Riadnasla

Good choice, you won't be disappointed! 

Yeah a C100 mkII has to be at the top for the money.  It is just laid out so well, both for tripod and run n gun, no way you can beat it if you don't need 4k. And since it is down sampled from 4k to 1080p in camera that saves a step in post. ISO 320 to 80,000 is crazy good, built in ND filters, and to be able to record two different formats at the same time is a crazy good idea.
Yep, I have made up my mind, that is the camera I am buying. I don't want to have 10 things hanging off a camera to make it work.

This. Very much this. For bread-and-butter I've been pigeon-holed into filming and cutting speaker events, and the mundane nature of it has been draining to say the least. These days I don't look forward to editing anymore. Hopefully, given a stable income and some space I can re-cultivate creative projects again. 
Yep. 1080 will do just fine, though I wouldn't really want less than 60fps overcrank! The GH4 became tempting to me this last week due to the 96fps. We'll see how it goes, can't move to another cam if this one doesn't sell, making it a moot point.

I think your right. It will be pretty much like the GH4. A great camera that some love and others feel disappointed.
We will then make a little list of features that would turn it into the perfect camera.
By the time a new camera with those features arrive we have made a new little list of the next couple of must haves.
And so we dance.

Yeah same for me, sell stuff, or it isn't happening! 

Definitely a camcorder guy now that I've discovered all the efficiencies vs DSLR. The GH4 and 5 do look really nice though, and if I'm just doing beauty shots, then 96/180fps does become very tempting! 
It hurts to say, but I don't need 10-bit or 4K for what I typically do. Both the FS5 and C100MkII have 12+ stops DR before using external recorders, which is definitely less than the 13.5 I get currently, but I need to record 11GB/min to get that benefit. If these smaller cameras can do it with the baked-in codec, then I can manage without the high data. 

On higher quality projects, I run the F3 with native battery and 6" rods to hold the Gemini out back. On 4:2:0 projects I typically just have the camera and handgrip, as light as she gets. For a cinema camera she's light, but in my market I'm typically competing against people running DSLRs and the light (and cheap) support gear that couldn't support the F3. I agree that it is light on the shoulder, but I can't afford the gear I need to get the shots clients in my area are looking for. Side-point: any that can afford to rent support gear for the project typically have enough to hire a RED owner/operator. 
 
Don't take this wrong because I'm actually pretty cheerful, but honestly: I'm broke. What little money I had was spent getting a more-expensive-than-was-assured camera operational. The potential clients that I can and have reached (and even one of my close work colleagues) have no need for something with the heft and (amazing) image quality of the F3, especially when 5Ds and XA30s will will do perceptively the same job for less weight, support gear, and data storage (not to mention proprietary parts hassle). 
 
.......W-w-ould you like a fourth? :P Seriously though, I agree with all of what you said in that post. I'm not selling the F3 and Gemini to get a "better camera", as I'm really impressed and excited at the stuff I have been able to film with it, and I don't think I could find a better image in my price range. For the work that I've actually been able to get profitable gigs though, I don't need uncompressed recording, nor 13.5 stops of DR. I need something that doesn't require a bunch of proprietary-gear workarounds (SxS? FZ-mount?). If it has a nice image with some ability to colour-grade, SD recording, can be flown on glidecam, and use commonly-available lenses, then it does the kind of work my typical client wants. 
 
Thanks for the responses, it's really good to be able to bounce this off people who aren't Sony fanboys or evangelists. 
 
Also of note: For many reasons, personal and financial, my wife and I are considering the move to NWT where I would work an hourly job and leave full-time video behind, at least for the time being. While it is true the F3 hasn't worked out as well as I originally hoped for all the reasons mentioned, my filmmaking environment would also be drastically changing. We would be in a highly remote location, I would be completely solo for anything I film, with no budget for DPX sequence storage, and other factors. I would also be filming mainly for personal reasons (my son growing up, micro-films, scenic landscapes and wildlife, etc) with the odd wedding/grad/funeral as foreseeable paid gigs on weekends. For these circumstances, it is more important to have a more agile camera with good internal recording than it is to have an inexpensive cinema camera. If I still have the F3, then I'll bring the F3 up. But if I can make this change, I'd like to do it before it becomes impossible to sell the camera with enough leftover to get another. 
 
 
 

I have a full time job myself and make videos too. Don't worry, it is not impossible. You just have to be very organised and reserve moments for video. I reserve usually Saturday and two evenings on the week. 
Having another "occupation" forces you to be very efficient in the video work you're doing (and you are assured of having a paycheck).
I'am not saying it is a great situation, but just wanted to encourage you and let you know that it is possible to mix jobs. (Plus you never know, they might need some video in you full-time job. Never say no to opportunities )

On higher quality projects, I run the F3 with native battery and 6" rods to hold the Gemini out back. On 4:2:0 projects I typically just have the camera and handgrip, as light as she gets. For a cinema camera she's light, but in my market I'm typically competing against people running DSLRs and the light (and cheap) support gear that couldn't support the F3. I agree that it is light on the shoulder, but I can't afford the gear I need to get the shots clients in my area are looking for. Side-point: any that can afford to rent support gear for the project typically have enough to hire a RED owner/operator. 
 
Don't take this wrong because I'm actually pretty cheerful, but honestly: I'm broke. What little money I had was spent getting a more-expensive-than-was-assured camera operational. The potential clients that I can and have reached (and even one of my close work colleagues) have no need for something with the heft and (amazing) image quality of the F3, especially when 5Ds and XA30s will will do perceptively the same job for less weight, support gear, and data storage (not to mention proprietary parts hassle). 
 
.......W-w-ould you like a fourth? :P Seriously though, I agree with all of what you said in that post. I'm not selling the F3 and Gemini to get a "better camera", as I'm really impressed and excited at the stuff I have been able to film with it, and I don't think I could find a better image in my price range. For the work that I've actually been able to get profitable gigs though, I don't need uncompressed recording, nor 13.5 stops of DR. I need something that doesn't require a bunch of proprietary-gear workarounds (SxS? FZ-mount?). If it has a nice image with some ability to colour-grade, SD recording, can be flown on glidecam, and use commonly-available lenses, then it does the kind of work my typical client wants. 
 
Thanks for the responses, it's really good to be able to bounce this off people who aren't Sony fanboys or evangelists. 
 
Also of note: For many reasons, personal and financial, my wife and I are considering the move to NWT where I would work an hourly job and leave full-time video behind, at least for the time being. While it is true the F3 hasn't worked out as well as I originally hoped for all the reasons mentioned, my filmmaking environment would also be drastically changing. We would be in a highly remote location, I would be completely solo for anything I film, with no budget for DPX sequence storage, and other factors. I would also be filming mainly for personal reasons (my son growing up, micro-films, scenic landscapes and wildlife, etc) with the odd wedding/grad/funeral as foreseeable paid gigs on weekends. For these circumstances, it is more important to have a more agile camera with good internal recording than it is to have an inexpensive cinema camera. If I still have the F3, then I'll bring the F3 up. But if I can make this change, I'd like to do it before it becomes impossible to sell the camera with enough leftover to get another. 
 
 
 

Wanted to showcase my latest album with a song fitting the 80s and what better way than a slot car racing track. Doesn't get any more 80s than that. Looked up a guy with a Scalextric slot card track and brought over my A6000,the kit-lens, the 50mm 1.8m two cheap LED lights and some blue gels and got to work. Lit everything so it would look like moonshine on a clear night and just got the angles. Edited in PP and stabilized. Some grading needed but no noise reduction used. Everything is handheld including the POV, although that took some DIY to get right.
 
 

100% Agree with this, I run with an F3 (S-log) + Gemini 4:4:4, and they're built like bricks, never had any issues. Often my clients have difficulty re-focusing from "need 4K" to "need awesome image quality", but after the shoot when I start going through the dpx footage, all debates stop. Biggest downside for me: It's a light cinema camera, but it still heavy as a cinema camera compared to stuff like the C100s. I'm usually a one-man band, so that means a lot more work, but if that doesn't bother you, I can't recommend better IQ for the price. In addition, the native FZ mount can adapt to pretty much anything other than E-mount for the price of a cheap adapter. 
 
My reel, shot mostly with available light, with this rig for demonstration: 
 

In image quality, I totally agree, and if my work (and hobby) was films with a small crew, you couldn't pry the F3 from me..... Unfortunately my main shtick is glidecam, interview, and adventure style videos. 
Long story short I was convinced away from the recently released C100 and towards the F3 a few years ago while upgrading from DSLR. After realizing of bought a heavier, pro-only camera, I've been trying to afford all the pieces it didn't come with since then. 
The right tool for the job..... Unfortunately the F3 isn't for my needs and I just want to move on to a lighter camera that can fit on my glidecam and fly in the overhead bin easily. 4K....uncompressed..... All nice features I don't mind sacrificing for a solo-friendly camera. 
 
So hey, if you know anyone who needs a complete F3 and Gemini kits with batteries and media, you know who to call!

It is very good but it is also thanks to 5x slower motion plus stability of quite heavy camera - my setup weights 4,7kg (ursa with ssd "module", small battery and 70-200 lens). 

@mercer Thanks! This last year had me finally operating on a few more projects, but still so much to learn. 
@Kisaha Thanks, the goats were interesting to film as they love to perch right above a busy highway and kick rocks down into traffic! I actually had a bit of difficulty making them look good in footage, as they were in the shade on grey rock with dirty white coats......separating them was interesting. Also, completely agree about the C100 and am unfortunately having to try and sell my F3 as the bulk and intimidation is simply too much for the projects I have to work on. 

100% Agree with this, I run with an F3 (S-log) + Gemini 4:4:4, and they're built like bricks, never had any issues. Often my clients have difficulty re-focusing from "need 4K" to "need awesome image quality", but after the shoot when I start going through the dpx footage, all debates stop. Biggest downside for me: It's a light cinema camera, but it still heavy as a cinema camera compared to stuff like the C100s. I'm usually a one-man band, so that means a lot more work, but if that doesn't bother you, I can't recommend better IQ for the price. In addition, the native FZ mount can adapt to pretty much anything other than E-mount for the price of a cheap adapter. 
 
My reel, shot mostly with available light, with this rig for demonstration: 
 

100% Agree with this, I run with an F3 (S-log) + Gemini 4:4:4, and they're built like bricks, never had any issues. Often my clients have difficulty re-focusing from "need 4K" to "need awesome image quality", but after the shoot when I start going through the dpx footage, all debates stop. Biggest downside for me: It's a light cinema camera, but it still heavy as a cinema camera compared to stuff like the C100s. I'm usually a one-man band, so that means a lot more work, but if that doesn't bother you, I can't recommend better IQ for the price. In addition, the native FZ mount can adapt to pretty much anything other than E-mount for the price of a cheap adapter. 
 
My reel, shot mostly with available light, with this rig for demonstration: 
 

100% Agree with this, I run with an F3 (S-log) + Gemini 4:4:4, and they're built like bricks, never had any issues. Often my clients have difficulty re-focusing from "need 4K" to "need awesome image quality", but after the shoot when I start going through the dpx footage, all debates stop. Biggest downside for me: It's a light cinema camera, but it still heavy as a cinema camera compared to stuff like the C100s. I'm usually a one-man band, so that means a lot more work, but if that doesn't bother you, I can't recommend better IQ for the price. In addition, the native FZ mount can adapt to pretty much anything other than E-mount for the price of a cheap adapter. 
 
My reel, shot mostly with available light, with this rig for demonstration: 
 

100% Agree with this, I run with an F3 (S-log) + Gemini 4:4:4, and they're built like bricks, never had any issues. Often my clients have difficulty re-focusing from "need 4K" to "need awesome image quality", but after the shoot when I start going through the dpx footage, all debates stop. Biggest downside for me: It's a light cinema camera, but it still heavy as a cinema camera compared to stuff like the C100s. I'm usually a one-man band, so that means a lot more work, but if that doesn't bother you, I can't recommend better IQ for the price. In addition, the native FZ mount can adapt to pretty much anything other than E-mount for the price of a cheap adapter. 
 
My reel, shot mostly with available light, with this rig for demonstration: 
 

HitFilm and/or Vegas Pro are my top votes for editing if you're starting out.  (or Premiere Pro if you'll likely be working with/for others professionally in the future, as it is a near universal program)
 
As for camera, just stay with your Panasonic GX1 and Nikon F mount lenses, that is an absolutely fantastic starting point for a beginner!!

Yes, there are better options,  many of them very tempting indeed, and very attractively priced. But this is a never ending circle that can suck you down forever.... 

First  you consider the G7, it is so cheap secondhand it is almost free! No brainer decision. Let's buy it. 
But.... the G80 isn't really "that much" more is it in cost to buy? And it has IBIS!

However... now we're nearly halfway in price to a GH5, and that is omgmyballz amazing!!! Should get that instead. 

But however now we're nearly halfway in price to buying a Kinefinity Terra 5K!!!! OMGAMAZINGZWTF!!!!

Whoops, that is my phone ringing, let me answer that.... oh hello Mr Bank Manager, what are you calling about, my overdraft? Oops. 
 
Thus I say stick with you GX1 and Nikon lenses you have for now. 

If  you simply ABSOLUTELY CAN NOT resist the itch to spend money on gear (I know I know, I've been there, I understand!!), then instead spend it on filling in the gaps in your lens collection (maybe you need a UWA? Or a portrait lens? This too can go on forever....). As at least lenses can last you for decades. 

Or get a few quality audio pieces (microphones can also easily last you over a decade! I just purchased a newly two thousand dollar microphone myself... :-o ).

Or lighting gear! Again, this should last you longer than a camera body will. And quality lighting used effectively will go much further towards making  your film look amazing than a new camera will!

Then once you've progressed and learned  more, maybe in 2018 give in to buying a new camera? By that point  you'll be able to pick up a G80 for today's G7 prices, or less!

 

I was on the same boat as you, i had been shooting stills for some time (D800) and wanted to get into video just for the fun of it so i got a G7 and the Zhongyi Lens Turbo Adapter, this way i can still use my lenses and have 4k and the 60p HD option. I am actually selling that kit at the moment (the G7 with kit lens + adapter). PM me if you are interested.

This was shot with that kit (G7 with lens adapter with 35mm f1.4 sigma art and Samyang 14mm f2.8) last saturday and edited on the same day, it was meant to be a test.
 
 

100% second this. I use Premiere for editing, and resolve for footage printing, but I know several people who enjoy Hitfilm and make some seriously good stuff on it. 

Hi Guys,
Happy new years to all of you. Long life to EOSHD and I'm looking forward to another round of heated discussions with complete strangers in 2017
Here is my best of 2016
 

100% second this. I use Premiere for editing, and resolve for footage printing, but I know several people who enjoy Hitfilm and make some seriously good stuff on it.