IronFilm

Go with the GH5 and keep the lens (or better invest into Sigma 18-35/50-100 lenses and an EF-Speedbooster for cleaner/sharper images and more range).
The GH5 is easily usable up to ISO3200 (or 4000) unless underexposed in both Video and Photo if sharpening and NR are turned down to -5.
I agree with @JordanWright about the 3 stops less lowlight capability. But a clean and usable F1.2 aperture easiliy compensates for that.
ISO3200 (4000) Limit on the GH5 vs. ISO25600 on the A7s2
F1.2 vs. F4.0 basically. Not too bad. Try to focus using anything faster than F2.8 on a Fullformat camera... lol
And the GH5 will show more fine grain with lots of fine detail (10 Bit codec) while the A7s2 will look washed out at high Isos with bubbling appearing starting from ISO12800 when underexposed and ISO25600 when properly exposed.
Forget about using Canon cameras if you concerned about low light or even Video AND low light.
ISO800 is the max for an APS-C style Canon and 1600 for the 5D MKIV and 3200 for the 5D MKIII using Magic Lantern. The GH5 will still show way more detail at ISO3200.

If you ask about budget they will always low ball it or say "as low as possible" which is normal. You must provide a price range based on the complexity and level of service. Tell them that you have a wide range of options, that you can do A for $ or Z for $$$, then let the customer pick where he wants to put the cursor. This way you respect his choice.
Also, no need to be too "anal" about the contract because it may deter the client at some point especially for small project like that. Put the essentials (price, deadline, delivery format, license rights, the do and don't etc) but in any case if the client break some small conditions what are you going to do ? Hire a lawyer at $2000 block rate to fight for a $1000 job ?

First how "big" is this project ? Is that for national TV or small web diffusion? Then is that work for hire? Do they provide the contract? What are the conditions? How complex the project is exactly? What delivery format do they want? (resolution, FPS, color depth, etc.) You mentioned monologue, is that a simple tripod interview type of thing? You are not going to charge the same way for a huge project for national TV a small agency that sub-contract the work to you.
Then you must list your cost and expenses:
- Equipment (rental or amortization if you use your own)
- Insurance if you have one
- Tax (federal, state and all other tax that) on your general income (LLC) or corporate tax.
- All other direct fees: parking, transportation, actors, location rental, stock music and footage license if any, etc
You can set your price based on EXPENSES - PRICE = benefit or actual money in your pocket. That's "Invoicing 101" but if your costs are $2,000 you won't make a dime if you charge less than that.
In your quote/invoice break down the costs and expenses so the customer realize all the elements. Mention your base price multiplied by the number of days:
- On site preparation and filming ($200 days X 4)
- Editing and color grading ($200 days X 4)
- Equipment rental (camera, light, etc.) (xxx)
- Actors (xxx)
- Song license ($150 for internet license)
- Studio rental (xxx)
It's very hard to tell you what to charge without knowing the conditions and complexity of the project but don't go the cheap route. First because you will look like an amateur and second because all work must be paid and you can't work for free or for less money than a Mc Donald's employee. I checked your work and I think that you should at least charge $400-$800 per day depending on the complexity of the project. Now if you really want the job for your resume and reference you may want to lower the price but in this case explain why and include a SPECIAL DISCOUNT line at the end of your invoice (eg. 80% discount)
And by the way congratulation for your work.
 
 
 

From what I understand, industry rates for commercial/corporate dry hire non-union camera ops (not even good ones) run about $600/day, significantly more with a kit.
Editing/vfx/color maybe $300-$500/day, more if you use your own computer.
Heck, I know DITS making $1500/day regularly.
Sound, $700/day wet hire.
And that's before a 4-10X agency mark up (what the agency or studio charges the client).
But your potential client isn't hiring at industry rates for a reason. I'd just ask them roughly what their budget is. I wouldn't undersell yourself at $100/day. That'll make them suspicious that you don't value your own time, and they won't value yours.
I wouldn't try to take home a full rate for your first job, but I also wouldn't undersell yourself. Ask them roughly what their budget is or bid a little high and let them negotiate down. At least then they will recognize up front that you respect yourself. But the reason it's a difficult question to answer is that there's absolutely no standard or good answer for this kind of work. Which is why I wouldn't feel bad asking them what their budget is.

Determine what your time is worth for each day, and add 10% for contingency.  Add/list expenses, plus 10% contingency.
 
Hint:  don't list the contingency amount separately -- just include it in the amount you list for your services and also in the amount for the expenses.
 
Have fun!

The term "Guardian Reader" is often used to describe a "champagne socialist". The sort of person who happily debates social inequality over a glass or two whilst warming in front of an Aga in their £500,000 kitchen renovation.
The sort of person who might make a mini doc about the homeless on their personal Red in the hope of changing social attitudes.
Not something to be taken too seriously...

https://www.bhphotovideo.com/c/product/1336174-REG/smallhd_mon_focus_5_touch_screen.html
Micro-HDMI Input?? Nooooo

Thank goodness the GH5 did away with the Micro HDMI nonsense and went full size! However the a7S mk2 is still stuck with micro HDMI

But at least get a monitor with full size HDMI?

As for an external recorder, I reckon 9 times out of 10 it is not worth it unless you are at a minimum going from 8 to 10 bit (or raw. Or gaining a leap in resolution to 4K, such as with the a7S mk1). 

https://www.bhphotovideo.com/c/product/1336174-REG/smallhd_mon_focus_5_touch_screen.html
Micro-HDMI Input??

Thank goodness the GH5 did away with the Micro HDMI nonsense and went full size! But now you'd return to that?? Please don't :-o 

Get a monitor with full size HDMI
Stupid! But if it makes you money.... not stupid!

However, why not get a mattebox instead for this purpose? At least it has more real uses than a battery grip would have for you.

I would skip this and go for the Sony UWP-D11 instead (they're great, I own five of them!). 

https://www.bhphotovideo.com/c/product/1336174-REG/smallhd_mon_focus_5_touch_screen.html
Micro-HDMI Input?? Nooooo

Thank goodness the GH5 did away with the Micro HDMI nonsense and went full size! However the a7S mk2 is still stuck with micro HDMI

But at least get a monitor with full size HDMI?

As for an external recorder, I reckon 9 times out of 10 it is not worth it unless you are at a minimum going from 8 to 10 bit (or raw. Or gaining a leap in resolution to 4K, such as with the a7S mk1). 

Hell no, go for Nikon D500 or D7500, better stills performance AND better video performance. 

I couldn't agree with you more!  I mean like, triple AMEN!    I have never worked with a camera SDK that seemed like it was designed by half-competent developers (unlike the main ML devs).  Indeed, recently I wanted to control Sony cameras.  Did I load up the SDK?  NOPE.  Been down that road, with unanswered questions on life-less forums.  So I installed the USB Camera Remote and used a library that basically does key-stroke pressing on the application's interface.  When it comes to SDKs, all the camera makers are pathetic.
Now this may seem like a tangent, but I want to prove a point.  Adobe Premiere just re-vamped their whole TITLE making process.  THREW OUT THE WHOLE THING.  Now there is a "Graphics" interface.  When you create a title you get bountiful properties and methods in the Graphics pane.  It's been built from the ground up.  Should be perfect, right?  Yet it has everything but the TEXT OF THE TITLE!  In order to change the text of the title you have to click on the "Text" tool on the timeline.  Is the text of a graphic a property of a timeline?  WTF!  It makes me speechless! My brain freezes trying to comprehend how Adobe management could let something like that pass.   It's a KLUDGE of monumental incompetence.  My 2-cents   
There are very, very few software developers who have a real talent for programming.  Just like there are very, very few bloggers who have a talent for writing about cameras   The world runs on computers.  There is still a fair amount of managers at Canikon who weren't brought up on computers.  In short, there is a chronic shortage of talent.  If Adobe can't get enough good talent, what hope everyone else?
Look at ML, of the 28,000 members my guess is there are only 50 or so people with hard-core programming skill.  And if more, they don't have the time.  Put another way, I bet 8 out of 10 software guys at Canon don't even understand what the ML devs do.  It's over their head.
 

Yes ETC. On the GH5 adds an extra lens to any of the lenses you own....in 4K....with a reasonably small crop...really what I had hoped they would do on the EVA1... with a mount that could receive adapters...instead I'll just save my pennies for the LT

https://www.bhphotovideo.com/c/product/1336174-REG/smallhd_mon_focus_5_touch_screen.html
Micro-HDMI Input??

Thank goodness the GH5 did away with the Micro HDMI nonsense and went full size! But now you'd return to that?? Please don't :-o 

Get a monitor with full size HDMI
Stupid! But if it makes you money.... not stupid!

However, why not get a mattebox instead for this purpose? At least it has more real uses than a battery grip would have for you.

I would skip this and go for the Sony UWP-D11 instead (they're great, I own five of them!). 

Actually, ignore my first post, Andy's stuff isn't good for us.
 
Here's basically the LukiLink (Android only) available on Amazon:
https://www.amazon.com/HDML-Cloner-broadcast-streaming-Android-capture/dp/B01CI08N6M
 
The app itself hasn't been changed much yet, I guess the OEM provided them with the source code for the apk, but I hope Frank can add all the stuff he's promising on the Kickstarter page.

If anyone is interested in getting a LukiLink style adapter:
 
https://www.febon.net/
https://febon.blogspot.com/
https://www.youtube.com/user/andyzhengster/videos
 
Andy has been producing these devices for a long time. His English sucks but he can be reached via email.
 
(Not trying to sabotage the LukiLink. The app their making is definitely worth supporting. Just providing info. These adapters have been available for several years.)

It's a great lens for sure, but it's not so great for video except in very limited circumstances.  It breathes a lot and isn't parfocal.  
But it's a beast for stills.  I wish Olympus would repirsise the F2 zooms they did in 4/3 for m4/3. (They made a 14-35 F2 as well)

JB
 
 

What is the latency in ms for the different frame rates? Or expressed in frames if you want that.
 
What's with the sudden hate against using existing interface solutions? h264 encoding chips are not new and aught to be cheap at this point, same with the USB side.
And when it come so getting the data, you could just have ethernet as transport via USB, it's not like the 15Mbit stream is that high demand.
What would be interesting is if they made a host mode USB port where you could plug in a wifi adapter, just set it up through cable first then it would work as an access point. UDP multicast and you have a wireless monitor, or several depending how many phones you have. The app side would be fairly similar I think. Latency would not be much more than cable, maybe max 10ms and that is insignificant compared to other things.
You could add a wired ethernet adapter too which would be useful as you can add professional access point and have large area coverage.
I would not rely on recording through wifi tho.

@Frank Glencairn you have a NDA with your own project? Never heard of that! Look, my problem is that I have serious doubts on you and the other guy being capable to engineer hardware and program a software to show hdmi input with focus peaking, lut etc.pp. yourself.
It's not a trivial task. Let's assume for the project crrdibilities sake you are not just relabeling an existing product but you are working with some Taiwanese manufacturer (i.e. Febon) and they agreed to modify their design to your specs as for the hardware and some people that are engineering the software... Why is it so hard to say so, I guess it will rather make people trust more in the project than if you and the other guy pretend to have done the engineering and programming on their own. And BTW since at that pricepoint the hardware company can not use fpga's, it's going to be an ASIC, how many HDMI to h264 Asics exist, it's not so hard to find out which one they could be using, also the tech specs of the ASIC will certainly specify the design inherent latency of the (h264) video encoding, which you fail to mention in the project description. This part is influencing the latency indepenfently of the phones speed and could already be specified.
And being a bit more specific about how you are going to solve iOS lack of UVC drivers would be interesting.
(see https://stackoverflow.com/questions/32133699/is-it-possible-to-connect-external-wired-camera-to-ios-device)

It wouldn't be too bad to jerry rig a wireless charger to the back of the phone, connected to a power bank, if your phone supports that kind of technology (which mine does!  ) 

It would be interesting to see how long the phone lasts with the app open, screen on and phone turned to airplane mode... but if it's 3 or 4 hours then you have a charging break for 30 minutes (if the phone supports Quickcharge 2.0 it can really charge very fast) that would be ok and you could buy a spare phone for $300 to use whilst the other charges... Still a saving over buying an OLED 1080p field monitor.
Come on... Be more positive.

Seems like a pretty cool camera, and going from current d810 pricing, it'll be quite affordable in a couple of years.

My two favorite movies are documentaries (which you can view the full films for free online!!):

1) "Line of Sight".

As it gives a very small insight into the world of being a bike messenger (which I live and breath myself! It is what I do in between my freelance jobs as a sound recordist on set), that otherwise the normal average person just can not do. 
https://www.pinkbike.com/video/299661/
 
 
2) "Fat Head".
Because it exposes what nonsense the food pyramid is. And that eating fat is not as evil as everyone seems to think it is. (personally I've been living a Low Card High Fat diet since 2011! And will carry on so for the rest of my life). 
 
 
 

That happened with the a6000
 
Meant for a while you had the odd situation of the a5100 being a better camera than the a6000 (which is why I bought the a5100)

"I hope the D850 looks as clean and doesn’t suffer too much from the pixel binning, which can hurt low light performance and increase moire & aliasing."
Please @Andrew Reid, don't confuse "Pixel Binning" with "Line Skipping". They are two different things with totally different results! 
The D90, D3s, D300s, D5100, D7000 where all line skipping cameras, like all the Canon DSLR's in FHD. But the D5200, D5300, D5600, D5600, D7100, D7200, D810, D750, D5, D500, D7500 (I hope I didn't missed any) are all using pixel binning in FHD with minimal moire and aliasing but with detail not as high as an image obtained from full sensor readout with resizing (like on the GH5, A6300, A6500, A9 etc).
By the way,thanks for the video feature summary, the other sites are focusing to much on the still capabilities of the D850.

Um, it's not about perfection... It's about paying for a full frame camera and expecting a FULL FRAME image!
And the codec is inexcusable.