Aussie Ash

Absolutely spot on.
 
Let's ponder why. They have a top level management whose job it is to deliver ever larger increases in profit, year on year. It's a pressurised business environment in Asia, Japan especially, it makes Europe look quaint. When you are a large company, massive profits are just not enough. Success is relative. If you're only making $2.5bn profit on $40bn sales you need to be making $5bn profit on $80bn sales or better still $40bn profit on $80bn sales!! Where does it end? Canon's management have figured out how to go after this profit and until now figured it out pretty well... in the short term.
 
In the long term they are a mess because they are ignoring the products, their selling points in a shifting marketplace, rapidly evolving technological progress and the demand of their customers.
 
Their compacts long ago could have morphed into an online photo sharing experience. Canon could have bought Flickr and YouTube in one stroke and included a one touch share button on all of their compacts. They could have done this if they'd had the future vision and foresight to do so, before Google snapped up YouTube. Canon just didn't see it. Their ageing management mostly didn't even use the internet in 2005. Canon's buck stops with a CEO who is nearly 80 years of age. I am sure with some careful consideration and thought, Canon's combined talent could have come up with something far far more compelling than I just thought of in 5 seconds on a forum post with the benefit of hindsight, but for whatever reason they were content to churn out the same product again and again in tiny incremental steps until the market had shifted completely away from them and onto smartphones.
 
Sounds familiar?
 
DSLR video was a golden opportunity. You can't say it was a flash in the pan or inconsequential, a niche. What it did was launch a multi-million dollar business division at Canon which didn't even exist before the 5D Mark II. What's even more incredible is that where Blackmagic purposefully targeted and nurtured a new market, Canon accidentally stepped into it. If it wasn't for live-view on the 5D Mark II, they would not now be in the cinema business. End of story. They would be churning out small chip camcorders or XL1 successors with fixed zoom optics. They'd have been no opportunity to add mark up on their EF lenses by creating Cine versions. No opportunity for a halo effect to spread to their consumer business from Hollywood DPs actively shooting and endorsing their Cinema EOS cameras and DSLRs.
 
Canon had no video capable CMOS in development planned for cinema cameras. They had live view capable CMOS sensors in stills cameras that just happened to be the same thing.
 
It's about time Canon actually THANKED the enthusiast DSLR video community for the manner in which we embraced Canon and allowed them to grasp the opportunity to launch Cinema EOS.

Review by Michael Hession at Gizmodo
gizmodo.com/canon-70d-review-dslr-video-nirvana-comes-more-into-fo-1444911115
"Unfortunately, for Canon and its many excited customers, the 70D stops there when it comes to offering video shooters anything new. The video quality is not improved one bit over previous models. It still exhibits significant moire distortion in certain subjects, and just looks a bit muddy in finely detailed shots. True, it's no worse than every other DSLR out there except the very top end—the 5D Mark III and Nikon D800. But still, we should expect some kind of quality improvement over 5 years.
Perhaps more inexplicable is the lack of headphone jack. How does Canon expect a video shooter to choose the 70D when they are unable to monitor audio? It doesn’t make sense."
in comments-"GH3 controls moire reasonably well and is superior than Canon APS-C video in that
regard (also more detail)".
 
 

They're only low volume because they're being produced by a small company.  Given that they can't make them faster than they can sell them it stands to reason the larger companies could beat BMD at their own game because scale is on their side.  Your naysaying doesn't make any sense.
 
Your argument also ignores the fact that all of the majors are selling cameras purposely retarded from doing what BMD cameras are doing.  Every DSLR is a raw camera internally.  It's more engineering, more complexity and more work added on top to arrive at shitty compressed footage, not less.  For reasons ranging from apathy to protectionism they aren't doing what BMD is doing and they're doing more work and spending more per camera to NOT answer that segment of the market.

Correction to my post of 24th November."The D5300 user manual is 84 pages and whilst is adequate for stills photography there is only two pages on recording movies !! Nikon should get their act together they are leaving purchasers in the dark about the settings available for high quality video."   This evening I had a look at the CD that came with the camera, there is D5300 Reference manual on it as a pdf  280 pages including index.This goes in to far more depth than the printed booklet.     I am very happy with the camera though shooting video on it is taking some getting used to coming from a camcorder background.

I think the reason many here expected a review of the D5300 is because you where one of the people that showed the capability of the D5200 to the film community. Until now it is still the reference to show the fantastic low light capability of the Nikon D5200 that rivals the $ 3500 5dmark3 full frame camera which itself is hailed as a very very good low light camera. Now you have told us that you don't want to review it and I respect your opinion because it is your site and your time and you can decide your priorities. I will just tell you why I am interested in this camera, it might just be for the sake of discussion and comprehension. I am not in anyway trying to convince or confront you.
 
The first thing is that I am a pro Nikon photographer that is always interested in Cinema. Contrary to those pseudo pure photographers that can't photo their shoes I am a big fan of the hybrid concept. So for the last 5 years I have bought a Canon 7d and a panasonic gh2 for video because Nikon was behind. Then I bought the D800 for my photography and it was much better than the 7D and previous Nikon  but still kept my gh2, the moire/aliasing of the D800 (much better than the 7d) was still a little annoying for me. http://www.dvxuser.com/V6/showthread.php?286855-Sharpness-test-between-Nikon-D800-Panasonic-GH2-and-Canon-7D
 
Then came the D5200!!! What is that thing a $ 800 Nikon camera that had no moire/aliasing with fantastic lowlight and about 12 stop of DR and you could even record in high bitrate 422 with an external recorder. Further test showed that it had one downfall and it was the FPN. There was a solution with neat-image but it was a bit cumbersome if you pushed into the shadows for some shots. In the end I bought its sensor brother in the D7100 as a second body to my D800. It took me some time because the logical choice was the D600 but I wanted so much the better video image. There was report that the D7100 image in video was sharper than the d5200 and I did test against the gh2 as you can see it was blind test and most did not commit and some got in wrong, so close they where that I sold my gh2. I can also confirm the the hdmi output give an even more detailed and sharper image. http://www.dvxuser.com/V6/showthread.php?310503-Nikon-D7100-vs-Panasonic-gh2-sharpness
 
During those time I had to chose at first between the D7100 and the BMC camera (I already had my D300 as backup for my D800) and then when between the Ninja and the BMCC. For some it is like heresy but everybody would have drooled on an APSC size sensor camera with gh2 resolution, about 12 stop of DR, low light of the 5dmark3 and 220 mbits prores image with a Ninja 1.5 years ago. the only prayer for me would be 10 bit output for now until raw can become mainstream. I also have to think in terms of production environment if I want to do film that I have to have reliable cameras (at least 2) and reduce the maximum number of point of failure with native set of lens, no adapter that can fail etc. etc. To have cameras where I don't even know how much space is left on the disk etc. or moire/aliasing and in the end things like lighting will make so much more difference than any raw.
 
To come back to the D5300, why I am interested to get the d5300 is because the FPN is annoying, I can live with it but an FPN free image would be much more than a simple upgrade. I like to get in those deep deep shadows that the Nikons have to get the most out of the DR of the camera. The second thing is the 60p, for filming my fashion shoot it will be huge. even if for now until we get external recorders that do 60fps 1080p out of the hdmi. But I think next year we will see in next atomos ninja with the number of 60p camera with uncompressed hdmi coming out. So in the end we might be getting very close to Canon Cinema EOS line of image quality for $ 800 and even getting 60p.
 
The last thing I will talk about the industry in general. What many video/slr website don't take into account is the vast vast vast Nikon world. Contrary to what many on here were talking about the demise of Nikon, they have survived 6 long years to Canon dominance between 2000 to 2007 until the Nikon D300 and D3. One of the big reason is the lens and ecosystem. I can mount 50 year old lens on my camera if I want or if I buy a lens tomorrow I know that I will be able to but it on a camera for decades. This market won't just disappear even if tomorrow cell phone kills the low end. The enthusiast semi pro and pro are not going to cell phone any-time soon and both Canon and Nikon will still be billion dollar company in 5 years. They might adapt but they won't just disappear overnight.
 
So what about this huge Nikon slr market, if only 1 out of 5 Nikon users cares about video it might be more than lumix users. That is why you will more and more Nikon users because they will start to push the video button and the image will be so good that they won't be interested to buy other equipment, but will search for Nikon related test and info on the video capability of their camera. The one who understand that will get part of this cake.

Wrong I'm afraid. 5D Mark III, D5200, D5300 are moire / aliasing free in all real world situations, unless you're talking about charts and then every camera has it even the Epic.
 
It's easy to avoid. GH2 does it for very little money on a sensor only slightly smaller than Canon APS-C (1.86x crop vs 1.6x crop).
 
A pixel mix on the sensor is all that's needed.

DOP Klaus Merkel  and directed by Nikolai Müllerschön 
For the first time the cameraman worked during this collaboration with Panasonic cameras with up to ten parallel GH3s and thus can shoot each scene simultaneously from a variety of different settings. In this case, the camera man convinced the compactness of the GH3 over classic cinema cameras: "With her settings were realized, which are difficult to implement with traditional film cameras. Scenes inside a car or fancy angles can be on set with the GH3 so easily realized. "Merkel said the editing reserves that the footage (All-Intra 72 Mbps, in mov format) also offered in post-production.
 
"Behind the scenes" is viewable on Youtube
also downloadable -173 MBd
 
 
http://hybridcamerarevolution.blogspot.com.au/2013/11/upcoming-german-film-frauen-women.html

Whether the image is usable or not is one thing but I can say that Neat Video easily removes the noise. The image does not appear to lose any significant amount of details.
 
@Danyyyel, have you ever considered opening a thread for Nikon shooters which could provide a platform to share all the tricks and suggestions. I would really benefit from such a thread. 

It is good that eoshd did a good review of the RX10 and saw its limits. A camera that he himself has been hipping a lot. For me I have stop believing  in any of the Sony dslr camera. Every new model is crippled in one way or the other to protect their high-end camera line. It is so obvious that I can't even understand people who get excited by any Sony dslr camera for video use. One example is the claim that it has full sensor readout. I am 200% sure that is just marketing bull-shit because of the moire/aliasing in the shots.
 
On the other side you have Nikon who release the D5300 camera which gets rid of the only major problem of its predecessor (fix pattern noise) and adds 60fps 1080p and gets a paragraph with a test done in the shop. It might look like minor upgrade but from an already very very strong Nikon D5200 image quality. This camera with its lack of FPN and new expeed 4 could even be better than the 5dmark3 in many area. Some I am sure like Dynamic range and sharpness and others like lowlight will need some test. Hopefully someone else (Cinema 5D Johnnie Behiri said that it was on his list).
 
My guess is that the D5300 will have an image very close in term of sharpness, DR etc  to the Canon C100/C300 below ISO 3200. And it will at least have 60 fps for $ 800. Unfortunately for most people and bloggers, what they will remember with their lack of research is that the Nikon DF has no video, and as such Nikon does not care about video and should be crucified for this. Yet Sony just released 3 cameras that all have their dose of moire/aliasing, codec, etc. etc. issues and they get all the headlines.

Thank guys for keeping this thread going.  The D5300 hadn't been on my radar until now.  Thanks for the mentions, too.
 
If FPN is truly gone, this camera looks like a great upgrade from the D5200.  I might sell my current D5200's (now quite devalued) and get a D5300 instead.
 
I like that it's smaller than the D5200 with 2 stops of extra ISO gain.  I also like the 1080p60 option.  Plus Nikon has a great Standard profile that works for almost all my shooting with minimal need for color correction in post.  And I do miss the articulated viewfinder when shooting with the 5dMKIII.
 
That said, the AF looks useless in live video recording, and the bitrate is barely adequate for slow motion; you'll likely still see motion artifacts at 1080p60 even at 35mbps.  Just bear in mind that the GH3 will deliver much cleaner 60fps footage in that regard.
 
Of course, the clean HDMI output may change all this.  I'd be curious to see how much finer the noise structure is when recorded uncompressed to an external source.  That could also be a means of bypassing the 20 minute record time limit, making this an excellent camera for extended interviews.
 
It's a crowded marketplace right now with no "perfect" camera.  In my mind, the best thing out there for me would be a C500 (sorta small + compressed raw + slowmo + Canon color science)...but that's the price of a Prius.  So nope.
 
I'm still hooked on shooting 5d3 for my fun projects because I can basically do anything to the image in post.  But the D5300 looks to be a solid workhorse and quite gradeable in post.  I'd be curious to see how it stacks up next to a C100 in terms of sharpness, latitude, and low light.

The 5300 has six picture control options. if you choose "Portrait" the sharpening,contrast,brightness,
saturation and hue can be all adjusted and named and saved as a color profile.
 
Here is a guy that has downloadable picture controls
 
www.similaar.com/foto/flaat-picture-controls/index.html

Had a closer look at the benefits and implications of going the Canon/Magic Lantern path
and came to the conclusion "not for me at this stage".
Just purchased a 5300 .So far very pleased with it ,no sign of the fixed pattern noise,video quality 
has exceeded my expectations,great in low light ,50P is quite smooth .Interesting that Gordon Laing
measured the 1080p60 High quality footage at an average bit rate of 35 Mbps wheras the 5200 was
24mbps at high.
Flip out screen is nice and crisp and can still be read when you eyes are at a sharp angle to the screen,
I had trouble focusing with the screen on my old Canon HV30.
The user manual is 84 pages and whilst is adequate for stills photography there is only two pages
on recording movies !! Nikon should get their act together they are leaving purchasers in the dark
about the settings available for high quality video.
Only power supply is the battery and charger ,an external power supply is available from Nikon or
just get more batteries ,apparently there is a firmware update so that 5200s can take 5300 batteries.
 
More to come in a few days,having fun !!

New Nikon D5300 has started shipping
 
This is the first Nikon to have the new Expeed 4 image/video processor and the first
Nikon to be able to shoot video at 60 P.Nikon Canada are claiming that the video auto
focus is smoother than that on the 5200.
 
Any one else interested in this camera  for video ?? I have several Nikon full frame lens
from film days.

New Nikon D5300 has started shipping
 
This is the first Nikon to have the new Expeed 4 image/video processor and the first
Nikon to be able to shoot video at 60 P.Nikon Canada are claiming that the video auto
focus is smoother than that on the 5200.
 
Any one else interested in this camera  for video ?? I have several Nikon full frame lens
from film days.

I think that's just heat haze coming off the roads that's distorting the background. Mixed with YouTube compression it looks a bit mushy.
 
The RX10 and D5300 are really very different cameras - almost complimentary. The RX10 is an always-with-you, ready to go, tiny ENG video camera with a nice image that with judicious editing can be cut with more filmic DSLR stuff. The D5300, like all DSLR's, is closer to the film aesthetic. Even if the RX10 has decent low light performance, with a fixed f2.8 lens and smaller sensor there is no way it is going to match the 5300 in that area.
 
I agree that Andrew may have dismissed the D5300 a little early. If it really does improve on the low-light ability of the D5200 AND has 60p, well that is something unique in the (rather wide) price bracket. The closest I can think of off-hand is the C300 (though I'm not very up on my Sony ILC's)! I understand his frustration with the Nikon mount but all my glass, bar a 14mm Panny, is Nikon AIS so it's not an issue for me. I've made a personal decision not to get into the raw/prores race yet (at least until the cameras are a bit more user friendly and storage drops in price) but yes I understand why Andrew isn't so exited about the D5300 right now. Things move fast in this world. 11 months ago I was ready to drop £3000 on a 5D3, then the D5200 came out and for what is now around 1/6th the price of the 5D you get a comparable h264 image. Then ML RAW came along and the 5D3 is back on the table, fighting it out with the Pocket for the "best camera to waste your precious creative time getting frustrated with technology and obsessing over image quality with" award. 
 
I'm sure you know this, but the 5300 is very small (smallest Nikon DSLR) so that is a plus for your needs I think? It sounds to me like you're favouring the 5300 and that makes sense if you have some decent Nikon glass already. Bear in mind though that Panasonic cams can take nikon lenses with an adapter, and are small and definitively the best all-rounders (which also seems to be what you are after). The convenience of an EVF is a huge thing as well, particularly if you're concerned about size and don't want to use a loupe. If you really need 60p, I would look at the G6 - it's superb and perfectly good in low light (even better with a speed booster). If you need superb low-light, the 5200 is still amazing even with the FPN. If you NEED both 60p and low light then the 5300 is your only camera I think. Personally I would never buy the RX10 as my only/main camera - I'd feel very restricted for the kind of work I do (more arty than pure run&gun).
 
If the banding on the D5300 really is improved, and it's not a completely new sensor with some other weird quirks, I'll buy it. With 60p also, it will hopefully keep me happy me until high-bitrate cameras are a bit more evolved and 1TB SSD's don't require a second mortgage.  :)

You'd include the GH3 in the "innovative" column? From what I've read, it's already being eclipsed as old news. And, it seems the RX10 would be THE "easiest choice" of the whole lot. Just haven't seen anything from it that even came close to an organic cinematic look... yet.

Andrew, I get where your general interests are and appear to be headed. Don't blame you... the are some incredibly interesting things being done with anamorphic, raw, prores, magic lantern, etc. if you've got the patience and budget to keep buying expensive add-ons, rigs, storage, faster computers, etc. But can you or anyone else here recommend a site/forum that takes an intelligent look at the "easier" choices?

I get the attraction to cutting edge innovation, but some of us simply want to get out there and rely on creativity rather than get lost in tiring/expensive workflows that could ultimately be obsolete in a year. When I saw what Brandon Li was doing with his little RX100 & d5200, it was clear that one need not get lost on the bleeding edge of "innovation" in order to make fine creative work.