After speaking with the ikan Sales department (they handle Tilta's U.S. orders), it seems this is pretty far from shipping. They weren't taking pre-orders; in fact, the product wasn't even in their system, yet. The best guess I was given was late summer, but even that seems ambitious.
Otherwise, I worked with it during NAB and it felt good, not great, but it's quite a deal. A set of 3 Heden motors costs just as much alone.
If your budget affords it, the Panasonic DVX200 would be my recommendation. The bones are there: internal 4K recording up to 60fps, HDMI 4K out, V-Log L. What sets this camera apart is its camcorder style. With its XLR inputs, rugged ergonomics, and ease of use, the camera is set up to be a workhorse. What really does it for me is the 4/3s sensor with the Leica zoom. This is a camera that can earn its money back by doing freelance jobs AND can create worthy images for short films, music videos, or the like. It, of course, doesn't measure up to cinema cameras, but for the range you get, this would be my suggestion for a first camera.
It's interesting to see how Sony and Blackmagic are going about their new cameras. The latter produced the URSA (similar-ish price range) with the intent for studio users to make use of its large even bulky design. Sony, on the other hand, went for a smaller docu-camera with the exact other user in mind. Ebrahim's comparison to the C300 is quite accurate. A lot of docs are using the C300 with various shoulder rigs, etc. to make it a docu-camera. The FS7 seems to be just that but with the rig included.
Similar experiences, Vinh. The technology is promising, but some of the kinks have yet to be totally perfected (which is expected). I had issues when adjusting camera settings. Accidentally bumping the Movi would effectively ruin the alignment. If you're doing this solo or without a wireless follow follow, it's tough to get focus easily and consistently (at least for novices). Moving from rooms with different lighting setups (especially natural lighting) proves to be tough, as well. If you're on your own, adjusting exposure or white balance (if such is the case) is tricky.
All this said, the Movi is an amazing tool, but not quite the game changer we desire--not at its current form at least.
Thanks all! Anyone have any experience shooting 4k or are we all still waiting for the new Atomos recorder?