IronFilm

And the Panasonic BS1H mk2 will have eND too I hope!
Along with most important of all..... zero delay SDI output!!
 
Panasonic GH6 already can do 4 channels of audio
Clean and info overlays at once! Give us two independent outputs please. 
  
With your personal circumstances of:
1) a sweet MFT lens collection
2) a want/need for telephoto lenses, but with a back/bank that can't necessarily match your wants/needs
...then I'd go with the Panasonic G9mk2 

FYI, went for a used Xiaomi 12S Ultra.  Will report back after using it a bit.
Thanks yet again for the advice.

If some manufacturer managed to do very compact and very good quality f/5.6 zooms, I would move to FF.

And the Panasonic BS1H mk2 will have eND too I hope!
Along with most important of all..... zero delay SDI output!!
 
Panasonic GH6 already can do 4 channels of audio
Clean and info overlays at once! Give us two independent outputs please. 
  
With your personal circumstances of:
1) a sweet MFT lens collection
2) a want/need for telephoto lenses, but with a back/bank that can't necessarily match your wants/needs
...then I'd go with the Panasonic G9mk2 

Yes, I typically have the C70 as my A camera locked down with XLR input from the mixer and the Canon EF 24-105mm on it with a speed booster and the R7 is my B camera with the RF 70-200mm F2.8 on it. I track the peak action with the R7 and discovered none of my current tripod heads are smooth enough when punched in at 300mm+ to smoothly track moving objects so I had to get a better fluid head. The Sachtler Ace XL Fluid Head did the trick after buying and sending back two other brands. I have shot everything from opera performances to music videos to dance recitals this year with that setup. 

PDAF will no longer be enough for a GH7. I'm guessing they're going to find a body form-factor for a S1H ii and GH7 that works. The eND will be on both.
 

We all know they'll be adding PDAF to the GH7. 
I'm not sure there is much else major they could do, we know they won't do 8K yet in the GH7 (I think??). 
Maybe 6K?? 
Maybe they believe PDAF (plus one or two less important things, like 6K or 240fps 4K) is "enough" for the GH7 to be a hit?? (plus all the usual goodness we've come to expect with the GH6/GH5/etc)
It's hard to think of anything else "major" they could add. Perhaps a mini-XLR with phantom power like the P4K? But they already have the Panasonic DMW-XLR1, but it would be nice to have a more compact alternative without this) Perhaps a better TC implementation, with DIN like the Canon R5C does it? Maybe DIN for SDI as well?? (DIN is kinda0-ish like a mini BNC connector, perfect as a compact option for the GH7 to offer! Imagine a locking connector like DIN instead of HDMI? But imagine having both DIN and a full size HDMI as two independent outputs? You could give a clean output on one, with info overlays on the other. Exactly what many of us have been dreaming of!)
Internal eND just feels like the last "big" thing left for Panasonic to nail for the GH series after they've got AF sorted out. 
 

We all know they'll be adding PDAF to the GH7. 
I'm not sure there is much else major they could do, we know they won't do 8K yet in the GH7 (I think??). 
Maybe 6K?? 
Maybe they believe PDAF (plus one or two less important things, like 6K or 240fps 4K) is "enough" for the GH7 to be a hit?? (plus all the usual goodness we've come to expect with the GH6/GH5/etc)
It's hard to think of anything else "major" they could add. Perhaps a mini-XLR with phantom power like the P4K? But they already have the Panasonic DMW-XLR1, but it would be nice to have a more compact alternative without this) Perhaps a better TC implementation, with DIN like the Canon R5C does it? Maybe DIN for SDI as well?? (DIN is kinda0-ish like a mini BNC connector, perfect as a compact option for the GH7 to offer! Imagine a locking connector like DIN instead of HDMI? But imagine having both DIN and a full size HDMI as two independent outputs? You could give a clean output on one, with info overlays on the other. Exactly what many of us have been dreaming of!)
Internal eND just feels like the last "big" thing left for Panasonic to nail for the GH series after they've got AF sorted out. 
 

I hope S35 becomes the norm again. 

In a study by Me et al, earlier this evening, my conclusion is that some folks over-analyse some things and as a result, spout BS.
I on the other hand, had an enjoyable walk/photoshoot this afternoon that neither made me feel ‘warm’ or ‘cold’ or ‘fuzzy nostalgic’, with the side benefit of some exercise, fresh air and Vitamin D.
Which is probably more than some sad fcuker got bashing his keyboard in his parents spare bedroom.
I did however have Pet Shop Boys greatest hits on Spotify earlier and wallowed in a bit of late 80’s / early 90’s musical nostalgia 😉

Hello guys, i just wanted to say that i just bought a Sony F3 with 444 RGB + the video assist (for just over 1200€) as my first camera after seeing what y'all said about it.

M43 @f2.8 is a nice sweet-spot DOF for me, especially on vintage lenses.  Soft, but not too much out of focus, ya know?

Modern fast lenses were originally requested by journalists. Specially zooms.
At large apertures you solve two problems:
1) Poor lighting 
2) Unpleasing backgrounds usually encountered at press conferences, the average street, and most offices. 
The "cinema look" was not even a thing in video up until about 2010, since most video productions were a variation of journalism: documentaries, long form news stories, tv broadcasts. All of those requiere deep DOF about 99% of the time.
As you say: if you know what you're doing you actually want to show the background of your shot. Say, asking your subject to stand for the interview in front of the coffee shop were most patrons are visible vs. asking the interviewy to stand in front of a wall of the coffee shop.
So the question is: ¿does this particular background need to be softened or not?
 
 

Let's compromise and meet in the middle, and admit 1.5x is the "most cinematic". 

I got excited about this Xiaomi 12S for half a second! It's quite affordable. 
But then I realized the Xiaomi 12S Ultra is a different model, whoops. 
It's price.... ouch. Ah well, if I wait long enough it will become as "affordable" as the Panasonic Lumix DMC-CM1 is today. (welll... it's price seems to be holding up surprisingly well on eBay for how super old it is!) 

D Day is tomorrow Amazon France assures me, after several delays due to stock.
It will then become my principal stills camera with the 40mm f2 for every day and candid work, the Tamron 35-150mm f2/2.8 for ceremonies, speeches and couple stuff plus the Tamron 20-40mm f2.8 (adapted unless they bring out a Z Mount option within the next 5-6 months) for my wide requirements, but I will not now be getting a Z9 body to accompany it.
At least not until next Winter soonest.
Finances more than anything with even used Z9's still at 5.5k+ here in France, I can't justify it after a stupidly high unexpected tax bill due to a mistake on the tax people's side 😒
It comes down to a year of occasional lens swaps, maybe 5-6 times over a 12 hour typical shoot, or spend 5.5k. My head says I can't swing that.
Ideally, I'd flip everything and go all in on Nikon as my heart has gone back to them and for me, it ticks all of my boxes, but instead, 2024 will now be a hybrid year of Nikon for stills and Lumix for video.
This is no bad thing as Lumix did and still does shine for me.
The all singing all dancing wunderkind that is the S1H is going back into primary video unit role with one S5ii for longer static stuff and gimbal, and then selling the other S5ii and 3x now redundant lenses.
It's a slightly tighter, but more capable set up, especially on the stills side and whilst not the absolute ideal, ticks all my boxes.
Over the course of next year, I will try out some Zf video capability though just to see how it stacks up against the S5ii.
Anyone else getting a Zf? I can think of at least 3 other people who I think will be tempted at the very least... 

Also just realized how cool this camera will be with the Techart PRO TZM-02 leica M autofocus adapter. 

Ha, I was about to say the same, this having been my main approach for around 5-6 years now.
But I should add, more by default than design based on certain camera choices.
Some would argue, I should have chosen my cameras based around other factors and not let this be a default, but overall, for me, it’s about balance and compromise not outright ‘what I’d do in an ideal scenario with the necessary funds’.
On the topic of SDOF, I have always been a fan. I have always liked and been drawn to a shallower DOF throughout my 23+ year career in photography and 13+ in video.
I’ve never been a fan of hardcore uber-shallow DOF in my own work, but probably more because I have rarely owned anything faster than f1.4 lenses in full-frame terms.
For the last few years, I have shoot FF stills and a mix of FF and S35 video, but in 2024, reducing the amount of S35 dramatically as I am moving away from using so much 50% slow mo in my work which due to my kit choices, has meant using S35.
I’ve decided I prefer the full frame look and that coming from 6k, so that’s where I am going.
Lenses/DOF, with S35, I was mostly shooting f2/2.8/4 and I will continue to do the same but with even less apparent DOF using FF instead of S35.

Let's compromise and meet in the middle, and admit 1.5x is the "most cinematic". 

Let's compromise and meet in the middle, and admit 1.5x is the "most cinematic". 

All depends on the lenses really doesn't it... Canon Dream Lens, you wouldn't use that on 2x crop, would lose the whole point of it.
And there are c-mount lenses that make a lot of modern full frame lenses look flat and boring.
So every format has cinematic lenses, but the point is that with the larger formats you have more subject isolation, which could suit the shot or not, it all depends on the scene.

I confess, I did once have it on me. But then was once out of breath and I inhaled too deeply near it, and accidently swallowed all of the cameras. 

Maybe that isn't the wildest and craziest idea ever then. The Nikon V1 is about US$130-ish (Nikon V2 can be found for only marginally more cost, but V3 would be crazy expensive), and the  Nikkor 10mm f/2.8 is about US$70-ish, a slightly pricey combo for something so old with a dead mount, but not too bad either. 
20 minute recording limit though.
But it does have that bonkers 320 x 120, 1200 fps slow motion option.
 
I do quite like the idea of getting the Sony RX0 (either mk1 or mk2), as they both have a mic input. Maybe in a couple more years the RX0mk1 will have dropped down to something super cheap. 
Or maybe if one my plans for a 360VR production become viable, I'll end up buying a handful of RX0 camera bodies for that purpose. 
Then people will be asking me if I'm happy to see them or if that is just a big cellphone in my pants?
Watched a video last night that was saying something quite similar:
"...why did you bring me in today? What was it about my qualifications that made you attracted to my candidacy?"
 

That camera is still too big to be my EDC camera.