mkabi

Taking it even further...
A: one body + one lens to practice with until you get close to your first job and then...and only then...
B: buy another identical body (so there is no learning curve) and a second lens so you can do the work.
Then there is the rest of it; audio, lighting, tripod, mono, gimbal if that’s your thing, etc.
But right now, not wishing to discourage anyone, it’s not the best time to be trying to start out in this industry for sure.
 

Indeed. Blowing 10k on just a body for weddings is overkill. By a massive amount.
10k for all bodies and lenses max, but it can easily be done for under 5k.
I’m in the process of new kit from scratch and total budget for video is under 5k and I shoot an average 25-30 of the things per annum with 25 already booked in for 2020.
Especially with the uncertainty in the world right now of the entire industry, blowing 10k on a body with I presume no bookings, is nuts.
Apologies OP if your scenario is anything different to that, but it’s how I read it.
More like it!

And, from what I understand is that this guy wants to start in Wedding videos and move to doc and commercial work.
Blowing it all on just a body.... doesn’t make sense.
Equipment cost < Business Profit
Look at high end equipment later. Start getting customers first... start charging a rate that covers your hours put into it + equipment rental rate (estimate).
If you get enough customers then invest in equipment.

And, from what I understand is that this guy wants to start in Wedding videos and move to doc and commercial work.
Blowing it all on just a body.... doesn’t make sense.
Equipment cost < Business Profit
Look at high end equipment later. Start getting customers first... start charging a rate that covers your hours put into it + equipment rental rate (estimate).
If you get enough customers then invest in equipment.

Don’t waste it on a system. 
You’ll only be mad with yourself later on for choosing that system.
Buy a body with 1 native lens (that way when it is time to ditch and move on to another system it isn’t hard to let go...)
Invest in PL lenses and learn to manual focus. You won’t regret it!!! Trust me.
My current suggestions:
Either get two Panasonic S5s or two Fuji X-T4s. With a workhorse lens for both cameras.
Go for the Ironglass 3 lens set. 
Bonus: Get a Blackmagic 2.5K camera with mft mount from EBay.
Also, buy a bunch of LED lights. Six 900 LED would be pretty decent. 
You might want to get cages, matte box, external monitor, tripods, slider, gimbal.... anything I’m missing?

I've been working with the GH5 for the past few years and the fastest lenses I could get were F0.95 MFT which translates into F2.8, so these lenses look great to me. I do wish they had a 14mm or 16mm prime on the way for real estate work, but other than that, the 24mm for video and the 50mm for portraits might pull me further into the "alliance".  If the 24mm outperforms my current Canon EF 24mm for sharpness and usability then I may go for it.
  
I tested the Canon EF-S 10-22mm; and holy sh*t I stand corrected @Lux Shots, the Sigma 18-35mm EF-S lens does work on the S5, but not the Canon EF-S 10-22mm. I also tested the Canon EF-S 18-135 F3.5-F5.6 and it worked also.  Maybe the EF-S 10-22mm does not report that it is a crop sensor lens and the rest of them do which is a real bummer because that 10-22mm would have become my real estate video lens. I'm still not sure why manually selecting APS-C mode does not make the EF-S 10-22mm work unless its a crop factor thing that gets adjusted when the lens reports its crop factor to the Sigma EF adapter.
This little camera just never ceases to amaze me; Panasonic has got to be the best kept secret out there. All YouTubbers will ever talk about is the AF, there's so many more important things to a camera system than just AF. 

Unbiased. And, I've used a few different media boxes. Sony, IPTV box, even the Samsung TVs internally built system - they even have apple TV built into the TV (but I still resort to the standalone box).
Now.... I've used Sony before moving to Apple TV Box - its just easy to use, hassle free - intuitive. Funny thing is, even if the apple TV is built into the Samsung TVs that I have.... I don't use it simply because the remote (Samsung Remote vs. Apple TV remote) isn't there.... 
The whole experience of it being so simple - idiot proofing - is what draws me in...
Only complaints I have about the Apple remote - sometimes its overly sensitive (the touch portion of it) and its so small.... you can lose it often... 
Editted to add: I have a lot of non-tech savvy people in my household - I can take the time to learn a system, but I don't have patience to baby and/or teach every single person that is in my household nor those that visits my household and starts asking me how do you use this thing.... 

Here is another tip..... at no point....  should you have an uncle come up to you and say.... "Hey, I own the same camera as you... you think you can do a better job than me?"
Do you know how to avoid that?
Gaffer tape the labels, and build the shit out of it.... put a cage, matte box, focus gear, external monitor, mic it up. Make it look like a $50,000 camera instead of a $3000 camera.... people need to physically see where the money is going.... small and deinty can be operated by small and non-professional people.
Going back to the camera jib - thats the difference... a gimbal... everyone seems to have a gimbal nowadays (even the regular joe - that ends up being an enthusiast) and its so friggin small.... its not obtrusive.... so everyone can bother with a gimbal. Nobody can bother with a jib... its too big to use on the regular.... but its in everyone's face <- people see value in that....
Whats the difference between a Toyota and a Rolls-Royce? Figure it out and show the people why you're a Rolls-Royce.

Those of you guys doing wedding videos... don’t take this the wrong way.... but you are doing something wrong. I don’t know what you’re doing, but I know it’s not right.
There are venues that are going as high as $50 or $100 per person. The average cost of a wedding as per google search is $33,900... are you telling me that couples are willing to forego the cost properly capturing those moments? 
Your telling me that people are not willing to spend at least 10% of their budget on properly capturing the event itself???
May be they don’t see value in it.... at which point skip those people.... 
But, you need to lean in on those that do see value in video and lean in hard!!! Which means.... package it properly.... and throw in a crap load of marketing behind it.
Let me be honest here... I got married in 2010.... I hired pretty much a nobody... barely had a portfolio to show... he was fresh out of film school and he was recommended by the photographer. But, from the small portfolio that he did have, I was super impressed - my now wife... I had to convince. He charged $3800 (Canadian)... my mom complained stating exactly what you guys are saying.... “videography shouldn’t cost more than photography” - He made her eat her words by the end of it. BTW, photography cost $3200....this was at the cusp of the DSLR revolution.... he was running around with a 7D and 50mm.... But at the end of the day.... this guy came full guns blazing. He filmed with us for about 12 to 14 days... (that alone is going the extra mile) and created a 20 minute short for the wedding. At the wedding itself, he came with a 12 foot crane/jib (4 extra guys); had posters of the 20 minute short (all over the place) and a 2 minute trailer of the short (full video was shown at the reception). When he finished that day alone... FYI -there were 700+ people at my wedding (I’m Hindu)... 8 people signed up and he charged $5200 per person. Thereafter he signed way more by showing people the final cinematic cut of the wedding itself. And, he even packaged the tangible products properly - from the Blu-Ray/DVD menu to the cover and housing of the disc. I got the original disc in a leather case, and regular DVDs (however many I wanted) in a custom plastic case. 
Owning a camera and knowing how to edit the footage is not enough. Ask yourself how many steps ahead are you from the regular joe (owning the same or similar camera)??? It has to be visible differences though. If you’re going to talk about DR and noise reduction.... people don’t see that.... do you know why photography is more expensive??? And people are willing to spend money on it?? There are physical - tangible products at the end of it - a physical and custom album and custom framed pictures or canvas pictures <- people see that.... it’s visible... a DVD or USB stick.... sure it’s something... but it’s not framed on the wall or anything. 
Im hoping that you guys are seeing the visible products that pretty much acted as a marketing campaign for the guy that I hired. If you don’t see it, let me list it out: Camera jib (that’s something the regular guy doesn’t own), movie posters, trailer, 20-short, 45 minute cinematic cut (final product) and leather casing.
Sure that seems like a lot of work.... and it is... but then ask yourself again how many steps ahead are you from a regular joe who owns the same or similar equipment that can do it for free?
 
 

Here is another tip..... at no point....  should you have an uncle come up to you and say.... "Hey, I own the same camera as you... you think you can do a better job than me?"
Do you know how to avoid that?
Gaffer tape the labels, and build the shit out of it.... put a cage, matte box, focus gear, external monitor, mic it up. Make it look like a $50,000 camera instead of a $3000 camera.... people need to physically see where the money is going.... small and deinty can be operated by small and non-professional people.
Going back to the camera jib - thats the difference... a gimbal... everyone seems to have a gimbal nowadays (even the regular joe - that ends up being an enthusiast) and its so friggin small.... its not obtrusive.... so everyone can bother with a gimbal. Nobody can bother with a jib... its too big to use on the regular.... but its in everyone's face <- people see value in that....
Whats the difference between a Toyota and a Rolls-Royce? Figure it out and show the people why you're a Rolls-Royce.

Those of you guys doing wedding videos... don’t take this the wrong way.... but you are doing something wrong. I don’t know what you’re doing, but I know it’s not right.
There are venues that are going as high as $50 or $100 per person. The average cost of a wedding as per google search is $33,900... are you telling me that couples are willing to forego the cost properly capturing those moments? 
Your telling me that people are not willing to spend at least 10% of their budget on properly capturing the event itself???
May be they don’t see value in it.... at which point skip those people.... 
But, you need to lean in on those that do see value in video and lean in hard!!! Which means.... package it properly.... and throw in a crap load of marketing behind it.
Let me be honest here... I got married in 2010.... I hired pretty much a nobody... barely had a portfolio to show... he was fresh out of film school and he was recommended by the photographer. But, from the small portfolio that he did have, I was super impressed - my now wife... I had to convince. He charged $3800 (Canadian)... my mom complained stating exactly what you guys are saying.... “videography shouldn’t cost more than photography” - He made her eat her words by the end of it. BTW, photography cost $3200....this was at the cusp of the DSLR revolution.... he was running around with a 7D and 50mm.... But at the end of the day.... this guy came full guns blazing. He filmed with us for about 12 to 14 days... (that alone is going the extra mile) and created a 20 minute short for the wedding. At the wedding itself, he came with a 12 foot crane/jib (4 extra guys); had posters of the 20 minute short (all over the place) and a 2 minute trailer of the short (full video was shown at the reception). When he finished that day alone... FYI -there were 700+ people at my wedding (I’m Hindu)... 8 people signed up and he charged $5200 per person. Thereafter he signed way more by showing people the final cinematic cut of the wedding itself. And, he even packaged the tangible products properly - from the Blu-Ray/DVD menu to the cover and housing of the disc. I got the original disc in a leather case, and regular DVDs (however many I wanted) in a custom plastic case. 
Owning a camera and knowing how to edit the footage is not enough. Ask yourself how many steps ahead are you from the regular joe (owning the same or similar camera)??? It has to be visible differences though. If you’re going to talk about DR and noise reduction.... people don’t see that.... do you know why photography is more expensive??? And people are willing to spend money on it?? There are physical - tangible products at the end of it - a physical and custom album and custom framed pictures or canvas pictures <- people see that.... it’s visible... a DVD or USB stick.... sure it’s something... but it’s not framed on the wall or anything. 
Im hoping that you guys are seeing the visible products that pretty much acted as a marketing campaign for the guy that I hired. If you don’t see it, let me list it out: Camera jib (that’s something the regular guy doesn’t own), movie posters, trailer, 20-short, 45 minute cinematic cut (final product) and leather casing.
Sure that seems like a lot of work.... and it is... but then ask yourself again how many steps ahead are you from a regular joe who owns the same or similar equipment that can do it for free?
 
 

Hit that nail for sure. I felt that way with Touch AF since the 70D. 
I don’t know.... there is something to be said about those eureka moments that comes with setting it up (WB, ISO, Shutter, Aperture and yes manual focus, flags, reflectors and lights) - framing and composing - getting that perfect B-roll... sometimes takes patience and luck. But, when you do get it right... it’s like you did that.... not the camera... the camera just captured what you did.
 
If you leave it up to the camera.... feels like you don’t care anymore. Just my thoughts, but I understand for those that want AF like wedding guys. In my opinion.... charge enough for the gig to have multiple cameras (and operators) and angles... and if all fails then fake it. Missed the shot where the groom kisses the bride? Take them out later and ask them to do a mock kiss the bride, in the garden, under the twilight sun or something ... stitch it all together in post... 

Hit that nail for sure. I felt that way with Touch AF since the 70D. 
I don’t know.... there is something to be said about those eureka moments that comes with setting it up (WB, ISO, Shutter, Aperture and yes manual focus, flags, reflectors and lights) - framing and composing - getting that perfect B-roll... sometimes takes patience and luck. But, when you do get it right... it’s like you did that.... not the camera... the camera just captured what you did.
 
If you leave it up to the camera.... feels like you don’t care anymore. Just my thoughts, but I understand for those that want AF like wedding guys. In my opinion.... charge enough for the gig to have multiple cameras (and operators) and angles... and if all fails then fake it. Missed the shot where the groom kisses the bride? Take them out later and ask them to do a mock kiss the bride, in the garden, under the twilight sun or something ... stitch it all together in post... 

I wish I can help you on this.... the biggest problems I’ve faced in the past is balancing.... you need to be next level passionate about it.... once you get it, you have to keep practicing with different lenses and stuff. I bought into one, used it once and it wasn’t even properly balanced (spent 4+ hours before I said fuck it.... it’s good enough) thereafter I started hiring other people who were good at gimbal work (time is money and if I can allocate my time elsewhere - where I’m not spending the time to balance). The guy that I hired often got it down to 5 to 10 min. any camera and any lens.

Whoever is saying that... ask them which camera they specifically like... then ask if that camera is on Netflix's approved list. Then if they dont know.... point it out that the Panasonic S1H is.... who is stupid now?

Whoever is saying that... ask them which camera they specifically like... then ask if that camera is on Netflix's approved list. Then if they dont know.... point it out that the Panasonic S1H is.... who is stupid now?

Whoever is saying that... ask them which camera they specifically like... then ask if that camera is on Netflix's approved list. Then if they dont know.... point it out that the Panasonic S1H is.... who is stupid now?

Canon could have released a EOS R5 to compete against Sony A7R IV... for stills.
It has the slightly soft 4K pixel binned mode like the Sony does, but in 10bit.
That's not too shabby.
Then, release an EOS R5 C, with all the video bells and whistles enabled and properly functional.
For some strange reason they decided to go full beans with the 8K RAW and 4k 120p only to not let us use them! Marketing tick boxes only!
Why bother engineering these features if they are not going to be usable by the intended customers?
And how in any way would a mirrorless camera cannibalise sales of a $15,000 full frame C500?

It is disappointing, though not a lawsuit-inducing problem. I have a shoot next week where I have a B-Cam on a car mount for the duration of the shoot while I operate the A-Cam (a C300 III). I use Canon's C-Series most often for my work and like to have a B-Cam with the same mount (EF with adapter is fine) and color and from the same manufacturer. It just makes things easy. Even if the R5 was released before the shoot, I wouldn't dare use the R5 or R6 for such a shoot because it may record for 30-minutes straight and then have to keep going (which those two cameras obviously won't do).
At this point, The S1H or the GH5 are the only mirrorless cameras I would trust with such a job.
When the EVA-2 comes out with an L-Mount, I'd much rather have that and the S1H as a pair than the C300 III/R5. But the S1H has such a nice image, it makes buying an $11k cinema camera not such a big deal. 
Wish it was a bit lighter and smaller for gimbal usage, but at least I know it's going to work. 

I don't know blockbusters have been around for a long time so have comic books. I think the comic book films are a lot of fun, some better than others.

Lots of "smarter" films come out every year. There are lots of indie cinemas near where I live but I guess that probably isn't the case everywhere. I am rarely dissapointed by the indie films that end up making it to the theaters. Though I won't lie I am a huge fan of large budget action films. They are rarely good but when they are its something special, at least for me. 

You need to stop watching stuff that advertise comic book movies.
There are plenty of other movies, reality is movie theatres want everybody's money - not just people that want to see comic book movies. So, naturally, they will show other movies and examples of movies I saw at the cinema: Lady Bird, Get Out...

You need to stop watching stuff that advertise comic book movies.
There are plenty of other movies, reality is movie theatres want everybody's money - not just people that want to see comic book movies. So, naturally, they will show other movies and examples of movies I saw at the cinema: Lady Bird, Get Out...

so true, it is so difficult to get good talent, usually is expensive and not affordable, but sometimes you are lucky and you are able to catch one or two who really make the difference.

Wow... choreo... I can never get my actors to also do the stunt work.... fight scene fine... flipping to the ground... no no... 
Where’d you get these guys... that’s what I wanna know.

I guess it’s official... a7s3 will be announced July 28th. You know it has to be official when your local camera chain (Vistek where I live) sends you an email about the live stream. Unless Vistek.ca is into rumors...