IronFilm

A few folks here have stated that this is a common practice, but that really is not the truth.
 
Think about it:  if productions (large and small) intended to loop dialog, then why would they hire a pro sound mixer (with a cart full of expensive gear) and a pro boom operator and why have the mixer also wire up the actors with lavs?  Check BTS vids/articles of your favorite movie scenes with dialog -- I'll bet there is a pro mixer and boom operator.
 
The only time that I ever was on a set in which the dialog was intentionally looped for the entire project was on an Indian feature back in the film days.  They had to ADR as they commonly used a less expensive MOS camera (in this case Arri IIC that sounded sort of like a rice thresher).
 
Looping is avoided like the plague.

I have a Panasonic G6 too! :D Often times when a lightweight easy to use G6 is preferable. 

And for multicam shoots such as weddings using my G6 to roam around for sniper shots along with a few GH1 bodies locked off on tripods, makes for an effective and very low budget set up. 
You can now find the F3 at US$1500ish prices without too much trouble, I would never pay US$3000 for one!
Heck I paid just US$1.2K for mine, and that was over a year ago when prices were higher then on average than they are now. 
https://www.maoritelevision.com/tv/shows/reset/S01E003/reset-series-1-episode-3

The entire water fountain scene at @1:23 was pick up shots I did using my F3 with ProRes HQ.

The rest of the episode I was DoP for & shot with a Sony FS7.
Great deals on the battle test Kinefinity KiniMini 4K on their website! US$3K I think? 

Or get the Kinefinity Terra 5K for $5K.

I'm not such a big fan of renting even glass on extremely low budget productions. You can go far with a set of zooms: Tokina 11-20mm f2.8 + Tokina 28-70mm f2.8 + Tokina 80-200mm f2.8 (and throw in the Nikon 50mm F1.8D, too cheap to not include!). This entire set of lenses can be got for just over a thousand bucks (and half the cost is just for the 11-20mm UWA!).
Or get a set of Rokinon Cine DS lenses:
http://ironfilm.co.nz/rokinon-cine-lenses/
 

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....

Sorry to butt-in, but looping all of the dialog for your web series might not be such a great idea.   You shouldn't really need to do so, unless there is some constant, uncontrollable, overbearing noise on set.
 
It takes a lot more time and additional resources for all of that overdubbing than it does to merely get the audio right when shooting.  If you are paying your actors, looping your entire show could add 25% in cast expenditure. Add to that the cost of time and kit rental (and recording booth) of the post sound person.  Plus, your director has to work the entire ADR session.
 
Furthermore, there will likely be moments at which the overdub will sound/look fake.
 
With the the many excellent, inexpensive audio recorders out there, one can easily obtain nice, clean, genuine dialog sound on set.    Your BM Video assist might make a nice audio recorder.  In addition, using one of the recent NLE audio sync plug-ins makes it almost effortless to get that separate sound placed precisely on the timeline.
 
Audio is 1/2 of your show.  If you are not knowledgeable and experienced with audio, it might be wise to hire a separate audio professional to handle that department.
 
 

I personally would use the G7 as my main A camera and the GH4 as B camera , the g7 does have the better newer cleaner sensor .
I would shoot it all in 4K UHD 24 fps mp4 (internal codec is very good in 4K mode )
Natural profile saturation -5 contrast -5
dont go over 800 iso
light your sets for about f2.8 or f2 max
G7 focus assis is great it has 2 settings I use H
I would use your Zeiss primes as they are superb lenses same glass as Zeiss Ultra Speed cinema lenses - no differance
yes use the internal camera audio as I guide track and ADR it all in post
All the above is how I shot the feature film Pandora

Why the obsession with so called "FF"?? Most of the blockbosters are shot with S35/APS-C, it is the standard, not FF.

WOW! :-o

I see you used other cameras than just the 1D C on this, what else were those?

Oops, just realised I put a pic of a Cooke Varotal 18-100 T3, but it seems the one you're referring to is a similar size anyway?

Take a deep look into what people are doing with the FS7 and LC709a, such as over on dvxuser and other places. Give great images from it, Arri like. 
 
Also, this:
 
 

Not 100% essential, but important to look out for anyway.
However there was a free s-log upgrade available which you can get if you don't have the paid version, and that allows you to have s-log 10bit 422. Just you miss out on 444, but the gain there is marginal in most use cases.
I used to have a big bulky set up (using V mount batteries even!). But my set up now with the Samauri Blade and a 24-70mm f2.8 is quite a nice compact set up, can even be usable for run and gun shooting with my Sony F3. 
Yes! Shows even $500 cameras now can do amazing work. 

This thread:
 

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....

I have a Panasonic G6 too! :D Often times when a lightweight easy to use G6 is preferable. 

And for multicam shoots such as weddings using my G6 to roam around for sniper shots along with a few GH1 bodies locked off on tripods, makes for an effective and very low budget set up. 
You can now find the F3 at US$1500ish prices without too much trouble, I would never pay US$3000 for one!
Heck I paid just US$1.2K for mine, and that was over a year ago when prices were higher then on average than they are now. 
https://www.maoritelevision.com/tv/shows/reset/S01E003/reset-series-1-episode-3

The entire water fountain scene at @1:23 was pick up shots I did using my F3 with ProRes HQ.

The rest of the episode I was DoP for & shot with a Sony FS7.
Great deals on the battle test Kinefinity KiniMini 4K on their website! US$3K I think? 

Or get the Kinefinity Terra 5K for $5K.

I'm not such a big fan of renting even glass on extremely low budget productions. You can go far with a set of zooms: Tokina 11-20mm f2.8 + Tokina 28-70mm f2.8 + Tokina 80-200mm f2.8 (and throw in the Nikon 50mm F1.8D, too cheap to not include!). This entire set of lenses can be got for just over a thousand bucks (and half the cost is just for the 11-20mm UWA!).
Or get a set of Rokinon Cine DS lenses:
http://ironfilm.co.nz/rokinon-cine-lenses/
 

Is awful when google results get messed up with bad misinformation :-/ Like many of us, I rely so much upon google every day!

I didn't ruin ES's life and career.  I threatened to.  There is a difference.  I wasn't asking for a pat on the back, anonymous person.
And you know, I have been scammed before.  I lost $2000 when I was younger.
And back then, I would have died to have an older, crazier person whose been around the block a few times help me back then, get my $2000 back from a corrupt production company that prayed on young talent.  I worked 10 friday nights from 6pm till 6am when I was early 22, and never got paid a dime.
And then two years ago I was owned $6000 and fighting tooth and nail I got that money as the company was collasping from a Ponzi scheme.
Again, I would have just loved to have someone older help me.
And, what, the guys didn't ask for my help right?
Well that's right. So why did I do it?
Because one of the scammed victims was threatening violence, very early on.
I was actually scared for ES.
and because not everyone asks for help, but the guys came on the forum and thought it was a lost cause so they kind of opened the invitation to find out more, and a lot of other people helped too - we all backed each other up.
And if that stupid rangefinder that doesn't even work that well actually makes it to the guys, that's something, I guess.
That we got back and got organized and got a scam artist who was using his leverage and thinking he could play the crowd for what they were, seeing those yankees stripes and thinking nothing past it.  But people were able to rise above it, just as everyone should always do.

Just wanted to say I'm proud of everyone coming together to help out three members here get on their way to get their money back.
It was an intense few days or so.  But this really, in a dorky way, felt like a real community.  A weird meta one, since none of us know each other in the real world, except for me and Mr. Coffee after a great skype interview session.
Now I am crying.
I am crying and crying and crying and sobbing and need to get a hankey.
Okay got it.
Anyway goodbye guys!
Till the next hot-buttoned issue!

I'm planning to sell this for EU 500 and split the amount with Tim, only because Ebrahim can't afford to repay us directly. This is a coulance/leniency, because we could've just forced him to repay us all. The extra tax will come out of his pocket. So no yapping here. Just stating facts. James, Tim and I are walking away without any loss. I'm just being clear about it upfront.

That is one of the reasons why this thread should remain on the forum. So that in future his previous advice can be assessed in the light of this thread ie be treated as suspect.
I suggest to @Andrew Reid that he must keep this thread on the forum but lock it when ES has refunded the people he scammed. 
However I also suggest that Andrew writes a short summary on the first post that summarises this thread so people don't have to trawl through the endless pages to find the relevent points : ie
Ebrahim Saadawi was accused by the OP of scamming him Two other people came forward to say that they had also been scammed by him After a lot of persuasion Ebrahim admitted to the scams and attempted to verify his identity Ebrahim also admitted to extensive lying about his circumstances and experience in cinematography and consequently all his advice should be treated as inaccurate and possibly misleading Ebrahim eventually refunded the three people he admitted to stealing from (Hopefully) Ebrahim has now been banned from the EOSHD forum (hopefully) If Ebrahim is banned, then I think that will be shown on his status with every one of his previous posts so that will help alert future users to the unreliability of his advice.

Unfortunately, Ebrahim, when you chose to steal from other people, you risked ruining your reputation.
I think this thread should remain on the forum, but locked, onced the matter is resolved. You are only refunding these people (if you actually do) because of the pressure brought upon you by this thread. If the OP had not started it, you might have been tempted to scam more people, given your previous success.
You are a criminal because you have stolen from (at least) three people and you are a liar because you have lied repeatedly and continuously. These are not desirable characteristics for a Dentist starting out on his career and now future employers will be able to see how untrustworthy you are.
You brought this upon yourself and risked a huge amount.

Yea the cops are real, good honest guys.  They would never take a bribe in Egypt, especially when they make $100 a month!
Squig, good to hear you got Anonymous's ear.  
Come on guys, let's do it for the lulz.
Unless ES delivers the goods by tomorrow.
Also, again, you guys are really, really, really bad at negotiating.  You don't take the side of the person you are negotiating with during a negotiation.  Haven't you ever seen Die Hard?

One thing is not paying back a credit card company, loan office etc. due to money lack of wages etc. and another is to STEAL and DECEIVE someone of their money with no intent of repaying them back. I see two options here, jail and fines or you repay everyone back immediately and be gone forever.
 
It doesn't matter if you have to work 2 jobs, sell things you own etc. Also the thought of you not paying anyone back is really beyond amazing, especially when you stole form them. They have a place for people like you and it's called Jail, I would not hesitate to give you 6 months in jail and several 100's of hours of community service........
 
Hope people such as yourself will learn from this mistake and do good for the rest of your life.... Do Good from this day forward!

I've shot retail product (primarily apparel and jewelry, with various consumer and tech products) for close to 20 years, back to the film days with 4x5" Ektachrome. Done stuff for Neiman-Marcus, JCPenney, Blockbuster video, all sorts of manufacturers and wholesalers, and on and on. My thoughts:
Even if "just for the web", shoot full rez and raw. Doing minor fixes or going pure-white on the BG is easier at big sizes. In your bid, note that you'll shoot full print size and archive for future use. You never know when someone will decide to do a flyer or a print ad. With a modern 20+ MP stills cam, you can shoot for billboards.
Having shift and tilt is nice for product shooting. If this is a one-off deal, I wouldn't worry about it. I don't do as much product as I did in the past and haven't needed it - I still have a big camera stand which to me is more important, esp. in the digital days. Lighting is more important. A soft box, white reflectors, and a7" and 11"  grid head (to "raise" detail in folded soft goods or add sparkle to jewelry) is a basic starting point. If you're doing more of a still-life look or food, grids and even tungsten lights can play a bigger role in sort of a "heightened beauty" look. You really want complete control for each light, either by individual controls or with a symmetrical/asymmetrical pack or nets and ND.
(As for tilt-shift - I've built a tilt rig to use Mamiya 645 lenses on a Nikon camera... still need to get a lens and complete it...)
I'm a Nikon fan for this work, especially since Nikkors can go on all sorts of modern cameras for video, and there are decades of classic glass out there used for someone starting. You don't need AF or OIS for this stuff. I'd look at a used/refurbed D7100 - really great stills image and nice video.
I cite the 7100 since it was the first Nikon to lose the OLPF (low-pass filter). I'd say a camera without OLPF is a primary consideration; as a product and corporate people shooter, it was really a new era in fine detail. To my eyes this was a big game changer - the leap in IQ from the 7000 to the 7100 was pretty astounding to me. (I'm sure there's Canon stuff that's equally good - when Digital first gained acceptance, I delivered many shots from an Olympus P&S for no-rental-budget clients - it was the first full-manual consumer digital with a strobe connection that saved uncompressed TIFFs - six to a card! Each shot took 20 seconds to write to disc... but the IQ was badass). (This when renting a pro digital stills cam was a pricey affair).
There must be a zillion product shooting tutorials on the web - check them out, but avoid any "light-tent" style setups - you do want a sense of directionality to the light, to make things look three dimensional, vs. just-plain-flat.
Film, no photoshop:

Nikon, 50mm lens.
Silly Olympus P&S:

Where are the results of this test? Lots of tests over the years, but the results are nowhere to be found, yet claimed to be proven true?
Since I am a new XC10 owner, I have been researching proper C-Log exposure. All of my research goes against this theory, yet this post is on the first page of the Google search.

As far as marketing goes - keep in mind one of the issues that likely killed Samsung's NX line - the strap didn't say "Canon" or "Nikon".

Paired with the right lens there shouldnt be too much difference between m43 and FF, but everyone as he likes  I just would not invest that money into an a7 body if i knew that i also want to use it a lot for video.

Yet if you have 600 bucks to spend for a body, I would go the GX85 route and use the rest (maybe plus a little add) for a cheap focal reducer et voila, you got your background blurs while having a better camera for video.