IronFilm

So I see three core options: 1) F5 with slog3 + a7Sii with slog3 (both slog3) 2) F5 with slog2 + a7Sii with slog2 (both slog2) 3) F5 with slog3 + a7Sii with slog2 (a mix, which camera doing the slog version best suited for it) Which of these three is the best approach for a feature film?

They share general sensors, and camera software between lots of those cameras. Which helps reduce the R&D costs per camera by a significant amount. A good next step would be if they did a base mount (such as Sony FZ or Kinefinity sub-PL mount) as a common mount across their cameras. As I blogged about here: http://ironfilm.co.nz/what-if-kinefinitys-kinemount-became-a-universal-cinema-mount/ What he means is the other companies do that as well.

Is kinda crazy the C300 can't even do 1080 60p! At least my Sony F3 is capable of that :-D

It is not what we're talking about here??? Darn. Darn. Though most porn I ahh... "research", would be a massive leap in quality if they used an XC10 instead!

I feel not that many people purchase the GH4 for the stills only capabilities. They purchased the much cheaper GH3 instead, or one of the GX series or went with Olympus if a serious stills only MFT shooter. Panasonic has a chance with the GH5 to make a very video orientated (but still very small / stealthy form factor) camera, unlike anything else from the competition. GH series from the start (such as the very first: G1 vs GH1) has always been more video orientated than normal for a pure stills line up.

But the LS300 doesn't have 10bit?? :-/ Which is one of the big reasons why to use a C300ii or FS7 I do see however the LS300 has gone for just US$2K: http://www.ebay.com/itm/JVC-GY-LS300-Cinematic-4K-Camcorder-body-only-/122011086342 Can't see the point in it for most people however once the GH5 with 4K 10bit internal arrives for sub $2K Maybe if the secondhand price of JVC LS300 in early 2017 drops under US$1.5K it might be attractive.

It is a great damn pity a BMPC4K MFT was never produced! It would help with its low light issues too.

D500 was focused at a certain niche of still shooters. As is the GH5, aimed at a small niche of shooters, who are film enthusiasts. Just like B.I.F. & sports shorters appreciate the details of a D500 in how it makes it worth the money, so will filmmakers appreciate the awesomeness of internal 4K 60fps 10bit and is worth every penny of $2K.

So maybe it has gained one XLR input. Otherwise I can't see any other big changes with the body. The lens still slows down to f5.6

X-T2.... so $1.6K? That is barely more than what a GH4 has been recently. If they go nuts and give us 4K 60p 10bit 422 internal then I don't think a full two thousand dollars is at all unreasonable. The Nikon D500 is a crop sensor camera and goes for the same price. Will still be heaps and heaps cheaper than any comparable Sony or Canon or BMD competitor.

What "conventional timeline" product has even matched their original BMCC in terms of specs and price? None!! There has been no such rush due to that like you claim by BMD. As they're still well out in front as pioneers (Kinefinity being perhaps the only close example, but only at the higher end of BMD's product range).

Rugged is something Pentax does well even for their low end models. However Pentax is not generally known as a top pick for their video quality.

His dentistry friends who he tagged: https://www.facebook.com/profile.php?id=100002625780591 https://www.facebook.com/ghader.moustafamanah https://www.facebook.com/Nism.nougat https://www.facebook.com/profile.php?id=100004619610557 https://www.facebook.com/profile.php?id=100004469431009 Amused somewhat by his latest FB update: Oh FFS, he recently got a PS4: Yet cries he is too broke and poor to repay those who he robbed???

Am about to start shooting a vampire comedy feature film, and am looking forward to when we get distribution (well.... hopefully!!), would they prefer 23.976fps or 24fps? Also, any tips for shooting a feature with an F5 and a7S mk2 together in 4K? (the a7S mk2 is so that we've got a small gimbal camera) For instance I am thinking it is probably best they both use slog2 rather than slog3? As the slog3 could be too much of a stretch for the a7S's 8bit codec. So use slog2 with the a7S and thus do the same with the F5 as well to help match it better. On a closely related point, what is (roughly generally speaking) the prefered aspect ratio by distributors? 2.35:1 , 2.39:1 , 1.85:1 , or something else?

But a GH5 with a multi aspect ratio sensor and a crop ratio of x1.2 would be interesting indeed!

Switch from PAL to NTSC.

There is a massive difference between the Panasonic, Nikon, and Samsung hacks vs the Canon hack. Those other hacks are just tweaking a few bits, or a line of code, or values, here and there, which means for instance you can put a higher number in for the bit rate. But the core firmware remains the same. What Magic Lantern did with Canon DSLRs is totally different, to quote from the ML team themselves: "Magic Lantern is not a "hack", or a modified firmware, it is an independent program that runs alongside Canon's own software. Each time you start your camera, Magic Lantern is loaded from your memory card. Our only modification was to enable the ability to run software from the memory card" http://magiclantern.wikia.com/wiki/Magic_Lantern_Firmware_Wiki Creating new code from scratch which can run on the camera is a MASSIVE undertaking! ML had a huge leg up with the headstart CHDK ("Canon Hack Development Kit") had made with Canon P&S cameras beforehand. Thus we're not going to see what happened with ML any time soon with any other brand of cameras.

Exactly. Exactly #2. Panasonic was the first (and still ONLY!) to offer 10bit external from a mirrorless/DSLR. I'd put a bet on them being first to offer 10bit internal as well, the only big question is... will it be with the GH5 or GH6?? Answer the "GH5" is where the smart money is.

What then is his real name??

If you can still make a healthy profit on a dollar and sell ten thousand times more of them then yes it does make sense to price it lower

Just look at the prices for an adapter to control aperture for Canon EF vs Nikon F, heaps more! In fact for Sony FZ mount it is prohibitively expensive on a budget. For RED One MX and Samsung NX it is nonexistent. But for all it is cheap and easy to use my Nikon F mount lenses on them.

I like that Nikon F mount lenses are more easy / cheaper to adapt than anything else. Venus Imaging is bringing out a 17mm f4 TS for Nikon very soon.

Ah my bad, it does have CF. Dug a little bit more into it, 7D isn't quite as bad as I might have thought with ML raw, still quite bad though. Certainly couldn't do 2.5K raw continuous. You'll need a much lower resolution. And 5x crop is a hell of a crop to have to deal with! And you can run into other issues too so you need to double check stuff. Not a camera I'd want to use in a production environment. 5Dmk3 ML raw or BMMCC is still streets ahead of it.

BMD can't make them fast enough to keep up with demand!! That doesn't sound like "not selling many". And as others said, display store demos are damaged all the freaking time :-/

No problem anyway if it is still an issue as you like to claim, just have a videographer' version: "GH5R", with unlimited run length, no mechanical shutter, & built in ND filters. Just like there is separate 1D C and 1D X