IronFilm

Do you have any BTS pics of mic placement? As that is what matters the most when filming.
 
But yes, the NTG2 is a student grade mic (or for other non-sound specialists who just don't care about sound, such as cameramen. Which is where I use my NTG2 now, as an on camera mic when there is no other option for a scratch track. I should probably sell my NTG2 though, as I have plenty of other options for that).
At the absolute bare *bare* minimum, if you're aspiring to do this professionally and/or you just simply *care* about sound then get an Aputure Deity or Rode NTG3 as your shotgun for outdoors.

I actually had a brief go of my friends GH5 with my Sigma glass using the IBIS. Although I'm used to it with the Sony cameras, the Panasonic version is different. It's actually much smoother, whereas the Sony IBIS is more sensitive to robotic jolts in movement. 
Yep, the client felt very comfortable with the camera and love the fact they could see the footage with a LUT applied via the Shogun Inferno. On professional basis, you can't ignore the value that this brings to a set. Making the client happy is always No.1 - even if you disagree with them. 
I think 98% of video shooters suffer from GAS, as do musicians and other gadget geeks.....
The FS5 was a great asset on this particular shoot and I did enjoy using it. 
The only thing is that my shoots are getting much increased camera movement, and this is where the FS5 gets put down in favour of the A6500 or A7S II. 
You could argue that i could put the FS5 on a quick release and fly it on a Ronin-M - however I've actually done that and I would come away from the shoot in absolute agony form operating. I don't enjoy being in agony, hence why i got the A6500 and Zhiyun Crane for gimbal work. Much easier and enjoyable. 

While watching one of their BTS videos (which they'd linked to as part of their advert for a new flatmate) of a local kiwi filmmaking duo:
 
I realised from watching their BTS of the film, that their feature film (which is a damn decently good one for a person's first feature and done on a very low budget, absolutely worth a watch!) was shot on the Panasonic AF100 (for those who are somehow not familiar with this camera, think of it as like a hacked Panasonic GH1 but in a camcorder body):
 
I think (?) that their second feature film (disclosure: I was involved myself in its shooting for a very tiny part of it! As the sound recordist for a few pick up shoot days) was primarily shot with a Canon 1D C and a 5Dmk3 ML raw, thus this film when it is released should also be of great interest to members of this forum:
 

Consider that the OP is right on target when he states that the AF100 is pretty much a glorified GH1.  You can probably get a GH1 on Craigslist by battering a used pair of shoes.
Seems to me camera geeks will ALWAYS debate specs. (nothing wrong with that) 
Creatives will go do interesting stuff.  (nothing wrong with that)
The wonderful thing about 2017 is that anyone that really wants to do something, well, the door is wide open.  There's absolutely no technology barrier anymore.

Wish there were more posts like these. With all of the arguing over specs and brands, I think we can learn a lot from this post.
With a humble AF100, which can be bought for less than $700 on the used market, a great looking film can be made. With a couple grand more, an amazing looking film can be made.
In the end, I didn't care what camera those movies were shot with. I was engaged with the story. I want to see both finished films now.

I sing it from the rooftops so you may have read... I've been shooting with the 5D3 and ML Raw for the past two months. While I've been shooting my film, I've realized how much storage I need, so I've been deleting a lot of old test footage from my hard drives. Of course, I get nostalgic, so I've been watching a lot of the footage before I delete it. The only stuff I feel remotely attached to is the footage from my D5500. So much so, I'll probably end up buying a D7500 for some Nikon Flat 4K. Or if I really want to save some money, I'll sell my D5500 and make the small upgrade to a D5600 for the video timelapse. 
The IBIS is nice with the GX85, but with a simple monopod or shoulder stock, I can get just as good stabilization with a more organic feel to the video than I have ever gotten with a Panasonic. Also, adapters are annoying and the affordable micro 4/3 glass feels like they may break just by looking at them cross and the expensive glass, like the Voigtlanders, are awesome but they're a lot of money for a micro 4/3 system, IMO.
Of course, that's just me. The GX85 is a fine camera that has proven to be a reliable tool. I just like the Nikon image better.

While watching one of their BTS videos (which they'd linked to as part of their advert for a new flatmate) of a local kiwi filmmaking duo:
 
I realised from watching their BTS of the film, that their feature film (which is a damn decently good one for a person's first feature and done on a very low budget, absolutely worth a watch!) was shot on the Panasonic AF100 (for those who are somehow not familiar with this camera, think of it as like a hacked Panasonic GH1 but in a camcorder body):
 
I think (?) that their second feature film (disclosure: I was involved myself in its shooting for a very tiny part of it! As the sound recordist for a few pick up shoot days) was primarily shot with a Canon 1D C and a 5Dmk3 ML raw, thus this film when it is released should also be of great interest to members of this forum:
 

Panasonic G80 is the clear top #1 option with 4K in your price range.
The next two contenders I'd suggest are:
BMMCC (if you don't care that the Micro lacks 4K and IBIS, and has max slow motion of 60fps FHD)
Nikon D7500 / secondhand D500 (if you'd like to keep on using your D530 as a very easy to match B can)
 

If you get a GH5 I'd highly recommend getting a Tiffen Digital Diffusion 2 filter if you want a slightly softer look. It doesn't haze out the highlights or anything like that, but ever so-slightly softens the edges while keeping resolution.

@jonpais
Well said...before enjoying a great IQ, one has to shoot and do some post first. Many people simply forget to consider some practical, daily usage aspects when using cameras. Noone shoots with a spec sheet.

While the pocket  has a great image, it was not exactly wonderful to work with.  I would choose the GH5 hands down and never look back. 

Panasonic G80 is the clear top #1 option with 4K in your price range.
The next two contenders I'd suggest are:
BMMCC (if you don't care that the Micro lacks 4K and IBIS, and has max slow motion of 60fps FHD)
Nikon D7500 / secondhand D500 (if you'd like to keep on using your D530 as a very easy to match B can)
 

As every year passes by, it seems that Canon falls another 11 and a half months behind.
This is why I encourage other people not to buy Canon lenses, as (even if you're "OK" with Canon's  current state of development vs the competition...  Seriously??) do you in six year time want to feel "stuck with" system than has only inched forward with quarter of a year's worth of progress?

Atomos retweeting this - don't know the details: 
 

Not even, Canon will only release proper 4k (ie not 1.74 crop..) when all the industry will be at 8k60, then we will have 4k24p with moire on Canon DSLR.
- New sensor, That the least they can do on a new $2k camera. Nice that they haven't used the one from the original 6D...
- Digic 7 and extended ISO range: what does it bring in real life ? Faster processor and then old UHS-1.  What is the real usable ISO ? Max ISO doesn't really matter 32 000 what not usable on the 6D anyway
- DPAF: again what's the point ? This is mainly a video feature and video quality is going to be poor
- 45 cross type AF: yeah that's nice actually but the original 6D was very bad on AF
- Touch screen and Swivel: nice but nothing revolutionary here neither. It's on many entry level camera
- Weather resistant: yes good point
- Wifi, NFC, bluetooth, GPS:  the wifi and GPS are already on the first 6D, a bluetooth and NFC chip is not very ground breaking, they cost a few dollars and many devices have that nowadays. Actually that would be more important to develop a real ecosytems around that because the current Canon App isn't exactly great. Hopefully the Wifi connection will be easier to setup on the mk2 because that's a huge un-user friendly mess on the 6Dmk1 (the GH5 app is even worst to be fair).
Sure the 6Dmk2 will be an ok camera but 5 years and $2000 for that ? The D750 come very close or better (dual slot) and was released 3 years ago. It's available at almost half the price brand new on ebay. Personally I love my 6D but I can't justify $2k for the mk2.
 
 

A better buy then than the Focusrite 2i2? As it is cheaper, and has more inputs. 
Sounds like a horrendously expensive USBPre2 in the end!! :-o 

Have been using the new Windows 10 box more frequently- the FocusRite Scarlett (1st gen) has issues there as well- doesn't come out of sleep reliably. Have to pull and reinstall USB cable to reset it. Maybe they fixed these issues for Gen 2. Given the sound quality of that Behringer demo against the FocusRite- definitely worth a look for those on a budget.

Yeah, their earlier years were sketchy to say the least. Some of their designs sailed close enough to the wind in similarity to people like Aphex and Drawmer (to name but two) to be actionable and thats before we get to the build quality. It wasn't uncommon to have to buy and return several examples of a product before you got a good one.
Its changed over time though, particularly with their manufacturing when they built their own plant in China, and the tipping point for me in acceptance was their X32 digital console. I think they've sold in the region of 50,000+ of that and it variants and its a superb product. I don't think anything they make is going to make you go wow (aside from the X consoles) but they're fall less likely to make you go ouch than they were and certainly will never make you go ouch when you look at the price tag.
With regard to MIDAS, its relative I suppose. Compare two Behringer products that have their own pre-amps in with the variant that has the MIDAS ones in (such as the ADA800 8 channel A/D and the MIDAS equipped ADA8200 version) and there is a difference. Its often related to changes in surrounding components as well to be fair to incorporate the MIDAS design but the overall end result is the same in terms of improvement. As I say, thats only relative to Behringer's 'own' design pre-amps though so whether it actually makes them better than other manufacturers is a lot more subjective. Its not just a marketing gimmick though to be fair, as the designs are genuinely still coming from within the MIDAS design team.
 
At the risk of sounding like a Behringer shill (  ) there's quite a lot of side by sides on YouTube with the U-PHORIA where it doesn't disgrace itself.
Gearslutz.com is a good resource for blind comparisons between lots of different interfaces too. Often these are conducted by - how can I put it politely - people with more recording experience than some of the enthusiastic YouTube 'Hey whats up guys, Ched here with another of my famous shootouts that you folks have been asking me for' ones. Ched with his 19 subscribers there.
 

Isn't it the other way around? That you need to swap mounts on a lens or use adapters with glass when going from Canon mount lens to Nikon mount camera... but not from Nikon to Canon EF (a simple dummy adapter should do)? That's also the reason you can simply adapt like Contax Zeiss to a Canon mount camera (or Speedbooster taking mount for that matter), but not to a Nikon. If you don't want to work with adapters, that's a different thing altogether of course.

After some more thought/research into it, it appears Focusrite is in general the popular "default" recommendation. 
But I often like to go against the grain ;-) 
Steinberg UR22MKII seems to be my preferred choice at the moment, because I get the feeling from reading reviews it might have a small edge in having better pre amps, but also it has the nifty feature of being able to run from a USB power pack which gives it some extreme portability! (you can hook it up then with a iPad)
Tempted to wait for the reviews of the new Roland Rubix24 to come out, plus tempted still by the Behringer U-PHORIA UMC404HD (because it has four inputs, and is only $100).
Meh, the price of the USB Pre2 is so high that the MixPre3 would make more sense to buy instead!
Indeed, the MixPre3 is cheaper:
https://www.bhphotovideo.com/c/product/734341-REG/Sound_Devices_USBPRE_2_USBPre_2_Microphone.html
https://www.bhphotovideo.com/c/product/1333778-REG/sound_devices_mixpre_3_mixpre_3_mic_preamps.html
 
But nah, the MixPre3 is too pricey! I already own a Zoom F4 after all :-) Just looking around for something extra that is very cheap that I can leave around at a director friend's place for when he needs to voiceovers/ADR now and then.
 

If you've been to a gig in anything above a few hundred seater theatre in the past 40 years there's a reasonable chance you've been listening to it through a MIDAS mixing console. They are owned by Behringer now (or Music Group to be exact) but its not just a brand name ownership situation, the product design engineering is still done by the original team.

Heh, even easier in New Zealand, don't need to fill out any forms like that! Just go out and do.

Sometimes it seems like other filmmakers online have an infinite pot of money to freely buy whatever bit of gear they want, when they please. 
Because of social media, we are bombarded with the "new toy" posts daily, so it gives this exaggerated impression that you're being left behind on the tech trail. 
The Philip Blooms of this world do purchase every camera, lens and innovative new product ever made, but that's because he's got sponsors, and his business model needs him to stay very current with this week's hottest gadget. He knows exactly what he's doing. 
Andrew runs a blog, has a clear passion and has a very clever way of making his dosh for new gizmos. Probably. 
Myself? I'm like the rest of you. I have to work bloody hard to get anything new. The video industry is massively competitive in the UK. Gets harder as each week passes. That's just the way it is. 

Might I say that this doesn't just apply to cameras, but lighting and rigging as well.
For the love of god, please please give me more products like the apurture 300d. No more generators or 800lb lights that risk burning down the city. Small, portable, and powerful. 
 

BMMSC is pretty awesome especially for the size. Is this creative, probably not, it was just to demonstrate what is possible with such a small camera, it is operating the camera system with one hand and driving with other