IronFilm

Is there anything else out there which would force BMD to push its price down??? Nope. Who knows, BMD could always do something out of the blue like the 50% drop they did with the BMPCC a while ago (which very sadly they never again repeated.... well, aside from a very short moment here and there). Likely until new cameras come out to give some downwards pressure the prices won't drop much? The next ground breaking cameras in terms of low value / performance ratio, would be: Panasonic GH5, whatever BMD (& Kinefinity) announce at NAB 2017, Sony a7S/a7R mk3 (sometime 2017....), Sony FS5 mk2 (????), something randomly "out of the blue" (a new Kickstarter project?? JVC doing an update to the LS300??? Who knows what!!). I doubt any of those announcements in 2017 will make BMD feel like they "must" drop the price of the URSA Mini, the only one of those which might make an impact in dropping BMD's prices would be...... an announcement from BMD themselves! (but I keep on thinking that there must be finally a NAB when they do *not* announce a camera!! Give themselves breathing space, and a chance to catch up, and not ship cameras late for once!!)

Agreed, get yourself a monopod and get a feel for using it.

Ah, I think you misread what I said. I mean I doubt that the a7R mk3 and a7S mk3 (unless they don't come out until late 2017, or 2018) will both have 10bit *or* 4K 60fps, I expect Sony will have a bit more of a lag behind Panasonic just like Panasonic was first with the GH4 then took a little while for Sony to catch up. Three cameras... one per person for the close ups, plus a 3rd camera for the wide shot.

Detail vs the resolution recorded are two similar but different things, don't forget that

I half expect we will need to wait for the a7S/a7R mk4 before we see 4K 60fps and 10bit. As the mk3 version from Sony I fully expect will skip one or both of those features.

It is just for marginally better scratch audio.

Very ironic clicking on these old threads and seeing posts like this pop up at the top to read first.

What kind of stills shooting do you do professionally? & which Nikon bodies did you get? There wouldn't be as it is designed for the larger APS-C sensor.

So will you buy a few dozen Nikon lenses as well?? There is the newer Tokina 11-20mm f2.8 as well!

Will Sony however release GH5 specs??? I very strongly doubt it!! Sony *still* hasn't caught up with GH4 specs from years ago! (No 10 bit out from any of their mirrorless cameras) Personally I'll wait for the Panasonic G80, which will have 95% of the GH5 specs 95% of the time for 50% of the cost!! ;-)

Some people have made their own Nikon F mounts I believe?

Yeah redheads and blondes are just infamous for being the ultra cheap lighting stuff to start out with, as they pack a decent amount of punch for very little cost. Just remember that while LED's are great, it is a compromise you're making (quality of light / output strength / price vs portability / battery powering / small size / less heat).

You could get TWO of *both* and still probably manage to squeak in under budget!

Options: 1) FS700 + Odyssey recorder Yeah, that is kinda just it... *BUT* keep an eye out for: 2) Kinefinity Terra 5K (the Terra 6K is shipping already!) 3) Panasonic GH5 Or, you could consider compromising on one or more of your requirements? Such as if you give up the need for 4K: 4) Sony PMW-F3 Or give up the need for decent low light ability: 5) URSA Mini 4K

I suggest a multi stage approach as the budget allows, starting with the cheapest and most absolute bare essentials: http://www.came-tv.com/3-x-800w-pro-red-head-redhead-continuous-light-lighting-stands-p-158.html http://www.came-tv.com/3%C3%83%C2%972000w-220v-yellow-head-continuous-video-studio-photo-lighting-p-172.html Plus DIY yourself many of these: http://www.thehurlblog.com/how-to-build-diy-4x4-frames-lighting-education/ And multiple ones of these: https://m.aliexpress.com/item/2025941923.html Then for the next stage after that first phase, then you can look at LEDs and HMIs as well. And various other options. But start with those, as they give you the max bang for your buck (unlike say LEDs).

if you're in no rush then wait for the Aputure D3 microphone to come out (any day now... ??). As that should provide insanely good value.

The upside however is Nikon is the best and easiest mount to get lots and lots of native mount lenses for! And Nikon F mount is the easiest mount to adapt to other mounts. So makes a lot of sense to base the core of your lens collection around Nikon F mount Is what I've done myself. I guess CES is only next month after all. However at the crazy low prices of US$1.2K ish for a D750 then I kinda doubt it will fall much lower any time soon?!

And the URSA Mini 4.6K is heaps bigger than the FS5!!

Obvious spammer is obvious.

Why something as expensive as an FS5? Seems you've got limited experience? If so start out with something more basic and cheaper to learn on first, that is still very capable and good: http://ironfilm.co.nz/a-priced-out-gear-kit-for-a-newbie-to-filmmaking-using-the-panasonic-gh2/

The reason why is because...... Canon! I'd suggest spend a bit more for the Sony FS5 over the C100 mk2, as the FS5 is an even better run and gun camera with even more features, but also capable of being so much more. You can rig it up and get raw out of it as well!

hahaha, well "slow motion bullets" is a VERY unusual exception!!

DoP's certainly do run their part of the set (camera and lighting departments). And while directors have a somewhat limited role during the actual shoot days in managing the details of running the set, they certainly do play a role in the pre production phase (a very large role in lower budget productions!). And ditto Producers, they absolutely should understand more about the roles on set to make sure they're budgeting appropriately. Thus a bit of a diverse on set experience for themselves wouldn't go amiss! And so much money has been wasted and so many failures in the process too......

Don't Mormons allow filming inside the Temple?

I think a lot can be said for having a broad range of set experience if you're going to be a Director/DP/producer, as then it will make you a better Director/DP/producer as you'll be able to run the set better if you have a bit of an inkling of what the zillions of people under you are doing for their jobs. Plus your communication with the others on set can be a lot more effective if you can kinda talk "their own language" & translate. (i.e. understand a little bit of a camera lingo) Yes, unless you are a HoD or in some other role which makes sense talking directly to the director (such as a lead actor, or the 1st AD) then.... don't!! Nope, that is still not an exception. You should instead report the safety issue to the person above you. In extreme cases where that is ignored... you might consider going to the next person up in the chain, or similar, but you're still many steps away from the point of bringing it up directly with the director.