BTM_Pix

Atomos looked like they'd got great timing releasing the new Ninja Inferno at the same time the GH5 became available but its even better timing with this upgrade of the LS300.
For a total price of $3550 from B&H these two make a massively specced package.
JVC did packages with Samyang lenses and if they've got any sense they'll do a bundled version of the LS300 with the Ninja Inferno. 
Everything about the LS300 on the front end is there (Super35 sensor, 4K,LOG,flexible mount,ND,XLR,dedicated controls) as are the clever features like Variable Sensor Mapping and the brilliant Prime Zoom function and mating it with the Ninja Inferno now takes care of the rest of it as on top of all that you get 10 bit 4K60p direct to edit ready ProRes on affordable media and a no compromise professional monitor with all the bells and whistles thrown in.
Thats a hell of a system for $3550.
Its probably not going to be attracting the same sort of user (or buzz!) as the GH5 (to which you could of course attach the Ninja Inferno and get all the back end stuff) but for people who really need a solid camcorder for broadcast work that can also be used for digital cinema then I can't see any better options than this.
But they really need to up their marketing game and let people know about it.

Honestly, Mattias' LS300 footage is better than anything I have seen from the GH5. With this update, this camera is epic. I don't love the form factor and I have no intention of buying one, but it really is unmatched at this price point.

Yes I totally agree that this is a package that is hard to beat. It already was competition for the FS5 but now it is up there with the FS7 for a fraction of the cost and the IQ is excellent!

Atomos looked like they'd got great timing releasing the new Ninja Inferno at the same time the GH5 became available but its even better timing with this upgrade of the LS300.
For a total price of $3550 from B&H these two make a massively specced package.
JVC did packages with Samyang lenses and if they've got any sense they'll do a bundled version of the LS300 with the Ninja Inferno. 
Everything about the LS300 on the front end is there (Super35 sensor, 4K,LOG,flexible mount,ND,XLR,dedicated controls) as are the clever features like Variable Sensor Mapping and the brilliant Prime Zoom function and mating it with the Ninja Inferno now takes care of the rest of it as on top of all that you get 10 bit 4K60p direct to edit ready ProRes on affordable media and a no compromise professional monitor with all the bells and whistles thrown in.
Thats a hell of a system for $3550.
Its probably not going to be attracting the same sort of user (or buzz!) as the GH5 (to which you could of course attach the Ninja Inferno and get all the back end stuff) but for people who really need a solid camcorder for broadcast work that can also be used for digital cinema then I can't see any better options than this.
But they really need to up their marketing game and let people know about it.

From my tests today, the face detect AF in video is very effective indeed.
I tried it on 18-55 f2.8-4, 35 f1.4, 50-140 f2.8 and the 50-230 f4.5-6.7
The weakest (although its all relative as it was still good) was the 35 f1.4
I was just shooting someone cooking (all handheld) so the subject was nipping around a bit and being front on, side on and facing away from the camera and moving towards it as well and it performed brilliantly to be honest. I was doing some manual crane ups from foreground objects such as bowls and appliances with the subject in the background and as soon as the face came into view during the raise it locked on to it and racked smoothly without overshooting. 
The big downer of course is that in only does this in HD rather than 4K but you never know with Fuji and they might bring it in next time.
The other niggle I have is that AF Lock doesn't work when you have face detect on and it would have been nice to be able to hold focus on a foreground object and then let it got to choose when it racked to the face.
All in all though, I must say that if I had to shoot a similar subject in a documentary type style then I'd go as far as to say that I'd forego the 4K and choose to shoot it in HD so I could use the face detect. Focus beats resolution all day long when you have to get the shot.

And an approving nod for being able to change the ISO whilst recording as well. 
Having the dedicated ISO dial on the X-T2 makes for a very ergonomic and fast solution for a quick and dirty exposure correction when pushing in or out with variable aperture zooms.

Atomos looked like they'd got great timing releasing the new Ninja Inferno at the same time the GH5 became available but its even better timing with this upgrade of the LS300.
For a total price of $3550 from B&H these two make a massively specced package.
JVC did packages with Samyang lenses and if they've got any sense they'll do a bundled version of the LS300 with the Ninja Inferno. 
Everything about the LS300 on the front end is there (Super35 sensor, 4K,LOG,flexible mount,ND,XLR,dedicated controls) as are the clever features like Variable Sensor Mapping and the brilliant Prime Zoom function and mating it with the Ninja Inferno now takes care of the rest of it as on top of all that you get 10 bit 4K60p direct to edit ready ProRes on affordable media and a no compromise professional monitor with all the bells and whistles thrown in.
Thats a hell of a system for $3550.
Its probably not going to be attracting the same sort of user (or buzz!) as the GH5 (to which you could of course attach the Ninja Inferno and get all the back end stuff) but for people who really need a solid camcorder for broadcast work that can also be used for digital cinema then I can't see any better options than this.
But they really need to up their marketing game and let people know about it.

Atomos looked like they'd got great timing releasing the new Ninja Inferno at the same time the GH5 became available but its even better timing with this upgrade of the LS300.
For a total price of $3550 from B&H these two make a massively specced package.
JVC did packages with Samyang lenses and if they've got any sense they'll do a bundled version of the LS300 with the Ninja Inferno. 
Everything about the LS300 on the front end is there (Super35 sensor, 4K,LOG,flexible mount,ND,XLR,dedicated controls) as are the clever features like Variable Sensor Mapping and the brilliant Prime Zoom function and mating it with the Ninja Inferno now takes care of the rest of it as on top of all that you get 10 bit 4K60p direct to edit ready ProRes on affordable media and a no compromise professional monitor with all the bells and whistles thrown in.
Thats a hell of a system for $3550.
Its probably not going to be attracting the same sort of user (or buzz!) as the GH5 (to which you could of course attach the Ninja Inferno and get all the back end stuff) but for people who really need a solid camcorder for broadcast work that can also be used for digital cinema then I can't see any better options than this.
But they really need to up their marketing game and let people know about it.

Atomos looked like they'd got great timing releasing the new Ninja Inferno at the same time the GH5 became available but its even better timing with this upgrade of the LS300.
For a total price of $3550 from B&H these two make a massively specced package.
JVC did packages with Samyang lenses and if they've got any sense they'll do a bundled version of the LS300 with the Ninja Inferno. 
Everything about the LS300 on the front end is there (Super35 sensor, 4K,LOG,flexible mount,ND,XLR,dedicated controls) as are the clever features like Variable Sensor Mapping and the brilliant Prime Zoom function and mating it with the Ninja Inferno now takes care of the rest of it as on top of all that you get 10 bit 4K60p direct to edit ready ProRes on affordable media and a no compromise professional monitor with all the bells and whistles thrown in.
Thats a hell of a system for $3550.
Its probably not going to be attracting the same sort of user (or buzz!) as the GH5 (to which you could of course attach the Ninja Inferno and get all the back end stuff) but for people who really need a solid camcorder for broadcast work that can also be used for digital cinema then I can't see any better options than this.
But they really need to up their marketing game and let people know about it.

Atomos looked like they'd got great timing releasing the new Ninja Inferno at the same time the GH5 became available but its even better timing with this upgrade of the LS300.
For a total price of $3550 from B&H these two make a massively specced package.
JVC did packages with Samyang lenses and if they've got any sense they'll do a bundled version of the LS300 with the Ninja Inferno. 
Everything about the LS300 on the front end is there (Super35 sensor, 4K,LOG,flexible mount,ND,XLR,dedicated controls) as are the clever features like Variable Sensor Mapping and the brilliant Prime Zoom function and mating it with the Ninja Inferno now takes care of the rest of it as on top of all that you get 10 bit 4K60p direct to edit ready ProRes on affordable media and a no compromise professional monitor with all the bells and whistles thrown in.
Thats a hell of a system for $3550.
Its probably not going to be attracting the same sort of user (or buzz!) as the GH5 (to which you could of course attach the Ninja Inferno and get all the back end stuff) but for people who really need a solid camcorder for broadcast work that can also be used for digital cinema then I can't see any better options than this.
But they really need to up their marketing game and let people know about it.

Well if you're going to bring facts into it John.....
DOH !!!!
Thanks

Well the new firmware has certainly improved the AFC hunting of my 27mm.
It now only sounds mildly asthmatic.
Initial thoughts about the rest of it are :
Refocussing works well off the AF-L button (which I have remapped to be AF-ON)
Histogram is welcome but they could've pushed the boat out and put zebras in.
The new Eye Sensor + LCD Image Display mode is great for weaning myself off the traditional DSLR chimping method. I actually quite like the playback through EVF method as its a boon in bright lighting but most of my work means you still have to keep one eye on whats going on around you when you're looking and marking images so being detached from that by having the camera to your eye isn't always a good thing.
Its a bit niche but the voice memo function is a boon for anyone doing editorial work with it.
Copyright in the EXIF ditto.
I'm going to test the face detect AF tomorrow......

Well the new firmware has certainly improved the AFC hunting of my 27mm.
It now only sounds mildly asthmatic.
Initial thoughts about the rest of it are :
Refocussing works well off the AF-L button (which I have remapped to be AF-ON)
Histogram is welcome but they could've pushed the boat out and put zebras in.
The new Eye Sensor + LCD Image Display mode is great for weaning myself off the traditional DSLR chimping method. I actually quite like the playback through EVF method as its a boon in bright lighting but most of my work means you still have to keep one eye on whats going on around you when you're looking and marking images so being detached from that by having the camera to your eye isn't always a good thing.
Its a bit niche but the voice memo function is a boon for anyone doing editorial work with it.
Copyright in the EXIF ditto.
I'm going to test the face detect AF tomorrow......

Well if you're going to bring facts into it John.....
DOH !!!!
Thanks

I'm probably very late to this but prompted by a discussion in another thread about editing on a MacBook I thought I'd flag up what I've been using as an additional monitor when editing.
As you can see here, I'm using my iPad Mini in FCPX as the Secondary Display using an app called Duet which was developed by some ex-Apple staff.
Basically, it allows you to use any (and multiple) iOS devices connected to the USB port to increase the screen real estate of your MacBook (and any OSX  machine actually) when running the Duet app on your Mac.
OSX just sees them as additional screens so you can arrange and orient them anyway you like just as you would normal additional monitors.
And because you aren't dealing with big monitors on stands, you can quickly reconfigure your setup depending on what you're doing. For example, if I'm using Aperture, I'll have the iPad on the left of the screen with all the tools on it and the main MacBook screen just having the image I'm editing. 
Also, unlike proper external monitors, you can take them with you easily. So if you're away somewhere and you have your iPad (or even your iPhone) then you can setup a dual screen system wherever you are. Or a tri screen system if you can borrow someone else's iPad there!
I attach mine using the Ten One Design Mountie which at £20 is a bit harsh for some plastic and rubber but it works well. Other types are available cheaper on Amazon.
The Duet app is £14.99 on the app store and the OSX control app is a free download.
So, all in all, £34.99 to turn what you might well already have in your bag (or your pocket if its an iPhone) into an additional monitor is decent value.
https://tenonedesign.com/mountie.php
https://www.duetdisplay.com
 

Not exactly your situation but similar... The battery indicators on my X-Pro2 are extremely unreliable. If I'm photographing a long event, think wedding, when I'm using two cameras but not using one for a while I'll turn it off when it's hanging over my shoulder and turn it back on in the same movement on as I raise it to my eye. I've nailed this technique so I don't lose any time doing it.
I don't find the actual battery life too bad, and it is pretty consistent - but yeah, the indicators are not all that.

Duet Display also works under Windows, I've used it in the past.

I'm probably very late to this but prompted by a discussion in another thread about editing on a MacBook I thought I'd flag up what I've been using as an additional monitor when editing.
As you can see here, I'm using my iPad Mini in FCPX as the Secondary Display using an app called Duet which was developed by some ex-Apple staff.
Basically, it allows you to use any (and multiple) iOS devices connected to the USB port to increase the screen real estate of your MacBook (and any OSX  machine actually) when running the Duet app on your Mac.
OSX just sees them as additional screens so you can arrange and orient them anyway you like just as you would normal additional monitors.
And because you aren't dealing with big monitors on stands, you can quickly reconfigure your setup depending on what you're doing. For example, if I'm using Aperture, I'll have the iPad on the left of the screen with all the tools on it and the main MacBook screen just having the image I'm editing. 
Also, unlike proper external monitors, you can take them with you easily. So if you're away somewhere and you have your iPad (or even your iPhone) then you can setup a dual screen system wherever you are. Or a tri screen system if you can borrow someone else's iPad there!
I attach mine using the Ten One Design Mountie which at £20 is a bit harsh for some plastic and rubber but it works well. Other types are available cheaper on Amazon.
The Duet app is £14.99 on the app store and the OSX control app is a free download.
So, all in all, £34.99 to turn what you might well already have in your bag (or your pocket if its an iPhone) into an additional monitor is decent value.
https://tenonedesign.com/mountie.php
https://www.duetdisplay.com
 

Well if you're going to bring facts into it John.....
DOH !!!!
Thanks

I'm probably very late to this but prompted by a discussion in another thread about editing on a MacBook I thought I'd flag up what I've been using as an additional monitor when editing.
As you can see here, I'm using my iPad Mini in FCPX as the Secondary Display using an app called Duet which was developed by some ex-Apple staff.
Basically, it allows you to use any (and multiple) iOS devices connected to the USB port to increase the screen real estate of your MacBook (and any OSX  machine actually) when running the Duet app on your Mac.
OSX just sees them as additional screens so you can arrange and orient them anyway you like just as you would normal additional monitors.
And because you aren't dealing with big monitors on stands, you can quickly reconfigure your setup depending on what you're doing. For example, if I'm using Aperture, I'll have the iPad on the left of the screen with all the tools on it and the main MacBook screen just having the image I'm editing. 
Also, unlike proper external monitors, you can take them with you easily. So if you're away somewhere and you have your iPad (or even your iPhone) then you can setup a dual screen system wherever you are. Or a tri screen system if you can borrow someone else's iPad there!
I attach mine using the Ten One Design Mountie which at £20 is a bit harsh for some plastic and rubber but it works well. Other types are available cheaper on Amazon.
The Duet app is £14.99 on the app store and the OSX control app is a free download.
So, all in all, £34.99 to turn what you might well already have in your bag (or your pocket if its an iPhone) into an additional monitor is decent value.
https://tenonedesign.com/mountie.php
https://www.duetdisplay.com
 

I think the buzz around it is a good thing as it's making people who've got one get excited and get out there shooting and making the people who haven't got one take a good look at what they HAVE got and by and large think "I can live with what I've got. I'll buy some lights instead" 
Everyone wins like that.
With regard to the AF100, if Panasonic refresh the HVX200 (which is a GH4 with a lens) with the GH5 sensor at NAB then it will have some serious attention for anyone with rig and jig fatigue 

I think the buzz around it is a good thing as it's making people who've got one get excited and get out there shooting and making the people who haven't got one take a good look at what they HAVE got and by and large think "I can live with what I've got. I'll buy some lights instead" 
Everyone wins like that.
With regard to the AF100, if Panasonic refresh the HVX200 (which is a GH4 with a lens) with the GH5 sensor at NAB then it will have some serious attention for anyone with rig and jig fatigue 

Exhibit A !
8 chargers for simultaneous charging of 16 batteries with storage for charged and need charging, all off one mains outlet and fits in a tray the size of a kitchen drawer.
They all sit on a strip of velcro so can be detached easily for travel.
Total cost was around £90 with an average of about £9 per battery charger and I think roughly £25 for the USB distributor and cables. Plus £2 for the plastic tray obviously! 
It was worth it for the lack of clutter alone and having to root through bags to find chargers and batteries all the time.

Exhibit A !
8 chargers for simultaneous charging of 16 batteries with storage for charged and need charging, all off one mains outlet and fits in a tray the size of a kitchen drawer.
They all sit on a strip of velcro so can be detached easily for travel.
Total cost was around £90 with an average of about £9 per battery charger and I think roughly £25 for the USB distributor and cables. Plus £2 for the plastic tray obviously! 
It was worth it for the lack of clutter alone and having to root through bags to find chargers and batteries all the time.

A refreshingly violent camera test that !
I've been using the Camranger system for a few years to set up behind the goal cameras for football matches. The max tripod height you can use is 10cm so its a massive plus to not have to lie on the usually wet ground to frame the shot and it also wirelessly sends the images to the laptop so you don't have to wait till half or full time to retrieve your images and wire them.
I've also been using the Panasonic app this week with the G7 for vlogging stuff  and its a boon for people like me that are too blind to see the fold out screen when they're doing a piece to camera and too vain to wear their glasses on screen. Oh and for setting exposure and all that stuff as well.
The app is good with cameras like FZ1000 with servo zoom as you can control that as well. Panasonic actually do a remote pan/tilt head that can be controlled by it as well for the full PTZ experience but for reasons best known to themselves it only works with a really limited range of their camcorders.
The Osmo Plus is good in that respect as with the zoom it does make a decent little remote system if you stick it on a tripod. Which is a bit arse backwards for a gimbal but there you go.