IronFilm

24fps raw stills for 150 shots... so that opens up the possibility for around 6.25 second bursts of raw 6k video! Maybe someone crazy will make a video with it. It'd be a lot of work, but might be kind of a fun challenge. 

If it keeps to the launch price of the a6300, has IBIS, touchscreen, and no overheating, then this likely will be the camera for me in 2017. (throw in a headphone jack please as a sweetener)
I am however surprised at how fast the release cycle has been for the latest a6x00 series, I was truly expecting an a5100 successor to come along first. 

Indeed. http://www.43rumors.com/ft5-confirmed-via-trusted-sources-the-panasonic-gh5-has-5-axis-stabilization/#disqus_thread
Now let's see about the AF. If it as usable video AF then that's going to be a BEAST.

Headphone and Mic jack please

If you use a speedbooster then you'll lose all benefits in picking Canon for their AF.

For Canon DSRLs, 1080P exists only on paper

Sony have and always will have ridiculous product cycles, this is their game.... To get angry about it is futile, as whichever Sony camera you purchased would have done the same to the previous camera.
It seems only the CineAlta line is protected from this

I bet it will be at least as good, and likely a bit better. Pixel count is but one factor in lowlight performance. 

Note I'm writing this from the perspective of a film sound recordist.
DR100mk3 fails badly in terms of ergonomics, it is a handheld record, very bag unfriendly. Lacks many many features vs the F4 (less inputs, no TC, no dual cards, etc).
DR701D lacks XLR out, don't like how the screen angles out, I just see it as a bit poor value for money. You can get the Tascam DR70D for drastically less and all you really lose is TC, I used a DR70D on a feature film: 
 
 

I bet it will be at least as good, and likely a bit better. Pixel count is but one factor in lowlight performance. 

Am I the only one disappointed with the F2.8~4 lenses? Fix Aperture is a must, at least for me...  

But the Tascam has a safety track level, and 3.5mm locking connection, that is a very good feature!
Yes, OST = Oscar SoundTech

Get the Blackmagic Micro Cinema Camera, is kinda like the BMPCC but even better! Gives you 60fps FHD slow motion as well.
Slap on a Metabones BMPCC Speedbooster and you've got near Super 35 FoV from the Micro Cinema Camera. 

You're not going to get better quality in an ultra small form package unless you spend five times as much (and get a Kinefinity Terra 5K). 

And the FS5 is all great and awesome, but more for OPC run & gun people, than for someone who wants a B cam to an Arri Alexa,

Get the Blackmagic Micro Cinema Camera, is kinda like the BMPCC but even better! Gives you 60fps FHD slow motion as well.
Slap on a Metabones BMPCC Speedbooster and you've got near Super 35 FoV from the Micro Cinema Camera. 

You're not going to get better quality in an ultra small form package unless you spend five times as much (and get a Kinefinity Terra 5K). 

And the FS5 is all great and awesome, but more for OPC run & gun people, than for someone who wants a B cam to an Arri Alexa,

Yeah you want to avoid like the plague any of the studio versions that BMD sells, unless....   well, you want to set up a studio! ;-) Then it is going to be just great for that purpose. 

I highly recommend this tutorial for Resolve, it is excellent (and free). It doesn't export in all UHD formats so I am currently with Premiere Pro: 
 

Resolve is great seeing as its free but its limitations compared to the paid Studio package are basically sans: Noise reduction and motion blur effects, stereoscopic workflow, limited to UHD, grain, lens flare and light ray effects. full list here: https://www.blackmagicdesign.com/products/davinciresolve/compare
Keep in mind that it is GPU intensive and you'll need a good rig to get it up and running. Just download it and see... It may take a little getting used to especially if you are new to a node based workflow - but thats what internet tutorials are for...

Ha! No. That is all down in Wellington, while Auckland has the tv production scene. 

I'm not at quite that level yet, soon!

Oh wow, that is new, they didn't have that in the free version before?? When did that come into it?
Though I see it is not 4K DCI, the free version has a limit of UHD.
 
https://www.blackmagicdesign.com/products/davinciresolve/compare

You can get a half decent wireless kit for dirt cheap now:
https://***URL not allowed***/review-saramonic-uwmic10-dual-channel-wireless-mic-system/

Otherwise, just buy a cheap Aspen lav mic for now. 

You could also consider HitFilm as a cheap one of payment, or an older copy of Sony Vegas Pro which are dirt dirt cheap. Either would be better than the using the restricted newbie orientated Premiere Elements. 

Hello,
I picked up a broken (bad power switch) Sony A3000 for cheap and have decided to modify it.
The 20mp sensor is good for a consumer camera, but the lcd & evf are horrible low-res. I noticed how the A3000 and A5000 look very similar internally. The board of the A3000 is setup for an HDMI port, but one was not added, while the A5000 has one. The idea is to add and HDMI port and hopefully mic jack. I plan to use an external lcd, 3d print a new body and lcd housing based on this: http://www.eoshd.com/2012/07/mystery-camera-revealed-sony-nex-5n-in-cine-housing-with-cooling-mod/  and end up with a decent camera for video. 
Soldering and building this is no problem, since I own a 3d printer and do circuit-board/electrical repair for a living.  
The trouble is the firmware, does anyone have info on how to access and modify the firmware for hdmi output and other useful features for video? 
 

It mystifies me all these people considering Canon, if you do a 50/50 mix of stills/video and you want great internal colors then get yourself a Nikon D750. 
It performs really really well:
And you get a much better stills camera too than a Canon 5Dmk3!
Or if you'd like 4K get a Nikon D500, which gives you near Nikon D5 stills performance, all at a small portion of the price of a Canon 5Dmk4. 

And I bet Nikon will bring 4K to their affordable lower level cameras before Canon does. 

It mystifies me all these people considering Canon, if you do a 50/50 mix of stills/video and you want great internal colors then get yourself a Nikon D750. 
It performs really really well:
And you get a much better stills camera too than a Canon 5Dmk3!
Or if you'd like 4K get a Nikon D500, which gives you near Nikon D5 stills performance, all at a small portion of the price of a Canon 5Dmk4. 

And I bet Nikon will bring 4K to their affordable lower level cameras before Canon does. 

I see what you mean. It's the famous Canon color palette. Obvious virtue. I know I repeat myself, but I recommend to be suspicious with unique features and obvious virtues. What contributes to these skintones are good profiles and the right (Canon) glass. Let me cite Andrew Reid from his article Summoning the Devil:
.. and he refers to the Sony A7rii of course of which you write:
Believe me, I hate them psychotically. Fortunately, by best friend loves Sony and Canon and has some kind of color blindness, because he can't see what distinguishes them colorwise. I am getting a lot of A7rii & FS7 footage to edit and grade from him, and I occasionally borrow the A7rii. Though I admit that nobody can link to a Sony clip in which the skin is as good as in your Netflix example, I know you can get very close. So close, indeed, that even for the ugly hater, me, the difference ceases to be relevant. Take this clip:
It's shot with not very good settings (you wouldn't dial up saturation and sharpness). But yet, with just the tiniest bit of secondary CC (I saved it as a one-click-filter actually) you could make this skin look very healthy and alive. To a degree, I promise, where original Canon footage looks as if it needed some work when cut side by side. Would have been impossible with Sony lenses in this case!
The same principle can be applied to all advantages and disadvantages of the cameras you compare. Perhaps you should make a table including your accustomed GH4. Think hard about the weaknesses and how you can compensate them. The best camera is not the camera with the best specs but the one you know by heart and whose flaws you successfully overcame.