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Exactly as you said : ) Properly spec'd, obviously :- )

You raise some great points. 
The GH5 set a pretty high bar, and it took several years for full frame cameras to catch up.
A GH6 would have to be as far ahead of today's competitors that the GH5 was when it was released.

I really don't think there is a big market anymore for a GH6 at this point. And that Panasonic agrees.
I mean, the GH5 and GH5-s were about €2000 and €2500 at release and for that money you can now buy an S5 or an S1. Or buy something from Sony or Fuji. Image quality is virtually (for 99% of 'normal' people) indistinguishable between all camera's at that price point. Besides that, 'micro 4/3' sounds small and incomplete. 'Full frame' sounds like an end goal. Finally, you can use the whole, full frame. And it costs the same? And has better performance in low light? And you are an instant professional when shooting with it? I'm pushing it now, I know. I'm just not seeing any advantage anymore. Most of us bought GH-line camera's for the video quality and options that they had. But most of us slapped a speed booster on it to compensate for the 'small' sensor. You could also sell your GH5, get an S5 with an adapter and use your current lenses in aps-c mode. Or even in full frame if they cover that.
So that leaves the only crowd for a GH6:
- People who really love light and small lenses
- People who already own native M43 lenses and want to keep using them
I also sold my GH5 and GH5-S and G7 with speedbooster and got 2x S1 and an S5 in return. Even for anamorphic shooters there isn't really a reason to stick to m43 anymore. The new S-cams have a 4:3 mode which is about 1.33x crop. And every competitor now offers 10-bit recording modes. I mean, I would love it if they could push the boundaries again with a shiny new GH6, but I don't think it makes sense anymore from an economic perspective. Besides above reasoning, there is a pandemic going on and camera-sales are at an all time low. 
So who else, except people who love small and light lenses and or already own a gh5, would the camera appeal to?

I really don't think there is a big market anymore for a GH6 at this point. And that Panasonic agrees.
I mean, the GH5 and GH5-s were about €2000 and €2500 at release and for that money you can now buy an S5 or an S1. Or buy something from Sony or Fuji. Image quality is virtually (for 99% of 'normal' people) indistinguishable between all camera's at that price point. Besides that, 'micro 4/3' sounds small and incomplete. 'Full frame' sounds like an end goal. Finally, you can use the whole, full frame. And it costs the same? And has better performance in low light? And you are an instant professional when shooting with it? I'm pushing it now, I know. I'm just not seeing any advantage anymore. Most of us bought GH-line camera's for the video quality and options that they had. But most of us slapped a speed booster on it to compensate for the 'small' sensor. You could also sell your GH5, get an S5 with an adapter and use your current lenses in aps-c mode. Or even in full frame if they cover that.
So that leaves the only crowd for a GH6:
- People who really love light and small lenses
- People who already own native M43 lenses and want to keep using them
I also sold my GH5 and GH5-S and G7 with speedbooster and got 2x S1 and an S5 in return. Even for anamorphic shooters there isn't really a reason to stick to m43 anymore. The new S-cams have a 4:3 mode which is about 1.33x crop. And every competitor now offers 10-bit recording modes. I mean, I would love it if they could push the boundaries again with a shiny new GH6, but I don't think it makes sense anymore from an economic perspective. Besides above reasoning, there is a pandemic going on and camera-sales are at an all time low. 
So who else, except people who love small and light lenses and or already own a gh5, would the camera appeal to?

Merry Christmas everyone. Hopefully 2021 will be a better year than 2020 and we all can make films again.

Merry Christmas everyone. Hopefully 2021 will be a better year than 2020 and we all can make films again.

There are gear rings included with the 35mm. Not for the 50mm though.
I'm planning to shoot weddings with them next season (if there ever will be a wedding again, who knows). And I just finished writing a 20 page short film that I might make in the next months if I can find enough people who are enthusiastic about the script. And if the fekkin virus and the government let me... Really would like to work with the Sirui's on a real set and project. Which seems like not many people are doing yet.
I know that you can put an oval insert at the back of the lens, but that's apparently not so easy to do. I'm also not quite sure if I would like it. Yes, it would look more 'anamorphic' but I kind of like the 'in between' look that the Sirui 1.33x provides. Makes it more suitable for more types of shooting whereas 2x lenses look instantly more like a (vintage) Hollywood blockbuster.
Let's see how I feel about that after I used them on an actual project.
 

I get what you mean. It's no vintage 2x anamorphic look with beautiful flares.
But, let's look at it another way. I recently received the lenses and they really surprised me. The build quality is outstanding. All metal. Smooth rings. Nice weight to it. Amazing.
Ok, you won't get the extreme oval bokeh that a 1.8x or 2x lens offers, but since you would use these lenses on 16:9 in stead of 4:3, the horizontal FOV is similar to using the lenses with the bigger stretch. You get a 33% increase in horizontal FOV. That's really what anamorphic is all about. Put a 50mm 1.8x on a 4:3 crop of the same sensor as a 50mm 1.33x on 16:9, and you end up with the same FOV. So no difference there. The horizontal flares are there. Ok they are blue. And the oval curved bokeh is there, especially on the sides of the frame. 
So while I get the critics of die hard 2x lovers, I think these lenses don't get the credits they deserve. They are very well built, handle nicely, single focus, plug and play kind of lenses. And when used on 16:9 you get a nice 1:2.37 ratio with a 33% increase in FOV for a given focal length including some anamorphic characteristics. 
Just saw a testvideo that really looks great.
 
 

Right, well I got so pissed off with both the eye/face detect and the tracking option, I wondered if there was anything else I could do.
I tried everything from trying to create a timelapse of motion instead. I could. It was awful.
I tried 6k mode and that kind of worked, but when it lost focus, it never regained it.
So before finally biting the bullet and moving to Sony for my video (AF) needs, I thought I'd just try all the options that are not supposed to work.
Such as 225-area AF. And it pretty much worked. At least good enough for my needs based on this one test.
The kit and settings were:
S5 + 20-60mm @60mm and f5.6, 4k 50p, 1/100th, variable ND, Natural profile (individual settings such as contrast & sharpness turned down mainly), 225-area, speed -1, sensitivity -1.
Unless I happen to have hit upon the best all round settings for this kind of capture...which I doubt, I think there is still room for slight improvement...
Really, the only area I have to play with now is the speed & sensitivity settings which I have played with extensively using pretty much every combination of pluses and minuses available, but only in the face/eye and tracking mode.
I could test with the 85mm f1.8 and will when I get some more sunshine so I can back or sidelight as on a wedding day I can't control any of that such as if the bride is walking down the aisle at an outdoor ceremony with the sun behind her, that's what I have to work with, so my kit has to pass worst case scenarios.
But the latter is not critical, ie, the 85mm f1.8 not working 100% in this kind of scenario would be a bonus rather than a need because as long as I can get a few seconds of it locked on...which I can, in any scene, it's enough.
So AF summary based on my experience/testing and needs:
A. For stills, it's not in question. It's not the fastest but it's reliable/accurate. That's an easy pass.
B. For static video, ie, the subject is people doing things such as; hair, makeup, eating, drinking, talking, wedding ceremony etc, which is 95% of my coverage, it's again, an easy pass ie, this camera does not have a problem with anything like that other than in very rare situations, ie, is pretty much as reliable as anything out there for this kind of thing.
C. For tracking AF, based on my above test, it's not 100%, but it's good enough for my needs for those 5-10 sequences on a wedding day (bride entrance, couple exit, confetti walk, couple walking shots, entrance to meal) provided I can replicate (and maybe even improve upon) what I managed in the video.
I have been quite desperate to make this thing work, just as I once was moving from the Nikon D3s to Fuji X Pro1 with it's garbage AF.
Why? Partly sheer bloody-mindedness, but also because the camera and sytem very much is just right.
Top of the list are video quality and stills quality and it's as good as anything and better than most.
The size & ergos and build are just perfect with the Smallrig L bracket to just bring the size and weight up a little.
The lens options that are beginning to appear and more so in '21 are excellent.
I'm still waiting on the complimentary Sigma 45mm f2.8 (I have been battling with Panasonic but it appears I have now won, probably just to make me go away) and that will be my next major test.
I'm hoping the Sigma(s) will work for me in the hybrid role. I'm sticking with the Pan 20-60mm for all tracking pieces regardless and it's also my wide-angle stills lens so retains a place in my bag regardless.
But I am really interested in the 35mm f2, the 65mm f2 and the 105mm f2.8 macro as these mirrorless designed lenses would complete a perfect line up for me.
Various tests have shown however that within L Mount, native works best but we'll see and if the Sigma route doesn't work out, I'd be disappointed but more than happy with Panasonic's own new f1.8 lineup.

I'm going to disagree with all the sentiments in this thread and recommend something different.
Go rent an Alexa.
For practical purposes, maybe an Alexa Mini.  Talk to your local rental houses and see if there's a timeframe you can rent one and get a big discount, often rental houses are happy to give you a discount if you're renting it when the camera wouldn't be rented by anyone else so have a chat with them.
Shoot with it a lot.  Shoot as much as you can and in as many situations as you can.  Just get one lens with it then take it out and shoot.   Shoot in the various modes it has, shoot into the sun and away from it.  Shoot indoors.  Shoot high-key and shoot low key. 
Then take the camera back and grade the footage.
I suspect you won't do this.  It's expensive and a cinema camera like an Alexa is a PITA unless you have used one before.  So I'll skip to the end with what I think you'll find.  The footage won't look great.  The footage will remind you of footage from lesser cameras.  You will wonder what happened and if you're processing the footage correctly.  
I have never shot with an Alexa, but I am told by many pros that if you don't know what you're doing, Alexa footage will look just as much like a home video as from almost any other camera.
Cinematic is a word that doesn't even really have any meaning in this context.  It really just means 'of the cinema' and there's probably been enough films shot and shown in cinemas on iPhones that now an iPhone technically qualifies as being 'cinematic'.  Yes, i'm being slightly tongue-in-cheek here, but the point remains that the word doesn't have any useful meaning here.  Yes, images that are shown in the cinema typically look spectacular.  Most of this is location choice, set design, hair, costume, makeup, lighting, haze, blocking, and the many other things that go into creating the light that goes through the lens and into the camera.
That doesn't mean that the camera doesn't matter.  We all have tastes, looks we like and looks we don't, it's just that the word 'cinematic' is about as useful as the word 'lovely' - we all know it when we see it but we don't all agree on when that is.
By far the more useful is to work out what aspects of image quality you are looking for:
Do you like the look of film?  If so, which film stocks? What resolution?  Some people suggest that 1080p is the most cinematic, whereas some argue that film was much higher resolution than 4K or even 8K.  What about colour?  The Alexa has spectacular colour, so does RED.  But neither one will give you good colour easily, and neither will give you great colour - great colour requires great production design, great lighting, great camera colour science, and great colour grading.  By the way - Canon also has great colour, so does Nikon, and other brands too.  You don't hear photographers wishing their 5D or D800 had colour science like in the movies. What lenses do you like?  Sharp?  Softer?  High-contrast?  Low contrast?  What about chromatic aberation?  and what about the corners - do you like a bit of vignetting or softness or field curvature?  Bokeh shape?  dare I mention anamorphics? But there is an alternative - it doesn't require learning what you like and how to get it, it doesn't require the careful weighting of priorities, and it's a safer option.  Buy an ARRI Alexa LF and full set of Zeiss Master Primes.  That way you will know that you have the most cinematic camera money can buy, and no-one would argue based on their preferences.
You still wouldn't get the images you're after because the cinematic look requires an enormous team and hundreds of thousands of dollars (think about it - why would people pay for these things if they could get those images without all these people?) but there will be no doubt that you have the most cinematic camera that money can buy.
I'd suggest Panavision, but they're the best cameras that money can't buy.

For photography you will be fine with either camera. For videography the A7SIII is the only way to go. Talking about AF only here of course.

I feel like there is a crowd for these videos here. Apologies for the shameless self promotion though.

Here is a new series on EOSHD...
It's a podcast.
The aim is to put out long 1-2 hour conversations, in the style of Joe Rogen - touching on subjects others dare not, sort of. Oh and some camera nerd talk as well...
https://www.eoshd.com/news/the-eoshd-podcast-episode-1-british-filmmaker-jg-harding/
Hope you enjoy it, and thanks to JG for taking part in this episode.

Impressive. 
And how is it for video? 
Probably cannot do all these tricks on the fly in video mode yet and still look great. But... Give it a couple of years and it will be able to. 
Computational cameras are the future. And everyone will have an alexa micro in their hands in a couple of years. 
With probably a lot of tools that aid regular folks to make better shots. 

Yes it does all the tricks on the fly. Video dynamic range is very similar to the stills mode.
Doesn't shoot hybrid LOG gamma like the Xperia 1 II though.

It will auto focus to closest point in the central area.
You control the switch between AF and manual modes with a trigger on the controller.
So you can be manually focused and then press the trigger and it will engage the AF.
In AF-S mode it will then not re-adjust until you press the trigger again so you can just use it to get and initial lock and then manually adjust from there or you can switch to AF-C mode where it will constantly re-focus on whatever is in the central area.
The QuadLock system lets you set four different focus points in the scene either manually or using  AF-S and then switch between them with adjustable transition time.
QuadLock also has an additional function where you set one of the previously stored points as a target and then manually focus and it will automatically stop when you reach the target focus position ensuring that you do not overshoot.
It will work with those cameras with manual focus lenses but it will obviously not do any of the camera parameter control and motorless operations that the BM cameras can use.
The core AFX module does not support eye or body AF.
But the next add on module for it does.
 

Haven't tested it yet, but Clear Image Zoom does a 1.5x crop in 4k and a 2x crop in HD. On the a7III there's no IQ loss.

My friend has an A7s3. Played with it a little bit yesterday. 
First impressions:
- the viewfinder's FOV is huge. Almost like rea life with added information on screen. Amazing.  Much bigger than that of my s1's. 
- build quality feels solid, but boring. Soulless as Sony is often being accused for.  The S1(H) and even the S5 feel much more pleasant to hold and use. The way the buttons feel. The placement. Etc. 
Same goes for the menu system. It looks like a DOS text game from the eighties. 
Footage i cannot comment on. But having the option to shoot full frame 60 fps 422 is very nice.  I am a bit jealous of that since my Panny's can only do that with a crop. 
From the other hand, that s35 mode with no quality loss also comes in handy sometimes. And i would miss that option on the a7s3 as it can only do that in 1080p.
 

My friend has an A7s3. Played with it a little bit yesterday. 
First impressions:
- the viewfinder's FOV is huge. Almost like rea life with added information on screen. Amazing.  Much bigger than that of my s1's. 
- build quality feels solid, but boring. Soulless as Sony is often being accused for.  The S1(H) and even the S5 feel much more pleasant to hold and use. The way the buttons feel. The placement. Etc. 
Same goes for the menu system. It looks like a DOS text game from the eighties. 
Footage i cannot comment on. But having the option to shoot full frame 60 fps 422 is very nice.  I am a bit jealous of that since my Panny's can only do that with a crop. 
From the other hand, that s35 mode with no quality loss also comes in handy sometimes. And i would miss that option on the a7s3 as it can only do that in 1080p.
 

Sounds to me like what you really need is a 2nd shooter 🙂

You must have a very large penis. 

What is the exposing to the right, by so many stops supposed to imply? 
The A7siii has such strong NR algorithms that the image looks 1080p at best, or 720p. 
 
 

You must have a very large penis. 

You must have a very large penis. 

You must have a very large penis.