IronFilm

For me - I would simply be happy if my A7s had IBIS and real weather sealing.
Internal 4k is neither here nor there - the fact that it can do 4k is good enough (and I think people make a much bigger deal about internal 4k than it really is - yes, I know it's handy to have and all the rest of it, but a camera that does great 1080p and is also able to do 4k is really enough for most occasions, especially with 4k recorders coming down in price).
I'd rather 10-bit HD than 4k internal - if they brought out an A7s with IBIS, weather sealing and 10-bit 1080p in XAVC, then I would upgrade (assuming it was a similar price to when it was initially released)
Sony just upped the RRP on the A7s not long ago as well (at least in Australia) - which would seem pretty strange if you had a successor coming soon.

this doesnt sound like something that panasonic would do. i hope. however the wording sounds very solid and not like "the gh5 will have ibis!!1 yolo" -trash rumors.
i would most definitely switch system if its a paid update. even if its just a few bucks. the competition is extremely high these days, with lots of other companies to switch to. Panasonic has never been "great" about firmware updates (not terrible either) and going this route would make me sell my gh4 immediately and get a NX1. (im on the edge anyway) this kind of marketing and selling scheme disgusts me. Panasonic said themselves that the feedback and sales on the gh4 are way better than expected. why not give a little bit back to the users, as an action of good faith? that way theyd be building trust for future cameras, which is something the need badly. lets face it, we all know that the NX2 will be better than the GH5, so trust, believe and good faith is something they should be aiming at. i have trouble understanding, why so many companies dont get that.
but until its official ill be leaning back and sipping ice tea

The $/min is a great consideration for this as well, never something I really thought of much before, but the difference between 25c/min and $31/min is enormous.

​I have a feeling that rumor will be proven untrue.  It just doesn't make sense with so much competition out there in this segment. 

Good to hear! Good for you as well
I use the Sigma 18-35mm on the GH3 with the Speed Booster and I'm still amazed at the results after every shoot. When shooting a medium close from someone with this beast at 35mm, there is almost an 'anamorphic like' distortion / perspective thing going on. It's by far the most beautiful lens I have ever used. If it only it was a 17-50mm it would literally never come of my camera.

My client don't know anything about the cameras. They'll mutter RED, 4k and slo-mo from time to time - but that's about it. They just want high quality images and trust me to deliver. They care more about my ideas and creativity then my tools. I help create the ideas, I shoot, edit then deliver. All in-house. So "burning in" doesn't apply to me. Only tried Slog3. Personally my clients love the FS7 results because of the slo-mo and cinematic look achievable. 
The 10 bit is a big deal. It saved me on a shoot where the main image didn't work out and we ended up making a green screen from pale green rags and green gels to light it. The DIY screen was awful and blotchy but it really pulled off in post! 
My main rental houses have multiple FS7's and they are almost always booked out. One of them said that their Epic isn't going out because people are trying the FS7. So to answer you question... This camera is making major waves! Don't know if the C300 mk II will change that. 
I used the ND outside. Didn't notice anything, I couldn't really say as I've only done most of my shots in controlled lighting. 
You can balance the camera by using lighter lenses and putting a V-lock on the back. Used it this way, seemed fine although it was mostly on sticks that day. 
 

​Kristoferman , I'm the founder of the company who's in charge of european distribution for Kinefinity, we're based in Berlin
and you're right, it's hard to find the needed information on kinefinity cameras because it's spread all around the web,
 
 
here are some helpful links for anyone who's interested:
1. the facebook group of Kine Users: https://www.facebook.com/groups/kinefinity/
2. independent forum run by the same guys who made the fb group: http://kinecommunity.com/
3. a collection of videos by one of our dear customers from Amsterdam: https://www.pinterest.com/pixelstudiostv/kinefinity-kinemini-4k-review/
4. the Main website - run by the Beijing based HQ: http://kinefinity.com/
5. the Europe based website (basically a clone of the main website) : http://www.kinefinity.tv/
6. contact for US buyers: pls PM me or send me an email to contact@kinefinity.tv and I will forward your request to the L.A. based sales rep
7. contact for EU buyers: pls check the kinefinity.tv website
Finally for all kind of tech related questions, inquiries, sponsoring requests etc. you can contact either me (kf.tv) or sales@kinefinity.com directly
 
Hope this brings a little light into the dark
cheers
Michel

​https://www.youtube.com/watch?v=pTmj6NoByz0 - 10:05
^Faymusmedia says the production camera can be used at iso 3200 (boosting in post), and the ursa mini is supposedly better
this test could be faulty - he seems to maybe have some bias, and of course the youtube compression is denoising it a lot for us (I've heard plenty that it is completely unusable by that point, those with experience will probably confirm)

The more I think about the DVX200, the more I like it. I shoot live theatrical events (concerts, musicals, plays) and my life would be much easier if my camera had the image quality of the GH4 but with a great servo zoom lens, ND filters and XLR inputs with proper controls. Imagine that, a GH4 with the usability of my old DVX100! Assuming the reviews and footage are good, once it comes out this fall I'm probably going to get one or two of these for my business. I'm tired of dealing with still photo lenses to shoot video. I'm tired of dealing with clunky XLR adapters. I'm tired of dealing with a camera that isn't designed for video first. The DVX200 solves all of my problems in one camera.
I do wish Panasonic had ALSO introduced an AF-200 with the same specs except a m4/3 mount. But for my needs, the DVX200 is exactly what I need. I just didn't know it until they presented it!

​The reason they do this is because there is a market for them to offer this cheaper options, thus it is in their interest to serve them too which expands their customer base and increases their company's revenue. Which enables them to do even more in the future. 
However... the cost to physically redesign the hardware and offer different actual hardware configurations is waaaay too costly for a small niche item. While doing it in software is relatively cheap, just go to flick off a setting here and there. 

​The funny thing is, you can completely turn this around.
You could say this is a 10 grand camera originally, but if you don't need certain features such as WiFi, Dual SDI or that battery grip you can knock the price down let's say by 1.5 grand.
A different example: I like the URSA, but the iPad on the front annoys me. I would gladly save £500 and get rid of it, buying an extra CFast card instead.

It's still significantly cheaper than red though, even considering the extra charges. From what I've seen I like the image more than red too. Only thing really stopping me is the lack of customer service for the US

One thing about Kinefinity..their prices may be attractive, but they're somewhat deceiving
You want 6k, yes of course, add $1000 You want high frame rates, add $1000 You want a battery grip, which does add nice functionality, that's $349, and literally feels like a $30 Canon knockoff You want SDI, that's $349 Wifi, that's $349 Kinestation (dirt-basic software) to transcode from KRW, $349 And the funny thing, is that the base model brain is hardware-capable of all of these features. 6k, wifi, everything. You're paying thousands for firmware to "unlock" these features.
Still no different that Redonomics, but I'd rather see someone truly disrupt rather than copy that shifty model at a lower price point.

The DVX100 had the impossibly fortuity of being
a) an amazing low end broadcast camera/higher-end b camera with fantastic ergonomics and a standard format (miniDV) magically married to an unprecedented feature-set (24p!! and "looks"!!!!!!) that was scooped up by broadcast shooters and wedding videographers alike
and
b) the best "film look"/hobbyist camera for the money by FAR... with mojo (currently only Arri and to a lesser extent Canon and Dragon have mojo)
In my day we had six stops of DR ISO 320 deep focus fixed lenses and 720X480 at best. And we walked six miles through the snow. Uphill. AND WE LIKED IT.
NOTHING will ever target those two markets like the DVX did. Currently, Canon has corned one the first. Sony/Panasonic/Black Magic/a whole heck of a lot of others are scrambling to tackle the second.
This could do well at making headway into the first, though. Shooters who balk at the awkwardness of a C100 and 24-105mm f4 IS will happily migrate to a more ENG-happy all-in-one package and shooters who balk at $20,000 for a C300 and 4k might happily choose this instead. The added depth of field will be wonderful for those who struggle to focus with a Canon, too.
Ask yourself a question.... does raw appeal to you at all? Does a codec bigger than 50Mbps make you happy for the bits or sad for the disk space...
If your answer is yes... you want the fun of figuring it out and encoding and ingesting and grading and making magic, this is not for you.
If your answer is no... I want to deliver fast and make money.... it might be.
The AF100 is VERY well-respected in pro circles. TONS of high end corporate and lower-end tv etc.... is shot on this workhouse cam that is rock-solid. Does the dvx200 have timecode sync? That is the biggest omission. This is really cool but not for me and not for most of you. 
Curious to see how it does. This (4k low end ENG camera/hobbyist camera for the not-super-techically-obsessed) is new idea. Do not want one, however...

It doesn't have a battery or swapable sensors.
It has no NDs... Is about 1/3rd bigger and heavier. It would struggle to mount on a drone. It has no OLPF, so moire and aliasing might be an issue. It has no EVF. It takes much bigger and more expensive batteries. It currently has Max ISO of 1600.
 
Canon has dual pixel AF. Canon have worldwide service centres. Canon has great colour. Canon keeps DR throughout the ISO range. Canon is a low light monster. Canon have built in gamma settings to match other cams. Canon has some kind of AF system for manual lenses. Canon works perfectly with EF lens. 
I'm not taking any sides until I test both... But the C300 has some impressive featured and the Ursa needs EVF and battery plate to match the c300.. So price increases.

Yes I would think we are talking about cinema cameras, as the URSA Mini seems specced for that purpose.
Dynamic range is more important to me, but I do find it very useful if my camera can perform well under low light - it helps when you can use lights with less power (more portable, like LEDs) and be able to get a detailed, clean image. It's true that some shoots can be difficult when you have a tiny crew and a load of Arri Fresnels to rig up. 
My point in being is that many enthusiasts want the next best image quality, and will keep on buying camera after camera like they are chasing the dragon. When will the said enthusiast wake up and realise that moulding the light is the key to maximum image performance? An A7S won't do it for you. If I relied on low light capabilities then a lot of my images would be horrible. 
Those who are documentary/run&gun/shot grabbers/spontaneous - this might not apply to you.  

Being that there is such a lack of info online about this camera, I figured that I would see what I could do to provide info for those interested. I have no problem trying out Chinese manufacturing in general and have had good results overall.
The video:
http://www.youtube.com/watch?v=LxebYAeneaA
First impressions with the Kinefinity KineMini after using DSLRs for professional work for ~6 years:
Bought this for shooting anamorphic, which it is brilliant at, but I'm really liking what this might offer for commercial projects. The color latitude on this feels incredible. Dynamic range seems good, I don't really care to scientifically test it, but being able to control the highlights in camera is a nice professional feature. 4k is remarkably clear. 1080p slow motion, not so much. Not sure why, but I get a lot of RGB mud in the shadows if you want to be picky on the image. It may be Cineform, I will have to test a few options. I really enjoy the development-type workflow with raw. File sizes are large, but really not that much worse than uncompressed 5D raw. Although it is much heavier (considering all accessories) than a DSLR setup, it's completely possible to run and gun and not that hard to get used to. I often cheated with exposure on a DSLR- using shutter angle instead of using a Vari-ND filter like you're supposed to. That doesn't seem to work with this camera, as a low shutter angle feels extremely video-ish for whatever reason. People think you're filming a movie, not taking pictures (this can be a good or bad thing) Can't wait to get the new speed booster for this thing. Super 35mm is OK, but I am used to depending upon my 35mm Zeiss (no longer a wide on s35) and 100mm Zeiss (far too telephoto for most of my shooting)
 
 
 

Thanks for sharing - cool! 
I've always thought these cameras produce one of the most unique and pleasing images on the market. 
It's going to be difficult for them now the URSA Mini has been announced. On paper the URSA seems the better option, not to mention the solid distribution Blackmagic have worldwide. 
I want these guys to do well, they've done a great job. They need help though - let's hope they can get this image into the hands of more filmmakers. 

Doubt SSD would happen in a future 4K recorder, but instead CFast. However having CFast *and* SD would be nice. Recording the main 4K ProRes HQ to the CFast card, with the SD for a backup ProRes 422 1080p.

When I saw the Pocket in person I felt the LCD was shit. So it's better to make smaller cameras and you choose your LCD! Black Magic is really proving to be a forward-looking company! Five years ago they weren't a camera company at all and now they are!

​I own a small set of lights, but I'm speaking more from the perspective of an indie filmmaker than as someone doing gigs for clients. With most jobs, you budget to rent or use lights (and depending on the budget, a nicer camera, lenses, etc.). Pass it on to the client. Your task is to create a buttery-smooth corporate image, and that often requires a higher level of ordnance than most of us have in our kits.  But with an indie film you're up to your own devices and there's more incentive to bring the total cost of production down because there's even less of a backstop financially. Doing a 300 ft. cable run to light up the facade of some building in the deep background of your shot vs being able to crank the ISO and only light your foreground subjects is a huge financial (gear + time + manpower!) advantage. I never suggested that we would work completely without lights, but the promise of low-light capability is that you can do less lighting, and less of the most costly type of lighting.

Am in perverted in hoping the URSA Mini 4.6K will *not* blow our minds away with image quality and performance? As then it will make it easier for me to resist spending a huge sum of money! lol

Am in perverted in hoping the URSA Mini 4.6K will *not* blow our minds away with image quality and performance? As then it will make it easier for me to resist spending a huge sum of money! lol

After the review on dpr, I guess the nx1 is gaining momentum again.
 
But they need a fw update now. Too many things to be improved/fixed, to really turn heads.

I can't wait for the day when these dinosaur corporations get outcompeted by smart hardware startups and we can just design and 3D print our own custom cameras online and get them shipped...you know...choose a sensor, mount, battery, design...click*click*...ship...SHOOT!