Pro video blog…Produced by Philip Johnston DoP/Editor


This 4K JVC camera looks to produce some cracking footage at £3500 its a snip for anyone entering the 4K market.

It also utilises the micro4/3 lens mount so you are not going to be short of lens choices plus MTF have an adapter for Nikon mount lenses plus Metabones  also produce a m4/3 speedster for Canon lenses.


  • Newly developed 4K Super 35mm CMOS image sensor
  • Micro Four Thirds System Lens Mount
  • Variable Scan Mapping maintains native angle of view for a variety of lenses including Super 35, MFT and Super 16.
  • Adapters available for PL and EF mount lenses
  • 4K Ultra HD recording (150 Mbps, 24p/30p) to SDXC(UHS-I Speed class3) card
  • 4:2:2 Full HD recording at 50Mbps (24p-60p)
  • 3 position ND filter (1/4, 1/16 and 1/64)
  • HD-SDI (3G) and HDMI outputs (4K output via HDMI only)
  • 2-channel XLR audio inputs with phantom power
  • Shotgun microphone included
  • Dual SDHC/SDXC slots enable Dual, Backup and Continuous recording
  • Advanced JVC streaming engine compatible with USTREAM, Zixi and Wowza Streaming Engine
  • IP Network Remote Control, Remote Viewing, Metadata editing, FTP clips (requires appropriate network connection and adapter)
  • 3.5-inch colour LCD display (920K pixel) with smart focus assist function
  • 0.24-inch colour viewfinder (1.56M pixel) with smart focus assist function
  • Wired remote control supported
  • 10 user button assignable functions
  • Includes handle unit, SSL-JVC50 7.4V battery, AC Adapter and shotgun microphone



Having been working in the video business since 1988 I have amassed a great amount of knowledge of both the kit and production values over the last 30 years.

16 thoughts on “First pictures from the 4K JVC GY-LS300 (£3504 CVP)

  1. This really is the time alot of videographers have been waiting for,to adorn their timelines with 4K footage at a level that has not been previously available in this band,well done jvc for bringing us the 4K JVC GY-LS300 camcorder.

  2. I read also the description on B&H (store) but don’t see any mentions of image stabilization. Would you know if there is such a function in the JVC GY-LS300? Shooting a lot hand-held, this is something I’m always looking for. Thanks.

  3. lovely but the only difference with a GH4 are the ND and the streaming. If I need AF and a lanc zoom at the same time my only option will be the 45-175 (which translates in 35mm standards to 90-350). Just like the GH4. They both accept lanc (like) zoom control, but there are no lenses for a decent range. This is good for the bokeh obsessed crowd in manual everything. Just like the GH4.

  4. >>>lovely but the only difference with a GH4 are the ND and the streaming.

    …And a Super 35 sensor (1.5x crop instead of 2.3x crop), 4:2:2 internal recording, and a 150 Mbit 4K data-rate.

    This could be a hot commodity if it’s performance matches it’s specs.

  5. Guy: hot commodity to shoot movies? with a crowd and a script, with a focus puller, a director and a camera operator and actors.
    hardly the destination of a prosumer camcorder. in other words without a zoom in AF with a decent range any one-man-band operator will look at the sets of a movie production with a good feeling, but then the reality requires simple things, missing in this model here. That said I can think of interviews with a crowd and a focus puller and rails and all that. that would be great. A production of few millions and lots of people involved for several days … for an interview? a soccer game? a wedding?

  6. Mark you are so right. These specs are promissing but its somehow to “manual” camcorder. It needs at least one decent covering lens with auto focus for run&gun situations, something like the Sony 28-135/f4 G for the PXW-FS7.
    Then it would be suitable for sports, action, weddings etc.


  7. >>>for an interview? a soccer game? a wedding?

    A huge number of shooters are already using DSLR/Mirrorless cameras along with affordable cine cameras (like the Canon C100/C300, Sony FS100/FS700/FS7) to shoot all of these events, so this new JVC cameara won’t be any different.

    It really sounds like you are comparing large sensor cine-style cameras against ENG-style cameras that have long focal range fixed zoom lenses.

    There will always be a place for ENG cameras when shooting live events, but that does not mean that a cine-style camera can’t be used instead.

  8. Guy: and here we are discussing the new nonsense of cameras for pictures in motion with huge limitations requiring a team to operate but indeed do sell (who knows what for). To shoot movies there is the Arri lineup (on rentals) and a few reds (again on rentals). The DSRL crowd go from cat shoots in the living room to low budget or most likely free music videos for youtube.
    Me? I shoot soccer games for a living and news/broadcast when I get a gig. Now let’s try to cover a soccer game live from the press box with a focus puller. How does it work? It doesn’t.

  9. >>>The DSRL crowd go from cat shoots in the living room to low budget or most likely free music videos for youtube.

    …And then there are lots of people like me that shoot corporate projects with GH4 or A7S cameras, and have been shooting these projects for more than 6 years now using large sensor DSLR/Mirrorless cameras. ( now in 4K )

    I’ve owned three ENG cameras ( DVX100, HMC150, EX-1 ) over the past 10 years, but I haven’t shot with one in the past 2 years. I doubt I am going to ever own another ENG camera from this point on, as I rarely ever shoot live events and would rent if a project came up.

    >>>Now let’s try to cover a soccer game live from the press box with a focus puller. How does it work?

    You could use one of the Micro 4/3 B4 lens kits like this one from FotoDiox…

    It won’t be as good as a dedicated 4K ENG camera, but if you don’t shoot this type of work very often it’s a workable solution.

  10. It is quite logical,
    For guys chasing a ball, news and who are not used to operate cameras Manually , Sony x70 and 1/3′ and 1/2 and 2/3′ cameras are more suitable. Just make sure you do not use Manual TV Broadcast lenses!
    JVC camera is not for them.
    It is for more creative crowd as FS7, c100 …etc 😉

  11. Igor Ivankov : yes, but don’t you think that’s intentional? I mean look at the GH4 (and AF100) : power zoom only from 45-175 and 14-42 BUT not one zoom for everything. Sony 18-200 (the only option for decent sensor cameras) poor slow non-parafocal and jerky (in a word unusable). Do you honestly believe that they don’t know that? methinks they know. in fact it’s the border between consumer and professional (but with a huge price tag like the sony f55 w/fujinon power zoom: there you have everything, power everything. as it should be). Let me put it this way: a camcorder used to offer zoom, AF, lanc. And that should be the default for a camcorder. Now we have still cameras for the hollywood people to shoot the cat at home. The only alternative (today) is the 1-inch AX100 and PXW-X70. But for anything bigger than that you get limitations over limitations, and an intentional marketing placement. from time limits to power zoom and remote controllers. They seem to always find the way to limit the use to sell the WAY more expensive models to be used as a real camcorder (like they used to be). Now can you shoot a movie with a GH4? yes, but you need 20 people working and a set, and beside that you could also use a cell phone to get the same results. So the question is: a cell phone or a real camcorder: that IS the question.

  12. Jiri : in order to operate any camera manually outside of your room you need a set , a script, a director , assistants and actors. Unless the new wave of amateurs will change the physics chasing nonsense.for them a cell phone will do the same thing, now that the bokeh obsession is over (another nonsense).

  13. Another option for S35 cameras like JVC,Canon, Sony is to use MTF B4 adapter where one can use 2/3″ TV ENG zoom lens.
    You get virtually ENG Camera performance.
    I have been using S35 Canon c100 with MTF and Fujinon Broadcast 2/3″ Zoom Lens for 2 years with great results..

  14. parfocal lenses start with Sony 28-135mm f4 or RED Pro 17-50mm T2.9

    Bokeh is fantastic with my Nikon Nikkor 200mm f2.0 ED 😉

  15. now if Panasonic made a 14-140 with power zoom … I’m afraid that’s not gonna happen.

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