IronFilm

I wonder if Panasonic's collaboration with ARRI means we'll see a resurgence in popularity in Panasonic mirrorless being used. 
It's a smart move by both Panasonic and ARRI. For obvious reasons by Panasonic, but it helps out ARRI too. 
At the moment it's too easy to go with VENICE as your A Cam, and be able to use FX6/FX3/FX30 cameras as chash cams, or even a B Cam. Or if you need to go do a week of pick up shots, but you're running out of budget, it's no big deal to use a FX9/FX6 instead, or even slum it with a FX3/FX30.
Does ARRI have these easy options?  Not really. If you've been shooting with an ARRI 35 then what is your crash cam? Or a B Cam on the cheap? Ok, you might say "BMD Pyxis" or whatever, but that then introduces new workflow hassles you have to be careful about. It's not quite as seamless as Sony's ecosystem. 
What if you need to run out of funds and need to do pick up shots for a week, what will you use? Get an old ARRI Alexa Classic on the cheap? But that requires a fairly substantial supporting crew... if only you'd shot on a VENICE you could now be grabbing quickly the shots on a FX6!
Thanks to the ARRI / Panasonic collaboration then a lot more people will be seriously thinking about Panasonic for crash cams / C cams / etc, and feeling more confident in shooting on ARRI on a shoestring budget knowing it will be relatively seamlessly easy to do pick up shots on a Panasonic if the worst happens and they run out of funds. 
Also for ultra low budget shoots, where you think you might be doing post in house, thus it could be argued "it doesn't matter" what camera you are shooting with, as whatever quirks the workflow has then you have the dedication to iron out the kinks, but....  what if you have hopes and aspirations that maybe you'll get an injection of funds so you can the finishing touches done by a proper Post House? It's going to be a lot easier if only you'd gone with say a Sony FX6/FX3/FX30 than if you were using a Nikon Z6mk2 / Fujifilm X-T3 / Panasonic S1H / whatever. 
So likewise they might now be giving more serious consideration to say a Panasonic GH7 over a FX3/FX30. 

Exactly. This chart is no surprise to me whatsoever. I've been saying for years on EOSHD that Sony is dominating in the low / mid budget professional market. (with some exceptions for particular niches or parts of the world)
Basically ages ago then C300mk1 dominated the low / mid budget professional market (with the C100 mk1 / mk2 or even the 5D mk2/mk3 or similar being the even cheaper options people would do if a C300mk1 was out of reach). 
The Sony FS700 struggled to be as popular for various reasons, really only finding a thriving niche as being the #1 go to option for low budget slow motion shoots. (is why I'd even sometimes see both a FS700 and a C300 on a shoot, with the bulk being on a C300 but some specialist shots with the FS700). 
Plus there was the Sony PMW-F3, a fantastic camera, but in pure sales number it just couldn't compete against the much cheaper C300mk1. Or the cheap FS100, likewise when the street price of the FS100 and C100 are so close together, then almost nobody is going to be choosing the FS100 over the C100mk1! (although by mid 2010's Sony had aggressively dropped the street price of the FS100)
So Canon really had a lock on the low/mid budget market. (although yeah, the C500mk1 was a bit of a failure to truly launch, ditto the C700 at the end of the 2010's)
But once the Sony FS7 launched in the mid 2010's then it was almost "game over" for Canon, as the FS7 was so very far ahead of the competition, it wasn't even close.
By the time the C300mk2 was released the FS7 already had a substantial lead, but perhaps Canon's huge market presence with the C300mk1/C100 means it could have caught up? But the C300mk2 was priced quite a bit higher than the FS7, and it just wasn't beating the FS7 in specs by enough to justify its price (heck, in some ways the FS7 was better than the C300mk2. Such as Sony still remained the best option for slow motion). The C300mk2 simply couldn't overcome both the  early lead the FS7 had built up and it's handicap of being double the price! wtf
Eventually Canon did bring down the price down by a lot to be kinda closer to the FS7, but by then it was too little, too late. 
And as more time went by, Sony just further fleshed out their ecosystem, with the FS5 (a cut down FS7, not perfect, but a very reasonable Sony alternative for the C100 crowd), the a7S series, and even the VENICE above it on the higher end. 
What was Canon doing? The C700 was a flop. C500mk2 came out very late in this product cycle (more like a FX9 competitor? Kinda, they both launched roughly at the same time). The C200? An interesting but kinda flawed product (no TC?? No 10bit 4K???). & Canon didn't have a response to the a7S series during this time period either. 
It's no surprise that Sony so dominantly ran away with the low/mid budget professional market. 
Eventually in the 2020's then Canon came out with quite nice cameras like the C300mk3/C400/C70/C80/R5C, but after giving away most of the 2010's to Sony to do as they wish, it's a nearly impossible uphill battle on their hands that Canon has. 

https://a.co/d/9Sdo13M here’s the Amazon US link. It’s from Tarion, which has mostly been in the lower end tripod and lighting market until late it seems. I’m hoping to put together a longer written or video review soon. It’s pretty sturdy; I’d compare it with the construction of a very well made child stroller like one from Baby Jogger. I realize that comparison won’t land with many folks, but if you know strollers, you know that’s pretty high praise. It’s very sturdy for what it is, but there is a bit more play to things than a fully metal Innovativ cart, but it also weighs far less. It’s excellent off road on frozen New York ground, wood, cement, and pavement. I haven’t yet taken it into loose gravel or stone, but I imagine the 9” pneumatic tires would handle it just as well as any other. 

On the whole, I think it’s the right cart for me. Solo operator with mirrorless cameras and several 100-500w lights and smaller grip equipment. It allows me to load in all (or the vast majority) of the gear I need for most shoots and importantly gives me a nice working area up top. I drive a Ford Explorer, so I have room for gear, but not much room for a big cart. The small-ish folded footprint of this works well for me. Let me know if you have any specific questions! 

I kind of agree but also am personally somewhat wary when it comes down to too much personal detail as to what, how and how much. You never know just who is reading...
Information can be taken and used against people/businesses in an underhand manner and I have had this 4 or 5 times in my career, and those are just the times I aware of!
In my specific case...not that I wish this to be about me, but to emphasis the point, I have worked my nuts off for over a decade to achieve something in the marketplace that does not really exist, even today.
I get self-entitled folks directly holding out their hands for an info dump (seriously such as, "you don't know me, but here are 10 fundamental questions relating to your business I would like answering" and then get all offended when you politely decline) and others slightly less direct but still fishing, usually as seemingly genuine, but fake enquiries that then have a question and then another and then 2 more and then...but I spotted them well before that stage.
I won't even reveal the true nuts & bolts to a paying client. And paying clients never ask anyway.
But anyway, there are a few here and potentially for the future that can or will only share to a point, especially if a competitor could say, "thanks very much, I shall take that and set up shop on your doorstep for 25% less".
There are others who might wish to share but also wish to remain anonymous so their 'celebrity' status keeps things more grounded.
So I can understand the reluctance of some, many even to discuss anything of this nature beyond a certain point.
I wish it were otherwise, but that's my experience. It's a dog eat dog world!

The void gap that can be filled is business talk. I fear it is too tech / creative oriented. And the business side is ignored. Openly communicating about prices/locations/jobs seems a bit taboo at times. While that part is the part that feeds their kids( most important. ) and I feel most creatives arent naturally gifted in that division.

Great idea! @Andrew Reid There are so many cool people I enjoyed to interact with on this forum. So many cool posts. I would love some of the older discussions to be continued and new topics to be explored in the Eoshd spirit we all cherish. We could share more of the cool findings and lens explorations and footage like we have been doing in the past. My Konica 35-100mm F2.8 needs to be showcased or my 16mm lens set which has been in use for the SI2K from Pillefilm in Cologne until they quit business three years ago and so on.
Sharing footage has become less pleasant though with all that datamunching these days, especially when it comes to footage with people and family. It's a challenge we are facing. In addition to the fact that vimeo as we know it has practically dissolved.
Maybe i should get a dog like gunpowder which people might enjoy to see being filmed, of course only until @Mattias Burling  is coming back. Since we are at it, I would love to see @Ed David swinging a Cinealta F3 around again with his Libatique handheld camera skills.
Like said, great idea, Andrew. Maybe another 8bit challenge would be lovely too. Ed David putting the internal 8bit Slog of the F3 to a test. I could do the same. Anyone still with a C100 or og C300 around?:)

No body comment on the Gopro?  Maybe I should have use Gopro instead of Pana for the upcoming docu I m shooting 

Having no 4K60P really killed C300MK2, its pretty much DOA
Same for C200 with no 10bit and TC, dumb move
C100 MK II have no 4K, that is really start of the fall
 
It was around that time I got the FS5/A7S/A7RII, a really nice set for slow mo/4K/AF and keep size reasonable small... while if you go Canon most of them only have 1080P except 1DC

I think it just confirms the on-going trend that in the broadcast/videography world Sony is the leader with Canon still present but trailing behind. Panny, Nikon & Fuji are so far behind they're basically absent although that could potentially shift in years to come.
I've noticed the Sony dominance within my own local docu/concert/event scene. Its to the point where if you don't show up with Sony gear, people look at you funny. If you want work in that scene you basically just gotta be a Sony operator. I'm not sure how to explain it other than Sony FX ecosystem is really popular and yeah they have a head start with a FF range from A7 to FX3 to FX9. Also the A7S3/FX3/FX6 sensor is a lowlight champ with super low rolling shutter which helps a lot for run & gun docu style work.
Also S-Log3 is kind of the standard in production houses. C-log is acceptable too. Other log formats can be problematic to hand in. For example I haven't even figured out how to expose/grade Nlog correctly so it would be complicated to send N-log footage to a post unit not familiar with it. Might sound silly but its workflow stuff like that that can dictate a brand/format choice from another.. and part of why ARRI dominates the cine world.

I miss the year when you could scroll through that list and read 'LUMIX S1H' and shout, "get in there son!"
Maybe one day (year) we will see LUMIX or more likely Nikon in the list...

Better late than never and it was high time that Panasonic had recognized this.

When considering the big picture perspective of Nikon's history, let's not forget:
Nikon D90 => the first ever DSLR with video capabilities. 
Nikon D500 => the first ever (non-cine) DSLR with 4K video capabilities. 
Nikon D5200 => a banger of a FHD DSLR for a low low price:
https://www.eoshd.com/review/nikon-d5200-review/ 
https://www.eoshd.com/news/nikon-d5200-vs-canon-5d-mark-iii/ 
https://www.eoshd.com/news/is-the-cheap-nikon-d5200-a-better-option-than-d800-for-video-no-moire-aliasing-and-good-detail/ 
  
"refocus" 😉
Yes, seeing Nikon level AF coming to the future RED cameras will be nice.  

I'm tempted to buy a Z6 III with an E-mount adapter for the Sigma 28-45mm F1.8.
Would prefer to have a native option.

I want them to make a FX3 killer with low noise 5k sensor, 120fps, active cooling, and RED codec/log. But they won't. They're much smaller a company than Sony, and have to spend the limited R&D budget on upgrading the current line up. And they have to ramp up their glass business too; they have much work to do: filling the gaps in still lenses, and develop cine lenses (they got curiosity from cinema community, now they need their attention). 

Thought I'd make a list, and it has ended up being quite big...
 
- That sensor filter stack is amazing, turns a mediocre soft-ish lens wide open into something much better
- Separate sensor readout on Z8 for the EVF, it's so effing fast... A real shot getter of an EVF
- Z-Mount... It has proved to be the most versatile of all mounts, in the history of the industry
- RAW video codecs, post RED-buyout they are clearly on top of the RAW game
- Sensor development... Although they're using Sony Semi, these are not off the shelf chips. The Z8/Z9 sensor is superior to even Sony's own flagship full frame sensor (in the a1/a1 II/CineAlta Burano)
- Heat management... 8K 60p RAW with not even a vent in the body (Z8, Z9)
- IBIS. The Zf takes things to new heights, even better than Panasonic. As good as OM-1, but full frame
- Rear screen... 3.2" may not sound a lot but it's appreciably larger than 3.0" on the Sony alpha cameras.
- Ergonomics. Once you get used to the Nikon controls and menus they are some of the most intuitive... Really fast to switch between stillls and video mode too... although like all cameras there are still quirks
- Affordable lenses... The Nikon 28-75 2.8, 40mm 2.0 SE, and 24-200mm travel zoom are all very high performing optically for the price. They have also allowed Sigma to bring their affordable APS-C range to Z-mount. Now do the same with the full frame ART lenses please Nikon!
- Autofocus performance. I think it edges out the other brands overall, or at least level with Sony. Superior to Canon, Fuji and Panasonic.
- Autofocus performance via adapters... The AF with Sony FE-mount lenses and Canon EF is excellent (Megadap & Fringer adapters).
- Range of video codecs, resolutions and crops... The list is almost never-ending on the Z8 and Z9. Very impressed with that side, now they just need anamorphic & open gate to complete it
- Colour science. It's super and the auto white balance system is very intelligent, as it was on their top-end DSLRs like the D5 and D850. The ability to add your own custom Fuji-style picture styles via Nikon Picture Control Utility is cherry on top (copy on from SD card).
- Extended oversampling in 4K/60p... Sony a1 pixel bins in this mode and even in 4K/24p. The Z8 is capable of downsampling from 8K/60p, a full pixel readout.
- Rolling shutter performance in 8K. Their flagship sensor is just crazy fast and it means you don't miss an obsolete mechanical shutter for photography
- Price/performance ratio. I think the full frame Zf is a real sweet deal, Z6 II by far the best video specs and codec in the mid-range and the Nikon Z8 brand new for $3500 is better value for money than the already good value Panasonic S1R Mark II, let alone compared to Canon or Sony. The equivalent specs from Canon (EOS R5 II) and Sony (a1 II) cost $5-6K.
It's all a big step from where Nikon were 10 years ago, let's get some perspective...
Canon, Sony and Panasonic were far out in front for video and Nikon had only 1" sensors in their mirrorless cameras!
The D750 was a decent start at taking video more seriously but only a 1080p DSLR with limited features, no phase-detect AF for video, no IBIS and so on. A much better stills camera than video.
The D800 had been a big success in the years earlier, but the 5D Mark II and III took the vast majority of the video attention.
D800 was definitely more a photographic success story.
This recent progress makes me wonder what Nikon can do with RED. It would be nice to have a Z8 C with REDcode, global shutter and built in e-ND.
It would also be nice if they update the Zf with the Z6 III sensor and N-RAW... Zf Mark II anybody?

I agree the X-S20, X-M5, X-T5 all contenders for value champ.
If you look at just full frame cameras under $1000 then it gets less complicated.
APS-C and crop sensor cameras have always been plentiful bargains.
There's a lot of them to choose from.

That was my thinking in September of last year.  I picked up one of these: https://www.amazon.com/dp/B09PN5RR9D?ref_=ppx_hzsearch_conn_dt_b_fed_asin_title_1&th=1

Good, solid cart - the little extend-o-platform on the bottom makes it great for tripods and light stands and the enclosed top is great for throwing in a bunch of cameras/bags.  The big sturdy tires are nice for things like rolling over rough terrain/curbs/etc.

One of these is getting delivered today. $450 on amazon. I’ve been searching for a lower-tier production cart with the right balance of features, weight, payload, and price. I hope this fits the bill.
 

Yes. I got my fold up off Amazon for under €70 and it has been one of the best purchases of my career for sure.
Instead of 3-4 trips from vehicle to venue, it’s been a single one each way.

Lacks NDs, maybe if it had that then I'd call the FX30 "2025's C100". 
Perhaps it's more accurate to call the C70 "today's C100"? Either that or the FX6 itself. (although I'd say the FX6 is closer to today's C300mk1 than a C100)
Maybe the FX30 is more like "today's Canon 60D" (the FX30 today is only a couple of hundred dollars more expensive than the inflation adjusted release price of the 60D was) 

@Emanuel I also love my FX-30. It just came back from 2 months in the camera hospital (a whole other story) but I just love that thing. A beautiful sensor and lovely ergonomics. And so relatively cheap! The C100 of its days.

Even a Viltrox lens looks good thanks to her!

Man, do we meet? When? ; ) Tomorrow I will meet some Polish EOSHD user I crossed my life with over these same pages. He will be with his Fuji and I will be with my FX30 and some vintage glass, that is, if I will locally find an adapter till tomorrow... I am done with Amazon's local courier (CTT Express failed their delivery for today!).
Any pics from those setups BTW?
PS: Andrew could organise a meeting for those users interested to test my spoken English skills! LOL ;- )

I don't hate Gerald or think he's a bad person, I'm just bummed at what he has become. He genuinely seems pretty miserable doing this stuff, and the more he shares about himself (the comments about why he doesn't create anything were really illuminating) the more I wonder why he is even into cameras to begin with. If you aren't inspired to actually use these things to create art or entertainment, then what are you even doing?
Those comments in particular brought me back to a comment he made in his previous video last year, where he bragged about being brought on these press trips to exotic places and filming nothing. Say what you want about those trips and whether they are ethical or not, how are you not inspired to photograph or film the sights and sounds of these exotic locations and the elaborate sets these marketing folks have created for you if you're even remotely into cameras?
Surely your interest in cameras has to go beyond what you film in your basement and the tests you run on them... right?

Exactly. 
He has almost 500K followers, he is part of the problem, he helped create it and now he is playing the virgin. It sounds to me like a butcher lecturing on veganism.
This is the second whining he has done in a few months and both times it was because of a Lumix review. At this point I don't think it's a casual thing.
Yet if you read the comments to his whining, everyone agrees with him. Maybe all the loser haters are here.