IronFilm

When even multimillion dollar productions are not shooting in raw, I don't believe it to be a big deal breaker at all if it is missing out on raw from the new lower priced Varicam. 

So long as there is from the Varicam sensor an internal 4K 422 10bit and 2K 444 internal as well, then we should all be very happy indeed! :-) 

SxS and P2 are both used still often enough on many many sets. I used SxS very recently, & I think next weekend's shoot will use P2. 
Wait and see what the specs are of the Panasonic. 
For all we know, it too might have: adaptable mount, high FPS modes, variable ND, 10bit internal, raw output, etc 

But even if it doesn't.... wouldn't you rather have the dual ISO and colors of the Varicam over the FS5's limitations?
Because only the small oddball outsiders like Blackmagic Design and Kinefinity are letting you use off the shelf consumer SSDs. 
All the big established players are insisting you use typical media formats like in the rest of their cameras. 
Which is why I'd be very surprised to see a Varicam that let you record straight to an off the shelf consumer SSD.
Going from GH5 to a7S mk3 would be a strange sideways "upgrade". Anyone doing that is probably suffering from gear addiction syndrome.....   and needs to slow down!

I suspect the price gap between an FS5 and this new Varicam will probably be small enough that it won't be the biggest factor when people are choosing which camera to go with. 
No thanks, 80D would be a massive downgrade from a G85

And it is just a momentary blip in time that there is a large price and feature gap between the G85 and GH5, because the GH5 just came out. 

Very soon enough if we are just patient and wait, the G90 will come out which will close down the gap with the GH5.  And we'll probably see a successor of the G90 to come out as well before a GH6 arrives, further reducing the gap between the GH and G line ups (even catching up and exceeding the GH5! Like happened with the GH4 and GH3 before it). 

@mercer Read 80D, replied with the only words worth of this camera.
As you know C100markII is my favorite camera for most uses, but if there is a C100markIII with 4K capabilities (and it should be, really soon) then it won't cost 4500 euros, so the new Panasonic will compete with the III, and not the II. The C100markIII it can be north of 6500euros, to close the gap between the 13.000 euros Canon C300 mark II (and look at those specs for 13.000euros).
When they are both out we will compare and decide (I am definitely in the market for such a camera), I favor Canon in general, so many years they have treat me good, but as you know I am brand agnostic, whatever works; but in 2017 I can't buy a 4500 camera with only 35Mbps 8 bit bitrate, even though it is a magically robust codec.
Raw isn't something they will give for cheap, even the new Ursa reaches 5 number price territory if you include all things necessary. I can accept such a camera for 6500euros, if it has everything else I need in that price range, and get raw out of a Atomos or Video Devices recorder.
Seriously, for more expensive products we just rent a camera, but of course it is good to have raw with some way. Now, if Pana gives as raw in that price range, then thank you very much!
In my next buy I would like to use more dual pixel technology, so ideally I would like a C100markIII (or C200, whatever it's called) and a CN-E lens.
P.S what's wrong with G85?! I consider it to be a more advanced camera than the 80D, and native lenses are just fine. GH5 is extremely cheap for what it offers. Unbelievably cheap, and there is the GH4 for less than 999$ as a worthy option. 

@mercer 80D is a joke of a video camera, I do not understand why it is mentioned here.
I guess you have misunderstood the whole industry, the productions that need raw are so few in the general video creating scheme of our times that it ain't even make a dent to sales. Even for documentary TV series C100markII or 8 bit 4:2:2 is mostly adequate.
If you do a few projects per year and have all the time in the world or a big budget, then ok, most of the time we are rushing to keep into deadlines, and raw workflow isn't the fastest or most convenient one (both pre/pro and production wise).
Every company protect their product lines, and that make sense for customers as well. What is the point to have a lot of similar options from one company, it doesn't make sense. Just check car companies and their models (take Citroen par example, where their product line is very clear) and you will understand how things work.
Also, to keep with the car terminology, a racing car (raw) has the absolute power, but a professional needs a small van 7 times out of 10, and the rest 3 ain't a sports car either!

Ahhhh....... heaps better!

Its a garbage patent.  The fact that it expired several years ago - and hence is now in the public domain - and yet nobody has used the "technology" to produce anything should tell you something.  The Kodak patent example is huge, slower than f/5, and basically doesn't work.  The clue that something is seriously wrong is that the entrance pupil of the attachment - which must lie at the exit pupil of the attached lens - is tiny and located right next to the first surface of the adapter.  This will result in severe vignetting with just about all lenses.  I can't imagine that any prototype was ever made.
If you restricted yourself to telephoto lenses having an extremely long back focal length you *might* be able to design one that works, although US5499069 is non-enabling and you would have to invent something from scratch.  The Kodak patent is completely useless if you want to make a general purpose focal reducer that will work with any SLR lens.

Sure, any other laws of physics you'd like me also break for you? Faster than light travel? Apples to fall upwards? Kiwis to fly?

The reason there is so much amazing footage and shitty footage from the GH5 is because it is an amazing but cheap camera.
 
Thus you have both skilled and total n00bs using it! Remember it is not all about the camera, but the hands using it.

+1 for the M4/3 locking mount on variable S35 sensor....Panasonic knows this is what their M4/3 customers want and it makes it like the AF100 except, with a professional weight infinitely lens adaptable mount and S35 sensor...that with some internal ND and good image in 4K up to say 60p and S35 that can crop to m4/3 and also to S16...lots of really interesting S16 glass out there...I think the price will be higher but they may also go 12bit instead of 10...as they sell M4/3 lenses that would make sense to from a business perspective....SD for media would surprise me....SSD is much more robust and you can record Prores directly to the cards...SD neither seems robust or fast enough.
The Varicam LT also records 2K RAW @ 240p to a CD recorder now...curious about your impression of the LT when you finish your shoot with it!

Plus then you could just keep stacking speedboosters and use the same lens for any situation (as shown)
 

Install the miraizon codec to sony vegas and you can render every prores format, uncompress, hq, 422, lt, proxy.

I think JVC has the potential to change the game for the mid priced market if they do it right. Currently they are big in the ENG field, which is their bread and butter, but with the release of their GYLS300 they have brought to market an affordable "enthusiasts" cinema camera. So just like Sony, in the beginning they weren't taking serious, now look at them now. 
 

The Varicam sensor crushes the C100/FS7/FS5's. $6500 is a great price. They'd have to cripple something in order to not cannibalize the Varicam LT.

Well I guess a lot depends on if you plan on using any long, heavier lenses now, or in the future. the 1D series is way better for that purpose. The 5D mkIV works for shorter lenses, but I doubt the weight difference is that much of a saving over the 1D.
I don't have much of a love for either one. I agree with IronFilm, they both are just too overpriced for video use for what you get. Canon in reality just doesn't give a shit about video for anything they make, unless it starts with a C---. And even the C series seems gimped as hell at times. I have no clue what they think about in a Boardroom meeting about video??  I think maybe They are clueless at times. They sure as heck are not market leaders in Video. Sony has that honor by miles.
But I think everyone needs to pick up the pace that is behind in video. I am sure even Still Digital cameras will be using Video in a sense, just lke the 6k Photo mode mode is in the GH5. People will just take bursts of video and pick out the best for Photos.

Exactly. Classic Canon. Overpriced. Under delivering.
 
I wouldn't say no to buying a Canon camera, but only if I get it at waaay under market price. Which is how I purchased my Canon 50D

Exactly. Classic Canon. Overpriced. Under delivering.
 
I wouldn't say no to buying a Canon camera, but only if I get it at waaay under market price. Which is how I purchased my Canon 50D

Sure, any other laws of physics you'd like me also break for you? Faster than light travel? Apples to fall upwards? Kiwis to fly?

Sure, any other laws of physics you'd like me also break for you? Faster than light travel? Apples to fall upwards? Kiwis to fly?

Exactly. Classic Canon. Overpriced. Under delivering.
 
I wouldn't say no to buying a Canon camera, but only if I get it at waaay under market price. Which is how I purchased my Canon 50D

The reason there is so much amazing footage and shitty footage from the GH5 is because it is an amazing but cheap camera.
 
Thus you have both skilled and total n00bs using it! Remember it is not all about the camera, but the hands using it.

The reason there is so much amazing footage and shitty footage from the GH5 is because it is an amazing but cheap camera.
 
Thus you have both skilled and total n00bs using it! Remember it is not all about the camera, but the hands using it.

The reason there is so much amazing footage and shitty footage from the GH5 is because it is an amazing but cheap camera.
 
Thus you have both skilled and total n00bs using it! Remember it is not all about the camera, but the hands using it.

It has nothing at all about increasing resolution from 4K to 4.6K
They changed to a completely different sensor

The reason there is so much amazing footage and shitty footage from the GH5 is because it is an amazing but cheap camera.
 
Thus you have both skilled and total n00bs using it! Remember it is not all about the camera, but the hands using it.

Done with likes for today, so here's expressing my public appreciation on your words, guys :-)