There's a lot of that here, too. But, I wouldn't put it the same way. There may be some "rich kids" here that purchased cameras and have no idea what to do with them, but a lot of these people were doing the same thing that you are: selling on tools, and not talent. They'd get into productions because they had the next big thing, etc, but that dies off once people start realizing they can either get better for less or better for just a bit more.
There is nothing in life that comes free aside from oxygen, and I'm wary of that as well. I paid for the contacts and connections I have. Perhaps not with dollars, but with sweat and definitely some tears just as recently as last year. What you cannot afford to pay for out of pocket, as a filmmaker with very little, you must find other ways to pony up. Whether that's working jobs for free and getting it returned later or selling blood. So I paid for it, and any other filmmaker who is passionate and serious about doing this can find themselves a mentor that can teach them the gear and may also have it.
So, I disagree with no way no budget, and I'd wager plenty of cash that I could find several people in NY that can pull favors for top notch gear because they're good people (or bad) and have the connections. This is, afterall, a team sport.
Kickstarter's there for all to see. It's a few thousand more out of pocket than what the kickstarter reflects. So it's a nano-budget feature film, especially for the content.
Not that you're attacking, it's more so mis-information. We may just deal with different people, but I know that around here people can tell the difference. Some may not be able to say WHAT it is, but they can see it. And, although the GH-2 can produce some really nice images--have one right here with me--all things on the up and up, it's going to get thrashed for image quality. It SHOULD... Scarlet and RED, Epic are all several thousands more expensive and operate on an entirely different level. It shouldn't be romanticized that they are anything more than great tools to do what one needs them to do.
Again, different clients then. Because, regardless of profits, someone's gonna swoop in at some time with an F3 and more talent (there is ALWAYS someone better for the job. ALWAYS) and they'll take a hit on their profits to establish a longterm working relationship. And, good business is always longterm. I've worked for free plenty, and are say it burned favors to shoot RED on those free jobs, just to keep the longterm relationship going. Different strokes. But, I'd definitely bet that clients and such would notice the second someone puts it in front of them the proper way.
Everyone wants to release in theaters. It's far-fetched for no names with no stars. A very rare occurance although we've had some lucky gold strikes in the past six months. The very last thing I am worried about is what kind of release the feature is going to get because it's out of my hands. But, I know I won't be worried about how it looks on a large screen because I started with something that fits the format.
That's the advantage to Scarlet Fixed 1080P or whatever. I'm sure it'll resolve more than any current crop of DSLR, whether it'll outperform something like the F3? I dunno.
Anyway.
Shoot it up.
You should see my old posts about the HVX200 and 200A... and how much I hated them ALL. 
