Call it what you like but the secret to getting excellent video from the Vg20/30 is 1) knowing what you're doing and 2) selling the stock 18-200 lens. I have been shooting stills, corporate videos and TV commercials professionally for thirty years and using a PAL NEX VG20 for eighteen months. My camera is equipped with a genuine Metabones CY-NEX Speedbooster which I use with a large collection of vintage Carl Zeiss 'Contax' prime lenses. The broascast television requirement here in PAL land is 50i so my native AVCHD files have been subjected to and passed, stingent quality control checks by broadcast engineers with state of the art test equipment, not as a result of some dubious and highly compressed internet streaming from pre-release demo models. The Vg20/30 series have always offered a clean, uncompressed 8 bit 4:2:2 HDMI output which I have test recorded to 50i ProRes/DNxHD on the BMD 'Shuttle' for even better picture quality.
Sure, the VG20/30s have 'Handycam' writ in large letters down the side so I certainly would not call that a 'pro body' however, if my modest outlay continues to satisfy broadcast television luminance and chrominance standards and earn a tidy income, then I'm not complaining!
PS: my future upgrade path will be to a 4K camera, either BMDs Production Camera with the Super 35 sensor and global shutter or the Panasonic GH4, both of which will accept my valuable collection of Zeiss primes via suitable adapters but in my opinion, neither camera is the correct 'form factor' for broadcast television acquisition. Perhaps Panasonic's new 4K Varicam 35?