IronFilm

It's takes a village to raise a child, but it only takes two idiots to burn down a forum with their verbal diarrhea. 

I dunno.... I think it is a case of six of one, half a dozen of the other!

I went with the Samurai Blade for my F3 and I keep on kinda wishing I had got the BMD VA instead.....   but deep down in my heart I feel sure if I'd got the BMD VA instead I'd be wishing I'd got the Samurai Blade instead! ha!

"Grass is always greener on the other side."

Before I embark on this adventure, I have asked all the manufacturers of photographic adapters in the world. Metabones he said he was not interested, so I asked what the problem was, but they replied: "No. Unfortunately, it is not possible to fit the optics inside the Samsung NX mount flange distance owing to interference and physical issues".
I later contacted Mitakon but did not respond, so I tried with private constructor, it has tried so many tests, but failed, successively I contacted two other manufacturers of adapters, initially they said they would try, then I have never responded.
So, disheartened, I resigned myself for a long time ...
This, until, was born "Samsung NX Hack" it to rekindled my enthusiasm and so I decided to resume my project and I try with my knowledge of mechanical engineering, and today are well advanced.
No one is interested in producing an adapter for an off-market camera. Only passion and love for the NX system can give us the strength to work on it.
I thank all those who do not abandon this camera and I hope one day we can do a Samsung NX1, 6k Raw, Full Frame with Smart Adapter.
by necessity, born virtues.

Yes Marco, it's a speed booster prototype selfmade. It's possible. In the nex time I post my full work on it, and begginning the test on NX1 camera.

First video: "Samsung NX100 + Speed Booster prototype". 
For my test, I use the Samsung NX100 camera with Nikon Nikkor 50mm f1.4.
 
 

Wow, an amazing gift for your kids and their kids to appreciate!

If using a focal reducer just use the next step up in sensor size coverage at a minimum
 
Thus if using a focal reducer use FX lenses on APS-C sensor
Or DX lenses on MFT sensors if using a focal reducer 
 
But yes, if just using a straight adapter then a DX lens will be fine on an A6300

Dug up this thread by chance. So how does the math figure out in favour for or against the BMD Video Assist now the Samurai / Ninja Blade has fallen to 495 and the Ninja 2 is only 295!! :-o

Ive been doing alot of tests with the G7s on my custom made shoulder rigs and Im not having issues with the rolling shutter .
with regard to Pandora movie I did alot of tests to show the Director Arri Alexa v Red Epic v Panasonic G7 internal recording v Panasonic G7 and Atomos recorded .
and he liked the look of the internal recording on the G7 with Metabones XL speedboosters and Nikon lenses , its very very sharp clean image and he decided to do the whole movie with it , the image is superb and grades very well ,  using 6 x G7s was the best option for us time wise as I wanted to shoot multicam.

Being familiar with all the cameras discussed above I do agree with  Ebrahim's assessment about them. That being said I still think which one you prefer or is right for you is totally subjective so not sure I agree with the conclusion. It is clear Ebrahim is passionate about filmic camera properties (not just from reading the above but the 1DX2 vs 1DC thread etc) and that's fine. But outside of these specialised forum niches, people might reach different conclusions. I'm sure to many (including Canon) the C100 mk2 has better video quality then mk1. And same goes for recent Sony cams. The filmic vs cinematic / 4k video debate kinda reminds me of other digital vs analog or X vs Z debates I've seen in other specialised forums. In the end nobody is really right or wrong, just like you often hear there is no perfect camera generally speaking.. and with log profiles & grading become so accessible, the difference becomes kinda marginal aside from purists points of view.
Sure Black Magic's & ARRI's etc are cinema oriented cams and hence more filmic..  and the Sony's are better suited to dazzle with super-slo mo action or 4K cinematic commercials & music videos but that doesn't mean they're oriented towards non film educated or non passionate business persons. That's a bit too black & white a statement in 2016 imo. A lot of people have multiple needs these days. They might have commercial work and do narrative/docu on the side, or the opposite. All kinds of combinations but not necessarily budget for multiple specialised cameras. This is where the FS5 imo is a good all rounder with 10-bit S-log3, 12-bit 4K RAW option, 14 stops of DR and LUTs, EVF, modular, compact, S35 E-mount...etc.
Getting back to the C100 though.. imo it's biggest advantage today is price, ergonomics, c-log & DPAF. it's biggest con imo is 8-bit output and poor AVCHD codec. Grading limits aside, this could be a problem in areas that require higher output (like BBC 10-bit 422 standard).
 

BMCC EF is a no no due to the hefty crop.
 
Skip the BMCC MFT in favor of the BMMCC which is a lighter form factor and gives you 60fps slow motion

I agree, I bet there are more professionals using digital medium format for largely marketing/appearances reasons than for real, noticeable, concrete differences in image results.
Because at the high end of a being a photographer, marketing your brand matters even more than quality of result. As by that point everyone is already very good!
Good job at breaking down the pro MF arguments one by one. 
And MF sure is not winning on a cost basis! (no matter how cheap a Pentax digital MF gets!)

Worth quoting the comment from that latest Vimeo video shared:
 

Hopefully they have enough success with this 4K camera to convince them to include 4K on the rumored medium format mirrorless camera too. I'd rock a 4K MF camera with Fuji color science till the cows come home!

Wow... two thousand grand is... TWO MILLION BUCKS!!! That is a lot of scratch for a camera and grip - I'd at least want a lens, and 5 Ferraris...

We gained from a narative point of view as the actors perfered this way of working doing longer takes and complex moves with marks all over the set floor became the norm, we did this alot and the movie gained from that freedom , I always opperated the A camera on every take so that handled all the complex moves and focus pulls ,
yeah Panasonic bullet time here we come !!
the Director wanted David Fincher/Nicolas Winding Refn style of shooting so alot shot on legs careful framing , using symmetery where we could find it , and slow dolly moves , the camera only moves when it needs to ,no sudden movemets or randon pans,  there are only about 6 or 7 hand held shot in the whole movie , the Director is not a fan of hand held Paul Greengass wobblecam ,
I do like the hand held look alot and my next film is a Bourne /Bond syle classic British spy film and Im shooting this movie mainly all hand held as it add a dynamic realismto that style of movie.....I'm just starting pre production and tests shoots for this film now.
here are 2 test shots from last week I did for the Spy film with one of the actresses Joanna Bright, Panasonic G7 and Nikon 28-70mm with Metabones XL Speedbooster.
Arri 300s and 150s gelled and diffused.

This. I copped a C100 mk1 with DPAF upgrade secondhand last month for under $2K. I was actually saving up for an FS5 but couldn't pass on the deal. New I'd probably still go for the mk1 cuz indeed at $4K, we're approaching FS5 territory..
The mk1 EVF is terrible indeed but with a $40 C-cup it's usable. Not sure what you mean by FS5's "bad, buggy image", the firmware that came out 6 months ago fixed most of the noise problems (as documented by Andrew on this blog). The FS5 packs a lot of heat with 4K, 10-bit 422 1080p, usable S-Log3, 240fps & variable ND in a tight lightweight package. The IQ is great, but it's a Sony as far as colors (IQ is very similar to A7S2). It has a very "fresh" in-vogue looking image. C100 mk1 does have this filmic / classic docu look. I'm a fan of both looks, preference is kind of like picking between different film stocks..

Multi Cam is great for dialogue scenes as you can shoot over the shoulders in both directions at the same time and sneek in a 2 shot wide side on plus ECU head shots in both directions at the same time too !
5 cameras for all that and the actors love it as they can play the whole scene in one pass and its all 'real' the performance can be cut for one actual take so it all edits together perfectly , yes you have to light for it and set up the shots but I do highly recomend it !
its so much faster then with one camera .
I started shooting multi cam on my pop videos after I stopped shooting on film as its so much more useful to get all that coverage faster, so its not something new to me and when the Director of Pandora embrased this way for filming for this movie it was great to be let free to hunt down cool shots with all the extras cameras I had to use.
here you can see a shot from the movie and below it a BTS photo of the set up and how I lit it and shot it multi cam , I used 5 cameras on this sofa scene shooting both sides at the same time. cu head shots, 2 shots and wides all at once - saved loads of time !!

Lighting for 3 cameras something I did alot on this movie, you just have to think ahead so one angle doesn't take a 'bath' with the lighting, I would often use a Arri 150 as a shadow killer on the C camera angle , so as long as camera A and B are good with camera C I will shoe horn in to get a usable angle, 'coverage' is the word thrown around alot by Directors these days  , lots of DOPs say you can only light for 1 camera and thats the traditional way , well its not true you can light for multi cam If you think it through carefully it does work , 6 cameras is possible I did that quite a bit stacking them in pairs a close together  like  40mm and 75mm with the 75 slightly higher for a close up head shot , if you have enough light and big enough set you can do , I designed the set with the director so I could put the windows and the practical lights exactly were I wanted them , this helped alot . see pics below of some typical multi cam set ups on the movie

Ah I see, you used "just" 3 cameras for most shots. That makes much more sense. As I'd struggle to see how it makes sense to use six for most shots!

when you are working on a Movie you sign a contract and NDA ! and that contrat says there is an embargo on anything going out without premission from the film company - they own everything they paid for it including all my tests - now we live in a world of Facebook and twitter film companies dont want any leaks beore their marketing department decides what people can see and when .
So yes I can tell you the results of all my tests right now - just take my word the G7 kicks ass , with a Metabones XL - Nikon Glass and Atomos Ninja Assassin all rigged up on my Gini Rigs cages it s a serious film making tool
 
 
Now Colour grading is all in my eye - I shoot flat and add the colour in post - alot of my colour is on set I light always with coloured gels and get the look I want in camera - just on a flat profile so I get cleaner blacks with more detail - not crushed out

Sadly no... Otherwise I'd buy one!

The big upgrade via firmware that the A6000 got is XAVC-S

Got it!

We have to remember that every single camera to date always look very "video" on promos. Thats because we are a little minority and the camera companies would never make "filmic" demos. They would loose customers.
Regarding the film simulatuons I like them. Just like a LUT they are a great starting point. But more accurate to the cameras colors and saves you time in post. After the lift, gamma, gain is set you are already 80% there. LUTs always needs lots of tweaking.
 

My experience with the C300 mk1 (which is similar shape/weight) is I really wouldn't want to use it all day long, unless I had to, even my F3 is better suited to rig up for this, and an FS5 would be far far nicer than either.