This is interesting - sorry if Im going to theorise rather than offer solutions
This is where Red or 4k should be king - shooting video you can grab from - or at least change the settings come back for a second pass and aquire stills
Is the red or other system acually up to this in terms of ease of settings management remotely etc .. I dont know
Back on the ground.. or rather off it
I dont think arty DOF comes into heli footage does it?
So sensor size is of little concern.
A camera like the EX1 is very sharp, compared to a DLSR so thats a sharp file - with rolling shutter
The BMC will be sharper and have a flexible file - still rolling shutter
The Ikonostop has a CMOS shutter - not rolling - and shoots DNGs
Then you are at Scarlet
I think a DSLR could be a poor choice with soft, moree jello files ( I guess you could be shooting detailed wides)
I dont know the old 3CCD cameras - but global shutter - worth checkin them
The drawback with a cam like the EX1 is the build in lens is a bit bendy - which might matter
An EX3 has a removable lens and I guess you can aquire quality glass..
Reading that back the one cam solution really Scarlet is the thing here..
If the '5k stills' are any good
If you can get it to work (change the settings fast and maybe romotely, and be reliable for any amount of time)
You can shoot 4k motion or with a crop 2k higher frame rate
Also you stabilizer divice might have a weight limit?
What puts me off Red is the considerable investment I would need in a system to handle a Rocket and 4k. I just find the RED a bit scary.
Rolling shutter on things like a 5D is a problem, less so when well stabilised, I've been the best part of a year working on a stabilising system, I'm just about there, I wanted a portable rig I can pickup and put down that is suitable for just about anything that gets me in the air. That was the challenge I set myself. After lots of complicated designs I'm down too some underground drainage pipe, bearings, bungee cord and bicycle inner tube, 3 gyros and some aluminium. To me getting it smooth out of camera is the trick, not difficult on wide shots. I don't intend to be restricted to wide only views, I want to know I can get good tele views as well. You are correct about dof not being an issue in general, I can see occasions when a tele view of the top of a tower might be nice with the background thrown out, nothing I'm going to insist on when making a camera choice all the same.
In some ways the Canon 1D C fits into my workflow best, in lots of other ways it just does not appeal (over priced under spec'd). I can't see me doing fast pans so I think the latest cmos are probably OK regarding the rolling shutter providing the camera is stable.
The Blackmagic with the Da Vinci is very tempting (Is it for sale yet?) although it would disrupt my airtime workflow.
The less weight the more effective the rig will be.
At the end of the day it comes down to price and return of investment. If shooting RED opens up lots more avenues for earning and a better return it would make sense, if all I'm selling is for things that could of been shot with Gopro quality all sense goes out of the window.
I guess it's a market I know nothing about, I don't know if it might be the BBC with quality acceptance limits, or 5 secs of corporate that are happy as long as they can see something.