I have not seen a Zeiss Compact Prime Cine. What does the 50 T1.5 cost and how well does it work with the zoom function? I thought that only worked on Pany MFT zoom lens.

" It could have been a great camera with a better sensor, IMHO."

If it had better low light performance, I would have bought one soon after "Hands On" at NAB instead of getting a necessary Odyssey 4k recorder for my A7s. That and the also necessary 28-135 Cine lens would have paid for it. But now, $8k later I have something better for the poor/low light indoor Videos that I make.

this camera is amazing!

Nice roll-off highlights with j-log1. Seems to grade very well. Dynamic range (12 stops) seems to be in the same ballpark than GH4 with Log

Thinking about getting this camera. Is it Rolling or Global shutter, and if it's rolling how bad?

JVC GY-LS300 firmware 2.0 update has been released, available here:

http://pro.jvc.com/pro/attributes/CAMERA/soft/gyls300_firmware_v2.0.html

Version 2.0 brings significant new features and performance upgrades to JVC's Super 35 4KCAM Camcorder:

JVC Log Gamma
Prime Zoom (allows zooming with prime lens)
Cinema 4K (4096 x 2160) and Cinema 2K (2048 x 1080) recording at true 24p
Histogram
Spot meter
Color matrix / Black Paint adjustment
4K recording at 70 Mbps
Zixi variable bitrate streaming
FTP resume function

Has anyone tested this camera out since the firmware update? I'd love to see how footage looks with some Voigtlanders on it.

JVC LS300 J-Log1 test footage showing highlight interaction with several complexion types. Recorded in 1080p30 at ISO 400 with internal 50Mbps H.264 encoder in 8-bit 4:2:2 color depth. Sunlit highlights intentionally blown out to reveal highlight coloration. Graded with custom LUT and sharpened with Neat Video using zero noise reduction. The slow pan stresses the encoder to expose any motion artifacts.

@paglez J-Log is a bit of a paradox. It works only in manual exposure mode, but provides no other adjustable controls except white balance. That makes it quick to dial in, but not very adaptable to extreme lighting conditions. On the LS300, J-Log records 0% black at 7.5 IRE and 100% white at 100 IRE, with superwhites up to 108 IRE. If you set Zebra Bottom at 100%, you can use it to keep your J-Log exposure within Rec. 709 legal limits, allowing you to monitor and review the footage directly via HDMI into an HDTV. But since it doesn't use a Rec. 709 gamma curve, shadows will be bright and contrast low, so you'll need to grade it as I did with the clips above. (The built-in LUT only works in-camera.) Sharpness must also be adjusted in post, as it cannot be controlled in-camera in J-Log mode.

J-Log is excellent with controlled lighting, but in sunlight or harsh indoor lighting, J-Log forces you to either clip the brightest highlights or underexpose the midtones and shadows. With the LS300's Rec. 709 gamma curve, I can compress the highlights with the adjustable highlight knee, and boost the mids and shadows as needed with adjustable gamma and black level controls. Sharpness can also be dialed in, or turned off completely. That provides a lot more flexibility than J-Log, but requires careful preparation and evaluation with an external monitor. With J-Log, all controls are preset, so once you've set exposure and white balance, you're ready to shoot.

@Paglez J-Log (with 4:2:2 color) is what the GH4's V-Log-L should have been, but so far no LUT's or technical docs have been provided to make full use of it. If you're willing to roll your own LUT, J-Log will give you the broadest dynamic range from the LS300, so long as your lighting isn't too extreme. If you want the best in-camera results in difficult lighting, Rec. 709 with custom gamma and black level is the way to go. Both J-Log and Rec. 709 produce realistic colors; "Cinema Gamma" not so much.

Thanks for the detailed report LPowell, really great info. How is the low light performance of this camera and sensor? What ISO do you really start noticing noise?