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I would be more concerned about the strength of the mounting screw than I would about the strength of the Arca-Swiss mounting plates/clamps. The Arca-Swiss dovetail system is designed to securely hold large, top-heavy Arca-Swiss 4x5" and 8x10" view cameras: The dovetail is built into the cameras' monorail. Keep in mind that photographers have to use a little force to insert and remove sheet film holders into the rear standard of such view cameras, so the mounting system has to be strong. In addition, as per @photographer-at-large's suggestion, you could use Kessler plates/clamps, which also use the Arca-Swiss dovetail. The Kessler Arca-Swiss hardware must be strong, as they are using those clamps/plates to mount their sliders and jibs to tripods. Furthermore, they specifically recommend one of their plates for the C300 and Arri and Red cameras at 01:40 in this promo video: Here is another Kessler video showing one of their jibs with their Arca-Swiss mounting system:

Budget?

Except for determining exposure, the importance of light meters with digital is the same as it is with film (and the same as it was with analog video). Occasionally, one still needs to get/record lighting ratios, keep apertures consistent, scout existing lighting conditions, and smoothly light some areas (not just green screen). Prior to the actual takes one is often "lighting air," with no subjects nor stand-ins, sometimes along large areas of expected movement, and scopes are sort of useless in that scenario. Additionally, when lighting air there are many instances in which one needs to be ready to shoot the moment the subject(s) step in -- not a lot of time for "knob twiddling" with scopes at that point. Shooting drama is the same as shooting anything else. In most instances, a diligent gaffer will get/record lighting ratios, get meter readings when scouting and get/record readings when lighting green screes and "air." I have found that the bigger the budget, the more such methods are practiced. Commercials usually have a lot of money behind them, so the DP and/or gaffer (or lighting cameraman) should probably be taking meter readings long before you set-up your scopes. However, scopes are undoubtedly helpful in such a situation. I often never need a scope when keying live and/or matching previous images -- a good set of eyeballs along with duplicating the previous meter readings usually nail the match. Of course, on large scale green screens or other situations in which an incident meter can't be used, one must deal with the light that is reflected off of the subject and background, so scopes can certainly help in that situation. Not being too familiar with how things are done on the other side of the pond, I am genuinely curious as to what is one's position on set who requires the DP to fulfill one's technical requirements. Up until scopes were built-in to cameras, I had always found the opposite to be true -- it was always a luxury to use scopes, as the rental was always hefty (and it was an extra thing to tote around set, and tethering it to the camera made it that much more difficult to move freely). Meters are relatively inexpensive, are not unwieldy nor tethered to the camera and meters usually give more more useful info. There is a huge difference in the information regarding the incident illumination that is striking the subject and the light that is reflecting off of the subject. I use a meter to confirm the levels/ratios of illumination that strikes the subject. Knowing those incident levels is often more important (for the reasons previously stated) than further analyzing what I can see reflecting off of the subject with my own eyes. I can understand how scopes are helpful to those who are inexperienced/untrained and how scopes are important in getting critical exposure for digital. However, light meters provide a lot of useful information that scopes cannot, and a meter can make lighting much easier than using scopes alone.

Infinitely more difficult with scopes to get lighting ratios and consistent aperture (from scene to scene). Much quicker and more accurate with a meter. Agreed, as I stated earlier. No. Much easier to use a meter with green screen -- you don't need to keep walking back and forth between the lights and the monitor/camera, like you have to with scopes. Desired "color luminance" works best relative to the subject's brightness/color and also depending on the subject's distance from the green screen (and it is usually never too critical). Something that complex is often best to eyeball. Also, it is easy to keep green screen brightness within a 1/2 stop variance, using a meter. I have found that except for instances of critical exposure, it is almost always better to use one's eyes, rather than rely on scopes. Or, you can peer intently at your scopes in front of the client, while twiddling a few dials, then throw your hands up and exclaim, "Perfect!" Make sure to keep twiddling those dials throughout the shoot!

I use a light meter: when scouting locations (to learn any ambient levels or to determine the exposure of any unchangeable lighting/display entity); to get/set lighting ratios; to keep green screen and other broad areas smoothly lit; to keep levels and aperture consistent from one shot/scene to the next (when needed).

Thanks for the photos, but I already knew the answer to my question. I guess that I mistakenly supposed that the OP would find the hatch after I circled it in bright yellow.

No. This issue was already covered in several instances above. By making a simple modification to the AC adapter, you can use the same dummy battery for both AC power and external battery power. If you don't understand, it might best to go back and thoroughly review each post and video in this thread.

What is the thing shown inside the yellow circle?:

No. You probably don't need to leave the battery door open -- look for a small rubber piece on/near the battery door that opens to allow a cable/connector to pass through. Or just get a ready-made AC adapter for the camera, and cut the cable and put mating male/female plugs on each cable end at the cut. That way, the adapter can be used both with batteries and with the AC power supply.

I have three of those batteries shown in the video (except mine are the XTPower brand). I used them for monitors and cameras that take 9-12 volts, but it is best to avoid using them directly on cameras that use 7.4 volt internal batteries, such as your Nikon D5300. One can use 9v batteries on 7.4v cameras, but there is the possibility of extra heat being generated by the higher than necessary voltage, which can increase noise and diminish camera life, not to mention that power is wasted generating that heat. I bought an inexpensive, solid-state adapter that efficiently knocks down 9v/12v to 7.5v. However, for most DSLRs and mirrorless cameras that use 7.4v, a more compact and less expensive method is to use clones of the Sony F550/f970 batteries along with a cheap battery cradle, as shown in this FrugalFilmmaker video: The cradle and clone batteries can be purchased at Ebay and Amazon (links on the video's YouTube page), and they are already run 7.5 volts without any modification. You could even get two battery cradles and wire them in parallel to allow hot swapping batteries while you are shooting. By the way, the FrugalFilmmaker guy also made a video in which he mounted two cheaper and shallower battery cradles: A lot of smaller monitors also take these Sony clone batteries. You could also just simply use a 7.4v AC adapter for your camera. Just avoid connecting anything to your camera that is also running off of AC (monitor, audio mixer, etc.) to avoid frying your camera in a reverse ground situation.

Again, folks should be aware that some Nikkor lenses cannot be mounted (with an adapter) to a Metabones EF speedbooster.

Some Nikkor lenses cannot work with the Metabones EF speedboosters. Those EF speedboosters have a flange surrounding the front optical element that is positioned slightly forward from that front element. The protective metal "tongue" on the back of some of the Nikkor lenses hits this forward flange, preventing the lens from being mounted. Presumably, this forward flange exists to disallow mounting EF-S lenses (which might vignette). However, as in many other instances in which the manufacturer tries to "protect" the user from his/her own ignorance, the protective feature simply prevents professionals (and others who know better) from getting what they want. Also, the EF speedboosters are about 30%-50% more expensive than those with other mounts.

Friendly reminder: avoid blocking the light fixture's ventilation holes when using blackwrap. Leave plenty of room around the vents (both top vents and bottom vents) for convection: cool air comes in the bottom; hot air goes out the top. I usually clip blackwrap just to the doors -- even when flagging light spilling out of the ventilation holes.

If the scene just has to look like night time, shoot day-for-night. Use NDs to get a wide aperture, and try not to show the sky.

Those Kessler plates/clamps are Arca-Swiss. As I mentioned above, I use off-brand Arca-Swiss plates/clamps, and they cost around US$3-US$8.

≧10 bit, 4:4:4 (and 4:2:2), global shutter, APS-C/super35 sensor, shallow lens mount (micro 4/3, Sony E, Canon M, etc.).

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.

There are plenty of dovetail quick-release systems that allow the camera to be removed "from the top" -- without having to slide the plate out of the clamp. There are even small Manfrotto compatible plates that do so. However, don't know about specifically Manfrotto 501 compatible systems. There is nothing that would make impossible a 501 "top-release" clamp. I use Arca-Swiss plates for everything, except for the heavier medium-sized cameras or larger. Those clamps and plates are prolific and inexpensive. Just keep an Arca-Swiss clamp on each camera plate and rig.

@AaronChicago Thanks for answering the question on the room mic. By the way, when you white balance all of the cameras together, try to do so with the lighting at the subject's mark (where he/she will be standing).

Honestly, most big movies don't loop their dialogue, and the IA has no requirement for how many crew members (if any) are hired in a department. So, a producer isn't forced to hire any particular position (such as sound mixer, boom operator, etc.). However, on an IA signatory project, only IA members can be hired in departments covered by their locals.

Just before you shoot, put all of the cameras side-by-side, and do a custom white balance on each camera. Record audio with your mic from the back of the audience, and also tap into the house mixing board.

Shoot near the edge of the woods, using the fill from the more open side.

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.

@JazzBox You seem to be teetering between looping your entire series and recording live sound only on parts of the shoot. There are good reasons why 99.99% of narrative productions record sound on set, and why ADR is avoided like the plague. One might anticipate that ADR is fun and easy with a Mac and a mic and gizmos, but be assured that any anticipation/novelty regarding overdubbing will wear off rather quickly in the first 30 minutes of the first session. Looping is plodding, painstaking work. For example, if you want to avoid wasting time with actors repeatedly missing sync, you need to cue them with three beeps, as demonstrated in this video: You have to do that for each and every line that you loop. Even with the beep cues, there will be multiple takes. Imagine doing that for your entire series. It sounds like you have a nice Zoom recorder and also lav mics and a shot gun mic (you can use both at the same time). By the way, shotgun mics are used successfully outdoors all the time in all kinds of noisy, crowded and windy environments, which is why we have the Chewbacca cock: Again, audio is a full 1/2 of your production. Don't just hand the boom to your brother-in-law. If you are not familiar with audio on narrative productions, I implore you to hire/consult an experienced film sound professional.

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.