25+ years experience as DP, editor, colorist and vfx artist.
well if these are all spotlights, whats an actual spotlight called ? :(
the comparisons of heat are grossly inaccurate. I can most certainly say you don't need gloves to adjust barn doors on a 300 or 650w light.
Your phone isn't even close to the same level of power consumption of a LED light and doesn't even get warm under normal circumstances. LED's can get hotter then many expect though. You can't compare 150W vs .5w for heat output.
barn doors will not generally save a fresnel lens from breaking. that said who drops lights ? or has such poor quality stands they collapse ? or sets stands so they fall over ? should be leveling, bagging, and optionally tying off stands as appropriate.
to break a lens, you really have to have the light fall from a pretty decent height, in 25 years I've seen that happen maybe once.... oh, andI saw an arri 1K kit shipped and dropped by an airline. barn doors had nothing to do with it. dropping the case 10+ ft did. you really need a severe drop to break them because the lenses are pretty rugged and durable. they will easily hold up to the normal knocks in handling.... oh, and if you some how do manage to break one, they are pretty cheap for for the smaller lights 300-2K. only the big lights get a little bit expensive. its a completely ridiculous statement.
so you go thru all that and shoot 1/2 the film in a restaurant ? IMO no very good use of locations... the entire dinner scene was painfully long and could of been cut in 1/2. the eyes looking at each other made no sense. you kept expecting *something* important to happen, but it didn't. I loved all the exteriors, very cool to see. Should of used far more of them.
C300Mk2 does RAW 4K to external recorder. internal 4K 10bit is actually really nice. there are other factors to consider when you get into the $10K price range called a business model. canon's pay for themselves quickly, RED's not so much.
Gh4 4K @ 100mbit = 1080 @ 25mbit or AVCHD. thats the math once you work it out. the compression of 4K @ 100mbit is pretty hard on the image. when its all said and done, and you shrink it to 1080, it looks like good 1080 - sharp, reasonably clean. in which case I'd rather deal with 1080 @ 100-200mbits from a C series camera. That said, even 4K @ 410mbit is not a big deal to work with, drive space is cheap enough. The cost of 4K in ProRes or h.264 iFrame might be a couple hundred dollars when its all said and done for the extra drive space. So its really not a budget concern. You will need a reasonably modern computer to edit it easily but thats something you probably already have.
I'll also add I have a 4K monitor and you CAN see the difference. I also have watched a lot of 4K originated material in projection and again.. you CAN see the difference. So if you want sharp, 4K does make sense. 6K or 8K, not so much.
As for compression, h.265 is the answer. Its just getting going for delivery.
I suppose the more interesting point of film for long term archival purposes is more interesting. typical 500 ISO stock used for shooting is barely 1080/ 2K res, but a fine grain 100 or 50 ISO stock used in a lab for printing should have a 4K-ish res on a good day with everything going right. However, before you need to worry about that you need to make a film that will have enough success and interest that such an archival format will even be a consideration.. and the cost won't be an issue.
painful. especially the zooms.. or worse they were scale ins done in post to break up mostly flat coverage. try https://www.youtube.com/watch?v=ngY7iGbVI-A for a short worth your time...