
I'd argue Kodak, the company that at one time manufactured film as well as digital sensors, knows a lot about colour too, but their sales sure don't reflect it. Does that mean they made bad business decisions, or that they know nothing about colour?
I don't know how you can possibly say this given the C700 hasn't even started shipping, yet you seem to be suggesting that it is (or will?) outsell the competition somehow.
I can't find specific sales figures for their cinema division, but please feel free to share with me the figures (in comparison to the other manufacturers) and show me by how much, exactly, they're outselling their competition in their digital cinema camera division.
If you're talking stills, it's the same reason Coke outsell Pepsi. Brand name. 
This. Canon's colours are far from accurate, but I guess if you use one camera enough, you get used to it. 
I'm in no particular rush to decry Canon, as I said at $15k this camera is potentially competitive. In terms of the streaming sites, it appears that most have switched to (or are newly originating in) Sony, Varicam or RED. 
And I would be surprised if Arri don't have a 4k+ Alexa coming soon for this exact reason (and I've heard whispers that it isn't too far away). The ALEVIII sensor is over 6 years old, and is still just as good, if not better than every other camera out there, so will be interesting to see what's in store for a 4k Alexa

Surely, there must be demand for this camera somewhere in the market? Why would Canon even bother making it? 
That said, it seems overlarge and not very 2016 (more 2013). 
The Sony FS700 is four years old and can output 4k120fps RAW in a much smaller package. 
The Kinefinity Terra can do 5k60fps RAW in a form factor the size of your hand, and cost less than $6000. 
The VaricamLT is far more affordable and compact. 
What exactly is Canons strategy here? Clearly it looks like a rental speciality for high end production - but with Arri and RED still innovating, it's a tough one. 

Skin tone? You mean some people like the almost fake tan skin tone of the Canon gear?
The Varicam has the most accurate skin tone capture out of any of the cameras, and I don't know how you could possibly say that Canon's skin tone will be better than the Alexa...?
To be honest, I think the only people who really like Canon colour that much are those that have only ever used Canon, and don't really know any different.
As I said elsewhere, the VaricamLT offers almost everything that this offers, in a smaller, light, single-operator type body, yet designed to be operated with a full crew as well. It also offers Dual ISO, and arguably some of the most accurate colour reproduction on the market.
And it's about half the price of the C700
And it's failing to gain real traction at the moment.
The C700 is not a single operator camera, really, and yet the single-operator function of DPAF is their major selling point.
DPAF is about the only feature you can't get elsewhere at the moment. So you're banking a lot on people going for it simply because it's Canon, but I think the issue is that most people at that level go for image rather than brand name, really.
So it better have one hell of an image...
 
At $15k this thing starts to become competitive. I wouldn't be surprised if you saw this eventually drop to there, and the C300II drop in price slightly to make room for it.
when you're looking at this vs Varicam vs F5, that starts to become a more interesting proposition. But this vs RED Weapon vs Arri Mini vs Amira vs F55 vs Varicam is not a very strong position for this camera to be.

http://blueringlab.com/2016/03/samsung-nx-mount-protocol-general/ 
http://blueringlab.com/2016/03/samsung-nx-protocol-boot-sequence-1/ 
http://blueringlab.com/2016/03/samsung-nx-protocol-boot-sequence-2/
 
 

Agreed, I want to see a Rokinon Cine DS 18-85mm T4 S35 lens at a rock bottom low price!

They share general sensors, and camera software between lots of those cameras. 

Which helps reduce the R&D costs per camera by a significant amount. 

A good next step would be if they did a base mount (such as Sony FZ or Kinefinity sub-PL mount) as a common mount across their cameras. 
As I blogged about here:
http://ironfilm.co.nz/what-if-kinefinitys-kinemount-became-a-universal-cinema-mount/
 
What he means is the other companies do that as well.

BMD can't make them fast enough to keep up with demand!! That doesn't sound like "not selling many".
 
And as others said, display store demos are damaged all the freaking time :-/

Agreed, I want to see a Rokinon Cine DS 18-85mm T4 S35 lens at a rock bottom low price!

Nice camera shape with the new battery. Nice package, ergonomic, modular ... Curious to see some footage from the  6K but especially from the 5k ...!

Are there somebody who wait for Kinefinity Terra 5K real world capabilities more than GH5?

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

So we're honing in on the over $500, below $1000 range..

GH4 is competing with A7sII and A7rII, in the sense that they are taking market share that might have gone to the GH4. GH4 got a big boost by being the first on the market with 4K. It doesn't matter that it's half the price, it was the only option, so it was adopted for a lot of higher end uses. 
Panasonic need to convince video users that it's worth staying with the M4/3 system rather than ponying up the extra cash and switching.

The person I responded to obviously doesn't as he said F5 doesn't do internal 4K. The "paid" 4K firmware update 2 years ago was less than $1000 which is peanuts given we are talking about $10,000+  cameras.  Even before that, there was hack that allowed internal 4K recording anyway. Most F5s sold today are already updated to 4K fw version, aren't they?
The point is that when C300 Mk II was released, F5 by that time, already did internal 4K. and much more (ProRes, DNxHD, HDCAM SR 422 and 444,  10-bit XAVC, high frame rates, all internally, and 16-bit raw to AXS-R5 raw recorder.)
 

One more time, F5 can do internal 4K since 2014 after firmware upgrade (there was a free hack before that allowed 4K on F5 anyway, internally, without external recorder).
Aside from 4K December 2014 update enable recording in Apple ProRes and Avid’s DNxHD codecs directly to the Sony SxS Pro+ memory cards that the camera normally uses (note that's internally). These cameras already supported XAVC, MPEG2 and HDCAM SR, not to mention the additional RAW option that's available if you have the AXS-R5 raw recorder.
 

Get your hat ready Jax!

I can see it happening because Panasonic are at a turning point with M43 - Sony's full frame efforts have narrowed the size advantage and present a viable threat in video quality, so they need to do something drastic to stay in the high end ILC game. Without a feature like this, GH5 is going to be an also-ran. There is pressure to put out a product that makes similar waves as the GH4. 
And as has been said, they have no higher tier product to protect. 

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

The first picture of the article to illustrate the increased DR comes from their review of the D810 and there is not mention of this... Kinf of misleading...
 
 

Maybe the GH5's "6K" only applies to when recording in 4:3 mode for anamorphic shooters.
And we need to wait for the GH6 to see "true" 6K.
This seems very reasonable to me.

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

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