If you're set on either Sony or BM Mini I would go for the Sony every time. The FS7 is a great piece of kit. True, the menu system isn't particularly intuitive but the camera does exactly what it says on the tin. I was a big fan of the C100/C300 but the FS7 offers a lot more.
I have had nothing but issues when using BM cameras. I was shown this on the lensrental site the other day regarding the Ursa Mini 4.6K
We cannot recommend this product for professional work. We reached this decision after repeated failures in the field, experienced both first-hand by LR-folks and second-hand via rental clients. Though it might work much of the time, it is our opinion that this product’s performance is too unpredictable to be trusted on high-value projects. Use for casual testing or try-before-you-buy purposes only.
This would raise alarm bells for me if I was using it on a client's work.
Yes, definitely always better to test these things out before purchasing.
It's true, h.264 should decode fine for normal playback, but speaking from my own experience with underpowered machines, ProRes just seemed to work better.
In terms of working in a NLE, without a doubt the ProRes wins over the LongGOP nature of the h.264 codec. Even with a higher spec machine it's worth considering using ProRes for editing. I've found it can reduce rendering time when adding effects.
I have two of these lights, they are fantastic for the price.
At full power the batteries I have last about 30mins. (I have two sets for each)
Full power is really bright. If you had your subject 2 metres from camera, say for a talking head type video, half power would probably be enough. They are quite harsh lights. I tend to get them as close as possible to the subject and use some diffusion to soften them off. To be honest, I mostly use them as secondary lights now, for a bit of fill or a clip light.
As a camera top light they work well. They are lightweight and with extra diffusion they give a nice enough light.
The CRI isn't amazing and you might get some colour cast. My sets came with some color filters. The orange one works well to get close to tungsten colour.
The only slight let down is the plastic mount is a little flimsy, but the light doesn't weigh a lot so it's not a huge issue. Just be gentle when adjusting it.
I too have a GH4. My macbook is slightly new with higher spec and manages to play the 4K footage in real time.
I think problem you are having it the iMac trying to decode the h.264 file as it plays it. It would be best to transcode it into an edit-friendly codec such as ProRes, or DNXHD or the GoPro cineform codec. These will be much larger files, but they will playback much more smoothly. You can use all sorts of programs for this. I have used MpegStreamclip for years,
Also if you plan to edit the files in an NLE, the uncompressed files will work much better than the h.264 file. It's not any higher quality, it just runs more smoothly due to not being compressed. It may take a while to transcode all your footage but it is worth it to have a smooth edit experience. I would suggest putting your source footage on a separate drive for your editing. USB3.0 or Thunderbolt drives will be fast enough.
Really enjoyed the film. There's nothing wrong with a C100. It's more than capable of getting a great image, especially with nice glass in front.
Of course there'll be people wanting to point out flaws in your films, but there's people that do that to every film, and isn't that kind of the point? Tell a story, start a discussion.
It's easy for people to criticise, but hey, you created something. I bet it was great fun to do it. I bet you learned a lot too. I look forward to seeing your next piece, that's for sure!
This film says it all, made by a bunch a G.A.S sufferers! https://youtu.be/lfI2pHoX8Jg