HelsinkiZim

No, thats the RED® EXOSKELETON® RAPIDAMMO SENSOR™®
Please do your research before posing on this forum.

Right ! "not a frat whereby you need to do time in the ranks"  Thanks HZ, You nailed the pyramid-thinking well-meaning people exhibit and exert on others ... And speak about automatic reactions & recordings :

A ROBOT-camera that shoots the whole movie for You !  The RED® WARPDRIVE 666 w/ TERMINATOR-X SENSOR™® - 32K (3.000 FPS)

TLDR; Get the RED because making videos these days is not a frat whereby you need to do time in the ranks.
I respectfully disagree. Not trying to troll, but I think we like to create barriers that don't exist in this profession, as it is a natural response to the commodification of industry that technology advancements are driving. It is the same feeling the taxi drivers had in France when Uber started to be a threat, the natural reaction is to try to protect the many years and hard work you have put into becoming a professional. But the 'technology of things' is allowing the next generation to get to your level of professionalism faster than it used to. Filmmaking went from being a craft to a skill to a hobby in such a short amount of time that my head is still spinning.
In every profession you start as an amateur and at some point you realise that you are in fact a professional. For doctors, lawyers, scientists and other professions where your blunders can possibly kill people, there are obviously a lot of hurdles you have to jump before you can pop that MD on your business card.
Film-making is not one of these professions. In fact the whole allure of independent filmmaking is that you grew up hearing stories of people who begged, borrowed or put on credit (or stole, in Werner Herzog's case) the monies to fund their first feature. Did Rodrigeuz or Tarantino know the benefits/ limitations of every single camera on the market before they decided they wanted to play with the big boys? I doubt it.
They figured it out along the way because they knew they were not trying to build a jet propulsion engine. They were making a movie. Now we cripple ourselves by thinking about the mechanics and science of every last detail that we end up making really 'safe' choices that add up in time and money over the years trying to plug holes in deficiencies (sound capture, monitoring, ergornomics, time in post...), and most would have been better off just taking the big risk to begin with.
To make an analogy, I feel like we are car enthusiasts, in a sense that, DSLR users are like the guys who buy a Ford Escort hatchback and spend money on souping up the car so it sounds and speeds like a high end sports car... but it is not a Bugatti, no matter how hard it tries. But what is happening is the price of the jacked up Ford Escort is coming closer to a base model BMW, metaphorically, so you might as well get the beamer.
But in a sense you are right that, due to pure statistics of how many people have failed at making a living in this business, both hollywood and work-from-home/ small office video production... it is wise to advise someone against putting themselves in financial distress over a camera system when something much cheaper essential would satisfy their potential clients/ cinematic needs. Its a fools gamble to take if it affects the well being of you and your family.
But if you are suggesting that there is a learning curve that takes "months/years/decades" for someone to learn how to get the best out of a camera you own and could afford, that is a bit pessimistic. With Andrews guide, the manual, vimeo project descriptions/ comments, youtube tutorials and a few weeks trial and error - I think you would be very well informed about the GH4. Especially if you have been using prosumer cameras for a few years.
I just feel that if you feel you can afford it, get the best camera you can buy and spend the years learning how to use it to tell a variety of stories or projects, rather than a camera that is best for niche subjects.
The idea that training wheels are still needed in the video game is not as true as it used to be when every aspect of a production was a mystery. 12 years ago if you wanted to know how to focus pull, someone would physically have to train you because who the hell could afford a follow focus system. The same with motion graphics, who had a computer powerful enough to learn at home in their underwear. Who could afford anything but a zoom lens for their XL1, if you wanted to understand how lenses worked you had to assist a pro.
Anyways, I conclude that we should not discourage people from punching above their weight because it is never a matter of IF they will ever figure out how to max out the camera, it is only when and we should not underestimate the power a young, hungry individual with time and the power of a google search. I would advise to spend those months and years with a Red rather than a GH4. It makes no difference really.
 
I'm playing the name the next RED game. It's fun, you should give it a try! Think of the most macho words you can imagine and up the specs!

Yeah, I could have said it in 2 sentences like I just did...  but then I don't know how I should have done most things until I do them:)
I do enjoy your posts BTW.

This is what you are talking about:
http://www.reduser.net/forum/showthread.php?143854-RAVEN-and-KWAN-(Footage)
In my opinion, I like the ISO test the guy does... not so much the first clip but the second clip (in the dark with a lighter) thats the kinda stuff I'd like to see...
I wasn't a fan of the 3rd clip, which was the outrage of most of the people on reduser.net.
But then people settled down, after seeing this:
http://nofilmschool.com/2016/04/rare-new-footage-red-raven
In my opinion, just cause you are buying a RED camera does not automatically mean that every single thing you take is going to be gorgeous. The only thing the Raven is bringing to the table is 4.5K resolution, high frame rates, 16.5 stops of dynamic range, and may be some color differences. That's it... It doesn't automatically make the video for you. Don't be disillusioned by the specs either... See Eric's video... If you can't do a similar video with a DSLR.... A RED camera isn't going to change that... 
Let me reword that, if you take footage of dog shit with a DSLR... It's still going to be dog shit with a RED camera... It's not going automatically look like a painting of the Mona Lisa. If you want Mona Lisa, you figure out how to paint well... Which takes time and effort.
Now, remember Carrion...
Some people were complaining here (on eosHD) that with big production, you can do anything... or something to that effect.
If you can't do that... even with a DSLR and a couple of lights (cause I can)... you have A LOT to learn...
The only problem I would run into is location, model, dress and make-up... but even then I can fake that like no tomorrow.

TLDR; Get the RED because making videos these days is not a frat whereby you need to do time in the ranks.
I respectfully disagree. Not trying to troll, but I think we like to create barriers that don't exist in this profession, as it is a natural response to the commodification of industry that technology advancements are driving. It is the same feeling the taxi drivers had in France when Uber started to be a threat, the natural reaction is to try to protect the many years and hard work you have put into becoming a professional. But the 'technology of things' is allowing the next generation to get to your level of professionalism faster than it used to. Filmmaking went from being a craft to a skill to a hobby in such a short amount of time that my head is still spinning.
In every profession you start as an amateur and at some point you realise that you are in fact a professional. For doctors, lawyers, scientists and other professions where your blunders can possibly kill people, there are obviously a lot of hurdles you have to jump before you can pop that MD on your business card.
Film-making is not one of these professions. In fact the whole allure of independent filmmaking is that you grew up hearing stories of people who begged, borrowed or put on credit (or stole, in Werner Herzog's case) the monies to fund their first feature. Did Rodrigeuz or Tarantino know the benefits/ limitations of every single camera on the market before they decided they wanted to play with the big boys? I doubt it.
They figured it out along the way because they knew they were not trying to build a jet propulsion engine. They were making a movie. Now we cripple ourselves by thinking about the mechanics and science of every last detail that we end up making really 'safe' choices that add up in time and money over the years trying to plug holes in deficiencies (sound capture, monitoring, ergornomics, time in post...), and most would have been better off just taking the big risk to begin with.
To make an analogy, I feel like we are car enthusiasts, in a sense that, DSLR users are like the guys who buy a Ford Escort hatchback and spend money on souping up the car so it sounds and speeds like a high end sports car... but it is not a Bugatti, no matter how hard it tries. But what is happening is the price of the jacked up Ford Escort is coming closer to a base model BMW, metaphorically, so you might as well get the beamer.
But in a sense you are right that, due to pure statistics of how many people have failed at making a living in this business, both hollywood and work-from-home/ small office video production... it is wise to advise someone against putting themselves in financial distress over a camera system when something much cheaper essential would satisfy their potential clients/ cinematic needs. Its a fools gamble to take if it affects the well being of you and your family.
But if you are suggesting that there is a learning curve that takes "months/years/decades" for someone to learn how to get the best out of a camera you own and could afford, that is a bit pessimistic. With Andrews guide, the manual, vimeo project descriptions/ comments, youtube tutorials and a few weeks trial and error - I think you would be very well informed about the GH4. Especially if you have been using prosumer cameras for a few years.
I just feel that if you feel you can afford it, get the best camera you can buy and spend the years learning how to use it to tell a variety of stories or projects, rather than a camera that is best for niche subjects.
The idea that training wheels are still needed in the video game is not as true as it used to be when every aspect of a production was a mystery. 12 years ago if you wanted to know how to focus pull, someone would physically have to train you because who the hell could afford a follow focus system. The same with motion graphics, who had a computer powerful enough to learn at home in their underwear. Who could afford anything but a zoom lens for their XL1, if you wanted to understand how lenses worked you had to assist a pro.
Anyways, I conclude that we should not discourage people from punching above their weight because it is never a matter of IF they will ever figure out how to max out the camera, it is only when and we should not underestimate the power a young, hungry individual with time and the power of a google search. I would advise to spend those months and years with a Red rather than a GH4. It makes no difference really.
 
I'm playing the name the next RED game. It's fun, you should give it a try! Think of the most macho words you can imagine and up the specs!

TLDR; Get the RED because making videos these days is not a frat whereby you need to do time in the ranks.
I respectfully disagree. Not trying to troll, but I think we like to create barriers that don't exist in this profession, as it is a natural response to the commodification of industry that technology advancements are driving. It is the same feeling the taxi drivers had in France when Uber started to be a threat, the natural reaction is to try to protect the many years and hard work you have put into becoming a professional. But the 'technology of things' is allowing the next generation to get to your level of professionalism faster than it used to. Filmmaking went from being a craft to a skill to a hobby in such a short amount of time that my head is still spinning.
In every profession you start as an amateur and at some point you realise that you are in fact a professional. For doctors, lawyers, scientists and other professions where your blunders can possibly kill people, there are obviously a lot of hurdles you have to jump before you can pop that MD on your business card.
Film-making is not one of these professions. In fact the whole allure of independent filmmaking is that you grew up hearing stories of people who begged, borrowed or put on credit (or stole, in Werner Herzog's case) the monies to fund their first feature. Did Rodrigeuz or Tarantino know the benefits/ limitations of every single camera on the market before they decided they wanted to play with the big boys? I doubt it.
They figured it out along the way because they knew they were not trying to build a jet propulsion engine. They were making a movie. Now we cripple ourselves by thinking about the mechanics and science of every last detail that we end up making really 'safe' choices that add up in time and money over the years trying to plug holes in deficiencies (sound capture, monitoring, ergornomics, time in post...), and most would have been better off just taking the big risk to begin with.
To make an analogy, I feel like we are car enthusiasts, in a sense that, DSLR users are like the guys who buy a Ford Escort hatchback and spend money on souping up the car so it sounds and speeds like a high end sports car... but it is not a Bugatti, no matter how hard it tries. But what is happening is the price of the jacked up Ford Escort is coming closer to a base model BMW, metaphorically, so you might as well get the beamer.
But in a sense you are right that, due to pure statistics of how many people have failed at making a living in this business, both hollywood and work-from-home/ small office video production... it is wise to advise someone against putting themselves in financial distress over a camera system when something much cheaper essential would satisfy their potential clients/ cinematic needs. Its a fools gamble to take if it affects the well being of you and your family.
But if you are suggesting that there is a learning curve that takes "months/years/decades" for someone to learn how to get the best out of a camera you own and could afford, that is a bit pessimistic. With Andrews guide, the manual, vimeo project descriptions/ comments, youtube tutorials and a few weeks trial and error - I think you would be very well informed about the GH4. Especially if you have been using prosumer cameras for a few years.
I just feel that if you feel you can afford it, get the best camera you can buy and spend the years learning how to use it to tell a variety of stories or projects, rather than a camera that is best for niche subjects.
The idea that training wheels are still needed in the video game is not as true as it used to be when every aspect of a production was a mystery. 12 years ago if you wanted to know how to focus pull, someone would physically have to train you because who the hell could afford a follow focus system. The same with motion graphics, who had a computer powerful enough to learn at home in their underwear. Who could afford anything but a zoom lens for their XL1, if you wanted to understand how lenses worked you had to assist a pro.
Anyways, I conclude that we should not discourage people from punching above their weight because it is never a matter of IF they will ever figure out how to max out the camera, it is only when and we should not underestimate the power a young, hungry individual with time and the power of a google search. I would advise to spend those months and years with a Red rather than a GH4. It makes no difference really.
 
I'm playing the name the next RED game. It's fun, you should give it a try! Think of the most macho words you can imagine and up the specs!

thats the developmental name of RED® TOMBSTONE PILEDRIVER™® – 8K for $80k coming soon

Your motivation for making films, especially independent films, can't be solely about profit. Your passion to tell stories must be at the core of why you do this work. Otherwise go be a dentist. People will always be willing to have their teeth fixed. Willing to pay for art? Not so much.
As far as making a living as a filmmaker there are several options downstream from big budget Hollywood director. Those options become less and less appealing by the time you get to something like "Briss videographer", but they exist.
As far as cutting through the clutter and achieving mainstream, critical, and financial success? Those projects are rare birds indeed. It's why filmmakers idolize people like Tarantino, Kevin Smith, and Steven Soderbergh. Because they did it.  As JCS said earlier in the thread, you simply have to make an exceptional film. 
I can remember seeing Christopher Nolan's Memento in a theater. No big stars, just a phenomenally interesting concept executed at the highest level. The trajectory from there to Inception was not guaranteed, but the promise was certainly there from the beginning. Keep working. Get better. Find your level. I'm pulling for you.

I wish we as consumers would react more vocally and in unison when the oligarchs play these petty games of taking away their toys. They should compete for market share by innovating rather than denial of services. I am sick of still having to find ways around limitations in all these ecosystems, when I know full well that everything I want to do could be fully supported on one PC, phone, camera, etc if the companies that slogan themselves as trying to change the world stopped trying to slow it down to maximise revenue. Bah humbug:/
Edit: ... and when a camera gets 'hacked', the consumer is telling the company to its face that it has not utilised the full potential of its offering and the response should not be to bury its head in the sand.

I wish we as consumers would react more vocally and in unison when the oligarchs play these petty games of taking away their toys. They should compete for market share by innovating rather than denial of services. I am sick of still having to find ways around limitations in all these ecosystems, when I know full well that everything I want to do could be fully supported on one PC, phone, camera, etc if the companies that slogan themselves as trying to change the world stopped trying to slow it down to maximise revenue. Bah humbug:/
Edit: ... and when a camera gets 'hacked', the consumer is telling the company to its face that it has not utilised the full potential of its offering and the response should not be to bury its head in the sand.

For a laugh, i'll break down this email from a salesman's/ executive producer's point of view.
"Greetings!
- denotes all times of day and suggests something festive is entailed.
Yes, we actually exist and have a voice.
- you don't know who we are but you did at some point, but you have forgotten.

We are incredibly grateful and humbled by all the support.
- OK, even if you don't remember us, everyone else does. (Classic 'humblebrag').
And because of that, we are only sharing the following email to you—our early adopter email list.
- FYI, you are special and unique and part of a private club who got in first. Aren't you lucky?

We have looked forward to sending this email for months. You should know that we will not publish this anywhere else. That means you are the first to know.
- you owe us your attention because we have invested a lot of time on this product exclusively for your benefit, and you have such a unique opportunity here because we haven't told the world about it yet because you are our favorite person. When we tell everyone, we can't make any promises on your VIP status.
I bet many of you have wondered, “What’s the deal with Craft?" There has been an outpouring of interest for Craft from all over the world and from all walks of life—from Hollywood, indies, corporate marketing departments, agencies, and amateurs. They have reached out by the thousands trying to figure out what we are working on.
- (more humblebrag) My lord, have you been missing out!
For over a year, we have been developing the Craft Camera—a new system that we believe will help users tell better stories.
- we have developed a system to make you a creative genius, you are a craftsman and we are called Craft, geddit?
On April 18th around 12pm EST, we will announce Craft Camera on craftcamera.com. This announcement will include initial information, a first glimpse of the Craft Camera, and we will start taking initial reservations.
- Sshhh, listen, here are some hard facts. We are committing to a time and place for one time only. We will blow you away with a few seconds of footage and allow you to give us your credit card details, BUT only if you are on time and in the right place.
Since Craft Camera is still in development, we won’t be releasing every single detail because we hope to get feedback from reservation holders before we publish final details.
- in case you aren't impressed, don't worry, you haven't been given all the information and glimpses yet, be patient and get in line anyways. We will figure this spec stuff out eventually once we receive enough complaints to warrant changes.
A reservation will require a $500 deposit, your name, email, and phone number. Reservations will only be available on craftcamea.com and will be 100% refundable. Your deposit will be deducted from the total price once you place an order at a later date.
- (classic close) Absolutely no risk involved. But wait there's more...

As a reservation holder, you will also receive a 10% discount off your final order along with some additional perks like first looks, priority reservations on future products and a few other surprises.
- (classic time sensitive bonuses)
Please note we are offering a limited number of reservations which is why we wanted you to know about this first. This means when we hit our limit we will stop taking reservations. No exceptions. The reservations are first come first serve and when the cameras ship, we will do so in the order that the reservation was placed. 
- remember, this deal is exclusive to you and time sensitive. This is urgent!
The Craft Camera comes in 2 models. There are 4K and HD models with a price range between $699 and $2899 depending on the configuration. Initial units will ship late 2016.
- (actual information, vague, but actual information). Comforting because facts make you feel good, right? But not to many or you will commit from informed deliberation rather than impulse, which is not cool for us.
I will leave you with this—we believe there is a huge need for Craft Camera. We believe it is a revolutionary product that will give production alums a great tool to do things they couldn’t do before while opening up storytelling through motion pictures to a whole new generation.
- (rehash of making you a creative genius theme) You will have an advantage amongst your peers. You will be Spielberg, or maybe Jim Jarmusch... at the very least.
With that said, we understand Craft Camera might not be for you and...we are fine with that! We will still treat you with respect and we hope the same from you.
- seriously, no pressure.
I am truly humbled by all the support, and I hope you become a part of the Craft family.
- (humblebrag,) we have heritage and will be around forever.
Keep telling beautiful stories.
- we are on your side, you artist you *pinches cheek*. Monies? What's that?
Scott Brag(g)
- Mr. S. Humble...

Founder of Craft Digital Systems Inc. "
- the absolute boss and the ducks nuts.
 
That was fun (for me). Having sold stuff from Kirby vacuum cleaners to tvc airtime, its a trip down memory lane. I wouldn't touch this kit with a ten foot pole. A bit too sleazy for me.
If it's a young company then I would ditch the bullet-benefit-close-bonus approach and just talk about the things you are trying to solve for your target demographic. Visuals, ergonomics, mobility, compatibility... etc. (even if its just your intentions, with no hard specs to announce)

He, He !   I didn't need to read it all to recognize the "Nigerian-style"    And I can only agree and repeat my arguments :

"Hmmm, If I was only mailing to potential buyer-groups, I do not want ANY speculation about my business !
They surely must know this would happen and COULD have provided some photographs or more specs ...
OK to keep secretive, but this is an exaggeration and a VERY "shady" sign !  Also I checked jcs' link :
http://petapixel.com/2013/02/25/craft-camera-a-diy-digital-camera-made-with-cardboard-and-arduino/
and it leads to an interesting web-address http://craft-camera.com/ ... much like http://www.craftcamera.com/"

We want to believe in the CHEAP RED (even RED knows to use this !) & the PROMISED BLACKMAGIC !  (Unintended dirty )

For a laugh, i'll break down this email from a salesman's/ executive producer's point of view.
"Greetings!
- denotes all times of day and suggests something festive is entailed.
Yes, we actually exist and have a voice.
- you don't know who we are but you did at some point, but you have forgotten.

We are incredibly grateful and humbled by all the support.
- OK, even if you don't remember us, everyone else does. (Classic 'humblebrag').
And because of that, we are only sharing the following email to you—our early adopter email list.
- FYI, you are special and unique and part of a private club who got in first. Aren't you lucky?

We have looked forward to sending this email for months. You should know that we will not publish this anywhere else. That means you are the first to know.
- you owe us your attention because we have invested a lot of time on this product exclusively for your benefit, and you have such a unique opportunity here because we haven't told the world about it yet because you are our favorite person. When we tell everyone, we can't make any promises on your VIP status.
I bet many of you have wondered, “What’s the deal with Craft?" There has been an outpouring of interest for Craft from all over the world and from all walks of life—from Hollywood, indies, corporate marketing departments, agencies, and amateurs. They have reached out by the thousands trying to figure out what we are working on.
- (more humblebrag) My lord, have you been missing out!
For over a year, we have been developing the Craft Camera—a new system that we believe will help users tell better stories.
- we have developed a system to make you a creative genius, you are a craftsman and we are called Craft, geddit?
On April 18th around 12pm EST, we will announce Craft Camera on craftcamera.com. This announcement will include initial information, a first glimpse of the Craft Camera, and we will start taking initial reservations.
- Sshhh, listen, here are some hard facts. We are committing to a time and place for one time only. We will blow you away with a few seconds of footage and allow you to give us your credit card details, BUT only if you are on time and in the right place.
Since Craft Camera is still in development, we won’t be releasing every single detail because we hope to get feedback from reservation holders before we publish final details.
- in case you aren't impressed, don't worry, you haven't been given all the information and glimpses yet, be patient and get in line anyways. We will figure this spec stuff out eventually once we receive enough complaints to warrant changes.
A reservation will require a $500 deposit, your name, email, and phone number. Reservations will only be available on craftcamea.com and will be 100% refundable. Your deposit will be deducted from the total price once you place an order at a later date.
- (classic close) Absolutely no risk involved. But wait there's more...

As a reservation holder, you will also receive a 10% discount off your final order along with some additional perks like first looks, priority reservations on future products and a few other surprises.
- (classic time sensitive bonuses)
Please note we are offering a limited number of reservations which is why we wanted you to know about this first. This means when we hit our limit we will stop taking reservations. No exceptions. The reservations are first come first serve and when the cameras ship, we will do so in the order that the reservation was placed. 
- remember, this deal is exclusive to you and time sensitive. This is urgent!
The Craft Camera comes in 2 models. There are 4K and HD models with a price range between $699 and $2899 depending on the configuration. Initial units will ship late 2016.
- (actual information, vague, but actual information). Comforting because facts make you feel good, right? But not to many or you will commit from informed deliberation rather than impulse, which is not cool for us.
I will leave you with this—we believe there is a huge need for Craft Camera. We believe it is a revolutionary product that will give production alums a great tool to do things they couldn’t do before while opening up storytelling through motion pictures to a whole new generation.
- (rehash of making you a creative genius theme) You will have an advantage amongst your peers. You will be Spielberg, or maybe Jim Jarmusch... at the very least.
With that said, we understand Craft Camera might not be for you and...we are fine with that! We will still treat you with respect and we hope the same from you.
- seriously, no pressure.
I am truly humbled by all the support, and I hope you become a part of the Craft family.
- (humblebrag,) we have heritage and will be around forever.
Keep telling beautiful stories.
- we are on your side, you artist you *pinches cheek*. Monies? What's that?
Scott Brag(g)
- Mr. S. Humble...

Founder of Craft Digital Systems Inc. "
- the absolute boss and the ducks nuts.
 
That was fun (for me). Having sold stuff from Kirby vacuum cleaners to tvc airtime, its a trip down memory lane. I wouldn't touch this kit with a ten foot pole. A bit too sleazy for me.
If it's a young company then I would ditch the bullet-benefit-close-bonus approach and just talk about the things you are trying to solve for your target demographic. Visuals, ergonomics, mobility, compatibility... etc. (even if its just your intentions, with no hard specs to announce)

Yesterday i took my 5d3 to the airfield to test the recently added new S16 crop feature. Correct framing and fluid live view (two the most important improvements) are just essential to shoot fast moving objects. What a great new tool!!!
Almost everything was shot with 70-200 f2.8 IS II with 3x 1:1 crop at 1080p 25fps. Lens set at f8. No single damaged frame (recorded on sandisk 128gb 160mb/s card), just perfect. I have to get canon 2x extender now to have 1200mm lens
 

Depends a lot on your location and what you want to do.

But I'd suggest buy two cameras: 
A bigger one for those benefits such as XLR inputs and ND filters, and just looking bad ass to the client. Sony PMW-F3 gives maximum bang for your buck here! (US$1.5K ish secondhand, plus US$495 BMD Video Assist gives you 10bit 422 1080 60fps). A Sony FS700 is also reaching very low prices these days, so maybe consider that. Or a JVC LS300.

Plus a smaller camera for when that is more appropriate (such as on a gimbal, or when you simply need to go multi cam), for this I recommend a Blackmagic Design Micro Cinema Camera. But a Sony A6300 / A7s mk1 or Samsung NX1 would also all be solid choices. 

Then get a set of lenses, either Sigma ART (Nikon F mount), or Nikon AF-D, or Rokinon Cine DS. 
http://ironfilm.co.nz/rokinon-cine-lenses/
Buy a Tascam DR-70D + MKE600 + RodeLink + Zoom H1 + Aspen Lav + Boom + Rode Blimp v2 + Senal SMH-1000 headphones + Samson C02 mic + Rode WS6 windshield.
For lights get a basic kit of:
http://www.came-tv.com/3-x-800w-pro-red-head-redhead-continuous-light-lighting-stands-p-158.html
http://www.came-tv.com/1%C3%83%C2%97650w2%C3%83%C2%97300w1%C3%83%C2%97150w-fresnel-tungsten-light-video-spotlight-p-318.html (plus dimmers)
http://www.came-tv.com/index.php?main_page=product_info&cPath=19_23&products_id=503

I'm on a film festival committee.  Trust me when I say almost all indy movies look really good these days.  IQ looks on par with just about anything.  Even work that has limited dynamic range still looks pretty impressive.
As for all the other stuff that's actually more important in making a narrative film... well, not so much.
So, if you think what camera you're shooting with is what's holding you back.  IMHO, you're wrong.  So, you pick up and use what you're going to pick up and use.  That's it.  Stop thinking about the limitations of it.  You made the choice, move on.  Now, make smart lighting decisions.  Get a good audio guy (for god's sake please do this), concentrate on telling a good story, and find some actors that can actually do so.
Trust me, no one's going to give two shit(es) if you're dynamic range in 10 stops or 13.  Your skin tone looks a little goofy?  Oh well, I forgive you if you're showing me some interesting characters on screen.

"Virtual Reality" is a very new term and can be a very broad term. So some people could arguably classify 360 degree video content under "VR", but other people who are VR snobs wouldn't regard it as "proper VR".
For "proper VR" they'll say you need to not just have 360 degree vision around yourself, but also have complete freedom to move through the space you're in as you wish (just like you can do in real life). 

So how can you create that freedom of movement?  Well you'll need to create all the items in that space (& the space itself) painstakingly from scratch, just like they do with video games. This can be very difficult and expensive (this is why video games can cost hundreds of millions of dollars to make, just like big blockbuster movies do).

And the downside is it still won't truly look life like!! Instead it will look like you're in a video game. 
360 degree video has the downside of you lose the freedom of movement, you are instead constrained to take the same path of movement through the environment as the filmmaking took during capture. It is like you're on an amusement park ride, once you're strapped in then you're going to go through it the same way the rides are going to go, following the tracks. 

But the upside is 360 degree video has the benefit of looking waaaaay more realistic, as you're filming real life itself! Also 360 degree video has the benefit that it is relatively "easy"-ish to create content. Well...  still quite tough! Just check out my other thread where I'm discussing hardware requirements:

Then you have software needs as well! Which are themselves quickly a very complex issue, and can be very expensive to purchase. 
A slight tweak to this 2nd approach is to do 3D 360 videos, this gives you stereoscopic vision in your VR headset, rather than seeing just a "flat" looking video. A potential big improvement for sure! However.... this means double as many cameras, which means more the double the hardware complexity, and more the double the difficulty in post production.
But all of this is a walk in the park compared to trying to do "proper VR" in a truly photorealistic manner. For that you need a capture rig kinda like the bullet time rig from "The Matrix", but even more complex and comprehensive. Then a vastly more complex software step to turn each capture into a moving 3D model with the filmed texture overlayed on top. 

Another big downside of this approach is you can't do large/complex scenes at once. For instance if you wanted a VR experience of a party via this method, you couldn't just a capture a crowd of people drinking, dancing, and having fun. Nope, instead you'd need to do each person one by one, then insert them one by one into the scene you're creating in the computer. On the upside, it does make it heaps easier to edit the scene in post if you wish to move or even remove elements from the scene! Want to move that idiot with the jerky  spazzy dancing to the back of the scene instead of at the front? Done!  

Maybe the promise of "The Edit Button" will come true one day... 
 
The other downside to this approach of using videogrammetry is that currently the quality you get is usually absolute rubbish, here you can see one I took of myself last month (it is a moving 3D model, which you can fly around it as you wish, or place it anywhere within a 3D space you create in Unity):

As you can tell, the quality looks like absolute trash compared to what we're used to from our BMPCC / URSA / Sony FS7 / Samsung NX1 / etc cameras!! However, that was just a very rough and quick test capture I did (for instance I didn't bother with lighting it at all), and I could significantly improve this. But it still is at best rather bad, unless you wish to pour millions into this! And even the companies which have tens of millions of dollars of funding behind them still are not hugely better than this, and have a looooong way to go. But I expect "soon" this approach will be mainstream (it is an open question as to when "soon" is, maybe just a couple of years away? Or maybe a decade away.... ).

So each of these three approaches have their own serious pros/cons list to consider, and I wouldn't consider any one "better" VR than the other. They're just different tools to use, depending on the task at hand to complete. 
 
Looking into the future, I think that although the 3rd approach is clearly the most undeveloped of the three, as tech improves it will likely become the main choice for creating high quality VR content. But all three approaches will remain valid approaches to VR creation for years to come. 

After a long time, I finally produced a new short movie. This time with the Sony FS7, probably not the last time. Coming from a RED Epic, I have to say: The dynamic range is incredible!
Shot in CineEL S-LOG 3, 4K 24P. Color graded in Davinci Resolve. Only used small LED lights.
 
 

Yeah, the NX1 looks pleasing like canon... vs nightmare-in-post-to-get-to-a-look-like-canon. It's all moving back to saturation and sharpness from what I can see these last few months.

it's okay. i doubt either of those two read this forum. they won't be offended.

I don't mean to offend but everytime I see your profile pics I think of Howard Stern and Seth Rogen. In a really good way though!

I don't mean to offend but everytime I see your profile pics I think of Howard Stern and Seth Rogen. In a really good way though!

Edelkrone slider with action + target module or Red Rock's 'one man crew' parabolic slider...both way over a grand, even used. Edelkrone will do almost all things you mentioned, but only with target + action module add-ons...Red Rock's parabolic slider is fixed in an arc track (and I don't think does timelapse).
Either hire in one of these for each job, or try to find a cheaper version from another manufacturer...but these are the only two I've used and would personally recommend not breaking after 3 weeks.
Not sure that a grand will get you very far for a motorised slider that is built well, no doubt there may be a few out there, but I'd be surprised if you could find a decent one that could be set in autonomous mode or do timelapse for that kind of money. 2k seems to be the starting price of most commercially motorised sliders that are not made of Lego.
Personally, i'd make my own if money was tight...buy a cheap linear and curved slider, then retro-fit your own belt, motors and controller. Making an autonomous 'ping-pong' mode would also be quite simple. But remember, even with the Red Rock + Edelkrone sliders, motor noise can sometimes be an issue when using for interviews (although Red Rock slider is pretty quiet).  
 

I am a bit of an Ed David fan, so I feel humbled that he engaged with my comment. I hate throwing opinions into the interweb wasteland, but I will speak up more often then.
I remember the first independent movies I saw as a young adult - Flirting with Disaster, Pixote, City of Lost Children, everything by Jim Jarmusch (thanks to the Earwax Cafe video rental store in Wicker Park, CH - is it still around, anyone?), and so on...
What struck me about these films is that it was hard to settle into the rhythm, but the rewards were amazing. Sometimes you actually feel smarter about a subject or subculture. Sometimes you just laughed your ass off or got pissed off, or both (The Big Short).  To me that is when I consider a film very good.
With other current 'masterpieces' like, lets say, Carol, I think we are expected to feel challenged and eventually rewarded, but I vehemently deny having any emotional journey. Visual perfection is not the same as visual joyride.
On the other hand, I had an emotional journey with Blue is the Warmest Colour. I was challenged by the pacing, voyeurish icky-feelings: but I committed to it and was rewarded immensely. Same subject matter as Carol, but different time period, style, story etc... but what a film.