skiphunt

I haven't looked into the pcm-m10 that closely, but the SX1000 is considerably smaller (my main criteria) and I read on at least one forum that audio quality is near-identical. As I have the R26 for critical stuff, I just wanted something small for a wired lav and to always have in my bag - it seemed good enough.
 
​Will let you know how I get on with it ...

The preamps are probably so rubbish they didn't think it was worth it! Though the G6 hasn't got a headphone jack and its audio is quite useable. I use a Roland R26 for clean audio, but it's huge so for everyday use I've ordered a Sony ICDSX1000 which is tiny (smaller than Zoom H1). It's an update of the recorder Brandon Li uses for his wired lav setup. No XLR but supposedly decent preamps and onboard mics. Hopefully it'll complement the 5300 ok ...
 
The funny thing about this thread is it's making me feel like you, me and possibly 1-2 others are the only people in the whole world interested in the D5300 for video  :lol:

Cameralabs have posted their review, including decent video section (most informative I've seen so far):
 
http://www.cameralabs.com/reviews/Nikon_D5300/
 
I just chatted to Gordon Laing on Vimeo and he says he's going to add some high-ISO (above 1600) video tests to the review soon.

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.  :)

Just found this on youtube. Most useful footage I've seen so far (that's really not saying much though), but doesn't answer any low-light questions. 
 
http://youtu.be/C93diqMMmDw

I guys i been going through my huge collection of videos that i keep for inspiration came across this video shoot on 60d and 35mm and 100mm lens that always inspire me to be better. I know raw is cool right now but i believe no about of raw and cc can replace bad story line or video that was shoot bad you know cam movement and framing. I have my black magic 2.5k still in he box not open, wont open it until i do few more project with 60d,
 

 
 

It makes 100% sense if that is all they could afford.

This video really shows what you can do if you apply yourself with the tools in hand.
I recently shot a music video for a friend in RAW with my 60D & well, "Pain In The Arse" doesn't even come close to describing my feelings.
Shooting a few RAW snaps of your cats, random [street] stuff, flowers or your kid etc... & then posting just doesn't get close to how much extra unnecessary hassle it really is for a proper project.
As far as i'm concerned, if its for web delivery then i'm still going to grab my 60D first without any hesitation, as i know that i can get exactly what i want in-camera & then all i have to do is tweek it a tiny bit in post.
 
IMHO if you are of the mentality that says "we'll just fix it in post", then you really should be spending that wasted time learning how not to get yourself into that position in the first place.
 
Am going to film a short doc with the Pocket (ProRes - as RAW can go F**K ITSELF!), but i just know that it won't be as straight forward a process as using my 60D.

for as long as I have been on these film/video forums.... The holy grail has been the "film look".
 
first it was "we must have 24p", then "we must use 1/48th", then "we need large sensors", then "we need to add film looks to the grade", then "we need more dynamic range", then "we need raw". I'm sure next it will be something like "we need global shutter".
 
All the above helps... but the fundamentals of the "film look" remain the same... The craft. Composition, lighting, camera movement and sound. Get those things right and you could use any camera from the last few years and it will look like a good production (of course, the acting and script need to back that up).
 
Vincent Larofet (?) was mocked for saying the MoVI was the next big thing, but i'm 100% with him. It is a tool for the craft, not the pixel peepers.

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.

Really? The G6 certainly seems better in the shadows, has more features and doesn't require a hack (smaller file sizes, reliable, no rude russian). Is the hacked GH2 better with fine detail or something?

I'm going to keep an open mind about the D5300 for now. I think there's a chance its low light performance could turn out to be a bit special. The banding is a genuine problem with the 5200. The high-ISO 60p combo is also very appealing.