IronFilm

Are you SURE? ;-) 

Are you SURE? ;-) 

I'd love for Samyang to make something like an 17-90mm T4 lens!!

But that will keep on being just a dream....

Yup, agreed. Go either Panasonic G7 or G80 depending on exactly how tight your budget is.  Plus a RJ Lens Turbo or similar, plus a few older Nikon F mount lenses. 

I support the above recommendation for the nature of your projects, a G7 with a Chinese speedboster will be a good combination and stays in your budget, also a basic rig will be needed, if you go to ebay probably you can even add an external monitor and still stay under $800...

Atomos looked like they'd got great timing releasing the new Ninja Inferno at the same time the GH5 became available but its even better timing with this upgrade of the LS300.
For a total price of $3550 from B&H these two make a massively specced package.
JVC did packages with Samyang lenses and if they've got any sense they'll do a bundled version of the LS300 with the Ninja Inferno. 
Everything about the LS300 on the front end is there (Super35 sensor, 4K,LOG,flexible mount,ND,XLR,dedicated controls) as are the clever features like Variable Sensor Mapping and the brilliant Prime Zoom function and mating it with the Ninja Inferno now takes care of the rest of it as on top of all that you get 10 bit 4K60p direct to edit ready ProRes on affordable media and a no compromise professional monitor with all the bells and whistles thrown in.
Thats a hell of a system for $3550.
Its probably not going to be attracting the same sort of user (or buzz!) as the GH5 (to which you could of course attach the Ninja Inferno and get all the back end stuff) but for people who really need a solid camcorder for broadcast work that can also be used for digital cinema then I can't see any better options than this.
But they really need to up their marketing game and let people know about it.

All these things you can get for free with your existing setup, just practice. I have zero problems with focus and I pull manually myself with rig on shoulder sometimes when doing "run and gun". Just close down your aperture if you have focus problems. Buying new gear is not always the answer. On every single point you ask for theirs a simple solution but it requires practice. Like with every skill in life.
 
EDIT. Oh and I shoot mainly with Blackmagic cameras and own zero stabilized lenses. Hard work, but it pays off.

What you're looking for doesn't exist for your price point, sorry. The fs700 is the closest probably but it's still more expensive with a raw recorder and doesn't do autofocus very well. Also no stabilization. So yeah, what you describe would be pretty amazing for less than $3000 but I wouldn't expect all those boxes to be ticked any time soon

Just leave those VG cameras to rest..
Some of my worst experiences ever, there were so many "producers/directors" bringing one in every shooting and asking me to be "productive" with those - hated them, and most were insisting that the sound was incredible (the Sony marketing must be unbelievably effective, then and now) and we didn't need any other sound gathering..
There is a similar little camera (if you do not use the handle, has in built mics in the body as well) and is called JVC LS300, with a m4/3 pancake or even small zoom, you just can't believe how small it is, and is a bit more expensive than a GH5 in USA, plus there will be a firmware update that will do 4:2:2 4K internal and 4K/60p on an Atomos (http://www3.jvckenwood.com/press/2017/gy-ls300ch_v4.html). There is a thread about it here. The camera has a variable sensor and Metabones adapters.

After using both for quite a while the a6500 is slightly oversharpened and IMHO the IQ is slightly lower than the FS5 in every situation.
That much oversampling doesn't improve quality and makes rolling shutter jello way worse than what should be acceptable for a pro video camera. There is a a reason why F55, F5, FS7 and FS5 share the same 12mp s35 sensor optimized for video.
S35 is still the standard for cinema, narrative and commercials. Given the FS7 and FS5 intend to be hybrid cinema-broadcast cameras, they're right to stick to that standard -many cinema lenses don't cover FF- though I agree with you it would be very interesting to revive the VG series... it was a failed project but it was a good idea and I'm sure it could be done better with today's FF sensors, faster readouts, faster cards, etc.
I agree, but the same could have been said about the FS7 and look what happened. An FS5 II could be an update more than a replacement: improved EVF, new SD card slot to allow UHS3 cards with the second row of pins-, higher bitrates and/or XAVC-I -though using both L and I in many projects I can say 90% of the time you won't miss XAVC-I-, continuous 100 fps, etc. The "global shutter" part is what sounds wierd... What for? it's not like it RS is a problem on the FS5.

I am not sure splitting them from pro video division is a necessarily positive thing either. However, if they had an intention to ditch MILCs, they wouldn't have put so much resources developing and marketing GH5 (and the predecessors, like GX85 and G80) -- neither the CEO nor the circumstances have changed so drastically for the Panasonic to suddenly take a u-turn.

I struggle to see how splitting the Micro Four Thirds cameras off from the Professional Video Division (which seems an ideal fit, except the latter is profitable and the former not-so-much) and making people redundant is quite such a positive as they are trying to spin it... It will be interesting to see what happens, but IMHO "redoubled" seems like marketing spin to keep people buying the products. Not that I'm suggesting cameras are doomed, but I think the ILCs will get trimmed somewhat along the way...

How about clean 3200 and an extra stop from the speed booster = clean ISO 6400 in reality compared to a 1D X Mark II that does the same but for $4000 more.
The people who complain about the GH5's footage haven't used one yet... The footage out there has been mainly poor and very compressed / 8 bit in feel
The files straight off the card are not like that.
They are mega chunky and astoundingly solid without a hint of compression, banding, mud or noise.
I will upload some ProRes
By the way you will need to transcode the files with this camera... EditReady does a superb job. Adobe did a really terrible job on the other hand. Editing native 10bit h.264 should be doable in 2017.
By the way Eno thanks for posting a link on Vitaliy's forum to the Panasonic article... He is always critical of my knowledge but when I am clearly right and even backed-up by the company's official statements, he never has the balls to say so. I am still wrong. I'd hate to have him as a parent... Rather have darth vader...Maybe Putin's dad was like this?

@zerocool22
GH5 has quite good low light capabilities with ISO 3200 very usable, heck even ISO 6400 is somewhat usable IMO. I don't know what more were you expecting from this camera?

Did you catch the strong hint about "lens integrated"cameras?  
It seems like both Sony and Panasonic have decided to move into higher cost more professional cameras.
I would gladly sacrifice stills capacity in order to have integrated neutral density filters.

Hopefully they can come up with AG200 at similar price as FS5 - Super 35mm in MFT mount (JVC can do it, why not Panasonic?) I'd get it instantly.  I already given Sony a try for a year and half and is coming back to Panasonic this year! (bought A6300, A7RII, A7S and FS5), I just dont feel it when I shoot with Sony machine

I think this is some sort of meme that hasn't migrated to my corner of the world yet. :/ 

A combo stand is much sturdier than a baby stand.  Essentially, a combo stand is a junior stand that includes a smaller, pop-up baby pin.
 
 
I think Kupo is based in Korea, but I am fairly sure that they have worldwide dealers.  Their starting list price seems very competitive.
 
 
Not sure if Arri is considered a "well known brand" in regards to grip equipment.  I have never seen an Arri combo stand on set.

As I already do sound seriously, I'd like to get into the lucrative career of sound gripping, thus looking at grip gear to get... specifically these combo stands on Aliexpress (sorry, I can't afford anything better on my $10/day rate!). Anybody tried them before, what do they think of them?
 
https://www.aliexpress.com/item/4m-studio-Combo-Stand-Tripod-Load-20kg-for-Light-2k-5k-HMI-Compact-Par-1-2k/32265490574.html
 
https://www.aliexpress.com/item/PRO-3-4m-Combo-Stand-Tripod-load-40kg-for-Spotlight-5K-HMI-4K-M40/32796936968.html
 
https://www.aliexpress.com/item/4m-Studio-Combo-Stand-Tripod-Load-20kg-for-Light-2k-5k-HMI-Compact-Par-1-2k/32596647221.html

For many that have moved away from Sony, they'd need to improve the following:
* Figure out the overheating issue
* Improve their color science
* Move to an IBIS that really works and is demonstrably superior to just an OIS lens alone
* Implement 4K60p...again, without overheating
* A flip out VF would be nice, thank you. 
I'd be surprised to see if they really come up with something competitive to the GH5, but I'd certainly like to see that happen. It just seems to me that Sony is so set in their ways, they rarely deviate from the path. 
I've used Sony cameras for years, so I'd like to see them give Panasonic a run for their money. The more competition the better.

What about the large portion of video shooters that never use AF? Seems like more of a hobbyist hangup than something that'd hold back a working pro. 

Good read. Maybe there is not enough room, in this particular room, for all these elephants, but there are other smaller rooms in this house, and Panasonic seems to inhabit quite nice the video room for quite some time now.
Just have a couple of mirrorless models, and concentrate more on video.
Everything of the GH5 on a C100 body, for 5500$ (give or take 500$!), with more room for heat dissipation and bigger batteries, and you have an instant hit.
They used to have the 100, and have the DVX200, and JVC has the LS300, just combine everything and do a good video camera.
If they do not fit in the video room (Canon/Sony, Fuji seems to care more now, BlackMAgic), then they won't fit anywhere soon!

I guess well-informed indie filmmakers would know that Panasonic makes some of the best low budget indie filmmaking cameras for the buck. And that one of Panasonic's worst problems stems around bad sales, due to poor marketing and terrible after sales (not in all countries, but in many). Add to this, the fact that they haven't Specifically targeted capturing India and China for their enormous potential and one can pretty much understand the state of affairs of their camera division. Which quite honestly, is bad for the low budget Indie Filmmaking Community as a whole.
Now it appears Panasonic is restructuring it's camera division and retrenching people from the camera division and absorbing whoecer is left, elsewhere. 
("Three other businesses units -- digital cameras, private branch exchange telephone systems and optical disk drives -- will be dismantled. Each will be scaled back and placed under the umbrella of other operations, with headcount to be reduced.")
IMHO this is just bad timing, considering that people were predicting that the GH5 would break the 60,000 units camera annual sales record of the GH4 at its peak.
While this doesn't mean that Panasonic would be shutting down its Camera Division, it just is very bad timing, especially considering that the GH5 is around any moment (early units have already been shipped and users are very happy with them), and buying nay lose confidence.
I think Panasonic needs to Clarify and Pacify customers who have bought into the system and many others who are hoping to pick up some great low budget indie filmmaking gear. Also they need to get SERIOUS with their marketing regarding the audience for their cameras. 
Source: 
http://asia.nikkei.com/Business/Companies/Panasonic-takes-out-scalpel-again-as-profits-falter

Sure, if you're not excited about:
*4K60p
*4K slo mo
*IBIS
*Improved color science
*Obviously improved AF
*Internal 10bit 4:2:2
*Improved low light that some say are in the range of an A6300
*Higher rez sensor for better stills
Then yeah, not much to get excited about.   (I'm sure I've left off some other things)

You cannot claim a camera that shoots clean ISO 3200 at F0.7 is 'not that great in low light'

F1.2 on the Speed Booster XL = F0.768
Sensor dynamic range in the RAW files is around 13 stops, so same as the 1D X Mark II full frame 20MP sensor.
So not sure why you think DR is less due to the sensor size.
It's only a bridge too far if it kills low light and dynamic range. It hasn't.
Yes it does.
300mm F2.8 hardly a must-have lens for filmmaking.
Bird watching and plane spotting maybe.
The GH5 actually excels at telephoto because you can easily attain the equivalent of 800mm on full frame.
800mm!
(with the relatively small Panasonic-Leica 100-400mm)
I do miss the old body size and ergonomics haven't exactly progressed much but it's still a small camera and the extra features have to go somewhere.
You're welcome to have your opinion but there's not much of a factual basis for it.