IronFilm

The 28-70 and 80-200 Nikon's are better lenses optically then the newer 24-70 and 70-200 much less distortion and sharper too and the older lenses have aperture rings too , the new ones don't they are fly by wire lenses ....newer is not necessarily better in this case .....for me the Nikon 80-200 2.8 is Nikon's finest hour . their best lens in my book

What glass do you have? D750 is excellent overall but I would go for a A6300 in your position, a EOS speedbooster and support gear. 

The A7 II is not good for video (moire & aliasing), the A7s II and A7r II are where it's at and those exceed your camera budget by 50%.

exactly , a set of matched lenses is essesntial for glass parity - thats why I champion the Nikons so much - the 20-35mm 28-70mm  and 80-200mm all match and cut together very nicely

Ebrahim Saadawi, remember also for most of us film guys we do not care about the "best" lens, but rather we want the best *SET* of lenses!

So we want a cohesive matching collection of lenses from ultra wide to telephoto. So no point getting the greatest ever 85mm if its matching 24mm is a dog, or even worse.... doesn't exist!!

Im using the Nikon Glass as it is all very consistant and cuts together very nicely , and I do like the look it creates , it doesn't crush the blacks like Canon lenses do , there is alot of detail in the grays too , I use the 20-35mm with a Metabones XL Speedbooster as it has the equivilant of super 35mm gate /field of view . I very rarely shoot beyond 20mm , as Im not a fan of wide lenses much , I know lot of people on here want the widest fastest lens they can get but for me its just not cinematic at all - looks like video due to such a big depth of field . I shoot on long lenses most of the time as thats my style and I prefer the look and separation you get . most of the time I shoot with strict lens decipline on set 28mm for the wides , 40mm for the mids and 70mm for close ups and 100mm for the head shots , thats it ! so I'm never really in the 20mm range much , 20mm is there on the Nikon if I need it and I always carry a 14mm and 17mm incase for extreme wides - but they dont get used much by me!
On my last film the Producer was constanly saying - 'Don't use wide lenses they look unprofessional !!'  meaning no mega deep focus !!
on the Sony Vs Panny theme , if I was filming in moonlight in a field I migh use the Sony , but the Panny is an amazing camera , I use lighting , I play in the shadows alot , thats the look I prefer ,I dont over light and the Panny works great in low light very very clean in the blacks no fizz and noise , I never go over 800 iso , 200- 800 iso is my range and I light for that - it works.
 
The G7 really does hold it own against the RED and The Alexa , its a great clean camera - and you can stream 4k to an ATOMOS NINJA ASSASSIN and record 4K ProRes at 744 mb/s - amazing !!

ARRRRRGGGHHHHH!!!! Hate how they'll block connect just because I'm in another country on "copyright grounds". What nonsense!!!

Oh, completely agreed. My film student friends laughed when I bought Blackmagic instead of Sony, but guess whose stuff looks better? Guess whose camera still gets talked about? Guess whose camera cost 1/3 the price of a used A7S?
This guy. :D

I'm pretty sure Panasonic and Sony does have this for their touch screens already.
A "Pocket 2" already exists, it is the BMMCC (which sadly I think is *STILL* not shipping yet?? :-/).

I don't expect there will be a Pocket v2.0 like other people think for a while yet, certainly not this NAB and neither do I expect it at the NAB afterwards. As the BMMCC is already filling that niche of an improved BMPCC.
Touchscreen is very handy for manual focus lenses! You can use the tap to zoom feature, which gives you a zoomed in area for precise focus manually. (rather than zooming into the center, then having to button smash to move around the zoomed in box to be over the area you want to be in focus)

I'll now always think of this:

I use Natural (contrast -5 and saturation -5) and I store it as CUSTOM profile 1 .....leave the NR and Sharpening at 0
yes you dial the colour back in in post ,Im shooting alot of night interior scenes in this movie on sets and I want to record a much shaddow detail as possible , I dont want crushed blacks in camera . so contrast and saturation are -5 , it works great this way . I shot a whole moive that way last year and we got superb results with it.
 
this was shot Natural (contrast -5 and saturation -5) with the colour dialed back in in post /grade. all that detail in the actors uniform would not be there with crushed blacks in camera .

It looks great!!! I love shadow detail as well, just never thought of dialing saturation all the way down. Why are you leaving sharpening and nr at 0? Obviously, you have tested this and have had good results... Otherwise you wouldn't do, but it goes against a lot of information out there... Am definitely going to try this. Thanks again... Once again you have proved to be one of the most helpful members on the site!!!
BTW, Are you using any in camera curve? Also, 0-255 or 16-255?

we did alot of testing at Media City with Cine D and Natural (contrast -5 and saturation -5) and hands down the best look to work with and grade was Natural (contrast -5 and saturation -5) and this was in a hi end Davinci Grading suite that does feature films every week for Sony Pictures etc .
Cine D takes a whole bunch of correction just to get it usable - THEN you apply your look ontop and the whole thing is so tweeked up its a mess .
So I'm shooting the whole movie on Natural (contrast -5 and saturation -5) Im thinking like I used to do 20 years ago shooting film stock ,
Natural (contrast -5 and saturation -5) is my film stock thats the look ...and I'm shooting the whole movie like that .
 
and yes the XL is essential in my opinion as it makes the whole package a usable filmaking tool , dont forget it SHARPENS your lenses too !!
 
We did some test with an Angenieux 28-76mm 2.6 Optimo on a RED EPIC and a Nikon 28-70mm 2.8 with Metabones XL on a Panasonic G7 and there is nothing in it !
if anything the Panny Metabones combo was sharper and cleaner in the blacks no noise at all compated to the RED /Angenieux combo!!
That test convinced us the Metabones makes your Nikon Zooms into SERIOUS cinema quality Glass - faster, sharper and wider! nuff said its no brainer .

your XL speedbooster is an amazing essential piece of kit as it makes the 4k Panasonic cameras into very serious film making tools when paired with Nikon 2.8 Zooms ,
As I mentioned Im DOP on a British Feature film Pandora , we will be shooting this film with PANASONIC G7 4K cameras and Metabones XL Speedboosters.
We have done extensive tesing of the G7 camera in 4k 24p mode with Metabones XL Speedbooster at Media City in Salford UK with my post production house - We Create - (Rod Edney and Paul Whiting) and we have found the G7 / Metabones XL Speedbooster combination to be better in low light and less noise in the blacks than the RED 4K files we compared it against and found it also almost indistinguishable from Arri Alexa files we compared it against.
The guys at Media City where very impressed with the Metabones XL Speedbooster.  All in all we are committed to making the whole movie with Metabones XL Speedboosters on all 4 camera Rigs.
 
Brian I have just PM's you some info - thanks Andy

Brian , Im using your Metabones XL speedbooster in a similar situation with a Nikon 28-70mm f2.8 (The Bourne Lens) to give me a f2 zoom . I'm DOP on a British Feature film Pandora and we are using this combination as it produces stunning images with your Metabones XL . I'm going to send you a PM about the Movie and Metabones . we are committed to shooting the whole movie with Metabones as it makes all the zooms f2 !! we are using the Nikon 80-200mm f2.8 and the 20-35mm f2.8 all with the XL for the exact reasons you have pointed out in you post , size weight £££ and image quality - which is amazing !!

Well, this is a pleasant surprise!   I do a YouTube show that averages 800,000 - 1.5 million views a month, and shoot roughly 3 episodes a week, all on the subject of music production.   The A7s has been my go to camera over the last 16 months.    "Autumn leaves" mode gives great color & skin tones right out of the box with minimal dicking around.   I simply can't afford to waste time grading.  (more power to you guys who are great at it)   I've been looking for a B-camera for the A7s for the last little while, and the A7rii was looking like a serious (but damn expensive) contender.   The Blackmagic Micro even looked pretty good too, although I'm none to impressed with vaporware.   But the a6300 is a total game changer!   I really need a multi camera setup, and for this price, I might just buy two!

Have you used a camera with a touchscreen. Until I used one, I didn't realise the ease and necessity of having one, either. Almost like a Laptop with touchscreen. It's a completely different experience. And on cameras the focus point is So Much more precise. And much faster. 

I'd get the D750 if I were you, by summer's end, the a6300 will be selling for around $600. If the reviews are good you may be able to have both. 

Touch screen on the A5100 with face tracking is mean as!
Why not?? I'd rather spend more on lenses than the body, as that is what will last longer.

Is Panasonic really playing catchup? I know the sensor is smaller but this seems to be more of an issue if you don't have the right lenses.  I mean we don't write-off super16 or the digital bolex because of sensor size.  Isn't the GH4 the only 'consumer' camera that can offer a true log profile 10bit 4:2:2 output? If you add the $295 ninja star you get a pretty small 1080P downscaled from 4K 10bit 4:2:2 prores package for v-log.

4K 60fps and/or 10bit internal, and that alone would "kill" the A6300 in the eyes of many people in favor of the GH5!! (of course there would still be many people who would hold out and prefer the A6300 of course, everything is all very subjective in the end as to which is more important than another factor or not)
 
I somehow doubt the GH5 will however...  but could be the GH6 would! A bit like the GH2 => GH3 => GH4 progression.

I feel the GH2 to GH3 was more like a half step forward, but GH3 to GH4 was a GIANT LEAP!
So GH4 => GH5 might just might be a consolidation and refinement stage, before they make another GIANT LEAP to the GH6? (organic sensor at last for the GH6?)

I'll say this. Its getting harder and harder for us to come up with excuses for not making films

Yeah, I kinda expected something like this, although I wished for a tad bit more (was hoping they'd up the ergonomics a bit, more like a E-M5II, with as well the double dials and vari-angle touchscreen). I figured IBIS was a stretch, although that would've been a awesome feature.
Still though, they did do it... they've brought features from the likes of the RX10M2, RX100M4, A7RII and A7SII to it! Something I thought they wouldn't do... want serious video? Pay serious money. But no, we do get the 4K and 1080p high frame rate as well as S-Log 2 & 3 and efficient XAVC-S codec, as well as uncrompressed HDMI output! I like the D5300, but I love mirrorless. I feel like APS-C is where it's at if you want performance value. The Micro Four Thirds system just falls a little short. And with APS-C and a focal reducer you can still make the magic happen. And the Veydras have a user swappable mount from M43 to E-mount, as well as all the other adapting possibilties. I dunno. It's not everything I wished for, but it's enough to get me excited! Will have to digg through all the (p)reviews before I'll pull the trigger, but so far... count me in!

Touch screen on the A5100 with face tracking is mean as!
Why not?? I'd rather spend more on lenses than the body, as that is what will last longer.

Touch screen on the A5100 with face tracking is mean as!
Why not?? I'd rather spend more on lenses than the body, as that is what will last longer.