ac6000cw

Well, yes (with some more messing about with an attenuator cable), but you have to remember to turn it on and put it into record (or record pause) etc. - and the small handheld recorders I've used (not tried an H1 though) are generally bad for handling noise, so you also ideally need a shock mount for it.
The beauty of plugin-powered mics like the TM-2X is that you just turn the camera on and it's working - perfect for 'run and gun' style use, and it's got a shock mount built-in.
(P.S. I think the TM-2X sounds better in 'high sensitivity' mode - there is a low/high switch on it - so I use that mode and turn the recording level well down in the camera, but your mileage may vary, especially if you are in a very loud environment).

Well, yes (with some more messing about with an attenuator cable), but you have to remember to turn it on and put it into record (or record pause) etc. - and the small handheld recorders I've used (not tried an H1 though) are generally bad for handling noise, so you also ideally need a shock mount for it.
The beauty of plugin-powered mics like the TM-2X is that you just turn the camera on and it's working - perfect for 'run and gun' style use, and it's got a shock mount built-in.
(P.S. I think the TM-2X sounds better in 'high sensitivity' mode - there is a low/high switch on it - so I use that mode and turn the recording level well down in the camera, but your mileage may vary, especially if you are in a very loud environment).

I sometimes do the 'low budget' equivalent of that outdoors, by having the TM-2X mic on the camera and a Tascam DR-05 recorder alongside it (which has two omni-directional mic capsules to effectively record somewhat diffuse stereo). Then I mix and match between the two recordings at the editing stage.
Also, if you want some behind-the-mic sound 'surround sound', remember that a simple 90 degree crossed-pair cardioid capsule mic arrangement (like a lot of stereo mics are, including the TM-2X) provides some of that as anti-phase signal (subtract the Left/Right channels to extract it in post).

I sometimes do the 'low budget' equivalent of that outdoors, by having the TM-2X mic on the camera and a Tascam DR-05 recorder alongside it (which has two omni-directional mic capsules to effectively record somewhat diffuse stereo). Then I mix and match between the two recordings at the editing stage.
Also, if you want some behind-the-mic sound 'surround sound', remember that a simple 90 degree crossed-pair cardioid capsule mic arrangement (like a lot of stereo mics are, including the TM-2X) provides some of that as anti-phase signal (subtract the Left/Right channels to extract it in post).

I've used a Tascam TM-2X on several Pana G-series cameras and been very happy with it. Note it needs 'plug-in power' on the mic socket to work.
https://tascam.com/us/product/tm-2x/top
(the plastic extension arm is optional - I've never used it, the basic mic is relatively small)

So, let me get this straight...
A forum member (who contributes a lot to this place by the way) makes a cautionary post about having two separate failures of a camera model that many people on here may be looking to buy and the response is to criticise his work ?
Are you trying to suggest he broke these cameras by virtue of taking photographs that you don't particularly like ?
Have I got that right?
That both of these cameras self destructed on the grounds of taste?
Because if you are not suggesting that then you need to accept that your contribution to this particular thread is as irrelevant as it is mean spirited.
 

Jesus, what a petty and defensive responsive to someone being understandably wary of a brand after getting two duds in a row.

Not fair man..

Looking back I owe everyone a big thank-you for using the forum and taking an interest in the blog, it is amazing what it has turned into with so little effort on my part  I think this place must be the only website on the entire internet without adverts. Long may it continue like that.
Got a GX9 arriving tomorrow... about time I did a review of something cheap with the big shift to high-end stuff. Let me know what you'd like to see in the review of it.

Do you mean 'M' on the mode dial, or with the mode dial set to 'Creative movie mode' (the 'movie camera' icon) and then setting that into 'M' mode (via the touchscreen).
To get full exposure control for video you need to select 'Creative movie mode' on the mode dial. Then use the icon at the top-left corner of the LCD screen to select P/A/S/M for 'Creative movie mode' (only).
Pressing the movie record button when the mode dial is in P/A/S/M positions (which control the exposure mode for still photos) will always use auto exposure for video. 

Like this one ? 

This is the official lens compatibility list for the GH5, showing what features are supported on which lenses - http://av.jpn.support.panasonic.com/support/global/cs/dsc/connect/gh5.html

And after doing a little shooting with them, mostly 100-400mm and 12-35:
G85: I can’t hear any camera noise on the audio tracks from any of the cameras. It would take a very quiet environment I think.
The IBIS on the G85 seems quite superior to the GX85 but... sticky pans. I would prefer to buy the G85 though.
A point was made about rotation around the vertical axis. I'm not sure if I agree now. The angle the camera moves through using this zoom lens is really insignificant. Plus, there is no way you would hold this combo out from your body doing a pan. 
 

First impressions of playing with G85 along with the GH4 and GX85 today:
Noise. The GH4 is silent. The G85 is quieter than GX85. Maybe just because the body on the G85 offers more insulation, but the GX85 ibis "noise" was quite a bit louder. Now, I didn't notice this noise at all in real world filming earlier with the GX85 so the chance of noticing the sound from the G85 seems highly unlikely. In fact, I wonder how you would record the noise unless you tape a mic onto the camera body and block outside noise getting to it by covering it with tape. The noise is not the lens. It is coming from in the body. 
2nd, the stabilisation, well I'll put some of my recorded files together and see. My first impression, before examining the files, is that the G85 IBIS is definitely superior for holding the shot steady. For very slow pans it also produces incredibly stable shots. I think it did start bouncing around a bit more under more vigourous panning but I think this is a result of the better IBIS at each end of the movement. So maybe in video mode they might tweak the settings in the future but it's not a video deal breaker even like it is. 
Focus speed - instant. Shutter noise - silent? Definately wow factor there. Handling - very nice. Better placement of play button. Better grip, especially thumb location. 

The UK prices include 20% VAT (sales tax), but normally US prices don't include any local sales tax.

Chris says in this video the 80D is better.
I had to squint very hard to see it.
It's a bit like squinting at the bottom of a football league table.
I'd rather look at the top.
Canon are ripping you off guys... Panasonic G7 walks all over it for video and it's less than half the price.

If you are considering the GH4, the GX8 (with a newer, higher-res sensor and 'hybrid' stabilisation capability, but no headphone socket) ought to be on your shortlist as well. Or even the G7, which has nearly all of the GH4 capability (no headphone socket is the main downside) in a smaller package and is so much cheaper that you could buy another secondhand lens or two with the difference...e.g. the 'pancake' 20mm/F1.7 for low-light work and the 45-150mm zoom are both usually around £120-£150 used.

Everything I said is true and is backed up with hard evidence.  There's no magic here - just good optics.  Perhaps you might actually read the white paper I gave you a link to?
Eventually, conservative established lens makers in Japan and Germany will wake up and realize the true benefit of the Speed Booster approach for designing high-speed short BFL optics.  With any luck I'll be retiring on royalties when they do
There are numerous examples of Speed Booster/lens combinations that beat native lenses.  For instance, a Voigtlander 90mm/3.5 plus S.B. gives a 60mm f/2.5 that is better than the latest Olympus 60mm f/2.8 macro lens:  http://***URL removed***/forums/post/51895542 .  A Sigma 35/1.4 plus S.B. gives a 25/1.0 that is much better than a Voigtlander 25/0.95:  http://***URL removed***/forums/post/55298481 .  And these examples use the old version of the Speed Booster.  The new ones referred to in my white paper are even better.  Finally, I defy you to find any f/1.0 lens with better image quality than a Zeiss Otus combined with a Speed Booster Ultra.

Probably Canon ignores that internet exists and some people use it, finding informations about prices, specs etc...

A friend of a friend that has a friend that work for them sent me this super secret picture of a new model that will be on the market in June: they developed a new camera that uses REAL reel, in order to achieve a real "raw" feel. 
The first model will have fixed lens (20x OPTICAL!!! wow!!!), EVF, some buttons and... no, it will be not cheap, but enthusiast have to spend if they are serious about video making!
(I hope it will be possible install ML on it!)

 

​Don't get me wrong but you are free to "see" what you like, but you should accept that the truth might be far off.  
I don't own any Samsung products and I don't want to start a brand war, but just because Samsung is not followed by a cult does not mean it is not innovating.
It is not by chance that Samsung is the leader manufacturer of phones, tables, TVs, SSDs ...  And these are end products. Samsung is second to Intel on semiconductor sales. 
As far as cameras, look what they have achieved with the NX1. That is the first iteration of these series and yet it surpasses many... 
The real bottleneck of digital cameras and where innovation is needed, is where Samsung shines: electronic circuits. 

Competition, not monopoly, is the source of inovation and progress, so I think it`s not a good thing for us that any company "owns" the world. Companies that have monopoly, eventually become lazy inovators and are just interested in taking too much of our money. Just look at Canon.

.....and Samsung are one of the largest designers and manufacturers of semiconductors in the world (2nd behind Intel) - you are seeing the effect of that in the image sensor and image processing performance of the NX1.
In the 35 years I've worked as an electronics engineer, I've seen Samsung grow from nowhere to being within reach of overtaking Intel in terms of semiconductor sales, so I've no doubt they could cause serious problems for Canon and Nikon (at the very least). And in case you think that is unlikely, once upon a time Canon and Nikon were the 'new kids on the block' with a better product and hungry for market share....

​....and you could buy two of those in almost new condition for £500, or one and a good used lens - the G6 is an underrated camera, it's got some features (like focus peaking) that the GH3 doesn't even have. Unfortunately the GH4 is well beyond the budget of the OP.
In low light with the G6, I use a second-hand Tamron 17-50mm F2.8 (non-VR, Nikon fit) on a cheap Camdiox focal reducer to get the equivalent of a 12-35mm F2.0 zoom - total cost about £220, and it's easy to manually focus with the aid of focus peaking.