Thpriest

I have one of these and I only use it as a secondary mic for weddings. I mic the groom and use a Sennheiser wireless transmitter to the XLR input on my A cam, then I wire a second mic using this Tascam. If the wireless signal drops for some reason I still have a safety track, and the Tascam is set to record a primary track and safety track at -6dB below the first track.
I then add a 3rd recorder to the DJ's or venue mic via an elastic band. Long story short, as @IronFilm stated, there's no way I would trust this or any other setup where I had no way to monitor the audio. However, if you are filming something like a wedding where you only get one chance, then the Tascam is a good backup plan if and only if you also have a primary that you can monitor.
I have heard good things about the Rode Wireless Go II, a friend of mine uses them for all of her weddings, but I don't have any first hand experience with them.
I personally went with the Sennheiser Pro body packs and they have been rock solid. All I do is add the batteries and turn them on, haven't changed a thing since I first bought them. In fact, its been so long since I've been in the menu system I probably at this point shouldn't change anything.  They just work....every single time with no interference or drops.

I had the Tascam and whilst it worked it was good. But… it stopped recording sound one day and since then I’ve never trusted it. I found other people online who have had the same problem. For critical sound you should get something you can monitor.

I had the Tascam and whilst it worked it was good. But… it stopped recording sound one day and since then I’ve never trusted it. I found other people online who have had the same problem. For critical sound you should get something you can monitor.

You seem to be forgetting a major chunk of hybrid shooters: still photography. That is what those AF lenses are first and foremost intended for. They usually only double as video lenses. Nobody is "naive" when buying AF lenses or wanting solid AF performance. Everything isn't a conspiracy to take advantage of you lol.
The constant referencing to cinema production is the only "naive" argument here. Cinema production work in hyper controlled environments with staging and actors that move only if/when director decides. They have huge crews including assistants and focus pullers. Whereas 98% mirrorless hybrid shooters are solo working in uncontrolled environments, shooting real scenes: people, animals, vehicles, kids, live events, low light etc. All scenarios that strongly benefit from AF. 
If you're truly into cinematic images, workflow and anti-AF, anti-IBIS etc then simply don't buy a hybrid camera. Get a cine camera. If you're on a budget get a Blackmagic, some vintage manual lenses. You'll be set. But no need to discredit the majority of users out there that value things like AF. 

Quite surprised how on the ball Nikon is at the moment. I think it was a make or break year for the company and they are having to push to survive.
The grip looks great. Just what was needed.

yup basically this. also future proofing. for me 6K is enough and a good middle ground of resolution / file size ratio.
that being said, 8k is the last priority in new camera specs I'm interested in. oversampled 4K is also good enough.

It depends...
8k (or above) for 8k sake? Nope.
Delivering anything at 8k isn't even on my radar right now, but I guess one day it probably would be a la gramaphone-vinyl-CD-MP3 etc...
Down-sampled is where it's most interesting to me, - 6 or 4k. Resolution/detail.
I'd still pick a less noisy/cleaner, higher DR 4 or 6k any day though for/in pure video terms
Of most interest to me personally though is the hybrid potential, ie, the ability to pull stills.
I've pulled them from 4k and it was a bit hit and miss, - sometimes great other times not.
6k was better so I can only imagine what 8k is like...and that for me is why the Z9 right now is without having to consider the entire sytem, but as a single camera body, is by far and away the most interesting camera to me right now.
I don't want to rig something out. I just want it in my hands with a lens. I use a lot of slo mo. 8k 50p internal will provide that and the stills capability (as long as the shutter speed isn't too slow and shooting for slo mo footage, you can easily crank up that shutter. And I do. All the time.)
But as above, not at the expense of noise or DR and if there is anywhere where the Z9 for instance could be criticised, it might be in the DR, so if someone came along with say a 6k sensor that bridged the gap between 4k and 8k, I might be interested... You listening Pannyboy? 😘

Nikon have launched the MC-N10, a $429 remote grip for the Z9 which really does bring a lot to the party for video shooters.
it let’s you control all aspects of the camera like ISO/Shutter/Aperture etc but also has some neat tricks for focus and zoom.
They are not making getting the Z9 any less appealing are they ?

Available shortly…
S1H being collected tomorrow for a sensor clean before sale.
S1R going off to hopefully have a ding sorted that has made the battery door a bit stiff, plus needs a new eye cup after a dog bit it. Yep, weddings can be dangerous places!
S5 also departing to have the LCD hinged repaired. That one was totally me.
Sigma 28-70 and Panny 25-105 I am currently holding onto just in case L Mount announces anything as those 2 are good workhorses for me.
Meike 50mm T2.1 in EF Mount with the Fotodiox VND adapter.
All the rest is being collected by MPB tomorrow!

Best value is probably the S5. You might even find one of Panasonic’s when it comes with a couple of lenses and cash back. Weak points are video AF and EVF

Best value is probably the S5. You might even find one of Panasonic’s when it comes with a couple of lenses and cash back. Weak points are video AF and EVF

For the past year or so I have been shooting almost everything in ProRes Raw on my S1, (the normal mode, not the HQ) I think it is somewhere around 2 Gbps, which is pretty insane, but shooting with one of the 2TB Angelbird SSD's to my Ninja V still gives me more than enough room, even over multi-day shoots.
I used to shoot with Red cameras quite a bit, and I did get used to the easy flexibility of the R3D files, so the ProRes Raw was such a huge upgrade for me on the S1. I love being able to dial in ISO and WB in post, and the image just has a thickness and creaminess to it that I just don't see with the internal codecs. Granted it's also generally quite a bit noisier, and completely unsharpened, so it all requires more work in post. 
The only time I don't use ProRes Raw is for interviews — the internal 5.9k hevc does the trick, and is nice and small — or for certain anamorphic shooting where I prefer the 6k, 3:2 open gate recording, for better use with my scopes, a mode that sadly doesn't have external Raw support. I've also been using it a lot lately for social media work, when clients know they want both vertical and 16:9 versions of edits, the extra headroom of the open gate makes the reframing so much easier. 
I back everything up to my Unraid server — it's sitting at 60 TB right now, with six 12-TB HDD's, and 4TB of SSD cache for really fast writing to the server, this is probably the most economic way of storing data. If you're okay with a little tinkering, I highly recommend it. Easy to just buy used PC parts, and Unraid has a ton of community support. I run a 10gbit thunderbolt 3 connection to either my 16" mbp or my M1 mini, and I just edit straight off the server without a problem. 
With Unraid, unlike other storage solutions, it's very easy to just keep adding new drives to the array as necessary, so I'm really not too worried about space. In the long run, I may end I'm just batch-exporting archived project B-roll to hevc or something similar, but I'm not really too concerned about it right now, as I still have oodles of space. 
 

Yes, same here, I wish the camera companies would be brave enough to do some intermediate resolutions/frame rates between HD and UHD.
A 2.5-2.8K option would be a really great choice for finishing to HD while having some room for cropping and having a bit of oversampling for that nice sharp-but-not-sharpened look.
It could also help fill gaps in the spec sheet for marketing, for instance the A7IV (and my S1) can't do 4K60 at less than an s35/APS-C crop, but if it could do 2.5-2.8K at ~1.3x, or even full-frame, that would be a lot more attractive, while still keeping some distance to the A7sIII, A1 etc.

It's illegal to talk about Panasonic and mention anything other than their poor AF.
This is your first and only official warning.  

Hilarious video and so true, the S1H beats the R5c before it even comes out in nearly every possible way except for in 2 very important ways:
- The R5C will sell hundreds times more because it will have useable AF, this is the sole reason I never considered the S1H as a viable GH5 replacement; spending that much $$ to still have the same AF problems as the GH5 didn't make sense to me which is how I ended up with the S5 (less $$ with many of the S1H's benefits)
- L-Mount "alliance" - Lets face it, the "alliance" kind of sucks due to inconsistent user experiences and incompatibilities but the biggest problem for Canon users is buying new L-mount lenses for what may be a dying Panasonic model line. Sure there's adapters but you lose what little AF you've got when you go that route
Canon probably can't decide on CLOG2 because the DR of the R5's sensor will fall apart with CLOG2. Multiple tests have shown that the R5's DR isn't that great, CLOG2 would simply amplify that problem. 
I will admit that as much as I dislike what Canon did with the R5 and R6, the R5c does check a lot of boxes for me.  Only time will tell where the cripple hammer chose to strike for this new camera body. There is no way Canon is going to let just a few ND filters and XLR inputs stand between its R5c and C70 because so far on paper the R5c beats the C70 in nearly every way.

You forgot the S5 which is a better all rounder and cheaper than most of the above.

Artlist didn’t work for me…
MUCH better lyrical stuff on Musicbed, but more expensive.
Better non-lyrical on Epidemic Sound which is quite reasonably priced.
Where I have always struggled is more upbeat faster paced ‘dancy’ stuff to end my wedding videos…
Generally I’ll start with some ‘beautiful’ strings/piano for prep & ceremony, something a little livelier for the drinks reception into something sung and more contemporary and then…then that is where I struggle to find anything and have always struggled to find anything 🤪

You forgot the S5 which is a better all rounder and cheaper than most of the above.

You forgot the S5 which is a better all rounder and cheaper than most of the above.

This one offer license option for mainstream music https://lickd.co/

I recently saw a video with a sponsorship that lets you license normal music - not sure if it's the same one but it seems like that's a thing now.

If the video will be used only on YouTube you can use most of music, but you will not be able to turn on monetization and YouTube will turn on monetization and give the revenue to the music copyright older. So, you can use a Lady Gaga song with no problem, but you get advertisement on the video and you get zero revenue.

Also, when working professionally....it's not just about which camera has the best specs. It's about which camera is most accepted in a given workflow. 
For the broadcast documentary work I do, Sony is king here. Producers/Editors prefer working with two Sony Cameras than one Sony and one Blackmagic for example. Same workflow, same codecs etc. FX6 and FX9 are hugely popular so a Sony B Cam makes sense. 
For the higher end commercial work I do, It's pretty much all Arri. Surprisingly, when needing a B or C Camera for Car rigging or just general crash cam use, Blackmagic Pocket 6K Pro is is accepted my many. An FX3 or FX6 or even the FX30 just wouldn't fly with production houses shooting Arri but Blackmagic does. Not just because of the brand of camera, it's about the colour science, the codec (ProRes and BRAW more accepted in commercial world, XAVC more accepted in Broadcast world) etc. Sure, you can match the Pocket6K colour wise to the FX6 but if the production house doesn't have to in the first place because the two cameras are matched out of the sensor then they are going to prefer that workflow.  Broadcast content won't go through as extensive color grading as higher end commercial work so giving them two matched cameras saves them time in post.
So while many YouTubers lament over tech specs and pixel peeping, to most professionals what's technically the better camera is not what's most important. It's what camera will get you the most work and to get more work (apart from natural talent obviously) it helps if you have equipment that fit's the production houses workflows. My personal camera for holidays/kids shot is a Fuji X-T4 and I have been with Fuji since the X-T1 as I love them but they never make it out as a Cam because production don't know Fuji despite it being the better choice for some uses.

The S5 and S1 are fantastic for everything other than AF compared to Canon and Sony. So it depends on your priorities.

The S5 and S1 are fantastic for everything other than AF compared to Canon and Sony. So it depends on your priorities.