Arikhan

C'mon @BTM_Pix, overheating is a feature...An important innovation, helping shooters to plan their takes carefully. It simply doesn't make sense nowadays to shoot Godfather IV in a single, continuous take. Overheating warnings are nothing but artistic reminders...

Interesting: Sony just announced the new RX10 IV bridge camera (fixed lens F2.4-4.0), capable to shoot high bursts - 24fps per second with a buffer of 249 images, even in RAW. That means 10 seconds of RAW video. Great!

C'mon @BTM_Pix, overheating is a feature...An important innovation, helping shooters to plan their takes carefully. It simply doesn't make sense nowadays to shoot Godfather IV in a single, continuous take. Overheating warnings are nothing but artistic reminders...

C'mon @BTM_Pix, overheating is a feature...An important innovation, helping shooters to plan their takes carefully. It simply doesn't make sense nowadays to shoot Godfather IV in a single, continuous take. Overheating warnings are nothing but artistic reminders...

@kidzrevil
Here is a quick screengrab from a 4.2.0 8bit 4K video done with a Zeiss Otus 28mm f/1 4 at F8.0. No color correction, no grading in post - only natural light (shot between golden and blue hour in Frankfurt - as I just wanted to capture the characteristics of the NX1 + Otus. The A6500 is also TOP NOTCH with the Otus on it when shooting architecture, etc. When shooting people, the A6500 is very "special" with the Otus on it, it will take some testing to get the right balance in regard to skin structure...
I know, you are very picky with the look of your videos, especially with skin tones and structure. The A6500 looks great with 35mm 1.8 Nikon + Pro mist, when it comes to skin tonality and structure. You have to treat it very carefully, when it comes to WB! 
I wouldn't worry about 4.2.0|8bit....
*Please consider, that's my personal POV. I never shot IMAX cinema theater films and will never do it....I am simply a visual story teller...
 

C'mon @BTM_Pix, overheating is a feature...An important innovation, helping shooters to plan their takes carefully. It simply doesn't make sense nowadays to shoot Godfather IV in a single, continuous take. Overheating warnings are nothing but artistic reminders...

C'mon @BTM_Pix, overheating is a feature...An important innovation, helping shooters to plan their takes carefully. It simply doesn't make sense nowadays to shoot Godfather IV in a single, continuous take. Overheating warnings are nothing but artistic reminders...

C'mon @BTM_Pix, overheating is a feature...An important innovation, helping shooters to plan their takes carefully. It simply doesn't make sense nowadays to shoot Godfather IV in a single, continuous take. Overheating warnings are nothing but artistic reminders...

Intentionally or is that just the point at which it stops because its overheated like their other cameras?

Interesting: Sony just announced the new RX10 IV bridge camera (fixed lens F2.4-4.0), capable to shoot high bursts - 24fps per second with a buffer of 249 images, even in RAW. That means 10 seconds of RAW video. Great!

@kidzrevil
My mom owns a A6500 and I shoot video with it. GREAT dynamic range and imaging (great for portrait photography too)...But - in my eyes - a love & hate camera. Great for decent street shootings, but still very small - even my mom (about 1,63m high and small hands) has the best feeling only with an additional grip. Menus are a pain and if you want to shoot longer takes, put the hot shoe protection down, open the flash and put the LCD away from the camera - if not, it could probably overheat (warning). It dims when shooting 4K, so on a sunny day, it will get hard to shoot....
But still, I use it for street photography and for 4K footage (street shooting) and low light....great to use with the 35mm 1.8 (OSS) and 12mm 2.0 Samyang/Rokinon (manual). With the 18-105 4.0, you will get almost all you need, considering that the 50mm 1.8 OSS can be bought now for about 250,- Euro...
Great to usew with adapted lenses, I could imagine that some fast Nikon primes could be your taste, as they give this camera some great characteristics...
I call this device "my little piece of plastic garbage" - as I love solid, reliable cameras I could beat to death...But sttill, it's very special and a wonderful piece of technology. My POV: NO ONE will complain about 4.2.0 8bit, excepting you mostly need 4.2.2 10bit or even RAW for heavy grading or simply for your personal post processing pleasure...

@Cinegain
Hmm...I have to contradict: ONLY some people do it - mostly self proclaimed "cinematographers", copying "cinematic look" from other test video posters. More than 99 percent of users who buy modern cameras are still very happy with their choice...People needing 100% cinematic look just out of a camera and maximum of control and maleability, work witk RAW cameras, as they know, even a 4.2.2 10bit is only a compromise and - in the hands of a good filmmaker & capable colour grader - will never touch the IQ level of RAW footage.
In my eyes, over 90% of "test footage" is simply massacred footage...Trying to get a "quick & dirty" cinematic look with bad lighting, no clue of what one is doing (simply trying to copy settings of other clueless amateurs, workflows and dumbly buying LUT packages) doesn't lead to good results. but it's simply awkward. Better to use the camera with original settings and profiles...
Most of today's cameras (completely independent of manufactures name) have a good resolution (excepting Canon's ancient 720p BS) in 1080p and 4K. But obviously people CAN'T or don't want to handle high resolution (4K+), so they "go vintage": the post-world-war-2-720p mushy Canon BS...And declare it as "cinematic". But - as said - this is only a minority and the claim is a completely irrelevant myth. A vast majority of todays audience 
simply doens't care about such called cinematic look simply uses small smartphones/tablet screens and so subtle color grading and 4K & Co don't matter at all using bigger screens (PC, TV) LOVE high resolution and high contrast footage (HDR) "Tarantino in 2 minutes" is quite hard to achieve...So the few guys "begging for high-res and keep hammering down footage has to be sharp and detailed" should put their money in RAW devices, as noone cares really about their excessive requirements for a under 2.000 USD camera...People wanting to do real cinematography should raise money for some serious artistic and technical education, a serious RAW camera, a truck full of lighting, some good actors, directing and postproduction knowledge etc., etc....At the end of the day, most of us are ambitionned enthusiasts/amateurs or small business filmmakers without time and budget to produce great Hollywood cinematography - and that's completely OK. Some of us should just stop miming the 100 million $ Hollywood producer...
There is clearly a big discrepancy between pretense and reality out there...Nothing to get worried about, just try to do your best and have fun...

@Mattias Burling
I shoot horse sports (including World Cup events) for years now...NEVER seen a mirrorles camera in the hands of a press or horse photographer.
The German market in horse sports event area is clearly dominated by Canon. Considering this fact, I have to agree @Andrew Reid, saying Canon missed some good chances...It did...Though they offer one of the most reliable video AF methods at the moment, they missed the opportunity to get the Canon photographers - using their DSLRs - into their "video boat". 
OK, there is a big separation in Germany between photo and video journalism, but still...Canon did nothing to inspire or to educate Canon DSLR owners to shoot video. The MJPEG codec is for 99,9 % of my colleagues BS, they simply don't have the computering power to edit this kind of footage and most of them simply refuse to handle this big amount of data...

@Andrew Reid
Yes, there is a separation between "pro" journalism and prosumer/enthusiasts oriented market. But - as I already said - even the video journalism is in Germany completely in hands of small sensor cameras (broadcast standard, 3CCD, etc.). Canon XF200 --> 305, etc. rule with their overpriced devices and mushy image quality. During the last three months, I've even seen some Sony EX1...
BUT: These facts show too, that the "mirrorless/DSLR video revolution" is more a parallel universe created by loud first movers than a reality nowadays. Dedicated video cameras rule - probably.at max. 3  percent of video market. Rest of video market is ruled by smartphones...

@Mattias Burling
I shoot horse sports (including World Cup events) for years now...NEVER seen a mirrorles camera in the hands of a press or horse photographer.
The German market in horse sports event area is clearly dominated by Canon. Considering this fact, I have to agree @Andrew Reid, saying Canon missed some good chances...It did...Though they offer one of the most reliable video AF methods at the moment, they missed the opportunity to get the Canon photographers - using their DSLRs - into their "video boat". 
OK, there is a big separation in Germany between photo and video journalism, but still...Canon did nothing to inspire or to educate Canon DSLR owners to shoot video. The MJPEG codec is for 99,9 % of my colleagues BS, they simply don't have the computering power to edit this kind of footage and most of them simply refuse to handle this big amount of data...

@Andrew Reid
Yes, there is a separation between "pro" journalism and prosumer/enthusiasts oriented market. But - as I already said - even the video journalism is in Germany completely in hands of small sensor cameras (broadcast standard, 3CCD, etc.). Canon XF200 --> 305, etc. rule with their overpriced devices and mushy image quality. During the last three months, I've even seen some Sony EX1...
BUT: These facts show too, that the "mirrorless/DSLR video revolution" is more a parallel universe created by loud first movers than a reality nowadays. Dedicated video cameras rule - probably.at max. 3  percent of video market. Rest of video market is ruled by smartphones...

Thanks @jonpais ! I am an enthusiast horse sports shooter and I am riding too - not so much at the moment, because of lack of time. My family breeded show jumping horses for years (now retired) and my mom was years ago local champion in show jumping..."Family enthusiasm", like photography...

I don't consider removing features like Canon LOG a committed spec bump for video users. The 1DX II is the kid at school who could have been president if only he did his homework.
So two things going on here... the market for professional photo journalists and sports shooters... And the market for consumer electronics and televisions.
In the photo journalist market Canon and Nikon rule and it is very hard to break the deadlock, props for Sony to try with the A9 but it's a first effort in a VERY long haul, especially to break the stranglehold of the Canonikon lenses.
The consumer electronics market, the 1DX and D5 are nowhere, they don't often appear in shops or even on Amazon, and that is where 4K is most important for Sony and Panasonic, because it doesn't just sell cameras, it sells TVs and other AV equipment as well.
Canon don't make TVs so they don't think they need to be a part of the market.
Where this will hurt them is with the pro video and rental market, and with us enthusiasts... They are dropping the ball. The C300 II wasn't as successful vs the FS7 and FS7 II, as Canon would have hoped for, and it has already had a big price drop or two. The C300 is old, past it, people are selling them in large quantities... how do I know that? Because the used price has fallen so much (increased supply vs falling demand). The C200 II is the real replacement for the C300 but the reception has been lukewarm and the codec isn't competitive vs Sony. Perhaps they will drop the C300 II price further or quickly bring out a Mk III instead and drop the C200 down a peg.
The reason the C-EOS camcorders are going to struggle due to poor video on Canon DSLR range is complex but all to do with the eco-system of EOS bodies, EF lenses, halo effect, marketing, brand perception, upgrade paths, up-selling, enthusiasts turning pro, all sorts of factors.
Canon need to get a grip and fast.

Yup, and I doubt it will happen soon. But I had fun using my Fuji
 

If a person doesn't need:
5th & 6th inputs.
Time code.
Hirose power connection.
XLR outputs.
Metadata entry.
USB interface.
Flexible file naming.
(& much more)
 
Then yes the Tascam DR70D could be a worthy lower priced option.
 
But those other things I mentioned are VERY handy. Some are essential even (such as TC & metadata entry) if working as a sound recordist on bit bigger productions.
But if you just need the basics of a 4 ISO track recorder then the Tascam DR70D will be fine enough for now.
 

Just to clarify I wasn't endorsing the 70d over other options, just responding as to if it could fill the functionality required.
With regard to battery life with it, I'm not sure whether this would be a massive drawback when you power it from USB.
This video tests it running for 11 1/2 hours off a cheap 12,000 mAh block with all channels recording and with phantom switched on all of them.
Again, not an endorsement for the 70d, just an FYI if you go that way.
 

The Zoom F4 is the best buy for bang for buck sound recorder right now from the lower priced options.
 
The Zoom F4 is insanely low priced (a steal!) for how much it does.
 
Only if you really need the more inputs or Bluetooth, would I suggest the more expensive F8 instead.
 
And I'd only recommend the MixPre6 (ignore the MixPre3!! Too crippled for its price) if you really REALLY need that HDMI triggering. Otherwise get an F4.
 
If you're on an ultra super tight budget, get a Tascam DR70D. But once you own a DR70D, then there is almost no reason whatsoever to own a H5/H6.
 
 
Anyway, this is all just a repeat of what I said in my latest blog post:
http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

Yes, it gives you options to record all four channels separately (which will give you the maximum flexibility), as stereo sets or as a mix.

Zoom F4 is the best option out of the Zoom range, plenty of power options too. You can do anything with it, you do not need another recorder, not now, not later as a lot of -low budget-  production sound engineers have adopted the F4 and F8 Zoom devices.
If you can afford it, Sound Devices MixPre3 has better analogue sound, which for some is the Alpha and Omega (plus analogue limiters), but for most tasks, the F4 is sufficient, and probably more feature rich.
I am a Tascam user, but recently they have been left a bit behind the curve.
Just for the history, my next purchase is the MixPre6, but I am working in sound, and that seems as a "cheap" addition to my kit, if you compare it with the 4 times more expensive Sound Devices 633 that I was ready to buy (now, I will just invest in more microphones and other sound equipment).

If you are recording a music gig, for example, the sound that will be coming from the mixing console feed is reinforcing the on stage sound - hence why the formal term for live audio systems being Sound Reinforcement. Depending on the band this will invariably not be providing the full representation of the gig as, for example, the overall guitar sound will be lower as it will be missing the sound of the on stage guitar amplifiers, which can be quite significant. If you are doing a Kraftwerk gig then this is less of an issue as there is nothing naturally occurring on stage (sometimes physically in their case  ) that isn't present in the mixing console mix. 
However, in all instances, you will be missing the room ambience (including the sound of the audience) and the mix from the console will always sound much drier.
Hence, having a secondary ambient mic source, allows you to mix both.
With regard to the DR-70D, yes this would work in this mode as the mic inputs are switchable to line level to take a signal from the feed box at a press conference. It is actually very useful in this role as with it having four inputs you can attach a receiver from a radio mic to enable you to supplement the provided feed with your own mic. In a press conference situation can be invaluable in the same way as the music gig example as whilst the persons(s) answering the questions always have microphones, it is not always the case that the journalists asking the questions are covered with a mic so you can end up with the audio from the central feed box having barely any level for the questions.

http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/
The DR70D sounds good but power options are a bit restricting. 
 

Is this for interview work? Pretty much anything in that price range (around $350) is the same.  Zoom H5 and H6 have better battery life I think, if that is important to you.  If you can afford it check out the Sound Devices mixpre 3 or 6.  That's what I'm looking at even though it is overkill for most corporate gigs. IF you aren't getting paid much, even recording directly to the camera using a JL box is fine especially if you are using a backing track in the final.
 
For getting a feed I've used old Zoom H2s in the past and it was fine.  I have switched to Tascam DR-40s for this task as they directly take XLR feeds with adequate quality and a backup track.  Best thing is they only cost $100 used now...