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Canon Cinema EOS 1D C – Vimeo footage and 4K source file direct from card
| Andrew Reid | EOSHD
A sample from the Canon 1D C that was posted recently:

I’ve had a look at the 4096 x 2048 MOV file in Adobe Premiere Pro at 1:1 (100% view). What do I think of it? Well viewed at 100% it is certainly on the soft side. It does not contain the kind of resolution a standard 1D X still JPEG has but for video it is very good. It is not near what true 4K should look like, but then the only 4K cinema camera on the market than can really be considered ‘true 4K’ is the $70,000 Sony F65 with an oversampling 8K sensor and RGB 4-4-4 colour sampling.

Work In Progress: The Digital Bolex Camera Is A Crowdfunded Filmmaking Revolution | Jonathan Poritsky | The Creators Project
An interview with the creators of the Digital Bolex.  They say it's on tack for August release, but while there's a lot of history of the project, there's not a lot about the status of the camera itself:

...I wanted to find a camera that was under $10,000 that would allow me to shoot 24 raw frames a second. I realized it just didn’t exist, so I started researching companies because we’d made a lot of our own technology before. As I started doing that research I realized that, if I can pull this off, a lot of other people will be interested in this also. So I just started networking with other people, other companies and ended up at SXSW with Bolex, an electronics company called Ienso and a whole bunch of other people attached to the project that could make it happen in a really good way.

5D vs FS100, How to Match Footage from Canon and Sony | Swainhart
Comparing footage from the Canon 5D Mark II and the Sony NEX-FS100:

I thought you would be interested in just how well the FS100 and the 5D matched up. The interview portion was shot with LED lighting, the rest was available lighting. We used a white card to color balance during the interview, Phil with the WB button on the FS100 and I just eyeballed it using the Kelvin dial on the 5D. For a HDSLR user the WB controls on the FS100 offer an upgrade in convenience and speed. The 5D settings are serviceable, but slower.

BBC don’t give Sony’s 50Mbps PMW-100 the thumbs up | Philip Johnston
| HD Warrior
Interestingly, Sony went and put 50Mps support into their new small camera, the PMW-100, but it appears it won't be getting approval from the BBC (which would be one of the only reasons form them to add that support.)
Note: there's currently a $500 rebate on the PMW-100, bringing the price down to $3,480:

Just goes to show you that just because you stick a 50Mbps SxS recorder onto a lower spec camera that does not give you safe passage to the coveted BBC HD approval stamp. A source within the BBC has just informed me that the PMW-100 will not get the HD stamp of approval although they would not go any further with specific details.

Choosing the right GPU to take Adobe Workflows to the Max | David Helmly
| Nvidia
nVidia GPU recommendations (from nVidia). Note: there's currently a ~$50 rebate on the Quadro 4000 cards:

For those of you who use all the tools but spend most of your time in Premiere Pro (using the other apps to create assets for your Premiere sequences), you can use the Quadro 5000 or 4000 for starters and when you need more GPU power you can drop in a Tesla board at any time to get a nice “bump” in performance. Mac Pro users should choose the Quadro 4000.

Record Better Sync Sound with a DSLR | Richard Harrington | AdoramaTV
A video tutorial from Richard Harrington. It appears that Adorama is planning a series of these:

Most DSLR cameras have a built in microphone, but to accomplish good professional audio you need more. Audio is one of the most important elements when producing video. Having an dedicated microphone to capture your audio can increase the overall quality of your video. In this episode, Rich demonstrates how to capture audio with various devices that are compatible with DSLR cameras.

Correcting White Balance | Brian Mansi
A tutorial from early this year on white balance in your NLE:

One of the main things that is essential to get right on set, is the white-balance. Depending on how you choose to set it (Manually using Kelvins, using the Set White-balance feature or even using presets) you are likely to make slight errors, or in the case of this example, quite severe ones. Ideally, it would be best to re-shoot, but if you correct the white-balance efficiently enough, you can make unusable footage usable.

Is the AVID ship sinking! | Philip Johnston | HD Warrior
News from last week, but Philip offers his thoughts on Avid's woes:

Avid in my opinion should have gone for broke with Avid Media Composer 6 priced at around the £600 mark rather than the £1799 which enticed almost no one to jump, with FCPX at just under £300 and Premiere Pro at £700, Avid is well off target. Do what Adobe do and sell the editing software as a stand alone then add the peripheral sound and colour grading tools as a separate upgrade suite.