IronFilm

I was DoP for part of this:
The director was himself one of the key leads! Good idea really, as it was a long slog. 5yrs in the making!
My Tascam DR60D has this feature. 
"Safety track"

I was DoP for part of this:
The director was himself one of the key leads! Good idea really, as it was a long slog. 5yrs in the making!
My Tascam DR60D has this feature. 
"Safety track"

Depending on the framing of your shot, you could always tie a thin rope between you and you actor/subject... Attach it to your belt and his... Hit your focus before you start moving and as long as you keep the rope taut as you track him, you will stay in focus.

SmartLav+ is just a lav. Not wireless. So you can't monitor.
RODE makes many different microphones, all at a low price. As they target the low end.
 
The best one is the NTG3.
 
I have the NTG2 which is much worse. I've thought if I'd do it again I might get the MKE600 instead? Don't know much about the NTG4 but seems to just be a slightly improved NTG2

I love my CONTAX Zeiss glass. It's cheap and has a gorgeous filmic look to them. I have the "travel" set. 
28mm f2.8, 35mm f2.8, 50mm f1.4, 85mm f2.8. 
Im wanting to upgrade to the faster primes and get to a full set of the "supers". 
Check out this RedUser forum all about them. Love these lenses. http://www.reduser.net/forum/showthread.php?92044-Contax-Zeiss-Survival-Guide&highlight=CONTAX
 

MKE600 + 2x Saramonic UwMic10 

MKE600 + 2x Saramonic UwMic10 

I'd go with FS5, the small size, slow motion, variable internal ND, features, all make it more attractive than a C500. Plus in many cases will be a better match with your A7r II as a B cam.

Just to be very clear... not shot by me!! I wish it was! It looks great. 
But I just happened to come across it, and had to share it, as it is a nice example of what can be shot with GH2 in capable hands. 

Yes. This. x100

Your terror is justified.  Avoid looping like the plague.  It's not something you would ever want to do.  If you do not record your audio live, you are in for a long slog through the mud in post.
 
ADR was discussed in a similar thread last week.
 
In this post, I embedded a video example of the proper way to setup each take in an ADR session to save time.  If after watching that video you still think ADR is a cake walk, do a test -- try shooting one page of dialog with camera audio and then loop it.  See how you  feel about looping your entire project after doing that small test.

Im going to throw Panasonic into the equation, I just shot a Feature film with 6 Panasonic G7 cameras with Nikon Glass and Metabones XL speedboosters and Gini Rigs cages
 
G7 in 4k is an amazing camera I tested it at length against a RED Epic and Arri Alexa and we all prefered the image fom the Panasonic especialy in low light it out performed the Epic , so much cleaner image off the Panasonic no noise or fizz in the blacks like the Epic had.
I shot the movie with these lenses
Nikon 80-200 f2.8 'Bourne Lens'
Nikon 28-70mm f2.8 'Bourne Lens'
Nikon 20-35mm f2.8
all on Metabones speedbooster XLs to give a Super 35mm field of view on the G7 it also made the f1.7 contant apperture zoom .
The Nikon Glass with the Metabones XL gives a look very similar to Zeiss Master Prime lnes its that sharp and good.
with those 3 lenses you can shoot your entire movie
 
 
 
 
 
see pic

Every camera (especially with the well under $5K range) has its own little set of niggles. Even the famous and expensive 1D C has ***HEAPS*** of niggles. Even an Arri Alexa has some niggles, that is why they brought out the Amira and then the Alexa Mini. 

But with an external battery pack (or a pocket full of batteries... I've got 13! So I can go with either option, just internal or external as well) you can go for ages and ages. I did this a couple of weekends ago inside at a Motorsport Expo, using the BMPCC as a quick and dirty run and gun camera on a monopod shooting to Rec709 ProRes LT (as there would be a lot of footage, none of which I'd be editing).
This shows you can even happily use a BMPCC for one of its most unconventional uses: run and gun!
If I was doing this outdoors I'd have added a monitor (I've got a Feelworld FW759 now, but hopefully I'll get a nice little 5" or smaller one to add to it instead). 

The total size and weight would still be smaller than what a naked 1D C would be! And more functional. (1D C monitoring features are shit)
GoPros have been around for many years longer than a BMPCC, for a long time they were the ONLY option. That is why they were used. 

GoPros would still be used now for their low cost , their widespread availability, waterproofness, extreme small size, and ease of use. 

But for when image quality really matters, productions will always be now reaching for a BMPCC/BMMCC over a GoPro.
In many many cases 4K is not **NEEDED***. 4K is not needed for nearly all of my work. As AaronChicago just mentioned only a few comments before yours, he is really only using his URSA Mini 4.6K as FHD ProRes HQ and not 4K as that is all that is required for his needs. 

So yes, would be lovely if the BMPCC had 4K! But it absolutely does not have to be a deal breaker requirement for many of us. 

As for 60p....  that is solved, we have the BMMCC if a person must have that.
Needs an external recorder however... if BMD had included that inside the design then it would be a lot bigger and no longer Micro, plus the price would leap up. 

This is however something I'd like to see! Could likely be sub $3K? With a URSA Micro (even a bit smaller than URSA Mini! But please please add internal NDs) design with a 1" (or 4/3") sensor doing 4K that gets recorded internal. 

NAB 2017? To ship in 2018! Haha
I dunno, they would sell a **SHITLOAD** of Canon Rebel series DSLRs (and 60D/70D DSLRs too, only one step up) to people who never buy anything more than the kit lens it came with. Maaaybe a 50mm f1.8 and/or a walk around superzoom as well.

The people who buy L series glass from Canon are a tiny proportion of that. 

But yes, if you excluded Rebel DSLR buyers from these figures, then I could agree with you.
5Dmk4 and 5D C having two very different sensors? Doesn't seem like a Canon thing to do! This seems unlikely to me. 

Just to be very clear... not shot by me!! I wish it was! It looks great. 
But I just happened to come across it, and had to share it, as it is a nice example of what can be shot with GH2 in capable hands. 

Plus there is a fair amount of technical skill in operating a boom pole well, which nearly all "friends holding a boom pole into a Zoom" don't have.
"Time" is still a crucial part of a low/no budget film. 
If anything... even more precious than on big budget films!
As you can't just pay people to get more of their time. There is only so much of people's time you can ask them to give up for free (or even for very low pay). Thus one of the pitfalls I see of ADR on low/no budget productions is that you run out of "time" with actors to get them back to do ADR. As the logistics of herding cats is not easy.

Plus there is a fair amount of technical skill in operating a boom pole well, which nearly all "friends holding a boom pole into a Zoom" don't have.
"Time" is still a crucial part of a low/no budget film. 
If anything... even more precious than on big budget films!
As you can't just pay people to get more of their time. There is only so much of people's time you can ask them to give up for free (or even for very low pay). Thus one of the pitfalls I see of ADR on low/no budget productions is that you run out of "time" with actors to get them back to do ADR. As the logistics of herding cats is not easy.

Plus there is a fair amount of technical skill in operating a boom pole well, which nearly all "friends holding a boom pole into a Zoom" don't have.
"Time" is still a crucial part of a low/no budget film. 
If anything... even more precious than on big budget films!
As you can't just pay people to get more of their time. There is only so much of people's time you can ask them to give up for free (or even for very low pay). Thus one of the pitfalls I see of ADR on low/no budget productions is that you run out of "time" with actors to get them back to do ADR. As the logistics of herding cats is not easy.

Yes.  Seems like you have a handle on things.  
When it comes to small productions, unless you have a good reason (story) to actually use a camera and film something interesting I really don't see a reason to put the cart before the horse.  When you're finally really excited about what's on the page, then take time to worry about the tech.
If your film was on a budget wherein you were the DP and your main concern was the camera, then you could burrow into the rabbit hole.  Otherwise, just get what you can with that 8K and you'll be fine.  
Personally, I sometimes wonder if too many production people feel like the subjective issue of skin tone/color is something that'll make or break a movie.  I mean, I care about it too, but it's waaaaay down on the priority list.  That's me though.  I tend to do work wherein I'm the beginning and end of everything, so my priorities need to take into account much more than just camera... The first one being, would a viewer even find this story interesting?

I use Sony Vegas and I think it is the best editing software. I tried Premiere and FCPX but SV Pro 13 is much easier and much friendly SW :-)
I am so glad that SV is not dead!

I meant the newest Shogun update, enabling the Atomos Shogun to take a 12 bit 444 signal and record it:)
 

But you were saying the Odyssey with the F3? & in that combo it is overkill.
As BMD VA & Samurai Blade already have SDI.
And F3 can't do raw or 240fps.

Personally, I would not mess with the FS700. I shot with that a lot and the colors and skin tones are just off. Not too sure about the FS5, but I think an F3 is like 1/3 the price and the savings could be spent on glass rental...
I bought an F3 a month ago, maybe my favorite camera I have owned. The color you can pull from the camera is just so nice. Excited to be working with it. It reminds of the BMCC or the pocket, with NDs, really nice battery life, and the reliability you expect from a camera in that class. 
Attached a couple stills. There's tons of F3 footage online, but just wanted to give that camera an up vote. I would get the F3 and a the 7Q recorder used. The whole package should be under 3 grand.
 

I'd be more inclined to rent Angie DP Rouge's - I freaking love those lenses!
Again, don't underestimate the importance of glass - say what you will about Sony, but shooting F5 or F3 with Angie's or Ultra Primes is magic.
Mine has the full upgrade, and I can confirm that you can do 50/60p 10-bit 422 over single HD-SDI. Can't attest to whether it would need dual-link without. 

Still doesn't fix the C300 mk2's utterly infuriating output options.
 

Maybe you missed focus on the wide shots as it wasn't properly calibrated for infinity focus??? Seems strange for RED 4K wide shots to be thought of as too soft?!

And shooting 4K for 2K delivery to give "more options in post" doesn't come with pitfalls, you'll need to be spot on with your focus, and the crop will mean deeper DoF than if you'd shot it originally with a longer lens without cropping. Plus 4K means heavier demands on data storage during production and in post. 

All of these can of course be overcome, but shouldn't be ignored casually. 

Even just 1080 10bit 422 will chew up a lot of space over a feature! Is what I'll be doing on my next feature. 

Maybe for my feature after that we'll have the budget to use 4K 10bit 422 cameras for the whole thing. (as would like to use a Sony FS700 with FSraw down converted to 4K ProRes HQ on the fly with an Atomos Shogun, but that would stretch our budget too far So Sony F3 it is! If we do get any spare budget at all, it will be to buy a second Sony F3 so we can shoot with two at once)
Yeah the director Colin Trevorrow shot his first narrative feature film on an F3: "Safety Not Guaranteed".
Note however, I believe this was shot with a pre-S-log camera and all internal. Or in other words, you now in 2016 using the F3's S-log and 10bit external would be getting a much much better camera than the version of F3 which shot "Safety Not Guaranteed"!

Colin Trevorrow went on to make Jurassic Park (4th highest grossing film of all time!) and will next be making Star Wars: Episode IX.
 
 
Oh wow, a Cooke 20-100mm T3.1, that sounds like a handy and great zoom range with a fast enough T-stop, all this with the Cooke name for $4K? Can't afford it now, or even probably next year, but sounds like something I could aspire to own in the medium term future!
But then I looked up what the lenses looks like on an F3.....


WHOA!! That seriously pushes the limits for me for an "everyday" lens to shoot a feature on. Hmmm....