JazzBox

I had the Pocket and now the Micro. It's fantastic, I don't really need the 4K, but it is a "cinema" camera. You need time to set up it, time to swap batteries etc... and for rush - or low budget / no budget - gigs is not the best candidate. 
I find the GH4 (and now the G7) far more easy to manage, they share the same lens park and I use 90% of the time the Panasonic instead of the Micro. Of course I love the internal Micro's ProRes, it is just awesome and quite easy to grade in post while with Panasonic you have to nail 85% of the look in camera, because the V-Log, even recorded in the BM Video Assist is not something I use on the GH4.

In my small experience LOG needs 10 bits and GH4 (or G7) are not that better recorded in ProRes, the codec is great in "Natural" setting, recorded internally and I use them in that way. 
 

I had the Pocket and now the Micro. It's fantastic, I don't really need the 4K, but it is a "cinema" camera. You need time to set up it, time to swap batteries etc... and for rush - or low budget / no budget - gigs is not the best candidate. 
I find the GH4 (and now the G7) far more easy to manage, they share the same lens park and I use 90% of the time the Panasonic instead of the Micro. Of course I love the internal Micro's ProRes, it is just awesome and quite easy to grade in post while with Panasonic you have to nail 85% of the look in camera, because the V-Log, even recorded in the BM Video Assist is not something I use on the GH4.

In my small experience LOG needs 10 bits and GH4 (or G7) are not that better recorded in ProRes, the codec is great in "Natural" setting, recorded internally and I use them in that way. 
 

I own both GH4 and G7: in 4K the G7 is better especially in low light, but of course also the GH4 is a little monster.
I also own a BM Micro Cinema, great cinematic 1080 camera, but it is slower to use, for every setting you have to enter in the menu while with G7 and GH4 you can set WB, shutter speed, aperture etc... from a dedicated button. If you are in rush G7 and GH4 are a better choice.
If you think to GH4 I would buy 2 G7

well I went to see Bourne last weekend and the cuts are so fast and the camera is moving so much that you have no idea what camera is what on the big screen , there are no shots that jump out as being bad or not fitting with the previous Alexa footage , it works they did a good job , now on most major films they are using what ever camera suits each shot / set up...... Bond Spectre was the same Film and Digital combined and multiple camera and formats Anamorphic , Spherical Alexa 65 and 35 all made it into Spectre

Libec tripods

You basically record a 'safety track' as backup of the same recording, at about 10dB lower that the main one. So if there is some popping as a consequence of a surge in sound by a talent or anything else, you have a backup, at a lower dB. It can be done with almost all dual sound recorders (whether separate channels, or mono). Like with the Shure LensHopper VP83f. You can record the 2nd sound (the one on the MicroSD Card) at 10dB lower, to have as a Safety Track. It is there on most sound recorders, that have more than one channel, or record into more that one place (camera and recorder etc).

Canon have the colour-path and codec nailed to perfection on the XC10. I am also impressed with the dynamic range of the sensor, even in the most contrasty picture profile it rarely struggles no matter the light thrown at it.
I have also been enjoying the stabilisation, very impressive.
Shot for 3 weeks in Italy with it and editing now.

I was DoP for part of this:
The director was himself one of the key leads! Good idea really, as it was a long slog. 5yrs in the making!
My Tascam DR60D has this feature. 
"Safety track"

SmartLav+ is just a lav. Not wireless. So you can't monitor.
RODE makes many different microphones, all at a low price. As they target the low end.
 
The best one is the NTG3.
 
I have the NTG2 which is much worse. I've thought if I'd do it again I might get the MKE600 instead? Don't know much about the NTG4 but seems to just be a slightly improved NTG2

I make no claims to knowing the guy, being a part of anything other than being his fan for the past 3 years.
He introduced me to blackmagic, because when I searched for blackmagic in 2014 his vimeo channel came up all the time.
He started with, if I remember, the pocket and then moved on to the cinema camea. He built his own light systems and taught himself pseudo 3d animation to complete his money shots. His talent was his wife. Who, if I remember, was a painter or photographer, I don't know, but she was not shy. Yes, it sounds like a 'latching on to success' post, but really, I thought he was very strange. But I wathecd all his early videos like a hawk because he had, what we call, 'talent'. He got hired by some agency based on his shorts and I thought he was gone. Then a week ago I see  promo for a film BASED ON HIS SHORT.
To me, he is an inspiration.
His movie is trending worldwide, its called Lights Out. Look through his videos to find his inspiration.
Here's the profile https://vimeo.com/dauid
Try to watch his behind the scenes if you can where he gets a bit nuts with piping and hardware lighting.
We should support him fully!

MKE600 + 2x Saramonic UwMic10 

The BM Pocket and the Micro are also great, but I find them great when you have time to set them. When you are in rush (run & gun) they are slower, especially outdoor and the battery's life is poor compared to Panasonic. 
I think Panasonic in "natural" Andy' setting, after a good color correction are almost indistinguishable from real cinema camera. I mean: I do love my BM Micro, but I'm faster with Panasonic and the internal codec is really good. 
 

Yesterday I had my first real gig with both G7 and GH4. Cleanest image (in 4K) then GH4 in low light and at 800 ISO. Great awesome camera! 
Thank you very much fro the advice! 
 

Im going to throw Panasonic into the equation, I just shot a Feature film with 6 Panasonic G7 cameras with Nikon Glass and Metabones XL speedboosters and Gini Rigs cages
 
G7 in 4k is an amazing camera I tested it at length against a RED Epic and Arri Alexa and we all prefered the image fom the Panasonic especialy in low light it out performed the Epic , so much cleaner image off the Panasonic no noise or fizz in the blacks like the Epic had.
I shot the movie with these lenses
Nikon 80-200 f2.8 'Bourne Lens'
Nikon 28-70mm f2.8 'Bourne Lens'
Nikon 20-35mm f2.8
all on Metabones speedbooster XLs to give a Super 35mm field of view on the G7 it also made the f1.7 contant apperture zoom .
The Nikon Glass with the Metabones XL gives a look very similar to Zeiss Master Prime lnes its that sharp and good.
with those 3 lenses you can shoot your entire movie
 
 
 
 
 
see pic

The inanimate object is 99% of the time indoor, so I could use the normal condenser pencil with the Zoom H5.

Do you think the SmartLav+ could be useful for outdoor instead of the shotgun?
Or which Rode Pro do you think is ok for that work (and maybe for indoor also, just to not change sound from indoor to outdoor)?

I run a recording studio and I do a lot of voice over, I sometimes recorded ADR for some shorts, but they always was like 3 minutes shorts with maybe 1 minutes of dialogues... 
Audio on set is something completely different, a really difficult task!

Thank you!  

You will always have to synch some lines, or parts of lines.... Meaning you will be using lines, or parts of lines from different takes in different shots. Audio editing is a laborious task  
As you said, if you have a wide, establishing shot with dialogue, unless you go wireless... Which would probably be a good option for you BTW, you will have to edit lines from other takes to match sound fidelity. That's unavoidable.
If you want to make life easy on yourself, don't mix mics in a scene. Don't take one line of dialogue from the lav and then the next line of dialogue from a shotgun... It will be a pain to match their sound qualities in post.
Since you are personifying an inanimate object, or animal, you should definitely record that dialogue with the same mic the other actor's were recorded with. 
With all of that being said, if I were you, I would get a Rode and a deadcat, or get a couple small recorders... Even some higher end dictation recorders can be used because they are small, or the Little Darling recorders from JuicedLink, or the Tascam that IronFilm linked to, and get some lav mics... You can get a decent one for less than a hundred. I've used Azden lavs and the sound is good enough... They cost 25 dollars.
I am a fan of in camera audio. Mount a shotgun like the Rode Pro and boost the signal +20db, or if you have a preamp like a JuicedLink or use your zoom as a line in recorder and then get an extreme close up takes of every angle.
Audio sucks and is a craft of its own, so unless you hire a professional audio guy, you will be bastardizing it. If you have to bastardize it, make it as simple as possible. 

Okay, this will be a long answer full of personal theories that will probably enrage someone...
From an acting standpoint, I find ADR to be extremely easy, but I'm not a real actor that has studied and honed my craft. To go line by line and listen to your line reading and then repeat it, is probably the easiest thing I've ever done as an actor.
With that being said, it is pretty soulless and devoid of any form of performance creativity. But I am totally fine with the most generic of styles, a friend of mine who is an indie filmmaker, will sometimes do a line reading and then ask me to repeat it the way he said it... Especially with specific lines that require a specific cadence. I do not get offended by this type of performance, but I am sure a lot of actors would because they want to bring something personal to their character. I don't care about such things. I am more like David Mamet who believes that everything an actor needs to know about a character is on the page.
As a no budget director, ADR sounds both liberating and terrifying. Now when I say no budget, I am not mincing words, I am not speaking micro budget or low budget... I mean NO BUDGET. I have a decent day job that affords me the time and a little cash to pursue this, but I am in zero position to invest too heavily into any one project.
I am a one man band filmmaker that will occasionally have a little help, but I have learned very quickly that you can never count on any help when it comes to making movies on the cheap. You can only count on yourself. I do pay my actors on a small per diem basis which is usually enough to cover their expenses and put a little coin in their pocket. So I try to schedule everything I need from them for as few days as possible... So much so I will rewrite characters and combine characters if it gets the short made. 
I believe in getting the best quality I can get based on the level I am at. I am not a professional audio guy. I cannot afford a professional audio guy... or gal. If I can plug a Rode VideoMic Pro into my camera and get usable audio, I will do that every time. If I will get better audio doing double sound with a lav and a small pocket recorder... I will do that. If I have to do ADR, I will do that, but never before I attempt to get good on set dialogue. 
Where my opinion differs from most, is that a lot of low to no budget filmmakers believe that if they use a sennheiser Mic plugged into a zoom recorder and have a friend hold a boom pole over the actor's head, they are getting professional sound because Hollywood does double system, and Hollywood sound techs use boom poles. Sure that's true, but Hollywood has professional equipment way better than a zoom recorder and a mixing board with a mixer adjusting the levels of the tracks as the tape is being rolled.
And you know what, even after all of that, in a lot of instances, Hollywood films are ADRd in post. There really is no right answer but there are a lot of options and every shot, scene and sequence has a mountain that needs to be climbed to get it in the can. So, do what's best for the time and resources you have. If you can get the dialogue on set, awesome... One less thing to worry about. If not, fix it in post. 
To add one more thing, my theories and practices are based on 2 short films I have done and a half dozen or so, that I started and then abandoned because they either didn't have the legs they needed to be a compelling short on either a personal or artistic level, or they turned out to be something I couldn't do well enough at my level... Some projects require more than I can give.

I use Fresnels most of the time Arri originals and recently I bought a whole bunch of Chinese Arri copy fresnels off ebay for the feature film I just did , I needed to light 3 sets simultaniously and leave the lighting  up for weeks at a time (I had 25 fresnels up at once on 3 sets) ,I like Fresnels as you can use them as a hard light or add some f1 Diffussion and use them as a soft light, you cant do that with Kino Flos they are soft all the time , so for me Fresnels are the way I light most of the time , the exception is lighting Women .. where a soft light is more beautiful , so sometimes if I need a very soft look , I use Kinos then or LED tube lights I have made - basically LED Kinos not tube Kinos ,
The Chinese Fresnels are just as good as the real Arri ones I was amazed , once you have a good globe/bulb in them like Osram - there is nothing in it ,
I bought 150s 300s 650s and 1K Pups and they are all superb , they worked 40 days for 12 hrs a day no issues .
so check these out they are great
http://www.ebay.co.uk/itm/Fresnel-Tungsten-Spotlight-150W-Lighting-Studio-camera-Video-/331687239451?hash=item4d3a199f1b:g:x8AAAOSw-zxWoXQS
http://www.ebay.co.uk/itm/Pro-1000W-Movie-Fresnel-Tungsten-SpotLight-Studio-Camera-Video-/252322910892?hash=item3abf9e12ac:g:lP8AAOSwAuNW6hii
http://www.ebay.co.uk/itm/On-Sales-UK-Fresnel-Tungsten-Spotlight-300W-Lighting-Studio-camera-Video-/252134887278?hash=item3ab4690f6e:g:0k0AAOSwqYBWp0Dk
http://www.ebay.co.uk/itm/Pro-Studio-650W-Tungsten-Spot-light-Dimmer-globe-Compatible-arri-bulb-/231722293457?hash=item35f3b998d1:g:0nUAAOSwKtlWp0A4
 
they are all amazing prices , I do recomend these lamps .
300w Fresnels in action on the movie Pandora with diffusion and gels on the front - standard stuff for me

Ex. Tele Conv does not work in 4k mode only 1080p mode ,
all my g7s are set on muli metering ,it works for me , try all 3 and see what you prefer .

The G7 just arrived! 
It's a tiny camera, it remember me my beloved G6, I just love it!

The only things "strange" is that the "Ex. Tele Conv" does not seems to work.
Am I doing something wrong?
p.s.: which metering is better to use? Multi metering, Center Weighted or Spot?

Depending on the framing of your shot, you could always tie a thin rope between you and you actor/subject... Attach it to your belt and his... Hit your focus before you start moving and as long as you keep the rope taut as you track him, you will stay in focus.

I shot the MCU with the Olympus 12-40 at 25mm f/2.8 on a gimbal: more then that, if you precede or follow the actor you loose the sense of movement and the parallax effect, while it is great if you follow him/her on the side. 
 
 
After that video I made other shot with the gimbal and the sweet spot was between 12mm and 18mm.
I made this part at 14mm f/2.8 and I think it is more dynamic then at 25mm. 

Of course no focus pulling during the shot, I just had to remain at the same distance from the subjects.

Hope that helps  
 

I very very strongly disagree with that! 

As it is totally 100% on topic for this forum, and if they wish to share it and make it public this discussion so otherwise can read and learn from it as well then that is FANTASTIC!
Or the Tascam DR-10C which looks to be even better! :-D

http://tascam.com/product/dr-10c/
https://www.videoguys.com.au/Shop/p/30883/tascam-dr-10cs-micro-linear-pcm-recorder-for-sennheiser-wireless-tas-dr-10cs.html

because I like the look the image produces at the settings I use , It works for me and my work flow , I never resharpen an image in post , never ever ! get it right in camera .
use aspheric lenses on a speedbooster the image is superb

Most Hollywood movies end up looping their dialogue. Of course they're going to try and get good sound on location, but the real reason they hire all of those people is probably due to union contracts.