Michael Coffee

Dear @DanWake thank you very much! Will suck up as much Deakins intel as possible.
@MichaelCoffee and @IronFilm , well the Dedolights are about 3x more expensive but to be honest, most of the time the more expensive (higher quality) buy is the more sensible one in the long run, at least that's what I have learned in the past. So, I might scrape my last pennies together and check out the Dedos.
Thanks for your advice!

Dedolights are normally way way more expensive than redheads, so if they're the same price and you can't make up your mind....    then it actually is a no brainer, get the dedolights every single fvcking time!!! :-D

I hate Mac OSX but everytime I touch a a non-mac laptop I have to puke, I don't think there are any real alternatives (I used to have one with bootcamp because of this).

I'd also suggest looking at the new eos m5 as a b cam

I love how everyone hated on the c100ii and is now moving to it. The camera really is so nice, I guess the price drop really sealed the deal. 
The 24-105 is amazing. That would probably be the first lens I would buy for that camera. I would sell the GH4 and buy the 80d or maybe the 5dmkiii. The Canon color/stills is much much better than the GH4. The next lens I would buy would probably the be the 30mm F2 IS or the Sigma 18-35 1.8. If you need something longer, maybe go for the 70-200 somewhere down the line.

I am gonna third what everyone is saying about the Cowboy Studio rig. you can find it on amazon cheap and it does the job. It just lets you put the cam in a good spot, holds on to your shoulder. I have used this rig so much, definitely a good place to start.

Yup, definitely do the cowboy studios rig.  It's very nice being able to let go of both hands, and the thing just works.  It's got some quirks too, for example, your breathing can affect it more than a traditional shoulder rig because of the front pad that rests pretty low on your torso.  
 
Having said that, you can't do better in the cheap range, and the thing is indestructible and folds up nice and small - can throw it in a backpack.  

Yes we do know Sony won't license E mount. 
And Canon EF mount has been around long enough it no longer has the same level of IP protect as E mount has, thus others can use it. 

Nah, you subconsciously notice it. The difference in motion is huge, but hard for someone to pick out in reasons why it looks better. I shoot a of skateboarding, the 16mm stuff on any level has always looked and felt a lot better than any digital stuff. 

Both yes and no. My gess, Its not a distraction big enough for regular viewers to notice. But a global shutter will make it look "better" and contribute to the viewers experience without them knowing.
I mean thats how it is with most things. My family cant say "why" they like a video Ive shot on a Blackmagic over a cheap P&S. They just know they do. And they probably figure its because I used the "expensive" camera. They dont even know words like DR and RS.

I did some more research yesterday and saw that the HR672 included mount comes with a drilled hole for umbrellas! How did I never see this?
Now I'm wondering if a umbrella for some indoor lighting setup (with limited space) might actually be a viable option. I did my homework on umbrella differences but quickly found myself in shoot-through vs silver reflective vs white reflective battles and am more confused now than I was in the beginning. Most resources available focus on photography where the shoot-through umbrella for example is very very close to the source which is most of the time not possible on videos. 
Reflective silver umbrellas seem to make sense. A good amount of light is reflected because of the surface, and more directional than shoot-through.
Anyone here experienced with umbrellas for videos? Would love to hear your thoughts!

Dear filmmakers!
Welcome to our channel where we created a comedy series - parody on the filmmaking process, especially on indie
filmmaking.
http://bit.ly/btbep8

I enjoyed it, thought you done a good job of it. Had a look at some of your other stuff as I was wondering if you've done any music video parodies ? Spent my first 10 years in television working on some great sketch comedies shows in my country and I know how hard it can be to do it well. Good luck.

You tried the feelworld/seetec evf?
 

Get it even cheaper here http://www.dx.com/p/feelworld-e350-3-5-evf-electronic-viewfinder-w-hdmi-input-output-black-414998#.V-3pXMncibg
I remember reading a review of this once, they found it quite useable..
Here it is https://***URL removed***/forums/post/51646963
 

Yes, I had it, that's what I'm talking about.

In an earlier BMMCC thread, I posted links to this Feelworld viewfinder (US$219) and to this Feelworld monitor (US$139).  Both of these items are spec'd to handle a 1080P, 60fps/59.94fps signal through HDMI, so they might work with the BMMCC's 60P output.

I found it to be a total waste of money, but hey that's just my opinion.

I have the 5e and if you are looking at the 3 for the BMMCC, it should work okay with focus peaking on. The BMMCC has some of the best focus peaking I've ever used. 

I see the Blackmagic Ursa Viewfinder supports the Micro Cinema Camera since the BM Camera Update 3.1.

I made that exact thing in the picture above before, it's a nasty POS. Not worth your 28bucks even, waste of time.

Only lasted a few seconds and switched off. Abysmal.
You want to see some of the rubbish that passes for Professional Wedding Videography in the UK. Yet many have hundreds of clients and have to turn people away. They charge £650 to £750 and you would be just as well off using the footage from the CCTV. Everything on sticks, except a few slider shots of flowers and champagne glasses, no emotion, no storyline, crap music, yet they are raking in £35k a year. 
I can't even get a gig for free.

Got a huge smile on my face right now  - 45mins battery time, well they kept that quiet! Exactly the same on the Pocket....but you can actually pick it up & go without spending a fortune on the extras that are needed to make it useable.
There's a guy over at Cinematography.com that shared quite a few tips to get the best out of your battery life on the Pocket, not all of them logical but they work: turn down the screen brightness etc...and the strangest was, Do Not turn it off between takes, as that drains more of the battery. So much BS spoken about the Pocket & once you actually Learn (yes, I know, it's a dirty word nowadays, but it's an important aspect of life) how to use it properly, it is so much easier to use than a DSLR (cause your image worries are gone).
Ease of Use vs. Fucking Awesome Image - well I know what i'll pick everytime.....

Visioncolor's profiles, for Canon, are the best i've ever used, VisionTech being the pick of the bunch - only needs minor tweeking & you're done.
As far as BM cameras are concerned, they are 10bit Prores & not 8bit H264 - so of course their Film profile is going to be miles ahead of the majority of cameras on offer. However, if you haven't got the time to learn how to shoot a proper camera, then their Video profile setting has been vastly improved from its humble beginnings & produces a great image if you simply don't have the time to grade a lot or are used to grading 8bit H264 (NB. The bonus being that it won't fall apart like H264, because it's still 10bit ProRes).
The real problem with the Micro, it seems, is that improved battery & 60p simply doesn't seem to out weigh the bad ergonomics - whatever that is meant to mean for a drone camera?

I do a ton of corporate interviews, musing about some doc projects if I get some free time...
The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. 
(#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners).
Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer.
IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..."
#3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.)
So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus.
I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors.
Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot.
LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day.
I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy!
For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in.
I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!!
There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me.
All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart.
That's my business interview setup, but I'd likely use the same for a doc interview.
Last week, basic setup: