IronFilm

A Scarlet-W base package plus PL mount plus side handle plus a few extra MINI-MAGs will be getting up to nearly three times what the equivalent KineFinity would cost. Not always an option to just go out and do, spending that much coin. However on the flip side of this is the big issue for KineFinity that no client (outside China, as it seems within China they're gaining a solid rep already) would ever specifically request it.... but you'd often get a RED explicitly requested. Thus from a business perspective it can be tough for it to make financial sense to purchase a Scarlet-W, even though it costs nearly 3x as much. Nah, when it comes to owning cameras I'll try to see if my Sony PMW-F3 / BMPCC can last me out for another couple of years, going to resist spending any more money here that I don't need to do. And then when I do upgrade it will likely be to a secondhand Sony FS7 or F5. Or maybe a secondhand URSA Mini 4.6K or KineFinity Terra 6K, and I'll certainly keep my eye out for more user reviews of these two over the next couple of years. But as much as I'll try to resist buying any more cameras.... I feel certain I'll have moments of weaknesses! Quite likely at sometime during 2016 I'll buy a cheap 4K camera such as the NX1. And next month I plan on buying half a dozen action cameras for a 360 Video rig. Plus I'm currently mucking around with a cheap 20 megapixel point and shoot, and if I get the scripting working on that, I plan on buying half dozen more of those point and shoots for a photogrammetry rig. Plus as well as being a video professional, I'm a casual hobby photographer and wouldn't mind indulging myself with a Nikon D750 and FujiFilm X100 one day! (one can dream, but film needs take priority over hobby wants) So yeah, looks like I have my hands more than full with cameras to buy at sometime!

Indeed, I browsed a few Chinese language forum threads and the response over there is HUGE. It is like when an announcement is made on reduser. Maybe this is a reason why they're so poor at catering to the western world? They're already flat out at max capacity just trying to keep up with their local market demand??

Which is the same way RED advertises their cameras as well (plus many other companies too, Sony/BMD/etc). However.... accessories / add on / batteries / media are all *HEAPS* cheaper for the KineFinity system than the RED ecosystem!

That would be the KiniMINI which has dropped in price to US$2K

Does the X5R share the same sensor as the GH4? I thought the X5 does???? And the X5R is the same as the X5... but with raw?? Or I could be completely wrong here.... (but I know it is true with the Yuneec drone camera)

Sad, but very true. Unfortunately. It unfortunately is out there almost the Biblical Truth that "Canon is best for video"!! :-o Exactly, for a DSLR then Nikon is currently best for video! (yes I am ignore the insanely priced 1D C, so sue me)

Scarlet/Epic form factor is infinitely preferable over a RED One. I would admit, if in another year the price dropped a little, and I got lucky enough to see a Scarlet MX locally for US$3K then I'd leap on it just simply so I can say "I own a RED"! haha But if anybody ever wants lowlight shooting... the Scarlet would stay in the office and the F3 would come out! :-D But they share the same MX sensor??

Hey hey, I didn't know you're an Australian! :-D I'm a Kiwi in Auckland. Wonder if there are any other F3 owners lurking around on this forum from this neck of the woods or if we are the only two? Yup, ProRes HQ is more than fine for many purposes! I even bumped down to ProRes LT! :-o I really didn't want to... but it was an ultra low budget feature and everything else had been shot with a C100's internal. And the poor director/producer couldn't handle anything bigger :-/ Exactly, I got my F3 roughly half way through last year for NZ$1.8K (USD$1.2K for the overseas readers), while the cheapest RED One I've seen listed locally recently is a staggering NZ$14.5K!! (just under US$10k) But even if I saw a RED One at a more reasonable price of US$3.5K ish listed locally, that is still *THREE TIMES* more than what I spent for my F3! Although, once I've fully rigged it up with handles, V mount, mic, rails, cheeseplate, mattebox, lens, and recorder.... then I'm pushing up to around about 13kg ish in total! :-o (or nearly 30lbs ish for you American types) Partially the reason I'm thinking to switch away from a rails set up, and also switch back to BP-U batteries instead, so I've ordered in a few of those. We'll see how this new set up looks.

Even if you're only just one shooter (yourself), having two bodies is handy so you can keep one balanced on the gimbal and another for your tripod/monopod/shoulder rig. And if you use a second shooter, you give him the easier and less creative shots to do. Fair enough. Though to me F3 is in the "big sweet spot", big enough to get size "benefits": space for XLR inputs on the body / ND filter / "impress" people / not be a DSLR / extra weight to lend stability to handheld shots. Yet not so big I need to get an even *bigger* tripod (which is even more expensive) and would really kill my back at the end of a long day. I reckon that sweet spot ranges (which I agree is inherently subjective) from C100/FS5 at one extreme up to F3 at the other extreme. But a full size URSA or R1 pushes it out into something else qualitatively speaking and not just a quantitatively different size.

I believe BMD now supports Sony's trigger. But you'd be limited to HD. SD vs SSD is not such the big issue it used to be, as SD cards are now so dirt cheap you can record for ages onto one with ProRes HQ fairly cheaply. It wasn't a factor in my decision making between a BMD VA vs a Samurai Blade

Even the greatly lauded 1D C used a crop mode as well for its 4K

Did it only have 60fps FHD before? I am surprised. This 120fps FHD addition then certainly will make it more appealing!

My workflow process (works with any camera. Is universal!): 1) Hand over media cards to editor. 2) Go home.

I think by far and by far the best ultra low budget monitor option is the Aputure FineHD VS-2, as it gives you a massive 1920x1200 native resolution! :-o But it is unfortunately 7 inches, good for some ("that is what she said..."), but not everybody's cup of tea. And a small 4 or 5 inch one for an ultra compact set up would be handy, like a small high resolution smartphone screen (you'd think there would be plenty of options there for manufacturers to purchase from the smartphone screen market to turn into camera monitors!! But no :-/ ). Next step up would be to buy a BMD Video Assist of course.

If you want real 10bit on a tight budget then there are three main options: 1) Panasonic GH4 2) Sony PMW-F3 secondhand 3) Any of the many BMD cameras (such as BMCC/BMPCC/BMMCC) No Sony stills mirrorless camera will give 10bit to you in 2016. Neither does Panasonic, aside from the GH4, or any of the other camera companies with their stills cameras.

Canon's "D500" equivalent is the 7D, and we had to wait for ages to see the 7D mk2, and that only just came out. So no, we will not see a 7D mk3 in response to the D500 any time soon (actually, it is the other way round.... in a way the D500 is Nikon's response to the Canon 7D mk2, they're now of the same generation).

So you want a Nikon D500? ;-) Otherwise, you'll have to wait for the 7D mk3.... and even that might not have 4K! Waiting on the 7D mk4......

Sony/Panasonic/Samsung however are the only ones really pushing hard forward. Not Canon. And Sony has better specs sometimes than Panasonic, but Panasonic cameras are priced cheaper and better polished (such as no overheating issues, better laid out menus. Also, why the hell does the A6300 not have a touch screen?? The A5100 does!). So I'd say G7

They'd never have provide raw in the 50D, compare it vs H.264's heat

True true, *if* I was ever to buy an FS700, I'd only be using it when explicitly one (or more) of slow motion / raw / 4K is needed. Rest of the time the F3 is better.

EM5 Mark 2 isn't the peak of video tech from m4/3, if you're going to compare with an 80D then get yourself a Panasonic G7 to compare with (is cheaper too!)

Nah, C100 mk2 was too recent! Canon doesn't update their cameras that fast. Plus their pro line up gets refreshed even slower than their consumer range would be. This. This. This. Zzzzzzz

it is the studio camera sensor we've seen before, which means it is intended for studio situations where you can heavily control the lighting to fit into the sensor's needs. If you want to make films with it, then probably will not be of interest to you like a BMMCC would be.

Oh for sure, FS700 raw is great by all accounts. I'm not saying it is not! But the FS700 is not the FS7, so it doesn't need to squeeze so many stop of dynamic range into a tiny 10bit linear raw container. And that is the big issue and disappointment with the FS7. And why F5 is vastly superior for raw than the FS7. Exactly! Is going to be a few years yet until Sony will give you "proper 4K" at an FS5 price point. Maybe the "FS5 mk2", but that is a few years away, and it quite likely will not even then. Wait for the "FS5 mk3"! hahaha Meanwhile BMD has been giving us 10bit 4K at affordable prices for years and years with the BMPC4K and more :-D I am astonished at how cheaply the FS700 has been going recently! If I can't afford an F5 come next year, then I'll likely pick up an FS700 for cheap instead to complement my existing F3. FS5 gives 10bit 422 4K over HDMI??? I too thought it was just for HD. What are the gotchas? Losing all other monitoring?

Yeah, Canon only cares what Nikon is doing. Canon ignores what is happening with Panasonic/Sony/Samsung/Pentax/FujiFilm, and doesn't bother responding to them. This is why Canon didn't bother to put video into the Canon 50D even though it could have! :-o It took Nikon releasing their D90 to push Canon to release their own HDSLR in response.