My documentary producing friends have nothing against the end product quality of the GH2. But they say that DSLRs are "fiddly' and they slow you down. This factor will matter to any broadcaster who agrees to any contract or pre-sales with you; you will be obliged to tell all interviewees, talent and sources who you're working for. The broadcaster won't want you to mess it up or give them a bad reputation.

However, I can think of exceptions: if you've proven yourself by working under pressure, or if the DSLR is somehow useful because it's discreet, etc, you might sneak it through the door as a "second camera" and never mention where it was used until it's all done & dusted!

Above all, it can help lots if any work you submit matches the corporate culture of the broadcaster and can be incorporated seamlessly into their existing work flow. This applies to concepts, treatments, scripts, storyboarding and even the "look" of the series it might be intended for. A few beers with the crew can help here.