Geoff CB

Hi there, @SRV1981
Yes, you are in the right forum.
You should be able to create videos similar to the ones that you linked to using FCP, Keynote, and your Sony a7 III and the Tamron 28-75 lens. I don't think you need a wider lens unless the room you are going to film in is very small. Ideally, you would move the camera further away from you and zoom in instead. If you are close and zoom out to wide angle, then you can often see wider than the background. Also you would want to be far enough away from the backdrop that your shadow doesn't fall on the backdrop.
Unfortunately, while the Shure SM7B mic has pretty good audio quality, it is a dynamic mic and is designed to be used VERY CLOSE to the audio source. So for a person, you would place the mic right in front of their mouth. Meaning, while you are on screen talking, the mic would need to be right in front of your face.
If you want to emulate the "look" of the three videos you linked to, you would want to use a boom mic with a cardioid pattern (or a shotgun mic on a boom). These mics are designed to be placed about 18-inches away from the speakers mouth. 
You will need a boom arm and stand to mount the mic.
Alternatively, you could use a lapel mic. The lapel mic would be more convenient (especially if you get a wireless lapel mic), but it can be prone to rustling noise if you move and the fabric of your clothing rustles against it. Also you might want to hide the lapel mic.
And in general, mics that are boomed overhead have a different sound than lapel mics. I don't know if it is a huge difference in sound or not.
The Audient ID14 input looks like it is good for recording sound in to your computer. But is this what you want? To make things as easy as possible, you would want to record the audio in to your camera. If you record the audio separately in to the computer, then later on you will need to sync up the (separately recorded) audio to the video. It's not rocket surgery, but it is more convenient if the audio is recorded directly to your video file.
As for lighting, you are probably going to want a key light in a softbox (possibly with a grid), then a fill light, then one or possibly two lights for lighting the green screen evenly. Godox makes several affordable LED lights, and many people use the SL60 if you are going to be filming one person from the waist up. They aren't super powerful, and the fans can be a bit noisy (so you would want a good directional mic to minimize noise from the fans).  
A step up would be the aputure lights, which are a bit quieter and the color of the light might be slightly better. They are significantly more expensive than the Godox lights, but as they say, you often get what you pay for.
My understanding is that a good green screen requires EVEN lighting and you need to remove wrinkles as best as you can. And don't wear green clothing. And don't have green eyes.
I would look up tutorials on "Lighting a one person interview" because that is mainly what you will be doing. Same thing for looking up tutorials on audio for a one-person interview.
Hope this helps.

Make timeline and 
Timeline and output color space should be Rec. 709.
Data levels for web delivery should be set to video.
On the timeline make sure each clips data levels are set to FULL.
Use sharpening instead of superscale, superscale internally raises the resolution, when you try to use x3 superscale it raises the internal resolution to 8K which is why your constantly running out of video memory. Use x2 max before sharpening.

 

He/She is angry that the 'RUMOURS' said that BMD would be releasing a camera with AF and IBIS,  and this cinema camera doesn't have those features. 
Despite this, he/she keeps coming back to a thread about something he/she has zero interest to keep he/she's anger boiling.
Makes a lot of sense right?
To add to the confusion, many users of EOSHD and the owner of the site himself says they have every right to be angry because this is a forum for users of small DSLR like cameras and Solo shooters so AF and IBIS should be mandatory .......but then the forum owner continues to post news articles of cameras that don't appeal to his user base and the circe of anger just continues to go round and round....
I love it, it's hilarious!
 
 

Honestly they are the target audience. They are RED users that use the resolution heavily in their edits for cropping and zooming, also have been heavily critical of the RED ecosystem in the past.

Big reasons they are switching:
- In camera backup to 2 cards.
- Ability to use common media instead of RED mags, which is HUGE for their storage costs. 
- Every editor in their office now has a fully featured copy of Resolve.

on a 8k timeline?

8k timeline rendering on 8 GB VRam is impossible in Resolve

Honestly they are the target audience. They are RED users that use the resolution heavily in their edits for cropping and zooming, also have been heavily critical of the RED ecosystem in the past.

Big reasons they are switching:
- In camera backup to 2 cards.
- Ability to use common media instead of RED mags, which is HUGE for their storage costs. 
- Every editor in their office now has a fully featured copy of Resolve.

No worries. I apologize if I was being over sensitive.
Actually, my best friend of 30 years died of complications of Covid-19. He was a filmmaker in the middle of pitching a film to Netflix when he contracted Covid, and he was also a film critic for Pop Matters. So honestly, when I read these arguments about stupid cameras, I kinda laugh it off now and wish I never got involved in those arguments in the past.
Do I think 12K is silly... yes... but I'm still happy with my 1080p raw... so obviously I'm not the target consumer for this camera.
I'm still trying to figure out what filmmaking is in today's world and without my friend, so I have little interest in arguing about politics or cameras.
Live and let live...
On a positive note, I'm in the middle of writing a script, for a short film, that can be shot during Covid and I'm hoping to shoot it by the end of the summer.
I hope you and your loved ones are doing well. Please continue to be cautious, and safe!!!

Your right. I should not have down-voted that comment. Did it because of hijodeibn's recent extremely negative posts in several threads on the 12K. I read his "forbidden word in this community (Ke** Ameri** Gre**)" as a way to start an argument in the thread.

I'd much rather have a discussion, and my downvote was an inappropriate knee-jerk reaction. Hope to continue to see you in the forum.

Your right. I should not have down-voted that comment. Did it because of hijodeibn's recent extremely negative posts in several threads on the 12K. I read his "forbidden word in this community (Ke** Ameri** Gre**)" as a way to start an argument in the thread.

I'd much rather have a discussion, and my downvote was an inappropriate knee-jerk reaction. Hope to continue to see you in the forum.

after noones show and tell, i feel slightly inadequate 🙄 my last acquisition for the takumar collection for quite awhile i hope is a pentax smc 17mm f4 m42.
This should round out the collection nicely and cover all my bases. After this a better tripod and head is on the agenda.
 

I can't wait to see what Linus Tech Tips thinks of these cameras. Gonna be an interesting perspective outside the repetitive YouTube camera community. 

Trump.  The one and only thing I've ever agreed with him on.  Trade imbalance should be addressed by any and all administrations. 
However, two things:
1) His ham handed terms were so half-baked his trade war backfired, and
2) International trade is not supply-side economics. So how does Chinese trade address my comment, which was an inquiry from Mercer on how a Trump administration is/was affecting me?

I think some feel that if colour is pleasing, then it's also accurate.   I feel that's not always the case, but then colour science is one of those areas that can be subjective, yet many try to pin their personal preference as facts.  
I personally don't always like the Arri look.  People post videos and say how wonderful it is, and yet it does little for me.  

IDK.......
 
It may not work for YOU but it may be just the ticket for others.
 
I can see this being a great tool for wildlife doco's using S16 lenses. On a tripod in a hide sitting and waiting for days at a time for THE shot.  I have a very nice selection of S16 glass in PL, ......Angénieux , Canon.  Some of the S16 lenses have impressive reach for thier size - S16 lenses really help when you have to hump all that gear into the bush. 6K @120 fps down scaled to 4K. Whats not to love? A long S16 lens shot at 6K - this allows for re-framing and punching in with a 4K delivery - if I need that. I f I dont I can just down scale to 4K. If I need 220 fps I just shoot at 4K. I see this camera as an exciting enabler.
4/6K from an RGB digital sensor seems to give S16 glass a new lease on life. And those frame rates...where exactly do you get that on S16 other then here ???
OK so you have no use case.......good for you. But to exhibit such a small mind to say this is just no good for S16....hmmmm, ok then fella...if you say so. You keep believing that while the rest of us explore what we can do with our high end S16 glass and 220 fps @4K. A game changer I would say. A TRUE game changer. I can see the price of S16 glass going up because of this, much like the effect the BMPCC  had on S16 glass some years ago. Before the BMPCC, S16 glass could be had for little. Not now. Looks like history may repeat here.
Its going to be interesting to see how this pans out.

The original idea to use a S16 camera was the lower cost and the flexibility to perform shoots with a small camera, the French filmmakers take these cameras to the streets in places where  35mm camera were too much difficult to operate, and that was the spirit until the rise of the digital era, now we have very small cameras which can be used exactly like S16 cameras use to be in the past. The digital bolex keep that original intention, a small and very easy to use camera which can be used in extreme situations and places, where the only limit is filmmaker imagination. The BM is clearly not a good choice for a S16 camera, it's a bigger camera, heavier, will have a lot of limitations compared to a digital bolex, there is no a good reason to get this camera to do S16, the only reason I will use a camera so big like this to do S16 is because of it is a film camera, yes, an old and beautiful original film camera, which by the way I have, and I use to do some documentary, I only have like 12 minutes to shoot for each roll, but what you get for all the effort is worth. This new BM camera is oriented to be operated by a crew, to compite in that segment with RED, not for an independent creator, sure you will see some crazy guy running with this brick in his shoulders and telling to the world is the best camera for run and gun, but we all know the best performance for this kind of cameras can only be achieved with a crew, even a smaller crew will make a huge difference.
No need to try to justified this camera as the perfect tool for every scenario, it is what it is, it is too expensive for individuals, it is oriented for crew work to compite with RED cameras. It will find his place in the market for sure, if you have a small production company probably this camera is the perfect tool, I can see the point to get it for some people, but probably most companies will stay using RED and ALEXA just because of when the customer is on set he is expecting to see that kind of cameras filming his commercial. Time will tell. 

Honestly they are the target audience. They are RED users that use the resolution heavily in their edits for cropping and zooming, also have been heavily critical of the RED ecosystem in the past.

Big reasons they are switching:
- In camera backup to 2 cards.
- Ability to use common media instead of RED mags, which is HUGE for their storage costs. 
- Every editor in their office now has a fully featured copy of Resolve.

Honestly they are the target audience. They are RED users that use the resolution heavily in their edits for cropping and zooming, also have been heavily critical of the RED ecosystem in the past.

Big reasons they are switching:
- In camera backup to 2 cards.
- Ability to use common media instead of RED mags, which is HUGE for their storage costs. 
- Every editor in their office now has a fully featured copy of Resolve.

Honestly they are the target audience. They are RED users that use the resolution heavily in their edits for cropping and zooming, also have been heavily critical of the RED ecosystem in the past.

Big reasons they are switching:
- In camera backup to 2 cards.
- Ability to use common media instead of RED mags, which is HUGE for their storage costs. 
- Every editor in their office now has a fully featured copy of Resolve.

Honestly they are the target audience. They are RED users that use the resolution heavily in their edits for cropping and zooming, also have been heavily critical of the RED ecosystem in the past.

Big reasons they are switching:
- In camera backup to 2 cards.
- Ability to use common media instead of RED mags, which is HUGE for their storage costs. 
- Every editor in their office now has a fully featured copy of Resolve.

Can we get rid of these anonymous "experts" and bring back your @Mattias Burling's and @John Brawley's please? 

Dude, I'm sorry, but if you take a RED in one hand and a URSA in the other hand you will notice immediately which camera is a toy and which one is not. That's a fact. If you don't want to see it it's your problem.
The 7D it's also magnesium alloy. That's not an argument if we are gonna talk about reliability in different environments and extreme usage. That's where Blackmagic fails.

Have you even watched the BM video? They are doing in sensor scaling of a 3x3 bayer array. That gives you 4:4:4 4K output from the sensor. The image is as nice or nicer than anything you can shoot with now.

It's not a bayer sensor, i'm no expert but the sensor was designed to downsample without those issues. I'd refer you to some of the guys in the BM forum that could explain it better.