IronFilm

Ideally a secondhand Panasonic G7 But more likely a secondhand Panasonic G6 or Nikon D5200 is what you should be checking out.

Forget about it. Not a realistic approach for most people to shoot always in ML raw. And the 100D is not a good choice for ML raw anyway. So what? Nothing ultra super special about Canon lenses specifically anyway. Go for Panasonic G80/G85 (or a secondhand G7, if on a very tight budget).

Nice score on the MKE600! Only a student/videographer grade mic, but at that price you can't complain. If buying new, then I recommend the Aputure Deity as a low budget shotgun to go for. But yeah, with care some bargains can be found by hunting around secondhand.

Get a tonne of V mounts

I'd say the differences between the a7 vs a7r vs a7s was a lot more clear cut than Panasonic's range.

It sucks the price of it. Waaaay to close to the GH5, why not just get the GH5 instead? & leaves this big empty price gap under it until you get to the G80, with nothing to fill this hole (like it should be). Anyway, this certainly won't ever be replacing my Panasonic G6

I'm in agreement! :-) That was a point I made early on, that all the extra supporting gear adds a lot to the total cost (and adds to the complexity of the shoot too, you'll need an assistant or two). Depends exactly on how it is rigged up in the end. But an Arri Alexa would usually tend to be a bit heavier than a RED ONE I think, only by "a few kilos" though? :-P Brand new then $5K for a fluid head isn't unusual. But if a person is on a tight budget, then there is no need to spend that much. I didn't. I wouldn't ever count on making much or even any money on rentals from an old Arri Alexa Classic. Especially if you're not already set up as a rental house, as then the overheads for that just won't make it worthwhile the return you'd get. That just makes it even worse, as it indicts there is likely very little profitable demand for it whatsoever.

If you're using say four cards (and many Alexa packages might come with even more than that), then you could easily be talking about a thousand bucks. You might say it is "just a thousand dollars", but a few thousand here, another thousand there, and soon you're talking about serious money! Plus it is useful and informative to think about this things for the future, as what if a new Arri camera with a brand new sensor gets announced tomorrow? So that in a couple of years time from now, the prices of secondhand Arri Alexa Classics have tumbled down to just US$5K (not a totally unrealistic guess, it might be even lower!), then the question of spending an extra thousand dollars on SxS media or not will then become a relatively more important factor to consider. My bad, I linked to the wrong SxS cards which are not approved media, the minimum cards needed that B&H sell are five hundred dollars a pop: https://www.bhphotovideo.com/c/product/1197877-REG/sony_sbp64d_64gb_sxs_pro_d.html Thus the appeal if SD can be used instead of SxS Pro cards (and the adapters I've seen do claim specifically to be replacements for SxS Pro series cards, but who knows as to the real truth). @DaveAltizer, when you next hire an Arri, as well as trying out the best settings recording to a SD card, could you please also give a spin recording the lowest settings? (1080 ProRes 422 24p)

On the upside, almost all these cheap secondhand eBay auctions I see do include the highspeed license already, and often arriraw too. This is I think the killer blow against the $10K Alexa. For owner ops considering a $10K camera, then most of their work isn't going to be appropriate for the Arri Alexa, and they'd get a better ROI (return on investment) from having the likes of say a Sony FS7. But there is still a small niche of a niche of people who it might be appropriate for, and I think the op might be one of them. Perhaps. Yup, I feel it is a very small slither of the market which exists between "can rent an Arri (and probably wants the newer Mini anyway)" and "doesn't quite afford it but still is appropriate for an Arri shoot"

SD cards are dirt cheap, and something everyone already owns (especially if you say have a BMPCC already, or any 4K camera). Thus cost = zero. For a couple of secondhand SxS cards (the minimum you'd need for a day's shooting) you're looking at five hundred bucks: https://www.bhphotovideo.com/c/used/1314825/sony_2sbs64g1c_sxs_1_64gb_440_200_mbs.html I think at least finding out if they really do or do not work is still an interesting question. as a person could say buy a couple of SxS cards (I already own two that came with my F3! Although only puny 16GB cards :-/ ) then have the rest be SD cards in adapters. That way for the vast bulk of their work they'd use the SxS, but for those loooong days where you're rolling and rolling such as a long series of interviews all day long (and without a DIT to unload them along the way) you know you can expand your day's capacity by using SD cards in a pinch.

You don't need them to be that fast to recorder ProRes HQ FHD. After all many many of us having been doing this for years and years now with SanDisk Extreme Pro cards. It is not like we're recording 4K 444 to them! (which QXD in SxS are capable of and are approved to work in a Sony F5/F55) So where are the limitations: The card itself not being fast enough: nope! The adapter not being faster enough: nope! (no fancy electronics in there I believe, is just a straight passthrough connection I think) Some other weird compatibility quirk: who knows.... is an open question which still needs to be answered!

Ah I imagine then you're quite ahead of the weight needs when it comes to tripods and other supporting needs for an Arri Alexa, so you won't need to be rebuying this? As that would then increase your needed budget significantly. What about lenses, are they a full set of PL lenses? As if they're SLR lenses then I'd email Leitax before buying the camera, so that you're 120% certain they have the adapter in stock! (because sometimes with these small stores and old stock, then they might list on their website as "in stock" but in reality they ran out and it never got updated. And you'll have a hell of time trying to track this down secondhand! Might be near on impossible) You might be the perfect niche candidate for buying one then! Look at how often you're sure you'd be renting one over the next 18 months, would that come up to over half the cost of buying one? If so, then you're starting to build up a more solid case to at least consider buying one yourself.

Seeing as you rent them now and then, please give it a go! The SxS adapter for SD cards is dirt dirt cheap, so zero harm trying at least! (and I'm sure you already own SD cards, but ideally try it with some fast ones such as Extreme Pro cards) I just used the cheapest one on eBay from China, not this one (I purchased mine a while ago), but same kind of thing: https://www.ebay.com/itm/SD-SDHC-SDXC-to-34MM-Express-Card-reader-SXS-adapter-for-sonyEX280-EX350/291799349554 Ditto the XQD adapter is quite affordable too (although you might not own Sony XQD cards? But is easy enough to ask around and find some to borrow I'm sure): https://www.bhphotovideo.com/c/product/840666-REG/Sony_QDA_EX1_SC1_XQD_ExpressCard_Adapter.html

What I'm curious about, but still haven't found an answer for is if SxS adapters for SD (or XQD) cards work in an Arri Alexa? Haven't ever yet found an answer for that. As if they are compatible (I use SD cards in their SxS adpater for my Sony PMW-F3) then that is a tremendous cost savings if buying a secondhand Arri Alexa.

That is likely just dreaming

Arri Alexa has been around the $10K ish market on eBay for quite some time now, well over a year, I've pointed it a few times already. But is it a wise choice? For almost all of us in this forum the answer is: no. Perhaps never been on a shoot with an Arri Alexa firsthand? But ever shot a multi day shoot with a RED ONE maybe? The experience would have a few similarities. You're dealing with a big, heavy, and power hungry beast. And $10K will be bit a tip of the iceberg, you'll need to upgrade your tripod/slider/jib/lenses/media/batteries, all at likely greater cost than you think. (for instance a quality tripod that can support a full rigged out Alexa isn't cheap! Can't use the $150 tripod you've used before with your DSLR. And this theme repeats itself over and over, what about costs for SxS media? Just to throw another example out there). Also $10K ish is a *LOT* of money, you've got tonnes of other options. Let's look at a few other options: Secondhand Sony FS7 (as THE MOST POPULAR midrange camera, you'd likely be able to find and do more work with this) Secondhand Sony F5 (basically a "more professional" FS7) New Panasonic EVA1 (want to take a bet on the next generation of midrange cameras? Might be this, maybe) Secondhand Sony FS5 (very compact! Nothing with its features and compactness can touch it, well until the EVA1 comes out... ) New Kinefinity Terra 4K/5K/6K New/secondhand URSA Mini 4.6K (original or Pro version) All these options you could easily afford if considering the Arri Alexa, might even leave thousands of dollars spare left in your pocket! And if you're a non-professional, then none of those should even be considered by you. Instead go for a Panasonic GH5/G80, JVC LS300, BMD Micro Cinema or a secondhand FS700/F3/BMPCC. So who do I see the "cheap eBay" Arri Alexa being for? I think they need to meet a few of these criteria (ideally all of them): 1) have the cash at hand and existing clashflow to justify such a very large purchase (don't be buying one without a business plan of some sorts beforehand! Run the figures, such as exactly that is the total cost vs what revenue you might get from it a minimum realistically speaking) 2) either are producing in house and/or have clients who will pay the premium vs just doing it with a camera that costs a quarter as much 3) don't mind the large weight and power requirements, because you either already own all the extra support or have budgeted for it. Plus your projects have the budget for the assistant(s) all this extra overhead will require. 4) you're already renting on at least a somewhat semi regular basis an Arri Alexa 5) you don't already have some other big gaps in the filmmaking process which are more deserving of the funding. For instance, do you already have all the lighting and audio gear you need? (or hopefully, you always hire gaffers / sound recordists who come with their own gear) 6) have no need for 4K right now (or have another camera for that), and can get a return on the Arri Alexa before the demand for 4K becomes mainstream (which is tricky to predict when that will happen? Or has it already.... a risk to take!) 7) live locally to an Arri Alexa seller with a good price, or willing to roll the dice on shipping/importing an expensive and bulky item. (this is a bummer for people like myself in New Zealand! But if you lived in LA, this is something to stick in the pro column instead)

ProRes 442 or ProRes HQ? There are (if I recall correctly) 4 settings in the Video Assist (from highest to lowest): ProRes HQ ProRes 422 ProRes LT ProRes Proxy And you can easily look up that info online: For example: https://www.digitalrebellion.com/webapps/videocalc ProRes HQ 1080 24p = 77.42GB/hr Oh that doesn't look that bad, but get yourself shorter rails! :-o If you're happy with the slog2 from a FS7 then you'll probably be ok with the same from the FS700 4K raw as well.

Or just punch in focus with your monitor. Also very easy. And doesn't need a parfocal lens!

Well you have to record the mic to *something*?! No good by itself. However the Zoom H1 lacks any XLR inputs whatsoever, which massively limits your options for buying a quality mic. I go over recorder options here: http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/ In your shoes I'd suggest get at least a secondhand Tascam DR60D, they're so cheap it is almost free! :-P If you're doing any paid work, then how come you have no budget for audio?!?! (as yes, $60 = "no budget") The minimal kit I'd suggest to get as a broke as person entering into doing professional work for interviews/commercials would be: Samson C02 / iSK Little Gem + Rode WS8 windshield (for when outdoors, as if positioned well and in a quiet enough environment then you can get away with the C02 outdoors for a while, but I'd recommend to buy the Aputure Deity as soon as you can) + Tascam DR60D (mk2 preferably, but a good deal on a mk1 is fine too) + {plus shock mount, XLR cable, boom buddy, and boom pole, if you don't already have those} https://www.gearslutz.com/board/reviews/1032461-isk-little-gem.html https://www.iskproaudio.com/collections/microphones/products/little-gem?variant=4213264837 Yes, it is smart to have two options running at once so each is a back up to the other. Especially if you're a one man band, so your focus is being split 100 different ways all at once. And *essential* if you're not monitoring your audio! (which is the case if you running the lav into an H1 / phone) This! Remember to pay very careful attention to your position of boom mic (and keep an eye out if the talent shifts around and moves off the optimal spot! You may need to reposition your boom mic mid shoot. This is why using a stand isn't simply a "set and forget" situation).

Given your needs (S35 & PL on a budget) then I'd say the top suggestions would be: F3 FS700 (probably the current "sweet spot" for bang for buck in my eyes, US$2K ish secondhand + grab a secondhand Atomos Samurai for 4K output) C300 PL (if you're fine with being stuck with PL 100% of the time, can't swap that mount!! On the upside, the PL versions do tend to sell for a little less than the EF versions secondhand) URSA 4K / URSA Mini 4K / BMPC4K (these can be found crazy cheap secondhand, but you'd need to be 100% sure you can always feed it the light it needs and never ever go over 400 ISO) a6300/a6500 (biggest downside... overheating, and no built in NDs. Perhaps do the DIY fan mod) a7Smk1 (FHD in S35 mode, so don't bother with the a7Smk2 as you wouldn't benefit from the internal 4K in S35. Unless you got the a7R mk2 which can do S35 4K) a5100/a6000 (1080 XAVC-S S35 for dirt cheap) Samsung NX1 KineMini 4K (pity they're not selling the battle tested models any more: http://www.kinefinity.com/shop/kinemini-battle-tested/?lang=en And Kinefinity cameras only rarely come up for sale secondhand) Kinefinity Terra 4K (kind blowing your budget wide open now.... but was tempted to include this anyway for completeness as is the most appealing one on the list. Not that much more than a C300 / URSA Mini? But it is a slippery slope.... now we're entering EVA1/FS5 territory! ha, probably best to ignore this one....) I'd rule out the C300 PL & BMPC4K PL right away (and URSA 4K PL/ URSA Mini 4K PL to a lesser extent, which have some degree of flexibility around mount options... but mostly you're looking at just PL), unless you own a tonne of PL glass you can always use on everything, as being limited to **ONLY** PL is just too limiting in my eyes. All the other cameras listed here have a heap of options when it comes to lens mounts, the world is your oyster! Realistically only the mirrorless cameras (or the Kinefinity) are an option on a gimbal, or maybe the BMPC4K/C300 on a larger sized gimbal (well, all of them could technically be used on a gimbal, but the size of one needed for some of them would be so big I'd say it is seriously blowing the budget of a no budget shoot). Heck, even a teeny tiny a5100 will likely need a decent mid sized gimbal once you've rigged it up with rails and using an anamorphic PL lens with it. So I'd look at how much of this shoot (and future shoots?) would be on a gimbal? If only a teeny amount, I'd go for for a combo of Sony F3 / FS700 with an a5100/a6000 just for the gimbal shots. But if a larger amount will be gimbal shots, then get an a7S mk1 / NX1 / a6300 / a6500 instead as your main and only camera. I managed to find a few F3 for sale, and I live in a much smaller and more isolated country. Although Ukraine isn't part of the EU yet, you're still pretty handily located next to the rest of Europe, which massively opens up your options when sourcing gear. Am sure with persistence and luck you can find something relevant. Is it unrealistic to have two monitors at once?! Not at all! I'll often have two monitors on my F3, one for myself to operate with, and another on the opposite side (or handing from the rear) for the 1st AC to use or the director to view.

Ah yes, that extra context does help make a lot more sense of this! Which glass exactly do you own? Who is going to be the DoP on this music video, you? Very sensible! If you're not making any money at all on it, it makes sense to keep spending tightly under control. But heh, even buying the likes of a GH5 for personal usage is a pretty crazy extravagant luxury! Let alone the likes of an URSA Mini etc

That is with the slog upgrade. I went with the Atomos Samurai Blade instead (as the BMD VA had barely came out at all when I purchased my F3). Size doesn't matter for choosing the Alexa Mini over F3/C300, as you're talking about almost the same thing. So now you're making a point against the Alexa Mini?! Thought you were using sensor size to argue for it. This is making less and less sense. Oh, and it looks like you're getting confused with Arri open gate vs 2K/16:9 ratio. (I wouldn't exactly call that "cropping"! Although in a way I guess it technically is) You're going to need one big ass gimbal! Such as the Came Prodigy (perhaps?): https://www.came-tv.com/collections/came-prodigy Includes the BMD VA? Any other accessories? Local seller or free shipping? (international shipping is what kills most of these deals for me... :-/ ) If so, looks like a great deal, go for it.

Yes, the BMD VA can do 1080 ProRes HQ 60fps. It is right there on the spec sheet. So? Even if the Arri Alexa Mini is a couple of odd millimeters or so bigger (and I'd have some health skepticism as to if that is even true, recommend double checking it) , *so what*?? Doesn't matter. I'd be very worried you're wasting money in places if you're basing your hiring decisions on factors such as "having a bigger sensor than the F3/C300". As for PL mount, why? Do you own PL lenses?

Always time for another thread ;-) As heck, how many GH series threads are there? :-P

Ah, see I completely take the opposite approach! As using a Gimini/Pix with it defeats the core benefit of a F3 in 2017: it is INSANELY GOOD VALUE! And I reckon 422 => 444 is marginal gains, while 420 => 422 is a big leap.