IronFilm

Yeah it is a bit confusing... good news is they have opened up SSDs though to 3rd parties! But only very specific Samsung SSD. As for buying licenses from Convergent Design, I'm not 100% sure if that was just a thing of the past and now new models come with it, or this is still true? Would need to look that up.

7Q seems a bit overkill when there are cheaper recorders? Only good reason for it is it can maybe do 444 I guess?

Using a WiFi card is no good? Am thinking about using one with a FujiFilm XF1. US$270 for an X100??? Holy crap, once again I keep on wishing I had access to the deals you guys seem to have!!

Brian, I recommend you take what he posts with a very very large grain of salt. (not saying what he said is true or false however)

It is very good! Glad you joined up to the forums now This site is a great resource!

Nope! The A7s mk2 doesn't make the FS5 irrelevant.

http://feelworld.cn/ShowInfo.aspx?id=377&py=5-5-Aluminum-Design-IPS-1920x1080-Full-HD-HDMI-3G-SDI-On-camera-Monitor-with-Waveform-VectorScope-Histogram-G55 https://www.youtube.com/watch?v=RrYHek7iSjM Is a new product (has only been listed on Amazon since May 31st, & was announced on Twitter by Feelworld a bit earlier in the year) that looks exciting! Like a SmallHD 502 (US$1.2K) but at half the cost (US$650). Though yes, it misses a few important features the SmallHD 502 has, such as 3D LUT support. But the Feelworld G55 still is a feature packed display: 1. 1920×1080, 1000:1 contrast, IPS wide view angle H/V 160° 2. 3G/HD/SD-SDI, HDMI input and loop-through output 3. Monitoring via 3.5mm stereo headphone jacks 4. Built-in LED tally indicators (Red, Green, Yellow) 5. Special Features: *Waveform (RGB, YUV, Y (Luminance) *Vector Scope *Color Histogram *Histogram *Focus Assist (Red, Green, Blue, White four color optional highlight over parts of the image in focus) *Embedded Audio Meter *False Color *Zebra Exposure *Internal Color bar *Squared Segmentation *Camera Mode *Scan Mode (Auto, Over Scan, Full Screen) *Real time video zoom-in (Standard, 4x, 9x,16x) *Anamorphic Mode (1.3x, 2.0x, 2.0x mag) *Pixel to Pixel *Center Marker *Safe Area (80%, 85%, 90%, 93%, 96%) *Marker Type (16:9, 4:3, 2.35:1, 1.85:1) *Marker Color (Red, Green, Blue, White, Gray, Black) *Check Field (Gray/ Red/ Green/ Blue) *Image Flip (Horizontal, Vertical, Hor&Ver) *Image Freeze 6. Titanium Metal Frame Design The Feelworld G55 has a bigger brother, which appears to have the same specs except for a larger (& bit higher resolution) screen ( 7" 1920 x 1200), the Feelworld G70: http://feelworld.cn/ShowInfo.aspx?id=425&py=7-Aluminum-Design-IPS-1920x1200-Full-HD-HDMI-3G-SDI-On-camera-Monitor-with-Waveform-VectorScope-Histogram-G70 http://www.bhphotovideo.com/c/product/1251099-REG/feelworld_fwg70_g70_7_ultra_thin_full.html

Still doesn't fix the C300 mk2's utterly infuriating output options.

If you're just doing it for free / low budget for a friend, then just use what you have! Don't sell / buy / trade for something else.

Plus a fourth... Nikon. Who now have a FX and DX 4K DSLR. Fingers crossed the D5600/D3400 will get 4K too! Well.... Nikon have a 100 MILLION lenses! Not counting the millions more made by third party manufacturers. http://nikonrumors.com/2016/07/27/nikon-produced-100-million-nikkor-lenses.aspx/

Or go for both? Tamron 24-70mm f2.8 VC

I very very strongly disagree with that! As it is totally 100% on topic for this forum, and if they wish to share it and make it public this discussion so otherwise can read and learn from it as well then that is FANTASTIC! Or the Tascam DR-10C which looks to be even better! :-D http://tascam.com/product/dr-10c/ https://www.videoguys.com.au/Shop/p/30883/tascam-dr-10cs-micro-linear-pcm-recorder-for-sennheiser-wireless-tas-dr-10cs.html

I made a lengthy thread about the F3 last year, before I purchased one myself:

A nice looking short film shot with a G7: https://vimeo.com/173374319

Brand new price of Canon 1D C has now fallen under US$5K: http://www.bhphotovideo.com/c/product/855962-REG/Canon_EOS_1D_C_EOS_1D_C_4K_Cinema.html

Alexa 65 and REDs are but a tiny tiny tiny niche at the moment in the grand scheme of things. And many DoPs don't like REDs which require difficult troubles in finding cinema lenses which will cover their full resolution. Thus why RED announced a S35 8K!

Yes, Magix seem to be very enthusiastically supporting Vegas! Unlike Sony who let Sony languish

Oops, just realised I put a pic of a Cooke Varotal 18-100 T3, but it seems the one you're referring to is a similar size anyway?

Take a deep look into what people are doing with the FS7 and LC709a, such as over on dvxuser and other places. Give great images from it, Arri like. Also, this:

Not 100% essential, but important to look out for anyway. However there was a free s-log upgrade available which you can get if you don't have the paid version, and that allows you to have s-log 10bit 422. Just you miss out on 444, but the gain there is marginal in most use cases. I used to have a big bulky set up (using V mount batteries even!). But my set up now with the Samauri Blade and a 24-70mm f2.8 is quite a nice compact set up, can even be usable for run and gun shooting with my Sony F3. Yes! Shows even $500 cameras now can do amazing work. This thread:

Why the obsession with so called "FF"?? Most of the blockbosters are shot with S35/APS-C, it is the standard, not FF.

Ummm... a secondhand F3 plus a BMD VA goes for about the same as a secondhand 5Dmk3 body. So no room for lenses! Though for what I paid for an F3 last year.... yup, certainly a few hundred left over for lenses! ;-) Is awesome how cheap I got mine! :D

Maybe you missed focus on the wide shots as it wasn't properly calibrated for infinity focus??? Seems strange for RED 4K wide shots to be thought of as too soft?! And shooting 4K for 2K delivery to give "more options in post" doesn't come with pitfalls, you'll need to be spot on with your focus, and the crop will mean deeper DoF than if you'd shot it originally with a longer lens without cropping. Plus 4K means heavier demands on data storage during production and in post. All of these can of course be overcome, but shouldn't be ignored casually. Even just 1080 10bit 422 will chew up a lot of space over a feature! Is what I'll be doing on my next feature. Maybe for my feature after that we'll have the budget to use 4K 10bit 422 cameras for the whole thing. (as would like to use a Sony FS700 with FSraw down converted to 4K ProRes HQ on the fly with an Atomos Shogun, but that would stretch our budget too far So Sony F3 it is! If we do get any spare budget at all, it will be to buy a second Sony F3 so we can shoot with two at once) Yeah the director Colin Trevorrow shot his first narrative feature film on an F3: "Safety Not Guaranteed". Note however, I believe this was shot with a pre-S-log camera and all internal. Or in other words, you now in 2016 using the F3's S-log and 10bit external would be getting a much much better camera than the version of F3 which shot "Safety Not Guaranteed"! Colin Trevorrow went on to make Jurassic Park (4th highest grossing film of all time!) and will next be making Star Wars: Episode IX. Oh wow, a Cooke 20-100mm T3.1, that sounds like a handy and great zoom range with a fast enough T-stop, all this with the Cooke name for $4K? Can't afford it now, or even probably next year, but sounds like something I could aspire to own in the medium term future! But then I looked up what the lenses looks like on an F3..... WHOA!! That seriously pushes the limits for me for an "everyday" lens to shoot a feature on. Hmmm....

I have a Panasonic G6 too! :D Often times when a lightweight easy to use G6 is preferable. And for multicam shoots such as weddings using my G6 to roam around for sniper shots along with a few GH1 bodies locked off on tripods, makes for an effective and very low budget set up. You can now find the F3 at US$1500ish prices without too much trouble, I would never pay US$3000 for one! Heck I paid just US$1.2K for mine, and that was over a year ago when prices were higher then on average than they are now. https://www.maoritelevision.com/tv/shows/reset/S01E003/reset-series-1-episode-3 The entire water fountain scene at @1:23 was pick up shots I did using my F3 with ProRes HQ. The rest of the episode I was DoP for & shot with a Sony FS7. Great deals on the battle test Kinefinity KiniMini 4K on their website! US$3K I think? Or get the Kinefinity Terra 5K for $5K. I'm not such a big fan of renting even glass on extremely low budget productions. You can go far with a set of zooms: Tokina 11-20mm f2.8 + Tokina 28-70mm f2.8 + Tokina 80-200mm f2.8 (and throw in the Nikon 50mm F1.8D, too cheap to not include!). This entire set of lenses can be got for just over a thousand bucks (and half the cost is just for the 11-20mm UWA!). Or get a set of Rokinon Cine DS lenses: http://ironfilm.co.nz/rokinon-cine-lenses/

Buy lenses secondhand after they have already taken the $300 hit