Great find, thanks for the link!
Hopefully faster sensor read speeds and less JelloCam.
I wish Rolling Shutter performance was a metric as common in promotional materials as "K" numbers.
"24.2 Megapixel APS-C sized CMOS sensor"
"4K UHD is approx. 8.3 megapixels, in a 16:9 aspect ratio"
If the Magic Lantern team can crack the M5, there is sensor space for 4K or greater.
I suspect the trick will be if the DIGIC 7 in it has the processing power for it.
If we can get 4K + 5 axis, this will be killer for a Crash/C-cam!
Especially w/ a speedbooster + FF EF glass!!
The main issue may be an extreme crop factor if handled as a windowed solution.
And how bad/well it handles the rolling shutter.
Since I wrote this two years ago, my opinion and the lighting world has changed.
There are some great LED lights worth buying that most houses don't have for rent:http://www.flolight.com/bladelight-1/http://www.rayzr7.com/
If/When I create a story of feature length with studio money, I absolutely would shoot it on film.
Even SFX plates, I'd have that shot on large format.
For indie features, digital makes a great compromise - especially for those using DAD techniques: https://blog.filmsupply.com/articles/operation-avalanche/9
Digital is great, but many forget that to get film "equivalent" requires oversampling due to bayer patterns. The Sony Cinealta F35 is basically a 5K something down-sampled in camera to 1080p - for every final pixel, 6 unique photosites are samples (RR GG BB). See: http://www.provideocoalition.com/non_technical_f35_guide/
Film scans can go up to 6K. To get the equivalent of a 6K 35mm film scan from digital acquisition requires a 12K bayer sensor as a minimum!
If the target deliverable is for digital streaming only, the above matters far less due to compression.