William Husker

Allow me to make an honest question then because something doesn't make sense to me and I'm afraid I might be missing something. Don't storage rates also depend on the camera and the RAW format? For instance if the shows you work on used exclusively the Ursa Mini Pro, how would Prores 444 UHD at 165 MB/s be a better choice than CinemaDNG RAW 4:1 at 135 MB/s? Not only would you be saving space, you would also get higher resolution for re-framing and stabilizing among other things if needed. To conclude my line of thought, couldn't you even say that what you claim about RAW is only true of the few cameras that only offer uncompressed RAW and no compressed RAW alternatives? Like the Arri Alexa cameras. Thank you in advance for your input Mr. Brawley.

I actually agree with jonpais on this, tried several 7" displays like the Feelworld F7 or SmallHD 701 on several mirrorless cameras, they always felt really unwieldy to me. If that's the case I still don't think that a couple of extra inches are going to make enough of a difference at a distance. Also if it's more for a one man show than anything else, why not a good but cheap pc monitor that is 24" or bigger? If you're ready to go as far as 300$ you could even get a decent 4k monitor. Otherwise for your needs I think something like the Lilliput A12 12.5" 4K Monitor might be ideal but it's pretty expensive. Lilliput A12 12.5" 4K Monitor - bhphotovideo

He did say he wanted to get the Atomos Sumo, perhaps in certain situations like fashion shoots it would suffice. Also the camera does possess an in camera burst mode that records 8 seconds of 240fps at 1080p, maybe it would be enough for him. It really depends on the OP's exact needs I guess. The FS700 is an oldie but still a good camera, despite it's flaws.

How about this as another choice? Choice 4 Canon C200 (A cam) - Many clients love the canon color and find it to be quite pleasing, plus canon cinema cameras just scream professional for clients in general. Sony FS700 (Slow Motion Cam) Treat this as a specialty cam for slowmo, you can get 2K DCI 240fps if used with an atomos recorder for very cheap, not to mention the in camera burst. Panasonic GH5 (B Cam) Great all rounder that can be used in most situations, just not great auto-focus and you already own it. Pros: You're covered in every aspect, you can have the C200 to please clients and get the best autofocus on gimbals, the FS700 will get you some of the best slowmo under 10K and cost you around 2.5K and you already have the GH5 as a great all rounder you can take into every little corner and get a great image. Cons: That's three different color sciences to deal with, while I personally don't think this is much of an hassle, some might struggle with it. Also three different mounts but sticking with EF lenses and using adapters on Sony and Panasonic shouldn't be much of a problem.