Without seeing any images from the camera, that's a tall order. So far, none of BM's cameras have been reliable enough to become professional workhorses. This is probably the most important thing to think about after the image, when buying a camera. Sony, Arri, Canon, and Red are all reliable in most conditions and that's partly why they're constantly in use.
The other thing with BM is their way of measuring dynamic range is way off. They said the BMPCC 4K had 12 stops of latitude when in real world tests it manages only 8.4. If this holds true for the new sensor as well, then this camera will still be a great value but it won't be the one to beat as it will be behind basically every competitor BM has.
Why would they add ProRes and then limit it to 2K? High resolution ProRes would be a dream. Here in Sweden, the cost of going RAW is just too high for most productions, but if this is limited to 2K, might as well go for Alexa.
The point of these lenses as apposed to the normal Master Anamorphic series is that you can change the lens elements to get different flare characteristics. It says in the article you can change to the elements from the normal anamorphic series and I'm betting those would give more characteristically anamorphic flares...
It hasn't been confirmed one way or another what the sensor is capable of but I have a hard time seeing how they will be able to push more than 100, seeing as how they're already using water-cooling to achieve these framerates.
I also don't see how this would compete with the FS7. The FS7 is built as a one-man operator camera with ergonomics in mind. A smaller and lighter Almira if you will. The Ursa weighs more than the Alexa and will pretty much require at least one AC at all times. The weight of the camera also ensures you'll need to spend about as much on a tripod as the camera itself.