Emanuel

The Zoom F3 also has much better preamps than the H4essential

Well, sort of.  Now I watched the whole thing.  I guess it's more "YouTuber shills for like 5 different companies and talks to other YouTubers while near an Arri and a GH7" - though it'll be interesting to watch their short film when it's done.

I already have lost my part in a few of them with my OnePlus 9 Pro, pure true, so me too, 1st scope to pay attention to. And hence why my recent FX30 purchase is the answer for.
No active cooling? Not my wallet : ) No small overheating toasters are breaking my heart nor bank account : D either such as a Z8 unit BTW :- )

Absolutely.  I once overheated an iPhone shooting in direct sun in probably 40-43C (104-110F), and considering that iPhones overheating is something that is practically unheard of, overheating is something I pay a lot of attention to.

It's all about an inherent format look.
Serves a lot but not all. Horses for courses ; )
Being IBIS as said above, the most interesting one, not much else to say, frankly : )
Versatile, yes, in fact, but doesn't cover everything.
Fortunately AF is now not a miss as far as these tests are able to let us know :- )

Right.
The use of a smaller sensor size factor is not only the question of DOF, with more or less deep versus shallow look, but the intrinsic quality of bokeh which varies in a variety of specific layers towards much detached aesthetics.
For example, still photography, motion picture, soap opera, teledrama, docs, events, etc., are only a general way to address a few categories on this discussion.
Many subcategories can be found on each.
Which means no matter how many tricks bokeh is not exactly possible to replicate under equivalent variables, there is an intrinsic look on much contrasting subtleties, apparently indistinguishable, but only to the casual eye.
- EAG

This partly true. Many pros will also come up with a lens/camera/filter combo that matches the look they want for a specific project, then stick with that combo all the way through. They then will add specific filters for specific shots. It's what I see done a lot anyway. 

This chart from Tiffen is really helpful for filter experimentation. Glimmer glass is the filter I reach for the most because it slightly softens the image just a touch, while also blooming practical lights a little bit too without touching the shadows or overall contrast. When pared with modern sensors it is a really pleasing look. 

I don't know that their current business model is sustainable with a constantly shrinking market and being a niche system. So the question is really "how long can OMD stay in business?" It'll really boil down to how long OMD wants to stick around before deciding enough is enough.
Panasonic has seemingly slowed down their decline and possibly even reversed it a little, so their long term future is less in doubt I think. But M43's future is still up in the air and really depends on whether Panasonic decides to keep going with it if it's just not a profitable part of their business. Even if it does stick around I don't know that we'll ever really see the true promise of M43s, which was small cameras and small lenses with powerful features. The lenses are smaller, but the bodies aren't that much smaller than their full frame counterparts. Still I'll always have a soft spot for the M43 system and wish I'd kept a couple lenses.

summarizing the tests by Gerald Undone for GH7 and CineD for GH6, GH7 has a usable dr of 12 stops at s/n=2 with dr boost on meaning 4k 60p at most, a latitude of 6 stops at least, 3 upper the mid gray, 3 lower. using Alexa 35 as the reference standard, Alexa 35 has a usable dr of 15 stops at s/n, a latitude of 12 stops. 
according to my experience on mlraw and r3d, I typically do ettr to 3 stops plus at most, then pull down in post to reduce the noise. I never did more than 3 stops as typically there is not enough available light for this, and ettr works fine enough for 2-3 stops to reduce the noise. 
although Alexa 35's latitude is amazing, gh7's latitude is good enough for most common scenarios. 
gh7's 12 stops usable dr is basically at the Sony Venice level. there were so many block busters made by Venice and there was no complain about its dr. good enough for Hollywood features, good enough for me.
with its ibis and af, gh7 is a compelling package to me. 

I would easily take MFT and this GH7 for sure straight to IBIS as replacement of the gimbal when a light setup is crucial.
Other than that, I think there is some misinformation. And bias. As far as the circles of confusion really matter to give a specific look. And people actually tend to ignore it...
 

this guy used pro mist 1/8 on his s5iix and penny 24-70 f2.8. image quality is pretty good.
actually, I compare this video to my c300 og video. if doing pixel peeping, yes, there is more details in s5iix. but if looking at the whole picture, the final footage on YouTube (YouTube compression may affect) is comparable on my laptop screen.
considering most of the YouTube viewers are using their phones and iPads, I doubt if viewers will see the difference.
I think human eyes have certain threshold on image quality parameters, like resolution, contrast, dr, etc.   

I think the missing part that no-one seems to mention is how they're used.
Pros will choose which filter, at which strength, if any, is used for each camera angle and each shot.  It will be tailored to the exact contents of that composition, including the actor/actress who is in the shot.  It was common back in the day for big-name actresses to include a clause in their contract that all shots that they appear in must have a particular filter used.
Amateurs buy one, slap it on their lens, and never take it off.
There's a reason that amateur footage looks amateurish.  Probably the biggest giveaway is razor sharp footage with diffusion on it.

That’s me, but actually it’s considered.
For video, because my cameras do not have an OLPF (except the S1H which is being replaced) I find that a 1/8th mist is quite subtle and takes off that digital edge whilst helping reduce or eliminate any moiré.
For stills, the 1/8th Bloom Golds just reduce the overall contrast a little and again take off that digital edge and make the resulting files that little bit more ‘filmic’ SOOC.
For me, it’s about doing more in camera in order that I have the best/a better and consistent starting point when it comes to editing.
Could you spot it? Probably in lower light shots when there are visible light sources such as lamps or strings of lights etc, because there is some inevitable (and wanted) diffusion going on.
But only nerds like us would spot it and my clients would simply ‘like the images’ but not be able to technically break down as to why.

Another type of filter that gets used frequently in cinema is ultracon filters. The name suggests that they increase contrast, but in fact it's the reverse. They don't cause halation or soften the image in any way, they just distribute more of the ambient lighting toward the shadows, reducing contrast.
They come in a variety of strengths; 1 is subtle; 2 is more noticeable, but they go all the way up to 6 I believe. I have #2 and got it specifically to tame the high contrast of the Sigma 18-35 when shot outdoors, where it can produce very ugly footage. I have an OLPF on my cameras that softens the image a bit already, so I'd rather not soften it further.
I found a brief demo of this filter at #1 strength on the Sigma 18-35 here:
The only drawback to these filters is that a very bright light source, such as sunlight reflected off water, can wash out the image and make it milky.

huge fan, i own a set of formatt hitechs black supermists. shot a whole short on the 1 strength filter. 

Freewell VND 1/8th mist at all times for video.
Bloom Gold 1/8th stills.

good for Sundance, good for me. 

I don't think so at all. iPhones (and phones in general) are obviously very popular, but M43, 1-inch compact cameras, and action cameras have all been on the decline for a long time. Really the whole industry has been, but GoPro for example lost $75 million last year. Their stock has plummeted something like 97%. The action camera market is not doing good, even though DJI and Insta360 have been pretty aggressive in releasing new cameras. They just don't have the burdens GoPro has, since they are Chinese companies and action cameras aren't their only products.
Sony put out vlogging cameras in the ZV and RX100 series of cameras, but they didn't really set the world on fire. It sounds like Panasonic is going to release something similar but I have my doubts that it'll be successful. Vlogging just doesn't seem to be nearly as popular as it used to be, with a lot of people transitioning to different content and even before they did that a lot were using APS-C and full frame cameras for YouTube, and many others have transitioned to using phones for the short form content they post to TikTok, Facebook, and IG.
M43 will exist as long as OMD and Panasonic want it to, but the GH7 could realistically be either the last stand or it could breath new light into the system. Too early to tell, but it got a lot of praise but whether or not that translates to people actually buying it, who knows? I kind of regret getting completely out of the system, but I'm not entirely sure I wouldn't have ended up having to in a couple years anyway.

I actually dug in and just bought two new MFT lenses (the Laowa Argus cine lenses, which are fast, relatively light, and should match well with my existing MFT lenses). For me, as a single operator who prefers using manual lenses, small sensors are the most practical choice. Since I'm forced to use wide lenses, I get more depth of field, which means focus is more forgiving when I'm trying to maintain focus on people and other things that move. If I used autofocus I'd go fullframe or APS-C, but based on a few experiences shooting dancers on full-frame with manual lenses I'd rather stick with smaller sensors. I'm using the BMD Super 16 cameras (OG Pocket and BMMCC) for now, and if I ever upgrade it would probably be to the Pocket 4K or possibly the GH7.

IBIS on Panasonic M43 cameras will always be better than the IBIS of their full frame counterparts because of the smaller sensor. Still the IBIS in the original S5 was very good. The S5II cut the IBIS gap, but it still couldn't compete with the GH6, G9 or the GH7. Panasonic full frame IBIS is still head and shoulders above everyone else though.

The second link is to an in-line attenuator, the opposite of a pre-amp...
Another option is to use a decent hand-held recorder with XLR inputs as the mic amp then feed the output of that into the camera. if you use one of the latest Zoom models (e.g. the H4essential) you can have a 32-bit float backup recording as well.

this guy tested s5ii using the latest firmware. his conclusion is that if the talent is just walking, s5iix ibis using e-stab high at s35 crop can be gimbal like. the footage seems smooth to my eyes. this is really good. as I remember that the steadicam can only do 50mm well, over 50mm it is hard to stabilize. 

Indeed, I'd only forget the GoPro H12 and would wait to see what the next version will offer in a couple of months unless you go with the Back-Bone mod or buy the Ace Pro then, much more interesting really : ) FX30 is unbeatable to my book comparing with the S9 but what do I really know when I am just buying it these days? ;- )