C300: Help me spend $15,000

[ahalpert]

Current list price online: $10,999. Which is really just USA term for $12,000, because you have to add the taxes and what ever else little auxiliary gotchas at the time of purchase. I suppose NYC may have some tax incentive option?

Going from the 24Mbps of the C100 to a Raw 120fps camera is a a couple grand difference in media and storage.

4K and raw may require a computer upgrade.

Ok, now you get used to the better image, and need a C200B as a bcam

So many variables. All of what you say may be true. But a few caveats -

1. You can avoid sales tax at B&H with their Payboo credit card. My credit limit isn't that high but maybe they'd let me max the card out and pay it off a few times in order to pay them the full cost of the camera; they're flexible.

2. You don't have to use high bitrates if you don't want to. You can use xfavc long GOP with this camera and it will be like a C300mk2 with more DR and detail that can shoot 4K slow motion. Also, I often offload the raw footage to the clients and don't need to worry about storage. Plus, HDDs are cheap now if you just need a slow drive for archive. Personally I've got 20TB or so of archival drives and by the time I run out of space, my oldest data can be safely deleted. YMMV but I haven't bought a new hard drive in years.

I think RAW 4K 120fps will be rarely used by most but elevate the standing of the camera, like 8K RAW for the R5. And it'll be amazing for the times you actually want it.

3. Maybe he'll need a computer upgrade. I get by with a midrange MBP using proxy/optimized transcoding workflow in FCPX. I can handle tough stuff that way pretty painlessly but of course a proxy workflow doesn't work for everyone/thing

4. By the time he wants a C200 as a B Cam, it might only cost $2500. Or maybe he gets by with what he already has.

 

[Guest]

I simply said that “i’d consider other options” within that budget constraint if i were coming from multicam.

Abe, if you want to max out the budget to make a C3003 work, that is a decision that you would have to make. I’m not going to argue with you what is physically possible. Just about how quickly money disappears when you start getting close to the budget. But if Jaime Valles budget is just for the camera body and they have another $10K for the rest of their business, then it wouldn’t really matter. But that is why i am not giving Jaime Valles advice. They already seem to be ahead of the curve. They’re still using low cost C100’s in 2020, and instead of running out and getting a camera, they are consulting he members and friends on this forum. Seems like they have it figured out. I should be learning from them.

 

[IronFilm]

Do you have *ANY* debt you can pay off?

You should absolutely 100% pay that off first.

I already have pretty much everything I need with regards to audio recording, lighting gear, and editing workstation, so I'm concentrating now on upgrading my camera gear.

Being a sound recordist myself, I am very skeptical you've got everything you need for audio! There is always more I'd want...

My first impulse is to go for a C300 Mark III plus related accessories. It would move me into the world of 4K without compromise, with the best auto focus on the market, high frame rates, RAW and 10-bit 4:2:2, and could conceivably bring me clients that require that level of camera. The C300 III is brand new and seems to have a lot of hype around it, so it may generate more business for me. Moving to higher level production is the main goal for my company, so this seems like a good fit.

Do you really need the C300mk3? There are C300mk2 cameras showing up at attractive prices on eBay.

Would be a risky bet to get a C300mk3 thinking you'll get hired a lot just for owning that camera, especially when you're coming from a C100, it makes me skeptical you've got the network/portfolio/experience to leverage making the most of owning a C300mk3. (do you already on a regular basis rent ARRI/RED/F5/C300/etc class of cameras? By regular, I mean at least every month, if not multiple days a month)

Plus if you really wanted to get the most work out of being an owner-op of a specific camera, you'd go for a Sony FS7 or ARRI AMIRA and not a C300mk2/mk3.

Alternatively, I could go for a couple of C200 cameras. They would still offer a big improvement in image quality, but I'd be stuck with either massive RAW to CFast or ho-hum 8-bit 4:2:0 MP4 to SD cards. Also, I'm not sure that I'd get higher-paying clients with C200 cameras. But the DPAF would make my life easier, and having two matching cameras would be great.

From the sounds of it, I think getting a secondhand Canon C200 is the way to go for you, they're sub US$4K at the moment. You don't need two, get one, keep your C100 for those times you need an extra B Cam.

For the type of work you're doing currently with a C100, the C200's 8bit seems like it be satisfactory, and the C200 gets you into the 4K world cheaply. Plus you still have Canon's raw light for those indie narrative film projects, or TVC productions, when "more" is desired.

And you can put all that saved money into getting better audio equipment. Errr... whoops, I meant: buying more lenses! Such as a Canon CN-E 18-80mm T4.4 COMPACT-SERVO & ZEISS CP.3 85mm T2.1 Compact Prime, or any of a hundred other options.

 

[ahalpert]

Abe, if you want to max out the budget to make a C3003 work, that is a decision that you would have to make. I’m not going to argue with you what is physically possible. Just about how quickly money disappears when you start getting close to the budget.

You make very valid points, and I may be underestimating the required budget. But -

When I bought a RED Scarlet years back, I built a package for $16k. A lot of people considered it to be a $20k+ camera, but I saved a lot of money by not buying every possible accessory and by buying 3rd party accs. everywhere I could instead of RED.

That camera got me some cool shoots and new clients and some paydays that were big for me back then, including a spec commercial that sold. I never edited the footage for any non-personal shoots, so my computer and hard drives were never an issue.

It wasn't a big money-maker in the end, but not because I didn't build out a more expensive kit. (People with budgets usually went for Epics. People without budgets liked Scarlet but couldn't pay much.)

So eventually I sold it and bought the camera I should have bought in the first place that was more in demand by my type of clients and would have made me a lot more money/clients: the c300mk1.

 

[IronFilm]

Buy audio gear

A man after my own heart.

<3

need to spend on my business

your business could buy some shares, or put it in a savings account?

Ha! But also, that's a good serious suggestion.

If I were looking at the (mainly theater) business.. could you learn abut live streaming, image transmission, some sort of images mixing/switching and webcasting, maybe a third C100, that seems an actual upgrade that might make you business more profitable.

I agree. Quite likely a few smaller expenditures could make a bigger impact on your (mainly theater) business than doing one big splurge on a C300mk3.

For example:

2x secondhand Canon C300mk1 (they're so cheap!! And the C300mk1 means you can easily do long SDI runs with it)

Blackmagic ATEM Mini Pro (of course this is HDMI only, so you'd need an SDI to HDMI converter for your 2x C300mk1)

Large jib, for those sweeping shots.

I've owned many cameras and true cine lenses over the years. I will say having a camera hasn't gotten me now clients- it has provided extra income from kit rentals, and perhaps a couple of last minute jobs (which may have contributed to longer term business relationships), But owning a particular camera is not a magic bullet. There are TONS of cameras in the NYC market- just check Sharegrid, Adorama, and the traditional rental houses. Clients who want you to use a C300M3 or equivalent are equally comfortable simply renting the right equipment for the job. Also, in the NYC market, corporate clients (at least my clients) are heavy into FS7M2- it all has to do with their workflow. With their custom LUTS they are set to shoot Sony. Also many corporate clients own multiple cameras and glass. Mostly FS7 again- for whatever reason. But this is NYC, other regions likely have different preferences.

The Sony FS7 does indeed seem to be the dominant player across many different market niches and many different countries. Same here too in New Zealand, the Sony FS7 and ARRI Alexa Mini (but that's outside OP's budget, although at a stretch a secondhand AMIRA could work) are by far the most common cameras I work with.

It's funny to me how many dvxusers disparage the owner/op business model when so many are practicing it. (Just like truckers do.)

Don't think anybody in this thread is saying that.

Rather it is about owning what is appropriate for the bread & butter of your work (or perhaps a little above, or a little below that level, but not greatly mismatched to this level).

For instance if you're mostly shooting corporate or music videos for a couple of hundred bucks a pop, then even a Panasonic GH5 or Fujifilm X-T4 is going to be plenty! (heck, nothing wrong with using even a GH2 on such shoots...) And it would be grossly inappropriate for you to go overkill with a Canon C300mk3 / Sony FX9 / URSA Mini Pro G2 / etc

But if you're charging $2K+/day? Then yeah, you had better be showing up with at least the likes of a FS7 or better. (but owning a VENICE? Nah, that's probably wrong...)

 

[IronFilm]

The only thing I find somewhat unbelievable, is the idea that a $15K budget can absorb a $11K camera like the C3003. So many auxiliary costs push well past the round numbers in the end. So if the budget limit really is $15K, I'd consider potential other options. In particular if Multicam is something clients are using. That isn't to say what Valles should do, but just in this hypothetical scenario, those are my thoughts.

100x THIS!

Indeed, $15K budget is waaaaaaaaay too tight for an $11K camera.

Now perhaps the OP is the exception, as he's already got a lot of existing gear that could transfer over. (but then again if you're using all your C100 stuff on your C300, do you then have enough spares to shoot a full day multicam with the C100 as well? No? Well then, you'll need to buy some more.... $$$)

The initial stipulation was that he needs to spend this money on his business. I'll agree that if he can hold the funds, it would be wise. Don't shoot until you see the whites of their eyes. (Or yes, put it in your retirement fund.)

Money is fungible, thus I'm skeptical he MUST SPEND it.

You make very valid points, and I may be underestimating the required budget. But -

When I bought a RED Scarlet years back, I built a package for $16k. A lot of people considered it to be a $20k+ camera, but I saved a lot of money by not buying every possible accessory and by buying 3rd party accs. everywhere I could instead of RED.

That camera got me some cool shoots and new clients and some paydays that were big for me back then, including a spec commercial that sold. I never edited the footage for any non-personal shoots, so my computer and hard drives were never an issue.

It wasn't a big money-maker in the end, but not because I didn't build out a more expensive kit. (People with budgets usually went for Epics. People without budgets liked Scarlet but couldn't pay much.)

So eventually I sold it and bought the camera I should have bought in the first place that was more in demand by my type of clients and would have made me a lot more money/clients: the c300mk1.

Thank you. A good case study of why the flashy camera with all the fancy specs (the RED Scarlet) won't necessarily earn you as much as the less glamorous but more popular workhorse (C300mk1).

Personally I think there is a large risk the C300mk3 could be 2020's "RED Scarlet". Has lots of nice specs that are tempting, but anybody who has the budget will likely demand the likes of ARRI Alexa Mini instead.

And those with more modest budgets won't pay extra for the C300mk3, they'll be happy with C300mk2 / FS7 or even a C200 on the cheap. And the C300mk3 gets lost in the "no man's ground" in the middle, just like a RED Scarlet was.

Heck, odds are reasonably high clients would even demand a FS7 (or FX9) or a C300mk3 unfortunately. And then you're either missing out on the job, or spending money on renting a FS7 instead.

 

[chris f]

So many unknowns, but I'll make a few assumptions and ask a few questions.....

Assuming you do in fact HAVE to spend the money and it needs to be a business expense (no retirement investing, etc.), the way I'm wired I look at purchases three ways:

1. Can I use this gear to get me a step closer to what I'd rather be doing?
This is why I bought 2 C200's coming from the c100 world. UHD recording would do my normal client work for me, but I could use 4K raw for portfolio pieces to get an image closer to where I aspire to be. It was a no brainer investment to help me level up the quality of my work while still servicing my day to day nicely. Other options could be getting a drone, a car mount, a wire cam & remote arm, etc. - something where having the gear is necessary to pivot into a more specialized service that you're passionate about.

2. Can I use this gear to make my job easier/more enjoyable?
Consider buying non-camera items like a great camera cart, apple boxes, better tripod(s), a servo zoom lens, wireless monitor setups, ATEM Mini Pro to record live switches of your theater stuff so you don't have to spend time editing in post, a new computer that is way faster which can save you hours of render time, a used truck or SUV to haul all your gear, etc.

3. Are there other ways I could spend this money to get me a step closer to what I'd rather be doing?
You could spend that $15K filming some short narratives to build up your narrative portfolio or you could use it for spec commercials if you want to do more commercial work. Or you could spend a chunk of that on something like the highest level ProductionHub account and buy additional ads, etc. to get more business for yourself.

 

[ahalpert]

Personally I think there is a large risk the C300mk3 could be 2020's "RED Scarlet". Has lots of nice specs that are tempting, but anybody who has the budget will likely demand the likes of ARRI Alexa Mini instead.

And those with more modest budgets won't pay extra for the C300mk3, they'll be happy with C300mk2 / FS7 or even a C200 on the cheap. And the C300mk3 gets lost in the "no man's ground" in the middle, just like a RED Scarlet was.

Heck, odds are reasonably high clients would even demand a FS7 (or FX9) or a C300mk3 unfortunately. And then you're either missing out on the job, or spending money on renting a FS7 instead.

The Scarlet wasn't well suited for doc/ENG, unlike the C300.

The C300mk3 is close in price to the FS7mk2.

The Alexa Mini is $35k used and shoots 2K (ok 4K with in-camera upscaling).

The C300mk2 doesn't shoot 60fps in 4K.

The FS7 is a good argument for a cheaper camera that opens doors. I bought one used recently even though I don't really like the camera - but it's in demand.

But I think it's only in demand because 1) 4K 60fps which C300mk2 lacked; 2) was cheaper than C300mk2 3) comes with "evf" and shoulder-mount friendly.

But I read FX9 owners and potential buyers on dvxuser grousing about how they need to buy an extension unit and an external recorder to shoot RAW whilst the latest Canon options do it internally.

The C300mk3 is debuting at $11k whereas the c300mk1 debuted at $16k.

I think Canon has nicer skintones than the FS7/FS7mk2. I think that reason alone would have made it more popular if it had 4k 60fps. The FX9 cinetone looks nice but the 60fps will have a slight crop, and there's no internal 120fps.

I think the C300mk3 is a good long-term investment since it offers internal RAW or compressed, 4k 120fps, good autofocus and a switchable EF/PL mount, ND, audio. No need to upgrade until you need 8K.

I think a good and cheaper option to make money right now is the FS7.

But this discussion hinges on guessing what other people (clients) want and what they'll want in the future.

 

[IronFilm]

The C300mk3 is close in price to the FS7mk2.

The C300mk3 is two grand more, close? Perhaps, not that's still a sizable gap. And pretty much every job which can be done with a FS7mk2 could also be done with a FS7mk1.... which can be got for sub $4K secondhand. That's a big gap vs a C300mk3! (or even C300mk2)

The Alexa Mini is $35k used

Yes, I know, I gave that as the example on the other end.

Clients want an Alexa Mini shooter, and will pay for it.
Clients also want an FS7 shooter.

There isn't too much middle ground between those two large categories.

A person could find themselves spending the extra cost for a C300mk3 (or even C500mk2!) and yet not finding themselves working/earning that much more than if they'd just got the much cheaper FS7


Hence my earlier description of there being a risk the C300mk3 fulls into a "no man's land" of the middle ground which clients won't pay extra for. (like was the case with a RED Scarlet, people would either pay extra for an Epic, or be happy to settle for the cheaper C300mk1 instead)

The C300mk2 doesn't shoot 60fps in 4K.

True, but it would still give the OP slow motion options in HD that his C100 doesn't. And thus the C300mk2 already by itself represents a big leap forward from where he is right now.

The FS7 is a good argument for a cheaper camera that opens doors. I bought one used recently even though I don't really like the camera - but it's in demand.

Exactly!

 

[morgan_moore]

While I advocate looking at the business case for investing in tools I also suggest we are only alive once and should spend our time with things we enjoy!

One should, therefore, consider a C300iii if one can answer the queation 'I want to stamp on my C100 because..'

S

 

[rob norton]

While I advocate looking at the business case for investing in tools I also suggest we are only alive once and should spend our time with things we enjoy!

Maybe Jaime hasn't responded yet because he's dusted the $15k on a trip to vegas?

 

[Run&Gun]

Money is fungible, thus I'm skeptical he MUST SPEND it.

There are scenarios where money must be spent. For example, the PPP loans here in the US, to meet the requirements for repayment forgiveness, the money must be spent within a certain amount of time and certain minimum percentages on certain categories. Corporate budgets, at least they used to be, you had to basically spend ALL of your money budgeted to you for the year or you received less the next year.

 

[Eric Coughlin]

There are scenarios where money must be spent. For example, the PPP loans here in the US, to meet the requirements for repayment forgiveness, the money must be spent within a certain amount of time and certain minimum percentages on certain categories. Corporate budgets, at least they used to be, you had to basically spend ALL of your money budgeted to you for the year or you received less the next year.

Another case would be when your wife wants so much for you to be happy that she absolutely insists that you spend $15k on video equipment instead of buying her a new car.

 

[Jaime Valles]

See, I knew it was the right call to post this question here! I can't tell you how much I appreciate the advice you all have given me. I hadn't responded earlier because I wanted to see how the conversation played out first, and the various points of view you've all shared are truly enlightening. I'll try to address all the questions, but let me know if I missed anything.

First, this is a loan from the government because of the pandemic, so there are very specific requirements for how the money can be spent. Believe me, I wish I could save it all and put it into a retirement account! I have a two-year-old kid, and planning for the future is at the very top of my list. But, alas, the $15,000 must be spent entirely on improving my business, and I can't hold on to the funds indefinitely. So here we are.

As far as audio gear, I'm all set for the moment. I have Sennheiser MKH50 and MKH60 microphones, six Rode Rodelink wireless lav mics, four Behringer condenser mics, stands and XLR cables galore, and a Zoom F8 recorder. That covers the vast majority of my solo shooter gigs. When I need better or more complex audio recording done, I bring in my trusted sound engineer, who has all the best equipment and (most importantly) the necessary skills and experience for quality audio work. I'm not interested in becoming a sound engineer myself, so I have no problem bringing one along when it's appropriate. And for the level of gigs I mostly do by myself, my current audio setup is plenty good. About the only thing I want to upgrade is the recorder to 32-bit float, so I don't even have to worry about riding levels during a shoot. But otherwise I'm good on the audio front.

I already have a jib arm, but it basically lives in my equipment closet because none of the venues I normally shoot in have enough space to swing around a jib during a performance. If I'm ever shooting a live Broadway show, then definitely the jib/crane sweeping shots would be most welcome (as would a full crew and 5 or 6 ARRI cameras). But that's not my current sandbox. I shoot a lot of readings of Broadway-bound musicals in rehearsal rooms, as well as smaller shows and cabarets. Non-Broadway theaters in NYC barely have room for two tripods, so big gear is simply not in the cards for my current clients.

A high end cinematography workshop is something I hadn't considered, and would certainly enjoy immensely. I'm not sure if that would meet the requirements for the business loan, but I'll look into it.

I had thought about a car for transporting all my gear, because having a car would be very nice in many ways. However, most of my gigs require either one or two cameras, and I can easily carry that by myself on the subway (been doing it for years). If it's a corporate interview where I'm bringing the full lights and sound package, I get an Uber. The problem with a car is that it costs more money forever (insurance, gas, maintenance, parking) versus a new camera which, once purchased, doesn't cost more after the fact. Still, a vehicle is not off the table yet.

I already have 7 inch monitors, and wireless monitoring is something I haven't had the need for yet. I'm happy to rent a Teradek Bolt if and when I need it.

A gimbal stabilizer is certainly a possibility, but again, it's something I've rarely needed these past few years, and renting it is pretty cheap and easy to do here in the city.

Live switching & streaming is not something I've ever done or been asked to do, so it's a big question mark for me. I wonder if in this post-COVID-19 world there will be more demand for livestreaming or less. Regardless, it's an area that I haven't worked on and have no clients yet that require it, so I'm leaning less towards this.

Spending the money on a couple of short narrative films is an intriguing idea. Need to think more about that, and also see if it fits the requirements of the loan. I'm perfectly happy with the image quality of my 1DX Mark II for narrative films. Would need to write some short screenplays, which is time consuming if I want them to be any good.

Advertising is something I hadn't considered. These past few years all my business has been word of mouth. I'd like to think spending a bunch of money on advertising would bring a lot of interest, but if I'm still using C100s would I book any clients? I have no idea.

As for upgrading my cameras, I should have added that none of my current clients give a hoot about what camera I use, as long as the finished video looks good. This is why I haven't yet upgraded from my C100s and 1DX II. I usually use the C100 cameras for theatrical events and the 1DX II for interviews (that DPAF is magical!). A C100 with the 18-135mm lens and power zoom attachment covers most events I shoot perfectly well, but it doesn't do face-tracking AF.

The main reasons for upgrading my cameras would be to get 4K and better auto focus. A couple of my clients have inquired about 4K recently so I know it's something they're thinking about going forward. And 1080 is going to go away sooner rather than later as a delivery medium. Also, better face-tracking auto focus would only make things easier for me. If the 1DX II didn't have a 30 minute video recording limit I would simply get a couple more of them and use them exclusively for all my shoots. Focusing is currently my biggest preoccupation when shooting, so if I can see the box around the subject's face I don't have to worry about focus and can concentrate on framing the shot properly and adjusting audio levels.

This is why I'm not considering the Sony FS7. It has the 4K, but not the auto focus goodness I want. One of the main reasons to upgrade is to make my life easier on gigs. Plus, I honestly don't like the way the footage looks. I rarely have time to spend on color grading my footage, so getting a great look straight out of the camera is a big deal for me. I totally understand that the FS7 is very popular in certain circles, but I just don't think it's a good fit for me.

Same goes for the current crop of Panasonic cameras. If they had great auto focus, I would consider several of Panny's offerings. But Canon's DPAF is just too useful to pass up.

Which brings me to the C300 III, C200, and possibly the XF705. Any of those would give me the 4K and DPAF improvements I want. My footage would look better, and I wouldn't have to stress about nailing focus manually, especially when shooting 4K.

The C200 is only $5500 brand new, so literally half the cost of the C300 III. It may well be the smart choice to get two of those instead of one C300 III. Having two matching cameras helps a lot during post. I'm just not jazzed about the 8-bit 4:2:0 recording. The C200 8-bit footage I've seen online is... fine? Good-ish? The RAW, however, looks fantastic! But shooting 2+ hour musicals in RAW (and multi-camera to boot) would be hard on my wallet with CFast cards and hard drives for storage. Maybe it's worth it, though. Bring home the RAW files and transcode them into 10-bit ProRes immediately and delete the RAW files. But... I don't like that there's only one CFast card slot in the C200. Cards fail more often than people think. I can't have that happen during a live theater event. It's happened to me a couple of times with my C100s, and in both cases the dual card recording saved my bacon. I just wouldn't feel comfortable shooting long events without the possibility of re-shoots on just one card.

The XF705 is mighty compelling. The majority of what I shoot doesn't require the shallow depth of field that S35 sensors allow. 4K, 10-bit 4:2:2 with dual card slots and a wide-range servo zoom lens. If the XF705 has good DPAF, it might be the right camera for my theatrical shoots. But I worry about how it performs in dim stage lighting, which I run into pretty often. That's really why I use cinema cameras for event shoots. The C100 looks great shooting dim stage lighting, as does the 1DX Mark II. I haven't used the XF705 in person, so I would want to rent one and try it on a real gig and see if it works like I need it to. I wasn't a fan of the XF400 when I tried it (the auto focus was going haywire the whole time) but perhaps the 705 is better in that regard. I have to try it out myself to see.

And yet...

The C300 III seems like a home run, at least on paper. 4K, 120p, internal RAW and 10-bit 4:2:2, great DPAF, dual card slots... Aside from the cost (duh) it seems to be the perfect camera for me. I already have the lenses, shoulder rig, tripod and other accessories I need. The only additional costs for me would be batteries and media. I'm used to shooting with monitors, so an EVF isn't necessary for my style of shooting. If I get the camera, two additional Core SWX Nano-C98 batteries, two SanDisk 512GB CFexpress cards and a card reader, the whole thing costs $13,875 tax included. So there's plenty of wiggle room in there. I could even get more CFexpress cards to really give myself shooting room, or more storage hard drives (which get cheaper and cheaper every day).

And also, it's a major step up as far as potential clients. As I wrote earlier, none of my current clients care what camera I use. But I want to get clients who do care. I'm under no illusions that getting an expensive camera instantly gets me big clients. But it could open up doors that my current equipment can't (and the C200 and XF705 wouldn't). Since I can't just save the money outright, the next best thing is to use it in a way that will:

A) Make my footage better

B) Make the process of shooting easier

C) Potentially help me make more money

In any case, I'm not buying anything right now. There's no production going on here in New York, so I'm fine waiting until everything starts opening up again. And I'll rent anything I'm seriously considering first to make sure it gets the job done.

Or maybe I should just go ahead and spend it all on a trip to Vegas.

Thanks again for all the advice, and please keep the ideas coming!

 

[IronFilm]

As far as audio gear, I'm all set for the moment. I have Sennheiser MKH50 and MKH60 microphones, six Rode Rodelink wireless lav mics, four Behringer condenser mics, stands and XLR cables galore, and a Zoom F8 recorder. That covers the vast majority of my solo shooter gigs. When I need better or more complex audio recording done, I bring in my trusted sound engineer, who has all the best equipment and (most importantly) the necessary skills and experience for quality audio work. I'm not interested in becoming a sound engineer myself, so I have no problem bringing one along when it's appropriate. And for the level of gigs I mostly do by myself, my current audio setup is plenty good. About the only thing I want to upgrade is the recorder to 32-bit float, so I don't even have to worry about riding levels during a shoot. But otherwise I'm good on the audio front.

WOW, that's a lot of RodeLinks!

I'd seriously consider getting at least just a couple of channels of better wireless.

Because RodeLinks are bulky, are reliant upon 2.4GHz, and have numerous other flaws too, so diversifying away from them would be smart.

As for 32bit, keep an eye on the Zoom F6. (or the future "Zoom F12" some people have rumored)

A high end cinematography workshop is something I hadn't considered, and would certainly enjoy immensely. I'm not sure if that would meet the requirements for the business loan, but I'll look into it.

Or just simply spending a few hundreds of dollars on buying a few Masterclasses online that strike your fancy.

I had thought about a car for transporting all my gear, because having a car would be very nice in many ways. However, most of my gigs require either one or two cameras, and I can easily carry that by myself on the subway (been doing it for years). If it's a corporate interview where I'm bringing the full lights and sound package, I get an Uber. The problem with a car is that it costs more money forever (insurance, gas, maintenance, parking) versus a new camera which, once purchased, doesn't cost more after the fact. Still, a vehicle is not off the table yet.

I wouldn't go for a can, get a van! That opens up far far more doors.
(but then again, you're NYC based which is a funny world were people can have the option of living carless)

Advertising is something I hadn't considered. These past few years all my business has been word of mouth. I'd like to think spending a bunch of money on advertising would bring a lot of interest, but if I'm still using C100s would I book any clients? I have no idea.

Build up your social media presence (IG and a FB page)
Make a kick ass showreel.
Make a great landing page.
Pump advertising dollars into that.

Owning "only a C100" doesn't matter, if you need a better camera then you can rent it. (then and only then, buying one once the volume of work justifies it)

This is why I'm not considering the Sony FS7. It has the 4K, but not the auto focus goodness I want. One of the main reasons to upgrade is to make my life easier on gigs. Plus, I honestly don't like the way the footage looks. I rarely have time to spend on color grading my footage, so getting a great look straight out of the camera is a big deal for me. I totally understand that the FS7 is very popular in certain circles, but I just don't think it's a good fit for me.

FX9 looks even better and has even better autofocus.
Don't rule out Sony just yet!

The C200 is only $5500 brand new, so literally half the cost of the C300 III. It may well be the smart choice to get two of those instead of one C300 III. Having two matching cameras helps a lot during post.

I wouldn't buy two A Cams just yet, not until you know if you can even properly justify owning one of them.

Live switching & streaming is not something I've ever done or been asked to do, so it's a big question mark for me. I wonder if in this post-COVID-19 world there will be more demand for livestreaming or less. Regardless, it's an area that I haven't worked on and have no clients yet that require it, so I'm leaning less towards this.

You're fundamentally buying gear to try and open up doors to new work for yourself.

Getting live streaming gear seems like the most logical progression, as the gear doesn't have to be an upwards upgrade but it could also be a sideways diversification progression. And with your current line of work, live streaming seems like a more natural next step than trying to break into the mid market DoP / owner-op C300mk3 niche.

I already have 7 inch monitors, and wireless monitoring is something I haven't had the need for yet. I'm happy to rent a Teradek Bolt if and when I need it.

If you move into the mid market DoP / owner-op C300mk3 niche then yes, wireless monitoring is something you'll commonly need for the director/clients.

A gimbal stabilizer is certainly a possibility, but again, it's something I've rarely needed these past few years, and renting it is pretty cheap and easy to do here in the city.

It is something else which will be commonly expected if you move into the mid market DoP / owner-op C300mk3 niche.

And also, it's a major step up as far as potential clients. As I wrote earlier, none of my current clients care what camera I use. But I want to get clients who do care. I'm under no illusions that getting an expensive camera instantly gets me big clients.

You can go get those clients right now with you C100. And if they really do need something better, you can hire a C200/C300mk2/C300mk3/C500mk2 for the shoot itself.

If you can't get them now, don't expect them to come flooding to you just because you own a particular camera!

A) Make my footage better

B) Make the process of shooting easier

C) Potentially help me make more money

Buying live streaming gear will likely hit the nail on the head of those last two goals. (and in the process of meeting #B will result in #A happening as well! Bingo, all three goals achieved!)

 

[NorBro]

I've been watching XF705 footage online, and it just looks so darn mediocre. I rented this camera last summer and I wrote it off rather quickly, and I feel the same way today, a year later with more samples to see.

I recommended it to you in my own reply here because you want Canon and DPAF and 10-bit and no recording limits, so there aren't many choices - and it appears to be the perfect tool for so many of your jobs - but I'll now add that I think you'd possibly be taking a step back in terms of pure video quality.

Have you watched anything from the XF705? It's not possible that everyone is messing up their export settings. And because I feel that the video is just okay outdoors (mostly what I see online), I think it's going to look worse indoors with not ideal lighting.

They are asking too much money for this camera.

C200 or C300 Mark III (possibly with a compact-servo zoom) is the better choice for your future.

 

[ahalpert]

Sounds like the C300III is the perfect camera for you and the high price is the only reason to jump into it with caution

 

[ahalpert]

FX9 looks even better and has even better autofocus.
Don't rule out Sony just yet!

But he already has Canon lenses and B cams

 

[Bassman2003]

Tough choices. All I will say is that you seem to want to talk yourself into buying the expensive camera with the 'new and better client' justification. Just be careful of G.A.S. sneaking up on you. In my mind, 4k as a delivery medium is pretty far away for the OMB crowd. I mean clients asking and needing it to get the job etc... 4k as a tool to better your OMB capabilities is a big plus.

The C200 is such a shame with regards to the 8bit support codec. Otherwise you could get two and some other stuff. I like the advertising/web presence suggestion. Maybe actually hire a firm rather guessing on our own (what I have always done).

 

[rob norton]

If I lived in NYC and was doing OMB stuff, I'd just have a backpack with a mirrorless/gimbal, wireless mic and call it good. No lighting at all and try to get there with movement.

Moving a lot of film equipment by yourself through big cities is hell on earth. Getting an uber everytime would be good though, no need to ever think about parking.