Emanuel

I think that in this example content is the most important. I admit that am very curious what is and how looks further evolving of plot...

I made this poll on YouTube, that's why I only have five options (its maximum on YT). Thought it could be fun to compare results.

This seems to be shaping up to a dream drone - basically the best of the P4 pro combined with the best of a Mavic

Wow, the Fuji IBIS is much better than I expected.

X-H1 vs A7RIII
 
 

Some of those results look extremely nice, others bad. Personally I will just test it for myself, most cameras require days up to weeks learning, so you get the most out of them.

Word. Some are only innocuous tests like the customary flowers, children and cats, though : )
On the hardware differences, there's nothing we can't obviously do but as already stated, nothing some other workaround gear may not solve within certain limits. For some reason we need to couple some piece of glass there to begin with ; )
Not really convinced there are substantial differences on the Dynamic Range level or even highlights rolloff. Dual ISO is there, is real and sweet, not mere marketing as I could read here by Sony clientele basis, despite that.
I believe the problem for the other fellow here or under that respective angle is not the 2500 mark but the difference (500 for the case but could be another one) the buyer doesn't feel like to afford. Not because the client can't or have no clue how to pay for it : D but certain principles still apply.
It is not a matter to discuss if a firmware will or not to overcome it. Panasonic followed Sony. Why? Is it possible to overwhelm that with the next upgrade GH6 series step? Only then? What about adjusting the price difference between both versions of the same camera model?
Well, to begin with, they are not actually the same camera, but two distinct ones. They share the same market range anyway.
Only a nonrestrictive strategy on the market segment or a new pricing policy might be the answer. However, as a few have already predicted, it is even possible their GHx series price will end higher once as you Jon have fairly pointed out now and many of us have been restless to defend here and everywhere: 2500 bucks is a no-brainer deal for what this acquisition device delivers at this level.
Last but not least, the prices are beyond the traditional 4/3" format framing because of their video abilities. The ease of cheap adapters to couple practically any single mount system also help this to happen. A certain thing is for sure though: they would have to rethink their margins if they would feel their competitors are coming tougher and closer to them. To my view, that's where they still end their decisions as far as we've seen on their GH5/GH5S dichotomy so far. Much more than large pixels size vs higher resolution sensor or lack of IBIS with ridiculous excuses or as you wish, they start or could end exactly there.

@anonim Yes, keep the regular GH5 inside the ISO1600 limits with fast glass and an affordable focal reducer adapter like Viltrox as for instance and you'll have the same GH5S performance for that piece : ) Finely shot as much as that one by Filippo, of course :-)

@anonim Indeed. Thanks for posting! : ) From Fujinon glass... hehe Filippo, old dvxuser fellow and the filmmaker chosen by Panasonic to promote EVA1 from his footage skills, is one of the most delicious digital painters known by us geeks of a certain kind to offer the best each release he puts his hands-on.
This camera is a hit. Pity they had charged a premium 500 bucks though. No excuse will avoid you of that way as you wish anyways. I put my hopes on the upcoming a7SIII but I guess Panasonic will still be a most secure choice, no matter how much they will try to overcome certain issues as overheating a smaller tight camera design won't give so much room for.

I actually pull down a very stable 180Mbit and 200Mbit (HEVC) if I turn off other in-cam features. 

Isn't 200Mbit/s the highest non-intra bitrate of any of the cameras in its class? The GH5 only uses 150Mbit/s and the a7rIII only uses 100Mbit/s. Intra is a less efficient codec, so even though the GH5 has a 400Mbit/s codec, this could theoretically have the least amount of compression artefacts in its class.

I think you'll be able to buy cameras affordably that will do that, but I don't for a moment anticipate that that will result in the demise of the true stills camera. There will still be a substantial group of people who want to take individual shots - myself among them - for the art and craft of it. I can definitely imagine frame grabs becoming much more prevalent in commercial and reportage situations though.

Definitely right there. The Fuji users' forum I frequent is, in general, pretty sniffy about video. Most times, when someone comes up with a video related question, at least 25% of the responses will be 'buy a video camera'.

Ehh, on the video side they may not have the most cutting edge features in terms of frame/bit rates, because they're still very much like Nikon - more focused on stills. I'd say the XH1 is superior to any m43 cam outside of the GH5's on the video side. And its certainly competitive with every other APS-c camera on the market. It can give Canon FF a run for its money too. As a stills camera Fuji is - IMO - far better than anything m43. If you're a heavy stills/video shooter, I'd take the XT2 or XH1 over any m43 or Canon body until you hit the 1dx2 or 1dc. But even that's subjective based on your needs. And personally, as a natural light travel shooter, I hate higher ISO noise. NR has an impact on fine detail. Lots of debate over skin tones here, Fuji's are sublime in a few of their film profiles. Plus Pro Neg can be dialed to match Canon pretty well. 
I guess it depends on what you're looking for. Like most here, I'm looking for the unicorn. The perfect camera isn't there yet, and even when we do have a 4k60p, 10-bit body with IBIS, great AF, global shutter, and shoots amazing stills - there will still be warts. My definition of great will be different from you or anyone shooting narrative, because I'm very much a run-and-gun shooter that often doesn't have time to grade hundreds of clips for a 2 minute video. I like the final product to be as close as possible in cam. For me that point is much easier to reach with Fuji - despite its quirks. 
I have a love/hate relationship with Sony too, they still refuse to put two UHS-II cards in any of their bodies, even the $4500 a9. Its part of the reason I'm not buying the a7r3. The Xpro2/XT2 had them for a couple years, I can shoot to both cards without any card-writing delays. The Sony shutter sounds like a car slamming into a light pole, Fuji's is so much better, and the XH1 has dramatically improved on the XT2's already pleasing shutter with its floating mechanism. It goes on.
Panasonic gives pre release until to lots of experiences video producers and it shows in pieces like Neuman's robot film. Fuji gave the XH1 to a few, they put together more release videos highlighting the video side of the XH1. They're definitely moving in the right direction. Adding 20 more pages to this thread is just shouting in a vacuum IMO - hit Fujiguys up on social, comment on their videos, comment to the Fuji honks that get test units to pass the word to Fuji, or even Fujirumors with your list of fixes. 
I do want to continue hammering Fuji to improve the video shooting experience, because they can make a lot of progress with FW updates. The last sentence quoted is accurate, Fuji has cultivated a user group that's very vocal about things like the exposure comp dial, and not about zebras. Just look at comments about a forward facing LCD, its all about the narcissistic selfie generation, not about its usefulness. Same goes for touchscreens, video, AF shooting video, and so on. Pick your poison...
Chris

Yes, I really hate that argument. Along with "Fuji needs to stop wasting resources on video to improve stills" as if the two are completely unrelated. Just like when the anti-IBIS crowd kept repeating the BS comments about how much IBIS degrades IQ, or how it won't work with the X-mount. SMH.
Chris

Thats how canonrumors.com is too.
These people are too stupid to know how good video can look coming from these large sensored cameras. 
In any case, this is smart of Fuji.... people that think that way, can't complain that they have to pay extra for video... I mean, yeah... you are paying extra for video in this case, but its the same sensor as the other cameras, if you don't want the video features go to the other cameras (plain and simple, and its cheaper too).

I think in the not too far future you won't even be able to buy a stills camera. It will have 8k and you just use frame grabs, or hell 10k or more, but I doubt it have the same usage for a shutter button as we have now.
And your right, "those people" are too stupid to see the benefit of it.
Yeah it is pretty crazy that you have to buy Resolve to be a great Colorist in this day and age to get a decent look to video. This Fuji might be a start of a great output for not a ton of money that does that with reasonably cheap media to boot. The 1DC sort of did that, but neither camera, or the media for it was "cheap".

Either the 4k is gonna look like 1080 or it will be heavily cropped, or both. 

Is this unique?
Is this the best Fuji?
Sure not.
As Don @webrunner5 wisely pointed out even though he forgets to apply the same criteria on his RAW love : D almost anything can be mimicked with talent and effort. The other perspective on their superior approach is how easy this is able to be reached or how close and far the failure or loss is straight out the box.
Art has no need to be complex. Certain vulgar or simple stuff as you wish works out more fluently lots of times LOL ;-)

LOL What have you written, Dennis?! Don't dare to say a Fuji camera is better than any of the usual suspects when people already left their pennies for, especially in such sensitive case... Don't you see is soooo videoy here too? hehe Fuji can't be more cinematic than any other because it is not! :X As simple as that :D when people simply don't let it be so... *cough cough* Remember, it is 8-bit! Don't dare to say highlights rolloff are sweet and look like smoother than GH5 either. Even if you and me, we have been two of the best supporters Panasonic may afford... without demanding payback points to redeem whatsoever ;-)

LOL What have you written, Dennis?! Don't dare to say a Fuji camera is better than any of the usual suspects when people already left their pennies for, especially in such sensitive case... Don't you see is soooo videoy here too? hehe Fuji can't be more cinematic than any other because it is not! :X As simple as that :D when people simply don't let it be so... *cough cough* Remember, it is 8-bit! Don't dare to say highlights rolloff are sweet and look like smoother than GH5 either. Even if you and me, we have been two of the best supporters Panasonic may afford... without demanding payback points to redeem whatsoever ;-)

Yes, but as I learned from this topic, what you called mashed oranges and blues is highly esteemed image and make huge impression to some masters who are not "crippled by mother nature" - to quote courteous Mr Emanuel. Very interesting experience: trying to express some doubts about Fuji color strategy - judging from these examples - results here as hardest blasphemy!

I have been considering a similar choice for lens, and I have my sights set on the Panasonic 12-60 f/2.8-4 It's lightweight with Power I.S. image stabilization and the GH5S doesn't need as fast of glass for exposure with the GH5S's much better high ISO performance. I know your looking to pair the lens with a GH5, and I must admit: Every time I shoot a pro job with the GH4/5 I rent the Sigma 18-35 and a Speedbooster!