IronFilm

The Mafia.

Yes we do know Sony won't license E mount. And Canon EF mount has been around long enough it no longer has the same level of IP protect as E mount has, thus others can use it.

Does it really justify its $645.99 price tag???

I think it is more like 10% Sony (but that greater complexity largely comes from them packing in so many features... you wouldn't have that problem if they did less! But you wouldn't want that) & 90% a meme created by Canon shooters.

Even I'd say a used Canon C100mk1 is worth considering if you can buy it for the same price as a Panasonic G80! Put a little bit of time into learning it, and spend a few shoots with it, and you'll find it as easy to fly around the menus as any other camera. Is it really too much effort to ask of a person to put that little bit of background research and experience into a new camera they get so that they're then comfortable with it? I don't think so. I think this is where a lot of the anti-Sony feelings come from, there is a VAST amount of people with a Canon background, and when they pick up a Sony they then hate it not for anything at all bad about the Sony but just because it is "not Canon". As they've spent too long with Canon and are too inflexible to quickly pick something else up new?!

Nope, I'd say the FS5 is ahead of the C100 on ergonomics. Exactly the same could be said about the FS5, they'd do well to step up to that as well.

Nooooo...... the video is now set to private and I can't view it!! :-/

Nope, imagine you have an image source which is exactly 1 pixel bigger in each direction than the final resolution. You'd be much better off cropping that than downsampling it.

No problem I'm a bit of a location sound recordist nerd, so have a good handle on all the various low budget sound recording options ;-) The key point is all the ones I listed have headphone jacks (even the Shure on camera mic, and those wireless receivers) so while you can't monitor what is actually being recorded inside the camera (thus whenever you can and have a spare moment, you should still check playback for issues), you can at least easily monitor the audio feed (which is the next best thing!). Plus all of those listed (except for the Saramonic & Sony wireless kits) are recorders as well, which gives you a back up recording as well as an emergency fail safe you can resort to if need be. If all you need is an on camera mic for scratch audio / extreme run & gun, then go for the Shure VP83F. If you use wireless a lot and you want a very minimalist set up without an extra bulk, then go for Saramonic UwMic9 (or the Sony UWP-D11 if you want the fancy-ish "brand name" of Sony rather than Saramonic, of if you need a different frequency range for your region other than what Saramonic can supply at the moment). if you want an actual proper recorder go with Tascam DR60D mk2 (I've seen it for as low as US$135 on special!! Insanely cheap for such a good little recorder), get the Tascam DR70D only if you need the extra XLR inputs. Get the Zoom F4 (or even F8) if you have aspirations in the near future of taking location sound recording seriously to a semi pro level or higher and specialising in this as a sound recordist. (like I am doing myself: http://ironfilm.co.nz/sound/) Get Zoom H1 (or Tascam DR22WL, which is kinda similar ish... but has WiFi!) if you have very low audio requirements (don't even want XLR) and just want something nice but is ultra small and compact with built in mics.

An FS5 will get him work too, as B cam to FS7/F5/F55 jobs, and A cam for lots of similar jobs you'd do with C100. Plus the FS5 has a level of diverse versatility that the C100 can not come close to matching with 4K option, raw recording, and slow motion. He has only a very small selection of lenses, thus luckily he has no (or only very low) lock in to the Canon ecosystem, and he can keep using them with an FS5. As for color, just apply LC709a. Easy, now you're sorted for low budget / quick turn around jobs. For higher end coloring you can go with raw. While the C100 can't even do 10bit!

True. But you are misinterpreting what I'm saying. I'm not saying certain resolutions *can't* produce a 4K image, what I'm saying instead is certain sensor resolutions are better suited for it than others.

Was on set on the weekend using the Fujion 19-90mm T2.9, it isn't really *THAT* big. However is close to the limit of what size I'd want a general purpose do everything lens to be, but is ok. If I owned one myself it probably would live full time on my Sony PMW-F3. Meh... 19mm vs 21mm, I could give that up perhaps if it was the only compromise, but that new Zeiss is not a constant aperture! :-/ Nope, I use the 50mm & 85mm focal lengths way too much to want to give them up. That is why Angenieux also makes the 30-90mm T2, as you often have to pair that lens with at least one more zoom lens to cover the other common focal lengths.

How about... NONE?? Get a Sony FS5 instead. I think in his situation then he is in a perfect place to jump ship to something better, as with merely a 60D & SL1 he is hardly heavily locked into the Canon ecosystem right now.

When you're pushed for time by the production then zooms are very nice to use! For the XEEN ones yes.... but for the Rokinon Cine DS versions, maybe more like $1K-ish-ish? If they're $1K I'd buy it in a heart beat. Errr... 24-105 (or even better 22 or 20mm to 105mm, or even just 90mm) would be so much better! As cine zooms they'd be used a lot on S35 lenses, and while I can live with 28mm, having 24mm or wider on your zoom is so much better and will save you a lot of lens changes. As I said before, my dream would be 19-90mm T2.9, you could easily do whole productions with that and never need to change lenses.

Nah, I'd recommend pairing the Saramonic wireless with a Tascam DR60D mk2 or similar instead.

It is a smooth multiple of 4K to make for easy math with the oversampling and not needing any nasty skipping in the process.

If it is legal in your region then buy a couple of Saramonic UwMic9 units. You're getting performance from them unlike anything else in their price bracket, you'd need to spend DOUBLE as much to find something as good (such as the Sony UWP-D11, another solid choice. Next step up is Lectrosonics).

To get 12mp (well, 8MP once in 16:9 aspect ratio) from 15.4MP then you either need some ugly downsampling or to crop. That is why. Interestingly the Sony NEX-VG900 lacked ND filters built in and it is a full frame sensor :-/

If you're recording in camera the audio then the audio can't be THAT important?! But if you must, then get a Shure VP83F LensHopper, Sony UWP-D11, Saramonic UwMic9, Zoom H1, Tascam DR22WL, Zoom F4, Tascam DR60Dmk2, or Tascam DR70D. (which one of these listed to get will entirely depend on your needs and budget as to which is best for you specifically) All of them are very affordable, will hold long term usage/value beyond what a GH4 would stay relevant for, will provide an effective way to easily monitor audio, and provide better audio than a GH4 could do alone. https://www.bhphotovideo.com/c/product/966010-REG/shure_vp83f_condenser_shotgun_mic.html

http://www.mirrorlessrumors.com/samyang-says-mft-x-autofocus-lenses-possible/ http://www.sonyalpharumors.com/samyang-says-will-make-zoom-lenses/ Awesome!! We're going to see affordable cine zooms soon from Samyang?? I'd love to have a Rokinon version of the Fujinon 19-90mm T2.9 but at a price I could actually afford!!

Or get the Tascam DR22WL instead: https://www.bhphotovideo.com/c/product/1079894-REG/tascam_dr_22wl_wi_fi_enabled_portable_recorder.html As you need to hide the lav and its transmitter, then having the largest transmitter pack in existence is going to be a significant downside to it.

Suggestions on the best settings to make the Sony PMW-F3 match in camera the look of Rec709/Video mode of the Blackmagic Pocket Cinema Camera?

Check out the Yuneec Typhoon Q500 http://www.gearbest.com/rc-quadcopters/pp_251231.html

Agreed, this is why I don't believe this rumor to be true. Highly likely a fake.

Agreed, if you want a cheap 4K action camera then go with the Yi 4K