Arikhan

@Kisaha
For sure, but with if you mount it on a appropriate rig and use it with a IS-E-mount lens, it's definetly usable on your shoulder. It will not be stabilized like a modern shoulder camcorder, but it works. I tested also the La-EA2 adapter with a A-Mount lens, the AF worked impecably without hunting (because of the used phase detection) and I was though wondering about the good AF of a that "ancient" camera. AF and spot focus ("tap to focus") worked too (with E-lens --> only contrast AF), though they were tested by daylight in contrasty scenes...So, not bad for requirement Nr. 1 - quick jobs, many times as one man band...
Yeah, the LS300 is at the end of the day much cheaper than a FS700-package (FS700 + 7Q+), BUT it has no RAW option...And I'd like to get in using RAW...
@IronFilm
Sorry, no, IronFilm...It was HIS footage, not mine. This cameraman is just an long time and very experienced Cinealta user and an excellent grader, not only with Sony footage. I was simply impressed by the RAW quality and his "quick grade". I just was very happy to see the work of an experienced pro...Not that I would believe, I could do the same after 2 days of use, but he will help me to get in (S-LOG x shooting, grading, etc.), if I buy the FS700 + 7Q+...I'm aware of the fact, that the RAW S-Log shooting and post are much work for me to learn and get used to...

@Mattias Burling
Personally, I don't care about wins & losses of any manufacturer. Adapt and make profits or burn money and retire immediately or in some years. At the end of the day, we don't know Sony's strategy (burning money first for getting considerable market shares at long term?)...
Much more interesting for ambitionned stills shooters and pros are some other questions needing clarification:
How well will the A9 nail focus compared with its direct competitors 1DX m2 and D5? 20fps means nothing if it doesn't nail focus better than competitors... Focusing reliability and speed in low light, compared to its competitors/low light still cameras (D750, D5, 1DX m2)? Some of the A6300 and even some A7R ii overheated sometimes when shooting stills (after firmware upgrades no more) - hope the A9 doesn't overheat when shooting stills because this could be a deal breaker for many potential buyers (I would immediately return the camera and want my money back - no waiting for a firmware upgrade to solve overheating issues when shooting stills) What does "dust and moisture resistance" mean? Is this a little better than junk consumer cameras, or is this a claim to rely on when shooting outdoor (with all manufacturer warranty commitment implications?) Personally, I don't believe that it could focus fast and reliable in very low light on moving objects (like its DSLR competitors), because no mirrorles can do this until now. I would be very surprized, if Sony disabused me with this point...
There is also a point, nearly noone speaking about: the 20fps burst rate is 12bit RAW. You can get full 14bit RAW only when you considerably slow down your burst rate...so 14bit RAW will be the same burst rate as the ancient NX1 from 2014...

@Phil A
Exactly...and for independent reviews on low light focusing capabilities....
Meanwhile a Sony rep told me: "same like A7s ii & A7r ii"...I know, in such cases (even when working with Canon or Nikon) we have to rely on their good will...
There is no "classical" sports photography only - and even in this area, many pros (e.g. doing stock) work in post on some of their stills...There are other events (like meetings, weddings, anniversaries, etc.) where to shoot burst and pick up one of the best takes for post - e.g. a interesting portrait mimics...
And...I hate lazy pro photographers refusing to deliver best quality pictures, because refusing post work...It's the kind of German-Canon-post-World-War-2-shooter complaining every minute about customers not willing to pay much for their poor, out of question work in 60s style...
Please consider the reality (at least for ambitionned / well paid quality work): Today's photography is 50% post...I know, some news agencies require JPEG nowadays, but as they pay poor prices, there are not many economically successful photographers who sell to them...
BTW: In reality there is no much visible difference between "compressed" and "uncompressed" RAW. It's more a topic for bored pixel peepers, self proclaimed keyboard experts and Sony haters...

@BTM_Pix
Full ACK. Fast long prime lenses (300mm 2.8, 400mm 2.8, 600mm 4.0) are crucial for sport pros at this level. OK, they will not be cheap, but so what? Sony can only get in this niche with the appropriate lenses - or/and with a LA-EAx adapter which allows high HFR with Canon lenses and the A9. As already mentionned, a spec beast is by far not enough for an "enthronement" in this area...
And it seems, the A9 will be only dust and moisture resistant (but Sony claims, there is no warranty for this) - so without a convenient weather sealing, like market leaders Canon or Nikon.
That said, Sony has only done the first step, there are still some miles to go for keeping up with the established pro sports photography competititon. Main points to go are real weather sealing and appropriate long primes...
@Trek of Joy
My claims don't contradict your points at all. What I mean by "enthusiasts" are selfish gear heads careing much more about spectacular (and in reality for 99,9 percent of real scenarios useless) specs like 8K 100fps 4.4.4 in a 2.000 USD device, than reflecting on valuable/informative content and audience preferences.
There are hard times for some journalists and free lancers who buy own gear, yes. Full ACK. There are many I know in Germany buying the D5/1DX m2 and not knowing how to pay back - because of the horror low rates they get for their photos from newspapers, magazines or news agencies. BUT there still are very successful people out there, making an excellent living out of their job. You have just to do more networking and self market yourself to get well paid jobs, but this is nothing new and completely independent from the industry you work in. Complaining IS NOT enough to get the right jobs...
It's more important to make profit out of your job than complaining about costly gear...Even cheap gear is useless, if you can't make profit with it...(When speaking about pro work)

Fixes almost all the problems I had with my A7r II, full readout and much fasterrolling shutter performance, and a quick access menu. I want one.

@Ken Ross
(Photo)journalists don't care about the unrealistic phantasy or parallel universe of "enthusiasts". Dreaming around doesn't make profit. Only sharp photos/1080p footage with decent compositon and unique selling points - ready to send and immediately published - are profitable. It's all about capture the moment - and publish it, as fast as you can. Neither place nor time for dreaming or tweaking around... 
Just try to find some reliable (not lunatic) infos about bitrates and quality requirements for US- or European broadcasting, relevant for photo- and video journalists. You'll be very surprized: there is no 4K 60fps. Just try to quit a phantasy world and dive for some moments in reality...

@Ken Ross
(Photo)journalists don't care about the unrealistic phantasy or parallel universe of "enthusiasts". Dreaming around doesn't make profit. Only sharp photos/1080p footage with decent compositon and unique selling points - ready to send and immediately published - are profitable. It's all about capture the moment - and publish it, as fast as you can. Neither place nor time for dreaming or tweaking around... 
Just try to find some reliable (not lunatic) infos about bitrates and quality requirements for US- or European broadcasting, relevant for photo- and video journalists. You'll be very surprized: there is no 4K 60fps. Just try to quit a phantasy world and dive for some moments in reality...

@Ken Ross
(Photo)journalists don't care about the unrealistic phantasy or parallel universe of "enthusiasts". Dreaming around doesn't make profit. Only sharp photos/1080p footage with decent compositon and unique selling points - ready to send and immediately published - are profitable. It's all about capture the moment - and publish it, as fast as you can. Neither place nor time for dreaming or tweaking around... 
Just try to find some reliable (not lunatic) infos about bitrates and quality requirements for US- or European broadcasting, relevant for photo- and video journalists. You'll be very surprized: there is no 4K 60fps. Just try to quit a phantasy world and dive for some moments in reality...

@Ken Ross
Hmm.. @noone says
There is NO photojournalist needing 4K 60fps. This is an enthusiast overrated requirement. Try to send this amount of data from Burundi to your editorial office in New York, Berlin or Paris. Even in Kaukasus, LTE (4g) doesn't work constantly...These requiremets are just a parallel universe for journalism and documentary...Nothing real/useful or needed...

@Ken Ross
(Photo)journalists don't care about the unrealistic phantasy or parallel universe of "enthusiasts". Dreaming around doesn't make profit. Only sharp photos/1080p footage with decent compositon and unique selling points - ready to send and immediately published - are profitable. It's all about capture the moment - and publish it, as fast as you can. Neither place nor time for dreaming or tweaking around... 
Just try to find some reliable (not lunatic) infos about bitrates and quality requirements for US- or European broadcasting, relevant for photo- and video journalists. You'll be very surprized: there is no 4K 60fps. Just try to quit a phantasy world and dive for some moments in reality...

Important for video shooters: NO S-LOG ! (confirmed)

@webrunner5
Hmm...Never underestimate Canons and Nikons power in journalism or wedding market. Their brands as still cameras are very strong and they have very good and reliable devices. Sony is very innovative but though it has to learn built quality & usability from its competitors. Innovation and technical excellence are only two aspects in a very complex and competitive market hardly damaged by the "smartphone revolution"...Just my 2 cents...

@Ken Ross
(Photo)journalists don't care about the unrealistic phantasy or parallel universe of "enthusiasts". Dreaming around doesn't make profit. Only sharp photos/1080p footage with decent compositon and unique selling points - ready to send and immediately published - are profitable. It's all about capture the moment - and publish it, as fast as you can. Neither place nor time for dreaming or tweaking around... 
Just try to find some reliable (not lunatic) infos about bitrates and quality requirements for US- or European broadcasting, relevant for photo- and video journalists. You'll be very surprized: there is no 4K 60fps. Just try to quit a phantasy world and dive for some moments in reality...

I don't think this is a response to anything but something Sony HAD to do.
There have been rumours/threads/wishes for the "mythical" A9 since the A7 first appeared and it probably reached the point that they thought now would be good.
This has likely been in development for ages and maybe had dozens of prototypes.
This is a show piece aimed at Pro photo journalists for stills but with half decent video too since those people do need video now.
I would love one but just as the GH5 is way too much camera for my video needs, this is way too much camera for my stills needs (and too rich for my blood).
I look forward to a lower level FF mirrorless camera though.
Well done Sony, the way tech is advancing means cameras beyond phones for a little while yet.
 
 

They really knocked it out of the park with this camera didn't they. 
With a BSI 24mp sensor maybe SLOG won't be neccessary...? Can anyone school me here? Maybe highlights can be brought down somehow? I don't understand why cameras need a LOG function with boosted ISO when the full dynamic range is available at iso 100 for stills?

@Window_Frame
+ @Don Kotlos - In my eyes, it seems Sony made the A9 with sports photographers in focus, so video functions are just a "give away" for documentary work. The A9 has even some nice functions for immediately transmit photos or footage to editorial offices and social media...So obviously it's made with sports photographers and journalists in mind - and not a specialist for more sophisticated video functions...

@jcs
1. May I ask you, why you've sold your FS700?
2. I've seen some FS700 RAW footage and it was really great IQ. Are you experienced with the FS700 (4K RAW) and the 7Q+?
As I will buy 2 identical cameras (+ recorders) this summer for "dual use" (1. 4.2.0 8bit for ENG & quick shooting AND 2. RAW option with an external recording device for great IQ) I was just considering, it would be a great option for me. 2 x FS700 + 2 x 7Q+ fit my budget and it seems to be the only camera at the moment fitting my "dual use" requirements and budget. Thank you! (I believe, @Tim Sewell owned a FS700 too...)

"Pulsing" in AF mode is an old Pana problem, facing FZ1000 and new models too (as the FZ2000). The only way to sail around this AF flaw (continuous AF) is to lock and use the area mode (I told this @jonpais in this forum some times though...). When using a Pana in area mode (subject within a fixed AF area), there is no much pulsing/micro-hunting forth and back (microadjustments of the faulty AF).
Take a look at the "successful" AF video of PhotoJoseph...Full of visible and abyssmal pulsing forth and back in the background. Look at the video of Peter Gregg...Again the pulsing when focusing on the remote of his TV...Hehe, this is a "P&P"-camera - permanently pulsing and pumping...
It's simply a shame to blame users by saying, they can not handle it. Same users do well with Canons DPAF and with Sony's standard settings. No need to go to a university to use AF. It's simply a barefaced claim of fanboys & paid henchmen, who simply don't want to accept the truth. BTW: I use more Pana cameras, but AF on them is simply BS...far away from current standards...By "tweaking" you can get it to work in some situations...Continuous AF for professional use has to be reliable, that's why many DOPs rent the C300 mII...
The AF ist not a great strength of the GH5...But as many Pana fanboys claim, AF is only for pussies... 

As i will buy 2 cameras in July, I just took a look at the LS300 (@Mattias Burling has tested it) for a few hours with a friend who owns it. Some remarks:
It has a respectable 1080p quality (25p +50p too), no complains. 4K IQ is also OK.
Colours: Some kind of "sterile", no structure/texture in images - it reminds me of the NX1. Colors are pleasant/neutral, but not exceptional in any sense.
Really useful: The dual card system allows you to record in different (independent) resolutions, so you could record 4K on the first card and 720p on the second card. GREAT, because, the LS300 allows you to send your footage immediately LIVE, eg to Ustream or YouTube. For people who need this feature - very good. (You can send your footage per FTP too...)
AF is (for contrast AF) great, we've tested it with a Panasonic 35-100 2.8, the OIS of Pana lenses works with this camera well. BUT don't expect as much stabilization as from a classical camcorder or a modern IBIS + IS lens. AF + Canon (+ E2MFT adapter) lens is very slow and hunts sometimes, depending on used lens...
Turns every prime lens you mount to it to a parfocal zoom lens - just focus and push the zoom rocker button and the camera will keep focus during zooming. A very useful feature too...Focusing features are good...
The camera needs contrast (another similarity with the NX1) in low / decent light, otherways you will get very fast some noise and/or washed out colors. 4K J-LOG is maleable, no banding in the skies but we didn't push it too far.
It seems, the coming update will make the recording of 4K 60p possible - but only with a external recorder. This way you loose the portability advantages of a very light camera. Generally the LS300 feels a little bit "cheap", but hey it's only 2.800 Euros...
For a mixed usage - ENG + filmic work - hard to decide...Not enough stabilized (with IS lenses) for carrying it on your shoulder, but excellent for live broadcasting.

As i will buy 2 cameras in July, I just took a look at the LS300 (@Mattias Burling has tested it) for a few hours with a friend who owns it. Some remarks:
It has a respectable 1080p quality (25p +50p too), no complains. 4K IQ is also OK.
Colours: Some kind of "sterile", no structure/texture in images - it reminds me of the NX1. Colors are pleasant/neutral, but not exceptional in any sense.
Really useful: The dual card system allows you to record in different (independent) resolutions, so you could record 4K on the first card and 720p on the second card. GREAT, because, the LS300 allows you to send your footage immediately LIVE, eg to Ustream or YouTube. For people who need this feature - very good. (You can send your footage per FTP too...)
AF is (for contrast AF) great, we've tested it with a Panasonic 35-100 2.8, the OIS of Pana lenses works with this camera well. BUT don't expect as much stabilization as from a classical camcorder or a modern IBIS + IS lens. AF + Canon (+ E2MFT adapter) lens is very slow and hunts sometimes, depending on used lens...
Turns every prime lens you mount to it to a parfocal zoom lens - just focus and push the zoom rocker button and the camera will keep focus during zooming. A very useful feature too...Focusing features are good...
The camera needs contrast (another similarity with the NX1) in low / decent light, otherways you will get very fast some noise and/or washed out colors. 4K J-LOG is maleable, no banding in the skies but we didn't push it too far.
It seems, the coming update will make the recording of 4K 60p possible - but only with a external recorder. This way you loose the portability advantages of a very light camera. Generally the LS300 feels a little bit "cheap", but hey it's only 2.800 Euros...
For a mixed usage - ENG + filmic work - hard to decide...Not enough stabilized (with IS lenses) for carrying it on your shoulder, but excellent for live broadcasting.

Marques Brownlee (a tech reviewer) did a Casey Neistat studio tour a while ago, he indeed uses an A7RII as his fix set-up studio cam. An 80D as overhead cam at his work station. RX100 V as pocket cam (like for... plane bathrooms). iPhone for just always having it with him. GoPros perhaps. However... the main vlogging camera has for the longest while been a Canon 70D (on a Joby Gorillapod, with either Shure or RØDE video mics). Then switched to the 80D... then had the urge to go 4K and yes, up to recently he had been using the A6500. But... he hates not being able to see himself and that's exactly the problem if you have a microphone mounted on the hotshoe and no vari-angle side frontfacing screen... which made him have to mark the lens with a white marker/tipp-ex to make sure the lens is zoomed out and lined up at that setting. Then you have the nauseating rolling shutter of the Sony... and well, that's not the greatest if you move around on a board and being hella active. Then there's the threat of having your recordings stopped at any moment due to overheat protection kicking in... that cannot happen to a content creator, sometimes there's no re-dos. Also... when recording in sunlight with the A6500 the screen dims... so if he would be behind the camera filming something, he'd have a hard time seeing what the hell is going on.
So yeah... what do you do in that situation? I'd search for the next best thing that you can make work. A reliable camera with front-facing screen that doesn't dim on you, good rolling shutter performance, sensor stabilization. No 4K: no Canon EOS-M. No frontfacing screen/sensor stabilization: no Samsung NX1, no Fujifilm X-T2. So you automagically end up at Panasonic/Olympus that do everything right. Reliable cameras: check. 4K: check. Excellent rolling shutter performance: check. Vari-angle screen: check. Sensor stabilization: check. 'C-AF... well, it already checked so many boxes, let's see if I can make it work'. That's probably the attitude. He just looked objectively, what is the best camera for my needs and I mean, the GH5 is just about the most ideal camera you can think of... and apparently he did make AF work for him (though, we have no way of telling getting those results was an easy task or if like maybe this is 20% of the footage shot that was actually usable and that he had to throw away a lot of good content or had to shoot 10 takes to get one good take...). So this could be a keeper. Until finally someone else with APS-C sensors steps up and makes an E-M1 Mark II/GH5 with APS-C sensor/performance and superb C-AF.

The targeted audience of such a APS-C camera (pro sports photography, ambitionned enthusiasts, wedding photographers, passionned wildlife photographers in any weather conditions) care mostly about:
dual card slots (reliability) - only 1 card slot in the D7500 buffer size: 19s/200 RAW with the D500 vs 5s/50 RAW with the D7500 99 cross sensors for maximum of focusing capabilities with the D500 weather sealing and a maximum of rugged built quality (D500) 10,3 photos/s (D500) vs 8/s (D7500) In my opinion, the targeted audience will NEVER EVER buy the D7500 instead of the D500 only for saving 400,- EUR (in Germany). Hobby photographers / other APSC-consumers will stay with the D7200 or buy another (much cheaper) camera. So, the D7500 will never cannibalize the D500...
@gethin
No peaking is a shame for people who want to film with nikon cameras and want to keep their gear portable (without addtional monitor).
BTW: I know about 12 Nikon pro users (photo journalists / pro phographers making a living out of their profession) in Germany, NONE of them is using their Nikon camera for filming - mainly because of Nikon's disastrous video AF and no peaking when MF. That's why Canon has the journalism and documentary industry in his pockets, though some of their cameras are much more expensive (but not necessarly better) than Nikons...

@Andrew Reid
Full ACK. BUT Canon can afford it - because Canon is by far market leader, is very profitable (even with their camera division) and Canon still owns the strongest "photography brand"...I don't know, if Nikon can afford the same illness - Nikon-itis.
I don't believe that in the next five years all current manufacturers will survive...Not because of going bankrupt, but because of leaving the digital camera market because of continuous losts. Look, Samsung could afford the camera business, Samsung is an unbelievable big and profitable company. But they know about smartphones killing the digital camera mass market and they don't want to permanently loose money just for beeing "innovative". For a company even extremely innovative is not enough - you have to generate profit (either selling lower costs products in a mass market or very expensive products in a niche market), not innovative features and highest end devices for a micro-niche enthusiasts market looking for kind of cheap 16k 4.4.4 cameras... 

Another non-starter for video, although as a stills camera I quite like it
Nikon seem to have caught Canon-itis. A well known condition where you lose your memory and release the same camera every year with a different badge.

There are no "dumb" documentaries in my eyes...A documentary mostly tells a story...
It's quite hard to do 2-3 minutes shorts...It's an art to do a self-contained and explaining story in this short time...BTW: Don't believe the claim "films longer than 2-3 minutes are useless because people don't watch them". It's an ignorant lie - may be relevant for news, selfish corporate image films or commercials, but not for good stories...