IronFilm

If you think that Panasonic will abandon the M43 format for the GH5 then you are crazy. Not gonna happen. I will live stream my seppuku on EOSHD if that happens. What will happen is that Panasonic will eventually introduce their newly developed "organic" sensor tech into the GH camera line. This will give them performance better than the current generation of full-frame cameras but in the small M43 form factor. I'd guess 2017 or later.
As for 6K, why? There is approximately zero demand for 6K and it's technically unfeasable for any number of reasons. A more reasonable step would be for for Panasonic to have the GH5 record 10-bit 4:2:2 4K internally, but even that would be beyond the capability of the SD card format for reasonably low compression. 
 

I did, it's a pipedream wishlist.
Yes, M43 lenses would still work on an s35 sensor, with some kind of crop mode (both video AND stills)... That is not a business strategy that any sane company will adopt though. The GH5 will be optimised for THEIR lens range and their loyal non video centric users who will have a stack of m43 lenses.
It would be a PR disaster. A bunch of features that don't even work with their lens line up. "Shoot 24mpx stills, unless you have our lenses, in which case "shoot 16mpx lens"... yea, great sales pitch.
If you want to have pipe dreams, fair enough... Just ask for a completely new lines of cameras, with a range of Panasonic s35 lens.

But they upscale a lower-res image to 4k, will people really see a lower resolution image as a good thing?
The Pros may not care, but as I said above will Panasonic want to do a camera that works better with competitor's lenses.
If the only market is Pros I don't think they'll sell enough to price it below the $4k mark.

I think you're asking too much from what is basically a consumer camera. 
I think Panasonic is interested in output formats that meet predefined display specs, so you can throw 6K recording out the window. 

Best we can hope for is:
4K from a 6K (20mp) sensor with full readout of that sensor and no crop (closer to 5K in 16:9 mode) downsampled in camera. 
4K at 60fps and 200Mbps, 4K at 30/25/24 still being 100mbps
10-bit internal recording
Slightly higher dynamic range due to an improved sensor/DSP.
Maybe a choice of H.265 recording at the same bitrates.

They'll stick to an m43 size sensor. 
 

Other than not having S35 I think the GH4 is still a front runner for small camera features/quality. Sony isn't offering 10bit4:2:2 output on their A7 and 6000 series. Like others have said if they offer S35 with the ability to record 12 bit RAW on the Odyssey, 1-120fps, that would be an excellent upgrade.
VLogL thru 10 bit is highly under rated in my opinion.

I actually wouldn't buy that camera if it was 8bit 4:2:0
People need to start shouting from the roof tops that it is no longer good enough. Whether Andrew chooses to believe it or not, the combination of 10 bit and 4:2:2 (or higher) is where you can really start to get the best out of log footage. I don't want to climb a mountain for 6 hours to then find my shots ruined by banding. 10 bit solves this issue and really helps the log curve store the information correctly.

I'm trying to say that the above shot is purposfluly made difficult in terms of colour and skintone, yet still shines.
You are not blown away by the colour science here? Skintones look perfect to me.
 

Last week you were saying you didn't care about 4k... Now it's all about 6k?!
I'd much prefer internal 10bit 4:2:2 (or compressed raw)... Better DR and low light.

Andrew, basically you want an FS5 with Panasonic logo on it. VLOG 2.0? What's the problem with the 1.0? Noise and 8bit. Noise is sensor based problem, and noone offers 10 bit internal recording at this price range. I think Panasonic will stick with the 20MP m4/3 sensor which is already developed. 6K fullreadout 4K is reasonable, 4K 60 fps is also possibile. 
In the past 2-3 years Sony produced some awesome products and even Panasonic is too slow to do a reasonable reaction to them. I dont think GH5 can grow up to the expectations.

The Video Devices PIX lineup manages to record 4k ProRes to USB 3 hard drive enclosures. Integrating such a system into a camera could be pretty revolutionary. 

Reading this thread just reminds me why Panasonic is still a viable option! 

How is the Scarlet sensor better? It's not all about specs. I prefer the image of 2k from an Alexa over 6k Red. Better colors, fleshiness, range, etc. If this camera owes anything to Panasonic's history, it's color science should be amazing. The old 2/3" three chip Varicams from ten years ago had better more accurate color than the latest Red of today. I can't see Panasonic going backwards in terms of color science. The only misgiving I have about this camera is that I wish the body were even smaller (under 4 lbs). I'd be curious to see how it'll stack up to Kinefinity offerings.

Definitely "a thing of beauty". Had hoped for F55 league and price and 240p windowed and 3s pre rec and Canon mount and all got it. And I can even mount 4 mics without hassle (hello Canon and Alexa Mini...) Have optioned the Varicam LT as it is almost exactly what I need although the 240p will probably still not look that great. The Varicam 35 has a fascinating image and when I recently graded demo files in ProResLT from varicam.it comparing Varicam at 5000ISO vs Alexa vs Dragon vs F55 at 3200ISO the Varicam made them all look very very ugly. Would have loved to see a comparison with the C300II though, but that one is severely underspeced with 120p in standard def and C500II will probably have an 8K sensor and therefore a much steeper price. 
Maybe this sensor will find its way into an FS7 counterpart, but not soon, I guess. 
RED would not be an option because of missing ND filters and weak high ISO performance.
Arri Mini is probably more than double the price and now with big players like Netflix demanding real 4K I´d rather give my distributors that spec, no matter if it is visible in the final film or not. 

It seems that everybody is asking Panasonic for a FS5/FS7/C100/C300 competitor by Panasonic.
I've already expressed that when Sony announced the FS5, it would be really great to see a FS5 competitor by Panasonic.
I wonder what kind of mount would be better, wouldn't it be better if they chose a mount with a shorte flange distance - for better versatiliy - with official swappable mount to EF and PL than simply choosing EF?
Panasonic did launch the DVX200 as some sort of gap but that is much more for broadcast and events than film makers, I would had preferred a faster zoom lens with a little less range to keep the size down.
I really like Panasonic's Varicam images, they are astonishing and it has such a nice feel to it. I know they wouldn't use the same dual ISO sensor on "budget" camera but at least all the colour science and thought would be on it - since Sony lacks a bit of attention to details.
 

Agreed. Panasonic desperately need an updated AF100 so the *HUGE* influx of new users they got with the GH4 can stay with Panasonic and then provide willing and easy customers to buy into a Varicam LT. 
But doing GH4 to Varicam LT in one giant leap with no intermediary stage of an AF100 v2.0 in between? ? That is too much to ask of a GH4 user.

Agreed. Panasonic desperately need an updated AF100 so the *HUGE* influx of new users they got with the GH4 can stay with Panasonic and then provide willing and easy customers to buy into a Varicam LT. 
But doing GH4 to Varicam LT in one giant leap with no intermediary stage of an AF100 v2.0 in between? ? That is too much to ask of a GH4 user.

The EOSHD article make it sound like it's a 4K Prores camera, but it only does Prores in HD, you might want to correct that.
This doesn't seem like anything overly special compared to a Scarlet-W or Sony F55, except that it can do both analog gain and digital EI adjustments which no other camera does.  RED Scarlet-W has a slightly better sensor at BASE sensitivity but has trouble in low light, and F55 can adjust EI in CineEI or gain in Custom but never both so you are stuck with flexibilty or sensitivity.  This is the one feature that seems especially unique about the VaricamLT.  Unfortunately it still doesn't even do 4k 120fps like a Scarlet-W will or like my FS700+7Q has for a while...  Anyone know where specs/whitepaper on AVC-IntraLT etc is?  I can't seem to find it.  FS700+7Q still seems to be the only one that does 4k 120fps prores and can adjust analog gain and EI (using LUTs) at the same time (not to mention being able to use a speedbooster)... 

This camera seems super cool and lovely and stuff, but there is a MASSIVE gap in Panasonics camera lineup between the GH4 and the Varicam LT. 
Where is their competitor to the likes of the C100, Ursa, and FS7? 
It wouldn't be too much of a stretch to see a GH-Pro Video camera with: 
MFT mount with Super35 sensor.  10 bit 4k up to 60fps. HD up to 120fps.  V-Log.  Ergonomic handheld style (like FS5). Built-in LCD/viewfinder.  Priced around FS7.  Compressed RAW HDMI/SDI out to recorder.  Would you buy it? 

True that! They're like 'hey, thanks for getting the GH4! Yeah, we are the go-to guys for video! We did it first and the longest in the segment!'... 'what's that? You evolved a little and like to get more serious? Well, hey, we got you covered... pay for this V-LOG L update and add the BLEGH brick underneath, now it's just like a proper cinema camera!'... 'And the GH4 will be relevant for quite some time ( http://www.43rumors.com/ft3-new-larger-gh4-firmware-upgrade-on-the-horizon-gh5-ready-for-early-2017/ ), don't mind the competition out there, they're not us and you've bought some native lenses anyways and video on Olympus cameras is something to laugh about, so watchya goon' do anyways?!'...
Me: ehh... I would want a serious update, have you seen the competition? Varicam means coughing up way too serious dosh as an upgrade from the GH4 and good alternatives would come from the likes of Sony and Blackmagic! Could even get myself a proper 2nd hand cinema camera! Ball's in your court, Panasonic! The DVX200 actually looks like a pretty sexy camera I'd like to pick up. But why they do not offer us something similar with interchangeable lens mount is beyond me!?

IMHO, most films are shot on ARRI (because people were making movies with ARRI cameras from a long time) or RED (because they "invented" RAW for video + high resolution and high fps). Panasonic is trying to enter this market from the top without ever succeeding. 
Maybe it would be easier to make a next-step camera for GH4 users, so trying to arrive to the top from building a base of users at the bottom. I would have gone from the 1200$ GH4, to a $5000 one, then this 18K$ and finally proposing a great all-out cinema camera. 
Hope my english is clear enough...

Hopefully many more iterations to follow such as AF100 replacement with same colour science, Prores and EF mount.  Have a GH4 with PCC Speed booster and an A7S II,  Still prefer GH4 as main camera,  wishing for a GH FF camera with same attributes so that i can get rid of A7S II.  

Personally, i think the sensor (assuming it is the same as the Varicam 35) slays the Sony offerings, so this talk of it being underspec'd for the price seems a bit skewed. I'd prefer good specs and great IQ rather than great specs and good IQ
 

Looks nice. Squarely aimed at the RED and Arri crowd.
I still think they would be better doing a Super 35mm AF100 replacement with that VariCam S35 sensor.
Just because the AF100 failed on the market doesn't mean to say Panasonic can't get it right the next time out.
Instead it is almost as if they haven't bothered.

If you're not using it for ML raw (which you're not with those puny cards, and besides I frankly feel BMCC MFT or BMPCC is a better deal for raw) then there is no point wasting money on a 5D mk3 when there are so many better options out there available for less!

If you're not using it for ML raw (which you're not with those puny cards, and besides I frankly feel BMCC MFT or BMPCC is a better deal for raw) then there is no point wasting money on a 5D mk3 when there are so many better options out there available for less!