sudopera

In addition to the items you already mentioned (sound, power distro, etc.), take wide angle photos/videos from each corner of any shooting room.
 
Scout/plan staging areas for equipment, hair/makeup, craft services, wardrobe, actor privacy/dressing rooms, etc.
 
Take light meter readings, and bring a compass determine which direction windows/doors/openings face.
 
Gauge the cooperativeness of the property owner/caretaker.
 
If you plan on sending light through a window, note the height of the window from ground level outside.

URSA Mini 4.6K can switch between rolling and global shutter(but lose some DR) so really it should have an advantage in that department.

jax_rox it's not about anyone struggling to make Sony color science look as good as other companies ('par' at this point would be Canon, Nikon, BM, Red (latest color science), ARRI). It's about not wasting time, as well as still not getting a Sony to look as good as other cameras with far less effort. Over the years I've purchased more Sony video cameras than any other brand. I was reasonably happy with Sony cameras until I learned that other brands provide much better color with far less effort. I'd rather spend the extra money on a C300.2 than an FS7 as the final product will look better, namely skintones. $8K in a professional setting isn't really that much money. Why waste time with sub-par color science and buggy designs? The most popular professional cameras have the best color science. ARRI has the best color science and for the last few years is used on all Academy award winning films. Red has really upped their game lately (e.g. Narcos on Netflix). I call it like it is, no religious favoritism: Sony currently provides sub-par color science and their designs are currently buggy and harder to use vs. the competition. Sony keeps adding more features and complexity while ignoring the three most important elements for a camera: reliability, color science, and ease of use.
Regarding other cameras looking bad: it's easy to make any camera look terrible, it's a different story making a camera look great. The better cameras get used more (Canon, Red, ARRI) as they provide a means to get better results with less effort. Red used to be unreliable and had marginal color science for skin tones (compared to the competition). While Red cameras are still way too complicated compared to ARRI, they have upped their color science to look really good, easily past everything from Sony except the F65.
Regarding Ted2- I only watched the trailer and the skintones and overall color looked pretty good. Again, the F65 looks great compared to all the other current Sony cameras. Sony does have a 'look' and I understand your point regarding 'looks similar' to down line cameras. However, similar isn't enough for skintones- very minor changes provide a strong emotional reaction that something's wrong- the "Uncanny Valley" effect. I can get decent skintones out of the FS700 and A7S, it's just that other cameras get there faster, with less effort, and the final results tend to look better. If cost was not an object- what camera would you choose for skintones for an A camera?

-internal super clean 10bit ALL I 1080p, with a perfect downscale from 4K like the Sony A7s, all that in 24 to 60p
-internal 10 bit 4K
-VLOG
-super clean 1080 120fps 8bit slowmo
- 2000 USD
-small battery grip like HDMI recorder with XLRs and HDMI connectivity for external monitors for around 800 USD
no supernatural feats, just great possible features:)

My f1.2 FD lens glows in the dark.  Is that a problem?

Rented a DSO FF58 today because I'm thinking of buying at least one. More if i can afford it. This one is pretty close to the specs I'd choose. 2x oval aperture, ultra-low contrast. It really makes shooting fun.
Shot this off the roof at the office today. Don't have a step up ring so I handheld a Hoya ProND 200 in front of it. This is also shot in V-Log, captured externally in 10 bit. But I still see the magenta/cyan macro blocking issue. I think I'm done with V-Log. Probably going back to the Natural profile.
ISO 400, v709 LUT + Impulz Kodak 50 (FPE) + some curve adjustments + Grain from FilmConvert
 
 

Hey - I'm no Blackmagic lover, but even I can see that if you expose your shots properly both cameras are entirely usable. All cameras have their flaws, and let's be real - the Epic is (or was) $30k just for the brain versus the URSA which is what - $6k? (can't keep up with BM's pricing these days) So you'd hope there's going to be a difference.
All I'm saying is - despite the fact that REDs have been used on countless high end productions over the past 8 years, it's not like the REDs are flawless. RED have suffered immensely from corrupt files, camera crashes, high amounts of noise (especially early releases of Dragon), and overall unreliability - not to mention overheating and the noisy fan, boot up times on the RED One, buggy firmware releases etc. etc.
I once ACd on a RED that had to be re-booted about every 3 hours because it would just shit itself. Then there's the REDs that wouldn't boot up unless you plugged the VF Lemo cable in, pressed the red button, pulled it out, pressed the red button again, and then plugged it back in...
You can get great images out of a RED, and many of its bugs have been ironed out over firmware and hardware upgrades... But to suggest that it hasn't had its problems is disingenuous - especially when they've been out in the wild for about 8 years... unlike BM

the worst news for them is the gh4R!

If they do make it free in response (which I don't think will happen), the new pre-installed LOG ver, which cost more, is DOA... 

It does seem that the actual gap between this ($30,000) and the A7Smk1 (currently $1500 to buy new) is small.  Their footage doesnt look very good.  Their lens mount is a hindrance since it limits the use of specialist lenses with short back focus distances.  
 
The actual industrial design is rather nice though, and I imagine this will do very well with underwater shooters who can't live with the pitfalls of the a7s.  This could infact be the perfect match for FORBES70 as it happens.  Body will sit quite nicely into a slightly reworked FORBES body, and the clean look from 100,000iso will be good to combat the inherent slower lens speeds of medium format lenses.

Rather have a heavier camera on my shoulder than a lighter in front of me.
BTW, 5kg is nothing. Sounds like some need a gym, not a camera.

As long as clients demand Canon color, the King's Ransom will be paid.
ARRI easily fetches an Emperor's Ransom.
If Sony could provide something closer to F35/F65 color on these cameras, that might make a difference. Most of Sony's recent promo videos have little skin tones, and even landscape colors can look off.
The FS7 can't even match the C300 in basic color accuracy in this simple test: https://vimeo.com/113558024
While it might be possible to grade the FS7 to look better, it's a lot of work. Time is money.
Another point is ease (and speed) of use during a professional shoot. Canon's are easy and fast, and reliable (not clear if the bugs or complicated slow menus of the FS7/FS5 have been fixed).
 

But then you have to add RED SSD, RED batteries, RED things... and then your bank calls you

I was looking forward to this announcement and now I'm not so sure what I think. All the obvious improvements are there, IBIS, 4K plus that nice extra of 1080p 120fps. And, of course, I look forward to seeing some consumer footage. But I had kind of hoped for less rolling shutter...or slightly increased MP count...

I might save (a lot) more and look at the Ursa Mini at some point. I can't quite get over the fact that some of the most impressive and filmic footage I've seen is from Blackmagic.

OH EM GEE!!! That is making the PL/B4 camera be a killer studio camera! Unfortunately not something which would interest most of us here. 
Makes it anamazing doco camera too (if only it had ND filters built in....).
I wonder if the PL mount could be swapped for a Nikon F mount, just like it can be swapped now for a B4 Mount?? If so, it could make the PL version be the perfect option for me!!
Pity about them dropping GPS functionality. But understandable 

This time shipment delays are obviously for a good reason, some new features were added. More about this in a video at their homepage:
https://www.blackmagicdesign.com/
start the video at 5:05

Well done, it is always nice to see these kind of videos with people smiling, dancing and enjoying themselves that make you wish to come visit the place.
My only advice would be to choose were you put dissolve transitions(or any kind of transitions) more wisely. It can work well sometimes like when you had that closeup of the hand after a wide shot, but you don't need them all the time.

FS5 a little to expensive for my taste at 6700$, I would rather go FS7 route if I had the money.
It will probably be great run&gun / doc camera because of the form factor but I think that you get much more with URSA Mini for filmmaking(compresed raw, all ProRes flavours, various aspect ratios etc).
It looks like new A7s II is actualy much more exciting product than FS5. You get similar 8bit 4:2:0 codec with SLOG3, but full readout 4K FF video with 5 axis stabilisation.

sorry to dredge up an old topic but I must chime into the fact that the F35 is not a good handheld camera. Yes it is very heavy, but the only component you need from an F35 is the camera head and IF box, the older obsolete recording system, viewfinder and handles can be made much more compact. F35 weight sits perfectly on my shoulder, DSLR rigs I hold in my arms unless I put a ridiculous back weight or anton bauer battery that sticks out behind my head 8 inches. F35 is very capable of being not just nice but a great handheld camera, it just takes a little creativity and new lightweight parts like the Odyssey 7Q.

'suggested aperture setting: t4-t5.6' 
 
huge price for a set of lenses that need to be closed down 2 stops in order to be used on m4/3.  the iscorama and a 35/2, 50/1.4 and 85/2 does all of the above and more, and can be used wide open all day long on s35!  

Nifty, we've got free grading software and now we've got more affordable panels coming too.

yes I do like color and flair a lot - especially to harken to older run down boxing films and b movies.
The directors had a pretty good game plan on this one - they had their shot ideas - I think they had the flare idea.  We had to not use any lights too which made us able to move super fast - but in terms of scouting - none of it - we just show up and shoot - and it was just me with probably an easy rig and what I like is I shot a lot of movement on the 100mm lens - I wasn't scared there of moving with a long lens and it pays off.  
the bridge stuff we shot on a tandem bike.
And Heather from being with her for the day she loves her son - she really does - but there is more to inspire to for many people than to just produce offspring.  Like, well I assume most of the people on here are filmmakers who want to go down in history as at least having made some sort of film or piece of art, in addition to everything else.  So why not give her canvass the boxing ring?  Danger be darned.

I heard of one guy that has his whole video bussines based on stock footage and he doesn't do anything else(unfortunately I don't remember his name anymore). I have seen his portfolio, and his bestsellers by a large margin were corporate videos, like some people working in the office or some bussines woman showing a presentation to clients or coleagues, engineers in a factory etc. Only issue with those kind of videos is that sometimes you have to spend to make them, and you have to obtain signed model release from talents.
I think that footage with happy people / families / children in nature or a park, field etc., also sells well because banksters and other similar corporate guys like to present themselves like they care about are happiness, environment and so on, so most of their commercials suggest that if we all take a loan from them or buy something from them, then all of us will be smiling, dancing and live happily ever after.
 

Here's this I shot on the sony f3 and fs700.  
And now more and more reason to rejoice -the fs700 and f3 price drops to now around 1k used - cheaper than the NX1 or A7S and better sensor, better motion, and it is such great news - thank you latest and greatest technology.  Because I still think there is a lot of magic to be had from what you can do with the f3 and fs700 - and save yourself $3000 that you can put towards lenses or other things.
The march to newer and newer technology makes the old stuff so much cheaper and with the same results.

Assuming you're not under crazy deadlines, transcoding is your friend! I ttranscode my GH4 4K footage to Prores and I can edit on a late 2012 Mac Mini, it works great. 

Last time I built a computer from scratch I used an i7 4770 with a Gigabyte board and 16gb of RAM, with a GTX770, and that allowed me to edit my GH4 4K natively in Premiere. No such luck in Resolve, I'd peak out at 22 fps -- I read deep in the Blackmagic forums that to edit h.264 natively in Resolve you need to throw a ton of CPU cores, so I'd have to look at 6 core or 8 core CPUs for that to work.
Personally I'd go the transcoding route, and use your $1000 budget on new hard drives (you'd need them!) 

I guess even more than colours the 4-2-2 codec and the medium format look will be superb with leica glass. And good 4k. Though the price is prohibitive  (except that it is a Medium Format Camera, and that it is a Leica).