I understand your point, Dawud. I just think that if you're using a laptop for editing, it should have maximum functionality and should actually be repairable.

Here are a few articles showing that the Surface Pro is impossible to repair:

2017 Surface Pro least repairable ever; Surface Laptop is made of glue
https://arstechnica.com/gadgets/2017/06/2017-surface-pro-least-repairabl...

Surface Pro 2 teardown shows Microsoft's tablet is still nearly impossible to repair
https://www.pcworld.com/article/2056578/surface-pro-2-teardown-shows-mic...

Microsoft Surface Pro 5 Teardown
https://www.ifixit.com/Teardown/Microsoft+Surface+Pro+5+Teardown/92362

In other words, it's a complete and utter piece of garbage. Microsoft should be ashamed for selling this rip-off.

Very true. Also, for about $2500, you can get an upgraded version of the NP9175 laptop from Sager with extremely awesome specs: http://www.sagernotebook.com/Notebook-NP9175.html

The Sager laptop also has Thunderbolt 3 connectivity. Best of all, it can be repaired if it breaks. The same thing can't be said for the Surface Book 2, which is glued together. If it's ever in need of repairs, forget it.

Yeah, I've been wavering back and forth between whether I think it's possible or whether I think it's nuts.

I'd have to shoot in at least 2K raw, and the media storage costs would be substantial. I'd need at least three copies of all my media files.

I suppose the story could be restricted to one or two locations. The film, Clerks, took place in a convenience store.

The screenplay that I have ready contains too many locations for the $7,000 budget. If I had a script with only one or two simple locations, I could do it within that budget.

In film school, I shot a lot of short films on 16mm. I'd advise doing the following things in preparation for principle photography:

1. Shoot test footage to get a true speed rating for the film stock. You'll have to work closely with your chosen lab to do so.

2. If possible, buy your film stock in bulk and split it off into rolls for whatever magazine size you'll be using. Doing so will enable you to get more consistent results.

3. Test all your equipment thoroughly if possible, including the lenses.

4. Choose an overall f-stop at which to shoot most of your footage. Many DPs like to shoot at f/4 for good depth of field.

5. Use lights with a high CRI (Color Rendering Index) rating, preferably 90 or above. These lights will be less lightly to flicker or hum. Also, use balanced electrical cables to avoid background hum, which can occur at 50 Hz or 60 Hz.

6. Get a good slate and a color chip chart. Datacolor makes a great color chip chart, the SpyderCHECKR (http://www.datacolor.com/photography-design/product-overview/spyder-chec...). You need the color chart at the head of each roll of film so that the lab will have a reference point.

7. Equip your computer with a dedicated graphics card. Macs usually come with AMD cards, which can be quite good. Check your NLE software for technical requirements.

8. It's best to have your OS drive, C drive, running off a solid state drive. That will reduce latency.

9. If your Macbook has a Thunderbolt 2 or 3 port, you can use an external hard drive that utilizes that throughput. G-Technology has some fast, reliable external drives.

10. Calibrate your Macbook monitor for proper color rendition during color corrections and grading.

I've heard that home surgery will be part of a new health care trend. :)