Chrad

They are stills lenses with breathing and a huge mark-up.

I said "amateurs". Know what I mean!
@BTM_Pix i always use SmallHD Focus, and never an EVF, even if it comes without any of those and I save 200-300€ I will be extremely happy!
 
@Alt Shoo
6K yes, full frame - NO!
I seriously doubt a full frame such camera would be useful or necessary or even competitively priced which is the key point here.
Ursa mini pro cameras, EVA, C cameras, FS cameras AREN'T full frame and they own 99,9% of their market..
P4K, Z, GH cameras are owning a huge portion of their market too with "only" being m43..
When I use full frame cameras I always go to 5.6f or more, to have reasonable depth of field, and newer smaller sensors have great high ISO performance..
The sensor with the m43 mount was/ is an amazing solution for me and speedboosted can cover all bases! This was a plus for me on the previous camera, the company that owns the LS300 I am using since then acquired 2 more GH5 and a Pocket 4K, before the LS300 they were only buying Canon/Sony..

Give me that Super 35 sensor and M43 mount and take my money. 

Well I think it depends how much control you're able to exert.  Often on a low budget shoot, access, time, personel or resources will prevent you from being able to apply the solution you'd like to have.  That's when windows start to blow, skies start to pop, and other undesirable things start to happen.  At the sharpest end of low-budget you just can't always fight all the fires.
Of course there are ways around this with meticulous planning and imaginative framing, but having a camera with superb colours and high DR sure would be a helping hand.  

Why would that be? I'd think a fully articulating screen would be better thann fixed screen spray & pray overhead shots at events etc.

Chances of Panasonic putting SDI on a DSLR style body are maybe a smidge above zero.

It doesnt make any sense for Pany to go APC-S L-Mount when they already have FF and M43 and zero APC-S lenses. It makes sense to make a S35 sensor with a M43 mount though. 

This camera does exist and is already in the hands of some reputable camera stores in LA. I talked with one owner and they didn't reveal much except that it was a game changer and one of the best cameras that they had ever seen. I asked them "game changer? They said "yeah". They have it in their shop and are playing with it. Not to something to be taken lightly, especially with using the word game changer... Coming from Panny!!

The "need" for full frame is largely manufactured by camera companies looking to charge you a premium and people have bought into it. The profit margins are greater for full frame cameras and lenses, so it makes sense. 
But as this push for "bigger is better" unfolds, sensor technology has improved by leaps and bounds. While camera phones have hurt the camera market, that so much is able to be squeezed out of these tiny sensors tells me that there's still tons of more progress that can be achieved. 

GH5s in a C100/XC10 form (or even Sony VG30 form) would be great. A real lightweight all rounder.

While I hear what you're saying...what you are asking for is a MFT 'broadcast camera'. Cinema cameras have never really cared for internal ND's, 4 channels of audio or great quality audio for that matter. 
I said it when the Pocket4k came out, but if Blackmagic released a Pocket4K Pro with internal ND's , a tilt-able screen, and a form factor more like a small FS5 or Or Canon XC line camera, they would see like hotcakes.......and maybe the should just call it the Blackmagic Pocket4k Pro. Don't use the words 'Cinema' or 'Broadcast' in the name at all. 
I really don't agree with this. A Cinema Camera is made very differently to a camera you would use to shoot weddings. The Arri Alexa SXT for example, has most of the camera setting controls and LCD screen for checking settings, on the opposite side of the camera to where the DP or Operator is as the 1st AC generally changes these parameters.
A cinema cameras main focus is image quality. For example, the reason they generally don't have built in ND's is because a good quality ND filter set used in cinema, costs more than the Pocket4k or any other VDSLR alone. 
I see what you are saying, and while yes, you can use some cinema cameras like a Red (due to it's small form factor), to shoot weddings, I think people are really expecting one camera to do everything from shooting weddings to shooting feature films and to appeal to everybody which is just not going to happen any time soon, especially at the low end price point and with a form factor of a small VDSLR.
While sure, you can shoot a feature film for cinema screening on pretty much any modern day video camera (the Ursa Mini Pro has internal ND's as does the FS5 and both of those cameras would look fine on the big screen), we should stop using the term 'cinema camera' when what we are looking for is a small camera that is suitable for self shooting and has all the bells and whistles of a modern DSLR. In the same way as many people who pick up a DSLR call themselves 'DP's' when really, they have never had to plan lighting set-up's, direct a team of gaffers etc. We use these terms because they sound cool but it just causes confusion. Sure, its might be cool to say to the client that the camera you are using to shoot their wedding is what they shot 'XYZ blockbuster feature film' on, but is it the right tool for the job?
 
 
 
This!
I have now told three friends with Pocket4K's to buy a monopod after they switched from VDSLR's with IBIS to the Pocket4K.
These friends had never used monopods before and all three came back to me after a day of shooting saying how amazed they were with how easy it was to shoot with and that they far preferred the subtle look of motion when using the monopod compared to when they shot with VDSL's that had IBIS. Monopods are great for quick shots and super versatile.
Get one with the three feet at the end like the Surui 204 series. 

Yep. You either do it, or you don't.

I wonder if Atomos is seeing the end of mainstream external recorders in the coming years. For a while, Atomos had a niche market of being the best option for people on a budget to record higher quality footage. Back around 2014, I had discussions about external recorders, and my position was that they were a bad long term investment, since I thought it was only a matter of time before internal recording was higher quality. Now we've got several photo/video hybrids and budget video cameras that shoot 10 bit, and even a couple that do 422, essentially removing the benefit of an external recorder as far as quality goes. I know there are still benefits to external recorders and will be for the near future, but as internal codecs and formats continue to improve, I predict that fewer people will buy external recorders.
I think it's smart for Atomos to both pursue higher quality with ProRes Raw, and to also expand to building dedicated monitors for the market that is satisfied with improved internal recording.
As far as this product, it has some cool features. I'm sure it's a fantastic screen, and the Analysis tool looks amazing. I would prefer more physical buttons and less reliance on touchscreen, though.

Haha at the thumbs down. It's a joke about black people being stupid and unintelligible - if you're going to post it in a public forum like this, own up to what it is.

This is racist as fuck.

This is racist as fuck.

More DR, internal ProRes and external RAW would be preferably to more pixels.

I couldn't agree more. The emphasis on expensive equipment and expensive cast and crew is stubbornly stupid. Plus writers in most jurisdictions aren't paid enough and plagiarists aren't punished enough.
If VoD platforms kept a fund for 100 Feature Films under 100k, and ensured that the stories were great, they wouldn't have to think of most of the rubbish. The problem is VoD platforms have not been able to separate themselves from the over budget Hollywood rubbish they are attempting to replace.
Suddenly there are so many VoD platforms that no one player is probably making enough. And until they improve their content and budget better, they don't deserve to. 

What strikes me about these numbers is how unimportant the A7s series is to the A7 line.
And lets face it, if Sony sticks with the smallest mirrorless FF body approach to the A7 (which is one of the attractions of the A7iii) then it is really going to struggle to be the market leader in video specs.
On the other hand if it comes out with a much bigger body for the A7s series, for more effective heat dissipation, it will be directly competing with its cinema line.
And to the extent it can say squeeze in 4k 60p recording why not make it a stand out feature of an A7iv?

Excellent point!
@Dan Wake is this your first feature?  or are you gearing for a career in post-production?  The stats on people who try to make a feature film without first having made several short films are pretty dire - most don't know what they're getting themselves into and the project is never finished.

I don´t matter, if the human mind is letting itself be dwarfed by 8k youtube videos and social media alogrithms. Waste of energy electric energy and sofore fuel is mindblowing. Quantum computing is not coming at quantum computing speed. Plastic waste has achieved that very well though. All the cpus and gpus built just for 8k phones will come in billion numbers. Doubling polution and waste.

Even more than already, it would be a reckless abuse of resources to built all the computing power for the 8k, in phones, for its streaming content, etc, that it hopefully will not become standard. All that silicone, all that waste of energy, all that polution for the 8k cellphones, TVs, internet streaming. Terrwatts of energy and Terratons of oil wasted, water poluted. All for some shitty 8k youtube crap.

Sony's marketing focuses on Specs because that is where they are on top. I think this generates a very negative attitude toward other photographers as a byproduct. Other products are "inferior" 

Hooray!  After people started getting their Pocket 4K cameras we only had the Panny S1 to argue about - now we can get excited about the inevitability of 8K vs Sonys ability to quadruple the data rates and not have the camera actually melt!
With Japan gearing up for the 2020 Olympics to be broadcast in 8K there is only ~20 months before an entire 8K distribution network (including something like 1000 8K cameras) must be in place, having been constructed, tested, and bug fixed.  You'd be mad if you think that Japan will let themselves fail to deliver a technological feat like this while the entire world is watching, Moores law be damned.
So, if we're going to have an entirely functional 8K capture, processing, distribution, and consumption network in place in less than two years for the worlds most watched event, then exactly when do you think the tech will be made possible?  The day before?

From Cinema5D