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Schoeps CMIT5U (when it's on sale for $1000 ;))

Take a look at this - http://snapsort.com/compare/Canon_EOS_60D-vs-Panasonic-Lumix-DMC-GH3/score   They have weighted camera popularity as 100 in the points scheme. Insane.   Thus 60D scores 90 and GH3 just 5 for that, whilst image quality (based on DXOMark which only measures the sensor and not video or image processing) is weighted far less at 45.   Had the 60D not been handed that 90 for simply being a Canon, the GH3 would have won on the final tally 96.4 to 83.2 and that is not even taking video into account which is vastly better featured and better quality on the Panasonic.

  This is a filmmaking forum. Many cameras like the 60D do both stills and photography. We are primarily interested in how well a camera system works for shooting video. Stills are fairly irreverent around here.   Here's the bottom-line if you want to get into video production and are choosing a camera system: the investment comes after the camera body purchase. If you go with 60d/70d, you are going to begin investing in Canon glass. If you go with GH3 or BMPCC (pocket camera), you are going to start buying mFT glass. If you go with Nikon, etc...   With the advance in tech, we are all tossing our camera bodies every 18 months to buy the new latest-and-greatest. However, our lens set becomes our old friends for years to come.    If you want to get started in video production, you can't go wrong buying a used t2i/t3i/t4i/60d/7d -- and throwing a 50mm f1.8 on the front and going nuts. I shot money-making jobs with this combo for more than a year when I started.   If you want to buy new -- you have a handful of good options, but for the dedicated filmmaker -- you want the GH3 or the BMPCC. Why? Beyond the stellar image quality for the price -- they are the only bodies in the price range to include a headphone jack.   If you want a new camera today, get the GH3 -- without question.

Here are two pics with the Jupiter-9 at f2.0 and f8.0 respectively. At f8.0 it is very, very sharp. I am now sure that my Helios was the culprit before.   [sharedmedia=gallery:images:650]   [sharedmedia=gallery:images:651]

Roland R-26.   I'm in love with it. Not a shotgun mic but a fully featured portable recorder with two stereo mics built in.   I'll be writing about that soon on here.

What annoys me is how some people are happy to take this BMD BS up the arse with comments like "but at least they are trying" or "well we should be grateful for their innovations" or some other nonsense.

  Question: what does your audio pipeline look like behind the microphone? What are you recording with? Are you upgrading that, too? 

An awful lot of the photography sites are 100% idiotic. Credit to Andrew for calling them on it.

Hi Josh, for a long time -- I shot with the same t2i/50mm combo like you!     Do you have room in your budget for something like the Tamron 24-70? It's about $1,300 at Amazon and is similar to the Canon variation, including image stabilization. The Sigma is a little wider -- but if you are hunting for the cinematic, you'll probably find it more at long end of the Tamron. (With the T3i crop, you are getting close to 100mm, which is -- yay!) In fact, a Tokina 11-16 would be a great investment when you definitely want a wide lens.    BTW, f/2.8 is plenty fast for most for most of the work you'll need to do. As you go wider, you normally lose some sharpness and it's more challenging to nail focus. For many cameras now, you can crank the gain to overcome light issues.

I have never read such an ill conceived comparison as that Snapsort one.   60D has built in auto-focus motor? No Snapsort... try the Nikon equivalent.   They list flip out screen on 60D an advantage over GH3, whilst both have them.   "Great battery life" on 60D applies to stills only with the LCD turned off. GH3 has the better battery life for video and live-view shooting.   They say the 60D has faster autofocus. Ha. Try AF in video / live-view on that vs GH3. I'll think you'll find it is 5 seconds worth of hunting around vs 0.2sec.   Another gem... 60D has apparently "much more lenses available". Nope. The GH3 has more if you count adapters. The mount is much more flexible and can take more lenses.   Then under GH3 advantages they claim 60D has no image stabilisation. WTF? Never heard of Canon IS lenses?   They list 18 advantages to the GH3 and only 9 for the 60D and claim the GH3 has better image quality and more dynamic range, but yet rate the 60D at 89 and the GH3 at 49 and claim the 60D wins.   This is what happens when you get reviewers plucking stats from the internet without having ever touched a camera.   So yeah... Panasonic have their work cut out it seems. Half the world are this ignorant as well.

The Tricaster 455 doesn't have HDMI input, it's primarily a production-grade SDI input switcher. The C300 outputs to SDI. The C100 does not. (So you'd need some kind of hardware conversion.) If you are doing field work, you can't beat the C100's form factor. It's a gift to documentary filmmakers.    The BMCC is a tool for filmmakers, not streaming -- it flourishes in a typical production workflow, especially in color grading, which you can't really do when you stream. I won't suggest using it in this context.    Based on your requirements, you should go with a C300 + C100 pairing for about $22k. The C300 will be dedicated for studio-work. And the C100 for B-cam in the studio as well as being used in the field for documentary-style shooting.    You should consider sitting down with an experienced video production company to discuss this purchase. There are a bunch of additional questions you'll need to answer -- lens choices, rigging choices, lighting choices -- and how everything can fit together in a package that allows you to really showcase your non-profit. An expert can help you see the details that may frustrate you later on.

  Some really sound advice from tosvus:   ---------- You also have to take into affect that if you are going for Black Magic Cinema Camera that you'll have to get used to other caviats: SSD, RAW/Proress workflow in post, and you wont be able to deleted captured media via the BMCC, You'll have to do that with a pc. If you're just starting out dont go full BMCC unless you have the time and patience for it. If you dont have any eperience at all then get a t3i or GH2/G6 depending on the glass you want to get, these are reletively cheap now. I mean there's no reason to go full out if you dont really have experience as it can be overwhelming. Then later if you want raw you can get the Black Magic Pocket Cinema.

It doesn't sound like your usage will be terribly critical in terms of image quality, to be honest. Also, you should take into consideration what lenses you have (if you already own any, that is).   I have to say I have not followed the 60D, so I don't know what the Magic Lantern hack enables (if anything) on it, but if you are looking at in-camera video with audio embedded, the GH3 is very strong out of the box. It also supports 60p in 1920x1080 resolution, which may be useful in training videos as it allows you to slow down the motion. Even IF the 60D has capability for raw through a hack, it is more complicated to work with as it does not allow for audio. 60D probably gives better quality photos, and somewhat better low light capability due to larger sensor.   Regarding audio, keep in mind that the GH3 has a headphone jack which means easy monitoring straight out of the cam, which the 60D does not have. The built in mic on the gh3 is ok, but you can easily add a good mic to it as it has mic input, and so has the 60D.   Another point to keep in mind, if you need to move around a lot, carrying the camera, the GH3 w/lens will be lighter and smaller.   I personally think the GH3 is far superior overall when speaking strictly about video (w/audio). However if you are willing to tinker and have a more cumbersome workflow, it may be possible to get quality that surpasses it with a hacked 60D (but again, don't know enough about magic lantern for the 60D).   Regarding the Black Magic Design Cameras, they are all better than either the GH3 or the 60D in video quality out of the box, but really consider those strictly for video. The caveat here is, based on your post, I take it you may not be used to manual focusing(I'm still learning). If that is the case, some of the BMD's only do manual focus, while the new BMPCC camera (that is not out yet..) is supposed to have at least some crude AF.

Made very good progress on the book this week and very happy with the form it's taking. You're in for a treat.

Frankly, I consider the BMD statement outrageous (personally still waiting for the BMCC MFT). They're making fools of their customers. I believe this is some deliberate and historically bad marketing crap like "we must make people talk about the product, then we take the pre-orders, then we see how big the demand probably is, then we check who might manufacture our stuff" [ ... ] I mean: They must be kidding. "We are on schedule. It will be July." "July means end of July." "End of July, yes, then we are done with our tests, but, well, production is another thing." "End of July, that is, can we call August still end of July? We surely can." [ ... ] I'm still keen on the BMCC for its richness in detail etc. - but following this ridiculous story for a comparatively short time (since February) I really believe someone at BMD seriously needs to be fired. If the "marketing" policy is "invented" (sooooo clever) by the boss himself, well, then I would recommend a fast management buyout and sending the boss to the outback. To me, the new "launch dates" really were a litmus test even if I'm not interested in the pocket or 4k version. With this "well, it's a delay, yes, but can't we pretend it is not? Will you buy some totally authorized (!) nonsens blah blah if you get it 'exclusively'?" - they have - in my opinion - ruined their image. Utterly. Sadly. Am I upset? Yes, because I'm just fed up to see the world getting ruined by "we are so great, we are one big family, just smile" marketing clowns. BMD is, of course, not the only example here.

My latest (and last) 1 v1 RAW video.

I agree with Tony, this method helps teach. You get 1.25 seconds per shot (based on 24fps playback). You only have 1 second to film each shot, so shoot carefully. haha. Piecing together even the making of the latte required a good bit of thought and planning. If I miss the final pouring of the milk, then the barista is going to have to make another latte just so I can get the shot again. Shooting like this with the V1 like this can only improve your skill. I like it because it makes me be more focused on what exactly I want to capture. Instead of just pushing record, filming for a few minutes, and then pulling out the 2 second clip I need. Its almost like when some all digital photographers want to learn to shoot film. It makes them slow down and focus more on composition instead of rapid firing. You don't want to waste the film. You want to make it count. With the V1 shooting 4K Raw, you want to make that 1.25 second shot count. Its experimentation. It should be fun. It should be creative. So let the creativity flow!

Nice work above.   Not notice? You'd have to be BLIND not to.

How long does V1 need to recover from the burst, i.e. saving images to memory card, before it can take another 30 frames?