work on crews and you will find crews!
that depends on how you are grading, it will not stand up to a secondary color correction as well, the macro blocking has a higher chance of effecting a key on the avchd. Also the grain pattern is different, you'll have to look at that yourself to see which one you like better.
"Rip off" in this context is borderline fake news.
Also for all the guys that say story matters most, a 320i movie can work, why do you guys want to make a film instead of a novel or theater? If the image is not that significant, why be in a visual medium of storytelling?
Just be careful, whether the camera is good enough matters on the style of your film and taste. How significant is color tonality and color information in the darks. This is where the camera is weak. This may or may not impact you, also its a question of budget, if you cannot afford a better camera then its a mute question anyway. Where 8 bit is weakest is color information in the bottom three stops of DR, brown hair will turn black for example. Never under expose and do not expose, over expose i.e. shoot at a lower iso than the native iso, as long as your scenes don't require more DR, then you will have more color info in the midtones and darks. If you are shooting in a sun shade environment for example you will need to shoot the native to try to hold highlights. Also Gus is wrong, it wont be 10 bit externally you'll have 8 bit in a 10 bit file. There's a couple other people who are giving wrong advice, just test test test test. You should know the cameras strengths and weaknesses before shooting. Then whether its right or not will be clear.
I kinda disagree with Michael here, Softness in light is dependent on the size of the source from the perspective of the subject. So if you are the subject looking at the source, then from your perspective, the size of the source dictates the softness. So a 2x2 up close can be softer than a 20x20 from in the distance, the sun 430,000 miles wide. Thats the biggest source possible, but its 92 million miles away, so when you look up, from your perspective, its a small hard source. It just depends on how much of your field of view does the source take up.
The first thing to note is that once there is a diffusion frame in between the subject and the light, the light is no longer the source the frame is, You have to look at how much of the frame is evenly illuminated to determine how much of the frame your new source is. If the diffusion is heavier, than the light will fill more of the frame and then the source will be the full size of the frame. If the diffusion is lighter, than only the center of the the frame will be evenly illuminated, and the size will be only slightly larger than the source you used, in this case lets say a 8 inch fresnel lens. Then with a light diffusion like 251 you might only get a 10x10 circle that is will be your source. It doesn't matter whether you have a 2x3 frame or a 4x4 frame, the source will still only be 10x10. That will be soft very very close to the subject and hard at a normal distance. If you move your light further back from the frame the hot spot will get smaller in the frame, so your effective source will be smaller, so it will be harder.
Just stand where your subject is being lit and look at the source to determine how big or small your source really is, if you put your light very close to 216 you'll see a smaller source, if you use lighter diffusion but don't shoot straight through it, come at it at an angle where the subject cannot see the source through looking through the diffusion frame, and it will fill the frame completely and be as soft if not softer than 216. The effectiveness of the diffusion is determined by where you put the light behind the diffusion and how much of the frame are you filling so just stand where the subject is and take a gander at the source!
Side note: source size and distance is proportional a 4x4 from 5 feet will be identical in softness to a 8x8 from 10 feet, because from the perspective of the subject they will be the same size. Also you have to factor in inverse square law as well, source will get softer the closer they get to the subject, but you have to find a balance with distance because the closer you get then the more abrubt the fall off. If you do have your source 3 feet away from the subject and the subject moves 1 foot the exposure will change by a stop. So you have to balance that with the benefits of closer sources for softness and find a happy medium where you are getting the quality you want.