BTM_Pix

Thank you for double checking for me. Yeah the FZ2500 is awesome and to be honest with you, without the slow and quick function, the GH5 seems a little less intriguing to me... as silly as I'm sure that sounds. I think I will definitely wait to see how the summer firmware is before I buy one. D7500 here I come... and maybe another FZ2500... or maybe I should follow your lead and go with the LS300...
I never used the dolly zoom, but I figured it was entirely some kind of digital scaling... or some shit... oh well that's easy enough to do with my slider. 

I haven't got a GH5 buy, yeah, looking at the manual and online videos of the VFR it doesn't appear to be variable within recording like it is on the FZ2500 and their consumer camcorders that have that function.
The Dolly Zoom would be out because its a combination of the optical lens zooming in/out and image scaling that requires an integral lens for the software to pull off. It *could* be possible on the few MFT powered zooms that Panasonic do I guess but it doesn't appear to be part of the feature set as yet.
Its some camera that FZ2500 isn't it? 

Stockings?
 

Wait, no 4K60p like that hyped 'enthusiast' camera? I'm outta here.

@BTM_Pix
My friend shooting with the LS300 told me, that the smart adapter doesn't work with some Canon lenses (AF), but he didn't try them all, for sure...He confirmed, that the LS300 AF works very well with another Panasonic lens, the 12-35 F2.8 OIS. These are the only Pana lenses he tested with AF. He uses Canon and other lenses (many primes) with adapters and manual focus, as the focus support is great on this camera. Haven't tested face detection...

Wow that thing is smaller than I thought! That is like a Sony VG900. Make a hell of a good Run n Gun Camera.

@Emanuel
Oh, as seen some weeks ago, it worked perfectly with the Panasonic 35-100 F2.8 on it (stabilization worked quite well too)...Very reliable with this lens when keeping subject in the center of frame...No pulsing, no microadjustmenst, no pumping forth and back of background or subject...No such issues like in a currently released, hyped "enthusiast camera"... 
Neither did I... 

What about autofocus?
Sorry, couldn't resist... ;-)

Here it is doing that particular job by the way.
HD to the card and simultaneous live stream broadcast via the £10 Edimax dual band wifi adapter you can see sticking out near the back next to the peephole viewing device. Or the EVF as JVC laughingly refer to it. 
And my Nikon 70-200mm seeing some action as a very functional broadcast lens !
As this was in HD, using the Prime Zoom (or Zoom Zoom in this case) actually turns it into a 70-460mm f2.8 lens. Not too shabby really.
 

Puzzled by his answer to when the new LS300 firmware will be available.
"It won't be released until March"
Erm....its already April mate.
I hope its not March 2018!
As a side note, I used the LS300 on its first job this week live streaming a press conference. Not thrilling obviously but it shows how versatile this thing is.
Just having the USB host port on it so you can plug in a cheap USB wireless or ethernet adapter and get out live direct off the camera or even just plug in a 4G modem stick and go live is an absolutely incredible feature. Considering how much a Teradek Vidiu would cost to add this function to another camera, thats well over a third of what I paid for the LS300.

Puzzled by his answer to when the new LS300 firmware will be available.
"It won't be released until March"
Erm....its already April mate.
I hope its not March 2018!
As a side note, I used the LS300 on its first job this week live streaming a press conference. Not thrilling obviously but it shows how versatile this thing is.
Just having the USB host port on it so you can plug in a cheap USB wireless or ethernet adapter and get out live direct off the camera or even just plug in a 4G modem stick and go live is an absolutely incredible feature. Considering how much a Teradek Vidiu would cost to add this function to another camera, thats well over a third of what I paid for the LS300.

I was watching that with headphones on.
I'm sending you an invoice for some new underpants.

I tested it for few days and after I was convinced that an eGPU can be beneficial for video editing, I returned it but only to preorder the Mantiz Venus case that offers ethernet port, 90W charging, USB3 ports and internal sata, for $80 off the list price  ( official site, review). 
If you have the late 2013 15" version with the TB2 ports, then you are set with an eGPU solution since the performance gains are very close to the TB3. Even the 13" should be fine. Definitely worth trying it out. TB1 of the earlier models should also be good but look around at https://egpu.io/forums for details. 
Few notes:
1. With FCPX an AMD card makes more sense but back when I did the testing AMDs were not working. Now I read they are working again and people report great results with FCPX. In my case with the GTX titan, it helped with effects/motion, but not so much for transcoding. The AMD will be better at everything (https://egpu.io/forums/mac-setup/best-amd-card-for-fcpx-compatibility/#post-6010). 
    Davinci Resolve performs admirably with NVIDIA GPUs and a dual core laptop with a good GPU should be enough for most projects. 
    Premiere's effects are accelerated as well, but most other things are bound to the CPU speed so not a good solution for a dual core laptop. 
2. There is no hot-plug capability so the computer needs to be off while plugging/unplugging. 
3. Make sure you buy the correct enclosure depending on the TB port
4. These solutions are not certified by Apple so there is always the chance an update will fuck things up ...
Definitely proxies. Yes, it takes time to create them but if you work for long on your projects then it is worth it. Depending on your workflow you might find that disabling automatic rendering can help but there is not much else that you can do. 
As you saw in my original post the performance gain (at least for transcoding) when moving from the 12" to the 13" is much greater than going from the 13" to the 15". I found throttling very problematic, even after scrubbing through proxie footage so I knew I had to get something faster. If you have the budget and you need portable video editing but a small package then the 13" is your best bet. 
For FCPX, the 480 is probably better but really not that much of a difference worth spending so much money on. But if you use Resolve or Premiere then a GTX10xx will be miles better  
You will find plenty of threads with iMacs and eGPUs here: https://egpu.io/forums/?wpfd=0&wpfob=date&wpfo=desc&wpfs=imac&wpfin=titles-only 
 

Probably the best reaction I've ever received from my work.  

I was watching that with headphones on.
I'm sending you an invoice for some new underpants.

I was watching that with headphones on.
I'm sending you an invoice for some new underpants.

I was watching that with headphones on.
I'm sending you an invoice for some new underpants.

I was watching that with headphones on.
I'm sending you an invoice for some new underpants.

I was watching that with headphones on.
I'm sending you an invoice for some new underpants.

I can't test this out with any real movement at the moment as its pissing down outside and much as I like to contribute, I'm not going to get soaking in the process!
Anyway, here are a couple of stills I've just done using the 10-24 and for a comparison a speed booster Nikon 14-24 f2.8.
That particular Nikon is one of their so called holy trinity that even has a big following amongst Canon landscape shooters so whilst its interesting to see how the Fuji compares to it at about half its price, this test at close distance and reasonably wide aperture (f5) is not in the 14-24mm's comfort zone (particularly as its on a cheap speedbooster) so ignore the soft edges as its within expectation under these conditions. It is purely there as a demonstration of a non corrected lens to show you how the native Fuji lens is being corrected.
Here are the links to the original files.
Fuji 10-24  https://mega.nz/#!lnZxkDKA!K_enymlxtptOM9oHg8NAHR-ZalNjpK-U8UZ53WlEr90
Nikon 14-24 https://mega.nz/#!Fm5QAbzZ!PXOFWjOpC6mKM6jDVMC_MPPGls904qqRCe3VGaJrPnw
There is also a very short 4K video file of the 10-24 so you can see the correction being applied in video (and the crop factor for those interested in what happens to the X-T2 in 4K). The dip and correction in the first few seconds is a genuine physical movement as I had the camera on the work surface and was stabilising it with downward pressure and moved it slightly. As you can see, this is completely distinct from the behaviours shown in the other videos. 
Fuji 10-24 4K https://mega.nz/#!ZqBkAJSa!Cif-oIkckiplwdMX4IBe-w5vyncuXIbl48G5ldR-HWc
Everything is straight out of the camera on the standard profile, manual focus and no OIS. 
 
 

Thats a real let down isn't it? As you say, all the ones I've seen seem to operate panels no problem but no consolation.
Its not just the batteries either, the chargers can sting a bit price wise as well.
Cheapest way in that I've seen are the batteries where you get the direct tap charger included. Though whether I'd budget for a fire extinguisher to go with it is another matter!
http://www.ebay.co.uk/itm/FENTION-FS-BP150-V-Lock-V-Mount-Rechargeable-10-4Ah-150Wh-Battery-Charger-Kit-/361957152174?hash=item544653d5ae:g:rsQAAOSwmCVY9dAy
 

It seems the quickest, easiest and probably lucrative thing riding the crest of the GH5 buzz would be to swap out the GH4 sensor from the DVX-200 for the GH5 one and take the lens off it.
And not paint it red this time.
I picked up a used LS300 a couple of days ago and its a very compelling package with the combination of sensor size, the versatility of the mft mount and some smart stuff from JVC.
I've had native mft lenses on it (which you can use way beyond the 82% scaled coverage that JVC recommend for mft by the way), PL cinema lens, long Nikon primes with and without speedbooster and small Contax primes which it can magically turn into par focal constant aperture zooms complete with a rocker switch! All with the convenience of built in NDs, physical switches, XLR's etc
So it can go from stripped down shot grabber to cinema style to sports and wildlife broadcast camera and all points in between within a few seconds.
That type of functionality with the goods on offer from the GH5 like IBIS and 10 bit and so on would be a pretty incredible camera and theres no reason it couldn't come in at the same price or less than the DVX-200.
With all of that capability, would the sensor size be an absolute deal breaker?

Nice stuff.
Funny that Variety targets it for Facebook content creators... LOL
http://variety.com/2017/digital/news/dish-slingstudio-hardware-for-facebook-live-1202392811/

That Slingstudio system that they're talking about is very very interesting.
I've just been tearing my hair out trying to devise (i.e. cobble together) a more cost effective version of multiple Terradek Vidius and switching system to do some (very) small scale multi camera live outside broadcast stuff  and going backwards and forwards with different permutations of small hardware switchers, software switchers and no name hdmi to rtsp encoders.
This thing seems to do it all as one integrated and much more cost effective system.
https://www.myslingstudio.com