Alt Shoo

@Alt Shoo would love to see your footage with your beast:)

While a good camera, personally I’ll forget the Olympus and go with a more feature rich Z Cam E1. Don’t sleep in that little beast of a tool!

That footage looks almost too good to be true. I must admit I never heard of that mod, but I was using ENG cameras at the time, so off my Radar. Just goes to prove how good Raw footage really is. Speaking about Raw footage, My son just got a Canon 5D mk III. Has shoot a little with ML on it yesterday. He was impressed to say the least. Have not been down to his house to see it.

@Alt Shoo The gyls300 has been out for 3 or 4 years. 

If the cost of the XF705 is a bit rich for your blood the new JVC GY-HC500 at half the price (£3395+tax) might be for you. It also has a 1" sensor & can record 4K@50pHDR 4:2:2 10-bit video plus has a 20x power zoom. Interestingly it can record to SSD.
https://www.newsshooter.com/2018/09/11/jvc-gy-hc500-gc550/
https://cvp.com/product/jvc-gy-hc500-connected-cam

I'm interested in these, I'd like for the thread to stay open so we can talk about them as more info emerges / reviews start to trickle in. 
JVC honestly might be the camera company that gives you the most bang for your buck, in terms of features and stuff. My biggest issue with them is their menu system feels ancient and bloated. My LS300 still has the ui of a 90s camcorder and just feels ancient. But I love the picture! 

This camera has no mojo. Imagery bores me. 

Unfortunately my best video can never be released publicly due to a fall out between myself and the band, but that didn't stop me from completing the video and showcasing it for my skills.
Shot on hacked GH2 (Flowmotion) with a set of vintage Nikon AI/AIS lenses. No budget, simple gear and a couple of friends.

PW: MyVersion
 
 

Thanks for the comments. It is basically the Jlog with a tiny push on the colour but hardly anything so I appreciate some may like it and some won't. The full documentary will be done by next year. The audio mix is not me as I would still be here next year trying to get my levels right! I pulled in a favour from my mate who is brilliant sports features editor.
 
cheers

I just found this. If you go to page 12, there's a lot of info on what the LS300 does with the RAW data from the sensor, and the various ways the camera lets you process/record it. However they seem pretty adamant that nobody wants RAW, and say in large red font 'RAW access is NOT needed (or wanted) in the broad-market television world.'
http://pro.jvc.com/pro/pr/2015/nab/JVC_4KCAM_WhitePaper.pdf
Perhaps their stance will change, and they'll add an update once ProRes RAW gets tested properly and is released. It'll then become more accessible and a feature many would look for in cameras of this range.

Just to jump back on the Jlog flatness thing. Here's an interview I shot today as an ungraded and graded frame (only 5 minute grade, but it looks nice to me)
This had 3 lights, in a more or less traditional 3 point setup. 
Feel free to give it your own colours and share

thanks for all the comments guys, here some more from the same place (but adult event): 
 

If you're hiring people who you can't trust to keep their phones from ruining takes, then you need to ask yourself why -- not to treat crew like school kids. If I've caught up on what I need to do and I'm ready to roll at a moments notice, but we're just waiting for one thing or another, I see no reason why I shouldn't check my email. Besides the fact that quick responses to emails gets you more work, I wouldn't work for a producer who can't trust me to know when I should look at my phone or not. 

Also, if you see the time you pay as "your time", then it's your responsibility to make sure that there is as little down time as possible. If you can't keep your crew occupied, then that's your fault, and it's frankly unreasonable to demand your crew not check in on the state of their own business when they have nothing else to do.

I don't think so.  In addition, it is often helpful for crew to be connected to the world outside the set, as, for instance, they might be expecting delivery of gear/expendables or waiting on the arrival of other crew, or if they are consulting a technical expert on a new piece of gear outside the set, etc.
 
 
Are you certain that  they have not consolidated gear nor prepped for the next shot?  With pro crews, a lot of that work is built-in to the process and is muscle memory.  Would you rather have pros who do their job without thinking and who, consequently, have free time to deal with any unexpected eventualities, or would you rather have inexperienced crew who must constantly focus on every detail and might miss something important or strike out when thrown a curve?
 
If you are genuinely concerned about whether or not they are prepped for the next shot, you can merely have your AD remind the department heads what's coming next.  If you do so, you will probably find out that the crew is several steps ahead of you.
 
By the way, consolidation of gear is usually automatic and built-in, because it it makes the work much easier for the crew and makes it easy to deal with unexpected problems,  and, most importantly, wrap goes much faster!
 
If you see a pro crew sitting around on their phones or twiddling their thumbs, it's probably because everything is done, dressed, staged and prepped, and they are waiting for the department head to give them their next order -- it's usually a good sign.  Also, if there are any sudden, unexpected changes, there is a free pro crew on hand to roll with the punches.

Why stop at the gh series? Just use a phone.

Yeah but like I said a small HD is worse than a Atomos screen for the same money or more. I have no clue why Atomos doesn't make just small screens for sale. They have a like 20 inch one but..

Eva1 owner here! Truly an amazing cinema camera. It’s definitely in the Varicam range of image quality!

After watching the shootout and the videos, the EVA grew a few inches in my mind!
The C200's benefit is internal raw (but EVA will give a few internal codecs and external raw in a week or two, that was said in the shootout) and most importantly DP touch AF (that is still a strong selling point for Canon). In everything else the EVA seems like a better bet. It even has a programmable 3 positions switch (inside joke for whoever watched the aforementioned video!)!

Eva1 owner here! Truly an amazing cinema camera. It’s definitely in the Varicam range of image quality!

Eva1 owner here! Truly an amazing cinema camera. It’s definitely in the Varicam range of image quality!

On the end where he is using that duster on the green screen he says there IS a big difference between 8 bit and 10 bit internal,  compared to external, and states he doesn't know why??? WTF LoL. How many of us shoot with a external recorder, not many of us. So to me he is Way off to advertise there is no reason to go 10 bit, or even 4.2.2 video!
If that was the case nobody in the world would ever buy a External Recorder. Atomos would be out of business. Now I know he states IF you don't use a LuT or basically edit the footage, well who doesn't do that other than grandma. I used to follow that guy years ago, but he seems to not be as reliable as he should be to state a bunch of stuff on there that he is not a wiz at. And lets face it hardly anyone is a wiz at all aspects of video.

In fact, cable TV stations here require BBC/EBU standards, and this is the norm in EU, I know because I did sound on a couple of this last year. Most terrestrial channels ask for 4:2:2 8bit, but most of them are not very anal about it (a couple of years ago a C100 was enough), but on another 2 shows on private stations, they requested 10 bit, so we shot with GH5. A few other jobs I did this year needed top specs as well (a feature documentary we shot C300mkII, and a couple of shorts with Ursa mini pro), and this were just medium to low budgeted jobs. 
I do not thing that this conversation is relevant here though. Different tools and different needs. The @Alt Shoo expressed his opinion that this specific tool isn't right for his intended use. No one should have been offended by it.
This joke about Soderbergh's film will go on forever I guess. If you feel confident do your work with an iPhone 7+, be my guest, no one will judge you, and I support every artistic choice (my favorite films of all time are Italian neo realistic films and indies of all kinds from around the world), but this is not a serious argument for a dozen of reasons, thoroughly discussed on similar threads, or in all the other threads that this arguments out of the blue appears to bring off topic comments and confusion (e.g the thread about the Canon's, which suddenly became an iPhone Vs all the cameras challenge).
If I cared about photo and video, and I have  to choose between an iPhone 7 or a X-H1, I would choose the latter, in every possible way.

The xh1 is the first time I’ve ever considered buying a Fuji, but because it’s only 8bit I won’t get it. Everything for video is pretty awesome, especially the Eterna film simulation, however that 8 bit codec is just not persuasive. 

https://youtu.be/pwitCxD82WI
it has been holding up well with a pretty strong user base and I am hoping that jvc has another firmware update or even another cinema camera coming.