IronFilm

We could only be so lucky. 
I was really rooting for Olympus/OM because I enjoyed the EM5II and EM10III, and always wanted a PenF when it was released, but could never spend the $$ knowing I'd never have a use for it when it came to video.

If this will be used with a Blackmagic live streaming / switching set up, then certainly there could be some pros leaning it in the direction of going with Blackmagic cameras. 
 
In this situation then I'd be strongly considering having at least one camera with solidly good AF, for your tight shots, but the wide / mid shots (which are very likely going to be mostly unmanned, because you're working OMB) could use cheaper cameras with average / bad AF and even manual lenses, as those can be kinda just set and forget cameras. (well, checking in on them now or then, but they don't have your full 24/7 attention)
Two grand? I guess per camera? Not in total. 
Also I very strongly suspect you're underbudgeting for lighting / lenses / audio / camera support, so let's try and go as far under $2K/camera as we can!
In that is the case then it's hard to look past getting 2x Panasonic OG S5 cameras secondhand, plus one new Panasonic S5II.
Maybe if you have a lot of MFT lenses that you don't wish to sell off, then you might go for a hybrid approach, with 2x secondhand Panasonic GH5S + 1x Panasonic S5II (just getting perhaps a couple of native L mount lenses for the S5II, say the Panasonic Lumix S 85mm f/1.8 Lens and the Sigma 28-70mm f/2.8 are both very affordable but great lenses) 
If compact size is very important (perhaps for travel work for instance, or docos where you'll be hiking carrying your gear a lot) then go for 2x secondhand GH5S + 1x new GH7, that way you can go all in on lightweight and compact MFT lenses. 
If you want some kind of compromise middle ground, the Sony FX30 would be very appealing. Their S35 lenses are sometimes not that much bigger than MFT lenses, but are at least a lot more compact than FF lenses are! (with more reach)
https://www.bhphotovideo.com/c/product/1729317-REG/sony_ilme_fx30_fx30_digital_cinema_camera.html 
 
FF lenses from what brand, for what mount?
 
Nope! It's three years old now. 
You can kinda vaguely think of them as sort of ish comparable to the AF in the GH5/GH6 cameras. 
Workable enough autofocus for stills work, even professional work. 
But for video? You can use the AF to set your focus very accurately, then flip it over to manual focus to leave the focus point there. But you don't want it to try and track a shot during a take. 
Not until PDAF arrived in the G9II / GH7 / S5II / etc did Panasonic get to have truly good (but not perfect! Nothing is) autofocus performance for during a take. 
Sony just dominates in the low / mid budget work of professional shooting. 
If you think you'll be working a lot for/with other professionals then that's a very strong reason to go for the  FX9 or FX6 (or perhaps one of the even cheaper FX models). 
If you'll be working independently, then just ignore this factor though. (or if you'll be working with just a small group of friends/colleague, then go with whatevere they're using. Most are Canon? Go with Canon! Most are Blackmagic? Get a Blackmagic yourself! Or are they all using LUMIX? Then guess what... you do the same!)
 
 
GH5S is essentially identical to the GH5, but it removes IBIS (no big deal at all if you'll be shooting on sticks), however it adds timecode support (yay! A big deal for me), and uses a 12 megapixel sensor instead of the GH5's 20 megapixel (the new GH5S sensor is a lot better in low light than the GH5. BTW, "the same sensor" ish in the GH5S is also used in the P4K and Z Cam E2-M4).
As for the GH5 vs GH5II? Almost identical cameras, there is trivially little difference between them. It's more like a whole bunch of little improves in the GH5II that all add up to make a difference vs the GH5.
But I'd summarize it briefly like this: 
Features:    GH5  vs  GH5 II
Video Quality:    4K 60p (8-bit), 4K 30p (10-bit)  vs  4K 60p (10-bit), pre-installed V-LogL
Live Streaming:    later updates gave it beta software compatibility for live streaming vs Built-in wired/wireless live streaming
Autofocus:    Somewhat slower, less accurate  vs somewhat marginally improved face/eye detection, better tracking
Stabilization:    5 stops IBIS  vs  6.5 stops IBIS
Display:    Standard brightness vs   Brighter, better color accuracy
Connectivity:    Bluetooth 4.2, Wi-Fi 4 vs   Bluetooth 4.2, Wi-Fi 5 (faster wireless transfer)
Power Options:    Standard battery  vs  USB-C power delivery support
Personally I wouldn't spend the couple of hundred dollars extra for a secondhand GH5II over an OG GH5, but if the difference is a hundred bucks or less between them? Then sure, I'd get the newer GH5II. 
 
 
It's worthwhile learning Resolve, it's arguably the best NLE right now, and certainly the best tool for color grading. 
 
  
Yes, the GH5 / GH5S / P4K / a7Sii (heck, even the GH4 in controlled conditions or the a7S mk1 with an external recorder. Or hell the OG BMPCC if you don't mind FHD!) still hold up so well today that if you don't mind missing out on arguably marginal improvement gains they can still do the job professionally in 2025 for low budget productions. 
And the slow down to more incremental changes happened even earlier over in the stills world than for us in the film/video world. 
The likes of a Nikon D800 or D750 holds up shooting with professionally in 2025 a lot better than a GH4 or GH5 does today. (and arguably a person could even get away with a Canon 5Dmk1 or Nikon D700 from 2005 and 2008 respectively, depending on exactly what sorts of shooting they're doing) Remember, when the Nikon D800 was launched, then the very latest GH series camera from Panasonic was merely the Panasonic GH2!

How limited in budget? 
Probably 3x secondhand Panasonic GH4, can't do beter than that for less!
ARRI 35 obviously. And it just got itself to be even cheaper: 
https://ymcinema.com/2025/01/28/arri-unveils-new-alexa-35-entry-level-model-with-flexible-licensing-and-affordable-media/ 
Depends on budget? And if you have a competent 1st AC or not. (presumably yes... but got to ask! Sometimes they don't, for instance I just the other day finished up working on a feature film done without an AC)
 
If you have the extra money, get a GH7 or S5mk2. Wouldn't ever consider GH5II or S1 if I could get those instead. 
But if the level of GH5 / GH5II / S1 money is the strict money limit here, then go for the Panasonic GH5S instead of a GH5, if you're doing these interviews on sticks. (I'd assume you are! No way are you handholding 3x GH5 at once) P4K is also a consideration as well. 
I guess you have a very different idea to me what "no budget constraints" means. 
Personally I think of the FX6 as a low priced professional camera. And if you can step up the budget from Panasonic GH/S series price points, then going for 3x Sony FX6 is the way to go for sure. 
If I was very tight on a budget, I'd even seriously consider going for 1x Sony FX6 + 2x Sony FX30 rather than doing 3x Panasonic GH7 / S5II. (the Sony setup is still a fair bit more expensive, but at least it makes the option of working for/with others more viable) 
If you wish to stick with MFT, then clearly go for BMD P4K or Panasonic GH7 or Z CAM E2-M4 Mark II. 
If you will consider other non-MFT options, and you don't have an AC, then go for Sony FX6 if you have a modest budget.
Otherwise, the other ultra low budget non-MFT top options for filmmaking would be: Sony FX3, Sony FX30, Fujfilm X-H2S, Fujfillm X-T5 (or the even cheaper X-T50), Fujifilm X-M5, Nikon Z8, Nikon Z6 III (or even the older Mk2 or heck the Mk1 with an Atomos recorder), Z Cam E2-S6 Mark II (or the bigger sensor Z Cam E2-F6 Mark II), Blackmagic PYXIS (I think all the other cheaper Blackmagics are not really cheap enough to justify getting them instead of the obviously better PYXIS, except for the P4K which is waaay cheaper. Cheap enough to justify itself over the PYXIS!), Panasonic S1H, Panasonic S5II/S5IIX (the S5II is so cheap, I wouldn't consider the OG S5 unless it's insanely cheap secondhand), or Canon (but nah, don't like them, so won't go into much detail here, wellll... ok, fine, go check out the C80/C70/R5C).
 

China definitely can't. Not without ASML. (and arguably TSMC as well, but China might just try to conquer TSMC by military force?! Hopefully not. Although China can more easily catch up and replace TSMC, would be a massive project that would very optimistically be multi-year long, and China is currently trying to do this. In comparison vs the multi decade project that replacing ASML might require)
 
I've got an undergrad degree in electronics, in particular optoelectronics, a strength my uni is world class at, which is especially very relevant to this situation. Papers I took such as Physics333 (which covers topics about lasers such as: the electron oscillator model, rate equation model, Einstein coefficients, Fabry Perot etalons and resonators, optimum output coupling, reflection at a dielectric surface, waveguide theory, thin films, matrix techniques for optical elements, Gaussian beams and applications etc), those don't normally get taught at the third year level at most normal universities
So while I'm a long long long waaaay off what these expert engineers in chip production would know (many who have PhDs), I do at least know enough to have a rough grip on and a glimpse into how ridiculously over the top complex the process! That it's crazy hard wall for China to scale if they wish to catch up. 
 

Stunning.

They already have a compact body around a full frame 6k sensor and an L mount.  Also, if I'm not mistaken, that very camera was on sale last year for a crazy low price like $1500 or 1600.  So... they already basically did what you're saying, especially in the context of 6k being plenty for 4k delivery with enough room for non-aggressive digital reframing.
The pricing strategy on this one was originally V-Raptor [x] performance for about half the price of a brand new V-Raptor [x], but it's 12k and supports 3:2 open gate and 16:9 on a taller sensor than the Red - and also, within about a stop of Arri at... well, a whole lot less than half the price of Arri.
The new pricing strategy is the same as a Komodo-X, just a bit more than a C80, and less than a C400, but the performance of V-Raptor [x] and 12k.  Will it catch the first time camera buyer?  Nope.  Does it make their system a compelling option for the mid-range owner-operator?  Yup.
Theoretical, sure, but I don't think it's even remotely unreasonable to think that they'd support 8kp60 with a v-mount and CFE.  Komodo-X does 80fps at 6k and at their chosen price point, that's sort of the competition.  Still waiting for some to get in the hands of real users to hear their experiences, but once I'm back in the US, it's likely that I'll be exploring my options to trade in some of my stuff now (and probably some cash, sadly) toward one of these.
It's kind of crazy, fwiw, to think that I could soon have a video camera that almost as much resolution in video as my GFX 100 II has for photos...  though with maybe a little bit less dynamic range still... at least for single shot mode.  When shooting in continuous mode (which never reaches more than 8fps), the GFX reduces DR. 

There is no support (currently at least) for USB-C recording on the Ursa Cine 12K.
The situation for CF Express Type B has been clarified by BM on their latest support bulletin here for approved cards :
https://www.blackmagicdesign.com/uk/support/faq/59051
Long story short is that they have nothing on there that goes above 45fps at 12:K 3:2 BRAW 8:1.
There is a data calculator on the product page for the different permutations.
https://www.blackmagicdesign.com/uk/products/blackmagicursacine
However, there is also the caveat that for any frame rate above 60fps (at any resolution) the camera requires powering from a 24.8v B-Mount battery.
So for anyone looking at shooting at the highest frame rates and resolutions, both the Media Module and a B-Mount are non-negotiable so an additional £2K should be budgeted.
That is still an almighty good deal for a camera with this performance though and I think the value proposition of the Media Module is good enough to mean it might well be considered an essential purchase by a lot of people anyway.
One thing that I find intriguing is that BM list a mount adapter for Hasselblad HC lenses but offer no more information about it at the moment.
I still have a set of HC lenses that are orphans after the demise of my H3D-39ii and I'm very curious about how they have managed to get electronic control of them.
Currently, only Hasselblad themselves in their H to X adapter and FujiFilm (the original manufacturer of the HC lenses) in their H to GFX adapter have products that do this and whether it is limited to aperture control but also encompasses focus control is undocumented.
I'm not saying that this compatibility would make me buy one but, bearing in mind it has a dedicated Stills button, then being able to bring back a collection of fantastic set of lenses (albeit with a smaller FOV) that work more or less natively with a 100mp body that also happens to shoot RAW video would be worth considering.
I'm not being serious of course as that would be an insanely flimsy justification to buy one *
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
* Note from wife - Yes he is being serious.
 
 
 

You can get the GH5S cheaper, the S1 costs over 50% more. And as they are shooting on sticks, then IBIS doesn't matter. Get the GH5S over the GH5. 
And because they already have MFT lenses, and are shooting stuff that needs reach (such as concerts) then MFT system makes sense. 
I did make the point that if on a budget, then one S5II (for the angle where Autofocus does matter) and two OG S5 makes sense. 
If I needed high resolution I'd personally go for a D800/D810 or an OG a7R (or maybe mk2), as each of them goes for mere pennies these days on eBay. 
If I was to splurge then I'd get a Pentax 645Z, which is going for surprisingly cheap prices these days. 

I never said that MFT could be used on L Mount, I was saying quite the opposite. I was acknowledging that it isn't possible, but I was saying other mirrorless lens mounts do exist that can accept MFT. (such as E Mount: https://www.ebay.com/itm/144720549405 )
So Panasonic could have created a new mount that allowed MFT lenses to also be used on it. 
However... at the cost of thus then going it alone, and not with the wider L Mount Alliance that it is part of. 
 
But what if you're filming with a Panasonic S1R? Then you can!
Also, as the JVC LS300 showed (and the various people who adapted MFT lenses to Sony E Mount cameras etc) you often can use MFT lenses on a slightly bigger APS-C sensor. And S35 of 24megapixels is plenty for UHD. 
Plus there are a lot of "MFT lenses" that are actually originally designed for APS-C (such for X Mount, or APS-C E Mount or Z Mount), which then got slapped on a MFT mount so as to capture extra sales. But it is still inherently an APS-C lens!
Also what if if in this hypothetical timeline, this Panasonic FF didn't just have S35 mode but even 1.6x or even 1.7x modes? For those MFT lenses that don't quite cover APS-C, then even at those greater crop levels that's still enough for UHD!
You'd then have a situation where many MFT shooters could easily move across with all / most of their MFT lenses still "working" on their new Panasonic FF bodies. 

That would have been best. You can already mount manual MFT lenses onto another non-MFT mirrorless mount, Panasonic could have done that instead of L Mount. 
But I guess on the downside that would have meant not partnering with Sigma and Lecia. Surely that is an even worse move to miss out on that collaboration? 
  
It just got released for X Mount! I'll probably get it soon for my Fujifilm X-A3
 
 

Lumix s5ii/S5iiX got new firmware, basically all the features on S9 is on S5ii/X now except pdaf at 1080p60

The $7k version comes with a dual CF Express Type B module.  That'd make its media costs no higher than most of my other current cameras.  And sort of "free" since I have like 4-5T of decent CF Express B cards around.  If recording to SSD is supported, even better.  I have some of them too.  😉

This guy should be banned from doing business

Well it looks like you can’t keep a good man (and his Lamborghini) down.

It is currently going about as well as expected.
 

I guess there are more Lumix updates:
Actually, I'm quite happy about having some of those features. In particular, I'm very interest in trying out the mp4 Lite and hybrid zoom; the later is a feature is a unique selling point. Cool.
Quick question: would Sony, Canon, or Nikon have released this firmware or would they have released a new camera?

I would get their 28mm f4.5 body cap lens for sure, perfect match to S9!

Looks like its happening soon...
 
https://petapixel.com/2025/01/21/viltrox-negotiating-to-join-growing-l-mount-alliance/

I guess Viltrox is follwing this thread... (just kidding)

https://www.l-rumors.com/viltrox-is-officially-negotiating-with-leica-for-the-l-mount-licensing/
 

My take has always been that Panasonic should have prioritized a smooth m43 to full frame transition for customers. Having a blended ecosystem would help both thrive. As it is now, customers have to choose FF or m43, often with FF perceived as having most of the benefits. I think the first round of FF cameras should have had a m43 crop mode with faster readouts and frame rates. And, the mount Panasonic developed should have somehow been compatible with m43 lenses via an adapter. This might have meant messing with the flange distance which maybe reduced compatibility with other lens mounts, but ensured more people within the Panasonic system would have less switching costs.

Plus if you wanted to, you could return the lens FOC back to them and they gave you a voucher to spend on something useful 😈

Panasonic should have included the 28 f8 pancake for free with the S9. That would have been good marketing. A camera which comes ready to shoot.

My 2 cents about Panasonic (which still is the more familiar brand to me - left m43 some years ago for Fuji, but when I got a FZ1000 used and saw the interface, just feels like HOME):

It's imaging division is on the guillotine for some time now - probably the bean counters are pushing it to divest, and only their history is holding it. It is not exclusive to Panasonic - every company that not have a camera division as its principal one could pull a Samsung anytime. Panasonic, Fujifilm, even Sony someday. I only see Canon and Nikon staying in cameras until the last breath.

In M43, it happens exactly what I tought when left the system - Panasonic and OM would turn it to a niche. Video for Panasonic (the G9 II was released because they had the body already developed for the S5II and the electronics developed for the GH7), wildlife for OM.

My bets are that 2025 it the testing year - if they don't get traction, will just dump a lot of people and mantain the minimum ones to keep releasing models for Leica. In the X100 craze, re-releasing the LX100 II as a Leica, for me, is a strong alert. Leica margins could keep the division alive as a OEM for Leica.

And L mount needs cheap and SMALL lenses. In a word - bring Viltrox to L-Mount. Panasonic releasing a 26mm f/8 manual lens with the S9 for $199 and Viltrox releasing a 28mm f/4.5 SMALLER and WITH AF for $99 was one of the most shameless moments of the year.

One last mystery: who makes the GH7 / G9 II 25mp sensor? OM needs it badly.

I love the IQ of my FS7. Nice chunky 4K 10-bit XAVC-S. You can bake in LUTs. I really don't see much difference in specs to the current Sony cams (FX30, FX3, FX6 etc) aside for extreme low-light. Ergonomics are great for shoulder mount, its a workhorse. I keep mine because Sony is used everywhere in pro use and it gives me work. Don't really feel a need to upgrade. That being said for personal hybrid projects I prefer Canon/Nikon. I'd recommend R5C or Z8 if you're a hybrid shooter. Personally I'm thinking of going for R5 mk2 mainly because of Clog2 and tiny bitrate SRAW, total game changer. Guess a C70 would be a good cop, great form factor with NDs and long battery life with that DGO sensor, only caveat is the image is a little too soft for my taste.

It looks like we may finally get a compact camera with wide angle to normal zoom, 8 years after the Nikon DL cameras were cancelled.  Except it is Canon doing it with the V1.  This is exciting news for me and it could be an automatic buy depending on the implementation. 
 
https://www.canonrumors.com/the-powershot-v-series-will-become-canons-new-line-of-compact-cameras/
24MP CMOS Sensor (approx)
Approximently 16-50mm (35mm Equivalent)
3″ Screen (Approx 1 million pixels)
Screen has a 170° viewing angle
4K Video (Very slight crop, but likely for aspect ratio)
1.4X Crop Mode for Stills
RAW, C-RAW, Dual Pixel RAW
H.265 / HEVC
C-Log3 / HDR PQ
Launch: Late Q1/Early Q2 2025
 
 

Who wants to tell her that if she had just turned around and faced the setting sun, she could have continued using her iPhone?
Not it.