HelsinkiZim

Except it would actually go more like this
Friend: "I need a camera for a commercial shoot tomorrow, what do you recommend?"
Me: 'What's the commercial? What's your budget? Are you going to go and buy this camera off the shelf, or can you rent it? What's the plan? Commercial for YouTube or for television? Are you lighting extensively? What are you looking for out of a camera for this job? Will you be grading? Who will be grading it? Studio or location or both? 
Friend answers questions and I can recommend a camera accordingly.
Conversely, if a friend came to me and said 'hey, you know about cameras, what's the best camera for a commercial' (and this has happened exactly like this in the past), I would say 'well it depends on what you're doing, there's no real best camera for a commercial, it depends on so many things - not the least of which is your budget. Tell me more about what you're doing and I can give you a recommendation.'

Only user issue is your reading, I had a iv not a iii

I like RED but I wouldn't automatically think it's an upgrade from Blackmagic. I don't know about the new sensors, but my Scarlet was a lot worse than the BMCC in low light. Not even close - the was much better s/n from the Blackmagic, and the actual noise pattern was very organic on the blackmagic, not the Red. I'm sure you could have cleaned it up a bit in post, but the RED isn't something you can get away with underexposing at all. Again, maybe the new sensors are different, but I bailed out of that RED ecosystem full of expensive propriety support gear. 
I'm not surprised that Blackmagic is having some issues - RED did too. There's actually a much easier way for Blackmagic to exercise better quality control, service, and reliability, etc. It's price. They have been the cheapest (and have been) for their market segments, and the best image quality per price ratio, and in fact have disrupted the industry in some ways because the competition is lowering prices and offering similar products. 
Blackmagic has been trying to offer pro-level gear at consumer prices. Their game is pushing resolve and post-production products, not protecting lines of cameras.  
I'll say this, it's a lot more realistic to expect Blackmagic to fix some of their issues than Sony or Canon to offer cinema features in their consumer cameras. 
 

You're clueless buddy.

Something worth thinking about. There really is no 'industry' anymore, at least not if this refers to enterprises which set up blueprints for production pipelines and man them with workers. This industry, audio-visual media, became hell for people who have to work for a living and perhaps plan for a family.
On german video sites, the FCP X haters label the "pros" that use this NLE "trunk producers". I almost became one of them, it's called "Ich AG" (literally: 'Me PLC'; in Germany: person(s) in self-employment as partof a government-funded scheme to help jobless people to start-uptheir own business).
As your own camera operator, sound engineer, driver, editor, colorist and what have you - what do you need Adobe for? You can be creative (Adobes motto) at designing your own funky lower thirds within After Effects? Well, you hardly get paid fairly for that extra effort. There are thousands of free Motion templates that can easily and in no time be adjusted for your needs. A handful of specialized graphic designers, who probably do nothing else, let you use better ones for a reasonable fee. You'd be crazy to sit awake after a long shoot and editing session and try to top those on your own.
So maybe FCP X is for hobbyists and trunk producers, but who cares? I've opened an own thread on the topic. My suspicion is that Adobe would like to become less industry standard and more trunk production suite. But they fear to lose their nimbus.

Will this ever end?!
When I first got introduced to Digital Editing there were only 2 NLEs being used - Avid & FCP. Avid was the weapon of choice for the high end stuff - Natural History & Drama. FCP was used by everyone else. Premiere - never even got a look in (never mentioned, didn't know it existed at first).
The problem has become the importance placed on After Effects, by small independant companies - the new build Motion is either on a par or just behind it, but not enough to make it redundant. In Big companies, the titles are done by one team (outsourced) & the Editor actually spends his time editing.
The real difference between FCPX & Premiere - one you pay a one off fee for & the other you pay monthly for. And if you really wanted to go that step further - one works better with Macs & the other with Windows. They're NLEs, nothing more & you use the one that gets the job done best for you.

Here are a few music videos that should be ashamed to call themselves music videos!!!!!! Just utterly against the music video universal protocol. Dear me.
 
Just home video footage if you ask me.

If the big boys from Japan Head Office (Canon, Sony...) would just start to compete with the jump-starts and disrupt-tors (bmd, kinefinity, etc) and stop trying to play to the folks who don't want any challenges and want their buttons where they used to be, our worlds could be rocked overnight. They can do it, they just won't. They want to milk us for all we have. Those that are doing it are being marginalized due to buyer skepticism.
But I tell you what, I did a search in vimeo yesterday for '4.6k' and you guys should see what people are producing by just walking out the front door (narrow your search to the last 30 days - just looking at the thumbnails should tell you that times are changing. No more cat test videos, everything looks like it belongs in a TVC ((if that ideology exists anymore???)).
Have we stopped to ask ourselves what happens when everyone has 15 stops and filmconvert? Are we going into the super DR phase, like the super desaturated phase of 2 years ago (can someone tell mr bloom)?
However, I still look at BMD vids and I don't get that anxious feeling like when I am watching an Alexa film, shot in low light (or graded that way, I don't know). Your brain tells you its too dark to see shit, but you see everything as clear as day without even having to pay attention. Its an odd viewer experience that I guess you image pros call dynamic range, roll off, science etc. I just think see it, and I know the difference from someone lowering exposure in post or shooting without light. That conflict to me is the essence of what we are trying to evoke in the average viewer - something that makes them sit up in their chair and go back to minute 1 - because something was off, but so good - it pushed the boundaries of what we see everyday. Soon we will see great images everyday, what then? Please don't say story. To me that is like an ad man saying we need a 'documentary feel'. It doesn't mean anything. Every time you put one image after the other, you are telling a story. In fact, when you pick up a camera, you are telling a story, even if you don't turn it on. Everything is subjective and nothing is new. You can only improve on the design. In our world, that means mixing different influences together to make something appear new. I could go on for days about the evolution of art. Filmmakers are no different to those who came before us, who expressed themselves with light. We are subject to the time we live in and everynow and then a true virtuoso will appear, but they are usually a talisman for many who are doing the same thing, some even better.
 
WHy I have sat here writing this, I don't know. Bedtime.

I think the next move should be to simply have the best 4K image on any dlsr available. No tweaks in post, adjustments to settings, external recorders, upgrades... just the best 4k video image we have seen from a €1000 photography camera (that works out of the box, no upgrades, just fuc*ing works.). BMD imagery with GH4 functionality, hell, keep photo functionality for the time-hyper-lapse nuts... but make that awesome too. Prores and throw every other codec in the garbage, stop trying to make it work, just ditch it and develop on what works. Global... rolling, figure it out. China is figuring it out. But then they are trying to break into a market where someone is trying to charge me 6000 euros for a form factor change with NO other advantages (fs5 fs700). So we are paying more up to 10 000 euros more for the same specs with more brand recognition... oh and all the buttons in the right place. And internal ND. And... Zacuto aftermarket products.

Reds are plenty sharp enough for me. There's no sharpening applied to the raw, you can select sharpening in standard red debayer which isn't great, or apply your own.
Consumer cams use a ton in camera and compress the shit out of the data. Sharpening is part of trying to get detail back from a bayer array.
Here's a short test. I was going for Emmanuel Lubezski plus cats LOLOLOL!!!1one!!1!
1st shot 4K 25fps, 2nd shot 2K 50fps. So yes the second shot is cropped in. It's not that noisy, certainly not unmanagable at ISO800 here.
I think it was 60mm Macro
 

I would go with this one: Manfrotto 535 MPRO.
http://cvp.com/index.php?t=product/manfrotto_535
Only heard good things about it.
20kg load capacity, lightweight construction, good price.
Also take a look at this ball head:
http://www.wexphotographic.com/buy-manfrotto-mh057m0-q5-magnesium-ball-head/p1527869
All you need now is a Manfrotto half-ball mount and you are good to go, still under 800. And probably much more future proof than the 504, this ball head takes gear up to 15kg.

Manfrotto 535 or 536 in carbon. Complete work horses and super sturdy. Both would fit in your budget. I used to put a Kessler Travel Slider on my 536 and it's rock solid. You could probably get away with a 30 to 36 inch slider on one of those and be okay.

If we could all pitch in a bit more about feedback on work and less on camera specs, a lot of people who actually take action, like yourself, would greatly benefit. Not that you need advice to create good, professional work - as you have done - just as a general discussion/ support to get creative juices flowing for next projects or moral support, idea generation etc.
To me that is a true community. Feedback, feedback, feedback, tech specs, more feedback, newb questions answered, feedback... Not that I have anything to add of use! But we should feel obliged to review the work of our peers if they ask for it from our own weird spectrum of experience.
Thinking more about this famous 'story' everyone keeps talking about. Here we have someone who has created a story and... no response.
Anyways, I digress...
Keep up the good work!
edit (additional stuff): I think most people are shy to give feedback because they don't want to come across as assholes, but then there is also a few who simply think anything done by anyone else is irrelevant to their life experience so they don't even bother to look. Both extremes are products of our anonymous age unfortunately. Again, not that I have anything useful to say, I just see this as a good opportunity to get others who DO have something useful to say, to say SOMETHING. Sorry if I politicised your post, I tend to do that:)

Sony A7Rii / Sony A7S
Neutral creative style, sharpening dialled down to -3, contrast dialled down to -3, saturation boosted +1  
Auto White Balance with 2 points downwards (towards magenta) on the wb adjustment.  (important to allow awb enough time to adjust before hitting record)
0.0EV on the camera ev meter (multi mode exposure meter).  No matter what the scene is the highlights are always recoverable.
 
 
Premiere cc - use only 32bit effects.
 
import footage into 4k timeline (even if footage is lower than 4k) - scale up if required
apply ProcAmp - brightness -8, contrast +16, saturation +25 - allows easier visibility for curves adjustment below:-
RGB Curves - start on red.  lower or raise midtones until happy with overall hue.  adjust highlights and shadows to compensate for over warm darks/highlights.  move to green and adjust, move to blue and adjust.
Apply unsharp mask (1.4px) while viewing at 100%.  adjust until it starts looking graggy.  back off to half the amount it took to get graggy.
apply and overlay of film grain or monochromatic  noise (higher res than the footage).  adjust so it matches the prominence of the footage noise in the shadows, but finer due to the higher resolution than the actual footage. - tweek contrast/brightness of noise with procamp until it sits on the footage without affecting perceived contrast or shadow levels.
Nest everything.  then apply unsharp mask at 1px as before - this glues the grain and the footage together and creates the perception that the actual footage was aqcuired at a higher res than it is.  it also provides fine detail for vimeo and youtube to bite into and retain during their compression
 
export at 2560x1440 or 4k at a very high bitrate, 2pass, h264.  100mbs target, 200mbs max - as high as I can before reaching maximum upload limit.
 
upload to vimeo.  
 
delete big file knowing I can retrieve the original from vimeo at a later date if required.
 
drag project files into external drive for future, freeing up SSD system drive..
 
 
    
 
 
 
 
 
 
 
 
 

There is a great sense of tonality in this film, as you have been told already. I really enjoyed it! It feels like a good start to a bigger journey that I would happily tag along for the ride. In addition, it is a great testament to the narrative possibilities of the mk3 in the right hands.
As for feedback, I was looking for an arc or a twist that pays off on the suggested relationship between the crumpled receipt (or popcorn?... it wasn't clear) and the texts. The theme is not that clear as to what the situation is, is it a thriller, love story or drama? Shorts don't necessarily need 3 acts, but there usually is a payoff that brings it all together and lets us know what is actually going on on a 'global' scale in relation to these characters you have introduced. It doesn't (I think) need more shots or details, just maybe more subtext in the text messages, more descriptive cuts and a more committed playfulness with the true (?) macguffin of the earrings. Through the earrings you are telling us everything about these people, their relationship, desires, past and future.
The actor and direction (your skill) cannot really be faulted imo.
Hope you meant you wanted feedback when you asked for it, thats mine!
 
 

I shot this a few months ago.
Looking to get some feedback on it before I start filming a bigger project in the next few weeks.
Hope you enjoy it. Let me know whats up.
mike
 
 

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)

Maybe I should add to this whole subject, that I don't always need or seek the newest tech solutions.
Below is my current "focus assist". As everyone clearly can see this is as low-tech as can be. A cheap $20 loupe, a piece of cycle tire rubber and some velcro. (An old picture with my G6, but I still use it on my GH4). You just wipe the rubber around the monitor and you are ready to go . Works like a charm, diopter enlarges x3 and yes I see pixels and the cheap diopter distorts quite a bit, but I can nail focus every time and that's what matters. 
The thing is, I´m afraid that the monitors hinge will break some day.

I've got a Came carbon-fiber, pretty simple model, no battery rig at the bottom. As far as operating, yeah, you need tons of practice, but I've gotten very useful shots, corporate gigs, b-roll stuff. I can't imagine it being any better for what it is, very well constructed and smooth, quality piece of gear.
I've balanced it pretty quickly to different cameras, lately I find the NX1 with the tiny 16-50 kit lens to be excellent on it with the optical OIS turned on, sometimes even use the AF. I use the manfrotto release plates everywhere, I had to mount one to a little plywood block so the release knob would clear the release lock on the Came, but I can switch from sticks or shoulder to steadicam in a flash and give the balance a quick tweak. I skip the matte box and use screw-in ND on the kit lens, I just got a 52mm step ring and a rubber hood for it. 52mm filters are all over the place, whatever flavor you want can be found pretty cheap. Generally for steadicam you shoot wide and stopped down so I haven't had a reason to stick any big glass on the thing and the Samsung kit's an impressive little lens.
I haven't looked seriously at gimbals due to the expense and hassle factors, but they are coming down in price and the usability bugs seem to be getting ironed out. 
Gimbals are, to some extent, like drones. Drones are just killer to cheaply get very high-dollar shots, like huge crane moves and helicopter stuff. But most drone ops are like "look at all the stuff this can do" and suddenly a classic cinematic move starts screaming "look!!! I'm a drone!!" Gimbals aren't quite as bad in that regard, if someone executes a well planned shot - the clip that sold so many on gimbals was the roller blader with the taxi cab shot, a good example of shot design that's exciting but not something that would pull the viewer out of the scene. To me the gimbals seem like the kind of thing where I'd rather just hire an op that knows it well and cans et it up quickly. My brain is too full...

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!

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

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!

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)

i think you meant the new RED® NUCLEAR WARHEAD w/ VIAGRA-X SENSOR™® - 8K (6.5K 400p cropped)

You guys have it all wrong, except for the weapon... all RED products had an affliation with the Word RED, like RED scarlet, RED dragon....
So, with that tradition the next one is going to be RED® BABOONS ASS™®