IronFilm

If you're a massively big tech nerd in your job as an editor / DIT / whatever, then doing a Graduate Diploma (so you have some credentials as "proof") plus spinning  a good yarn about your background on your CV and in interviews, means you could target IT jobs. 
Alternatively, if you've been doing a lot on the producing side of things, and/or worked a lot in AD roles, then doing a GradDip in Project Management (or even going crazy all out with say an MBA???) could then (together with spinning a good yarn about your background on your CV and in interviews) make you a great fit for Project Manager roles. (especially if you sit and pass a few exams such as for PMP/CAPM/CSM/PRINCE2/PPM/SAFe/etc certifications)
Everyone's pathway out of film would be different, and they need to look hard at what are their own unique strengths and background. 

This video would explain it: 
 
 
Strangely / sadly the GH5mk2 does not 😞
Even though the GH5mk2 came out after the GH5S

It's easy to tell...
When you look in the mirror do you see a long majestic flowing magnificent beard?
If so, then you might be Ironfilm, or potentially a member of ZZ Top, but if not then it's ruled out definitively.

I don’t know…
Have we ever been seen in the same room at the same time?
I am questioning my very existence now…

The TL;DR is that you're incredibly valuable to any office environment, but the challenge is that compared to the average (borderline useless) office worker you're so different that the entire system won't be able to see your value, so the challenge is how to get in the door and then get your bearings.
I've spent my whole career in offices - starting with IT background and working through project management to program management to various consulting and transformation engagements.  I am an independent consultant not under the umbrella of any consulting firm, so I'm on my own for networking and finding new contracts etc, so have navigated this territory for a while now.
The most significant things I have observed are these:
Almost no-one understands the concept of transferrable skills.  There is no understanding of this in the recruitment process or HR department at all - zero. Offices and corporate environments are designed to treat staff as pre-programmed robots.  If your entire career history isn't the same job title over and over again then they don't know what to do with you. Offices and corporate environments are places where the rules of the game do not include things like productivity or practicality (or probably anything you'd recognise), they are about perceptions and processes and culture and not rocking the boat. The only people that appreciate people who can take ownership of an outcome and actually get things done are a select group of middle/senior managers who are being suffocated by red tape and actually trying to move the needle on some outcome. There are two types of people, those who change things and those who run things and maintain the status quo.  You are the former, not the latter.
As you are someone who knows how to actually get things done, I'd suggest the following:
Any kind of role with a focus on making changes or solving problems and hitting deadlines should be a good fit - this is likely a management role but don't confuse the management roles that are just managing a team of people that do repetitive tasks Smaller organisations are likely to be a better fit, as they'll be more comprehendible for someone not familiar with the corporate world (think of it as a parallel universe completely separated from reality with different rules) As much as you can, bypass any recruitment process, and try and establish contact with the people inside the business who make decisions and can see your worth (and if necessary can ensure you're not filtered out in any recruitment process that is required) Try and meet these managers directly - many people have needs to hire good people but don't have advertised positions because the job market is pretty devoid of sensible people - so if you get in contact with these people they might make a new position for you What you want to do is get talking to the managers who have money and decision-making authority and have them decide to hire you.  This is the whole purpose of networking. The other challenge is once you're in the door, how do you work out how to fit in and get people to work with you.  Things like running meetings, getting people who don't work for you to do work, how to explain things to management types so that they understand you (including how to tell them things they don't want to hear without making them want to fire you), etc.  
My sister made the transition from film to 'normal' work.  She retrained in Business Analysis (basically analysing a problem and designing solutions) and Project Management.  She got hired into a large corporate firm into the call centre, but very quickly started doing things on top of the normal work (which she absolutely hated) and was internally promoted, and has now been internally promoted several times as they gradually see her potential, and as she gradually learns the new culture and ways of doing things.
It's a long learning curve, but it can be done.
Good luck!

They both support timecode via the flash sync port, just like the GH5S and GH6 does. 

They both support timecode via the flash sync port, just like the GH5S and GH6 does. 

OK, I’m going to revise my figure to somewhere between 1/4-1/2 

Expeed 7 can easily handle these specs, the question is the sensor. With smaller market of ILCs, they can't fab a new sensor every couple of years. 

TC, full HDMI, internal NRaw and Prores, full sensor 4K60p, good battery life and no problems with overheating, with solid Ibis and AF, plus nice ergos and built, Z6/7/Z8 size, around 3000 Euro, that would make it a dream camera! Too good to be true or not? 🙂 

oh that's right, it was skipping a generation, was a teenager and a grandfather 
(if you even believe it was two people behind that account, and not just one. I think the "two people are using this account" was just a way to excuse the lies they got trapped in)

Would love it if @andy lee popped back to give us an update about the Panasonic G7 feature film! And what is he up to now? 

Sadly the S1H/BS1H and S1 are the only L Mount cameras which support timecode. 
There isn't a single Panasonic DPAF camera with timecode support (correct me if I'm wrong, but I'm pretty sure the G9mk2 doesn't have TC. Guess we have to wait for the GH7 and S1H mk2)

I personally have never shot with the EVA1. 
Have worked on a TV Series where the EVA1 was fairly regularly used as an extra camera. (their day to day usage was shooting with 3x Panasonic Varicam LT Every. Single. Day. That was a joy for the Sound Dept!) Any time a fourth (or even 5th!) camera was needed then it probably was going to be an EVA1 ( think sometimes they could get their hands on 4th Varicam? But wasn't that often during the reason)
Also worked on a handful of various no/low/mid budget productions (shorts/commercials/etc) where an EVA1 was used as there was one DoP around here who used to own an EVA1 who I'd semi regularly work with. (he sold it off a couple of years ago? Uses a RED Komodo now. These days I honestly could not think of even one DoPs who has an EVA1 here locally)
So yeah, worked in productions using the EVA1 a fair bit, but in the grand scheme of things it was quite rare. 
I think the Panasonic EVA1 was sadly dead on arrival when launched. As it came out waaaay after the FS7 was already on the scene, thus even though the EVA1 was arguably "better" than the FS7, it was just way way too late. The FS7 was already entrenched in place. 
Heck, Canon had even already launched the C300mk2!
Thus the EVA1 was put squarely in at least 3rd Place (arguably even 4th Place, or worse. As the Blackmagic URSA series attacked hard the no / low budget section of the market which was non-FS7).
Here is the niches where the EVA1 still makes sense in 2024 (but only if you're buying it bargain secondhand prices. Would be crazy to buy it brand new!!):
1) you don't need to ever worry about working with productions that use Sony shooters (say for instance if you do everything about a production in house yourself, and not working as a freelance Cameraman For Hire). Has not having a camera compatible with the #1 brand puts you at a big disadvantage (or heck, at least have a camera in the top five! Sony/ARRI/Canon/Blackmagic/RED)
2) you work in a weird little niche where somehow strangely Panasonic has clawed itself into the top three market share or better. As I'm sure there are little pockets of the filmmaking communities where you might find a large handful of your buddies are all shooting Panasonic. (for instance here in NZ if I was not a PSM but a Cam Op / DoP who was tight with Producers / Directors who work all the time 24/7 with SPP, then maaaybe I'd consider picking up a Panasonic EVA1 as maaaaybe it could pick up a few rental dollars here or there going onto those productions which I'd already be working on)
3) you stubbornly ignore all those factors above (or you're lucky and they don't apply to you) and you really want the power of a FS7/XDCA (or F5) but in the smaller form factor of a FS5 body (and/or you don't like "the Sony look") but you can't afford a FX6. (and for whatever reason, you're a Canon hater, so the C300mk2 is ruled out) Then the Panasonic EVA1 is perfect for you!
4) or you already own a Panasonic Varicam, and you need a smaller and/or cheaper B Cam. But you don't want the rigging hassle of a S1H/BS1H. Then the Panasonic EVA1 is perfect for you!
5) you're a S1H/S1/S5/etc shooter and you really really really want built in NDs (or SDI out, or BNC TC, or whatever... but don't want the BS1H). Then the Panasonic EVA1 is perfect for you!
6) you're a contrarian with a conspiracy minded bent. And it was either this or a ZCam/Kinefinity, but you didn't want the CCP spying on you. Then the Panasonic EVA1 is perfect for you!
7) you get offered the EVA1 for free. Then the Panasonic EVA1 is perfect for you!
That I think is a fairly extensive list of who I think the Panasonic EVA1 is suitable for someone to get in 2024. 
Might have missed out one or two niche exceptions, but I think it's quite comprehensive. 
I hope this year Panasonic brings out an EVA2 with a L Mount (or a MFT mount.... ha!!). But if it happens, the EVA2 will fall victim to the same crime the EVA1 was guilty of: just was simply far too late to market. 
The FX6 has been out for yonks now (heck, I bet within the next couple of years we'll see a mk2 for either the FX6 and/or the FX9. That's just how long it's been!). And the Canon C70 and Blackmagic Pocket 6K cameras have been out for a good chunk of time too, together with the RED Komodo they've swept up nearly every corner of the low/mid budget market. Only a few little corners left to exist in such as where ZCam and Kinefinity are, or Panasonic's own BS1H. 
There is very little space left there for EVA2 to take market share, it would have to fight hard for every inch of it. 
I think Panasonic's best move is not an EVA2, but to relaunch the BS1H (the "BS2H"?) with built in NDs, the AF of the S5mk2, and with the problematic delays of the SDI out fixed that was in the original BS1H. If they can do that at the same price point as the original BS1H was launched at, then they might see some traction they can then build upon.  As such a BS2H could be "the poor man's ARRI 35" who can't afford anything close to ARRI prices, but wants: a box format camera, with good color science, 4K, with built in NDs, SDI, TC, and all at an affordable price. (as strangely enough... think about, what camera meets this?? None aside from the ARRI 35!! And Mini LF. Plus perhaps the OG ALEXA Mini if you ignore the fact it's technically upscaled 4K, not true 4K. On a low budget the closest thing otherwise is using a stripped down FX6 body, or similar. Such as C70)
But the BS1H is only a little over two years old, so I can't see a BS2H coming out this year so soon. 
More likely (at least... we hope?? Be terrible if they don't even do at least this) is that the S1H will be updated with the PDAF of the S5mk2, but otherwise no other major changes of note, just general smaller improvements here or there from the original S1H. 
Then another year or two after that we get the box camera version announced of the S1H mk2.
But by that point, it will be too late? As Blackmagic/RED/ZCam/Kinefinity/Canon/etc won't keep standing still in the years to come. 

A word of caution about the Atomos/Zoom partnership when it comes to the Connect module for the Ninja V is that it doesn’t work.

I got the Connect in a bundle with the AtomX Cast so it wasn’t a massive financial hit but it’s annoying nonetheless as I was looking to it to provide sync of my Zoom recorders when recording ProRes RAW. Needless to say no firmware update has been forthcoming.
Which brings me to the second note of caution about their alliance which is that the new Atomos branded UltraSync Blue does not work with my Zoom H3VR due to the same Bluetooth incompatibility with their new chipset whereas the original TimecodeSystems ones do.
My F2BT and F3 with the BTA-1 module work perfectly with it but it’s a no-go for the H3VR and, again, needless to say no new firmware has been forthcoming to resolve it.
It was interesting to see earlier in the week that FujiFilm are releasing a firmware update to allow the XH2 and XH2S to join the Nikon Z8/Z9 in being able to receive timecode from the UltraSync Blue and hopefully Panasonic and Sony might join in to give the option to use their generally underutilised Bluetooth ports (for video at least) for something useful too.

I guess this TC approach is technically better than nothing, but I do not like being vendor locked into a closed, proprietary system. BTM_Pix's post perfectly encapsulates why.
LTC is simple, works well, and has open documentation, so in the absolute worst case, you can fix problems yourself. Not so with UltraSync Blue. Buying a dongle for TC is fine , but if Zoom made a dongle that takes normal LTC via a BNC or 3.5mm, that would be sooooo much better.

Always makes me laugh when I read that someone thinks a 700g mirrorless is heavy.
Heavy? What are you? A 5 year old girl?
Having said that, this 53 year old girl got pretty tired of his 2.8kg set up from last season so replaced it with something almost exactly 1kg lighter.
But then there is pure weight vs weight distribution and handling due to ergos and how you use these things…

Sounds like a package of Panasonics are perfect for you right now!
 
Ah this is the problem then, what is right for you "now" isn't right for you now once you consider where you want to be in one, two or five years time. 
Meh, if you're shooting low budget stuff with mirrorless cameras then just punch in anyway then still use it in your timeline for an upscaled 4K export. 
Nobody else will notice or care, other than you being extra hard and finicky on yourself. 
As yeah, in the Sony world you'll need to spend at least Sony FX9 money to get yourself a 6K camera. 
Although.... the Sony FX30 does record to ProResRaw 4.7K, so if you just want "a little bit more than 4K" that might tick the box for you. 
 
Get the FX series cameras and you'll have TC support. (FX30/FX3/FX6/FX9)
 
Just because a camera has great autofocus doesn't mean you have to use it all the time. If I got an FX30 I'd certainly be using the great autofocus on low budget videography jobs but then when I shoot a short film / music video with it then I'd be stealing/borrowing/begging a set of anamorphics for the day. 
Plus when Sony was #1 for the low/mid budget productions back just before I started, back in the era of Sony EX1 / EX3 then it wasn't #1 due to autofocus. 
When Sony slipped down to and held strongly the #2 position during the C100/C300mk1 vs FS100/FS700 era (& sort of F3 era), that had kinda almost nothing to do about Sony's autofocus performance. 
When Sony regained the #1 crown for the low/mid budget productions in the FS7 era (and kinda FS5 / F5 era, they played their part too)  that also had nothing to do with their autofocus performance, as it had terrible AF (almost "none" for all practical purposes).
Likewise, Sony is still #1 today in the Sony FX Era not purely due to its autofocus performance, but due to all the other factors being the primary reasons why. 
My suggestion is get the cheapest a7 you can get away with. If it's an original a7 secondhand, then fantastic! (I dunno how important stills are to you, and how much of your work you do as a stills photographer. If it's major, then of course you might need better than an a7mk1! Or is the a7mk4 a body you already have?)
So that you've got as much cash free to get a Sony FX6. If you have any budget still left, then get one or two Sony FX30 bodies, otherwise just get it as soon as you can. 
Having an FX3 by itself as your "best" camera still unfortunately puts you in the same general category as someone shooting with say an a7mk3 or heck even an a6100 shooter. You get viewed as a mirrorless/hybrid shooter. Sure, you can pick up low/no budget shooter jobs as a second videographer for weddings or little short films or whatever. 
But if you want to have a shot at breaking into the more professional low/mid market, then an FX6 is the price of entry. (or at least say an FS7, although that's becoming rapidly old and irrelevant)
Do however consider if you've got the right body of work / showreel / connections to have a real shot at making it up to that next left? If not, maybe buy the Sony FX30 bodies first. Then in a year or two get the FX6 (especially as they'll be even more affordable secondhand by then), and just rent an FX6 until then if you need it. 
  
Indeed it is you to a T!
If the EVA1 could take photos would you get it?? 😛 🤣

If you're working solely by yourself (never on other people's productions) say as a wedding videographer or small in house corporate productions, then yes getting say an EVA1 + S1H + S5mk2 (for when AF is critically important, say when shooting solo on a gimbal unpredictable content) would be a nice little package to have!
 
Of course it depends a lot on where you live, and what kind of markets you work in (narrative vs doco vs sports vs commercials vs whatever can all have very different preferences. Likewise low vs mid vs high budget tiers can have different preferences too. Ditto what's popular in Berlin vs Vancouver could be quite different) but generally speaking if you're looking to work quite a bit as a Cam Op / Second Shooter / etc it would be rather foolish to pick anything other than a Sony. 
With a very strong preference for going with the Sony FX6, maaaybe the FX9 depending on your market niche and/or budget. (some people might even be targeting the Sony BURANO, such as this guy who just posted about it this week: https://www.youtube.com/watch?v=91_psSssbGk&ab_channel=CrankyCameraman As that what makes sense for his market and the work he does) But if on a very tight budget, and the FX6 isn't viable, then go with either the FS7 or FX3/FX30 instead. 
If for perhaps you hate Sony and your joy is more important the $$$ in the bank account, or maybe you are targeting a niche where Sony isn't so big & relevant (say narrative for instance) then you can think about other non-Sony alternatives. 
For instance if you're trying to break into the narrative world and make it as a DoP (or you've already "made it" as a DoP, and you can work on productions where you can use whatever cameras you wish and are suitable for the shoot. As they've got the rental budget for it. But you want a smaller cheaper "personal camera" for yourself, so you can bring it along to passion projects you're shooting that you wish to help out) then I'd be seriously considering non-Sony cameras such as the Blackmagics (any of them) or the RED Komodo (or older cheaper models such as the RED Raven or RED Epic / Scarlet) or an older ARRI Alexa Classic (or perhaps the AMIRA). Maaaaybe the BS1H would get a consideration. 
 

I personally have never shot with the EVA1. 
Have worked on a TV Series where the EVA1 was fairly regularly used as an extra camera. (their day to day usage was shooting with 3x Panasonic Varicam LT Every. Single. Day. That was a joy for the Sound Dept!) Any time a fourth (or even 5th!) camera was needed then it probably was going to be an EVA1 ( think sometimes they could get their hands on 4th Varicam? But wasn't that often during the reason)
Also worked on a handful of various no/low/mid budget productions (shorts/commercials/etc) where an EVA1 was used as there was one DoP around here who used to own an EVA1 who I'd semi regularly work with. (he sold it off a couple of years ago? Uses a RED Komodo now. These days I honestly could not think of even one DoPs who has an EVA1 here locally)
So yeah, worked in productions using the EVA1 a fair bit, but in the grand scheme of things it was quite rare. 
I think the Panasonic EVA1 was sadly dead on arrival when launched. As it came out waaaay after the FS7 was already on the scene, thus even though the EVA1 was arguably "better" than the FS7, it was just way way too late. The FS7 was already entrenched in place. 
Heck, Canon had even already launched the C300mk2!
Thus the EVA1 was put squarely in at least 3rd Place (arguably even 4th Place, or worse. As the Blackmagic URSA series attacked hard the no / low budget section of the market which was non-FS7).
Here is the niches where the EVA1 still makes sense in 2024 (but only if you're buying it bargain secondhand prices. Would be crazy to buy it brand new!!):
1) you don't need to ever worry about working with productions that use Sony shooters (say for instance if you do everything about a production in house yourself, and not working as a freelance Cameraman For Hire). Has not having a camera compatible with the #1 brand puts you at a big disadvantage (or heck, at least have a camera in the top five! Sony/ARRI/Canon/Blackmagic/RED)
2) you work in a weird little niche where somehow strangely Panasonic has clawed itself into the top three market share or better. As I'm sure there are little pockets of the filmmaking communities where you might find a large handful of your buddies are all shooting Panasonic. (for instance here in NZ if I was not a PSM but a Cam Op / DoP who was tight with Producers / Directors who work all the time 24/7 with SPP, then maaaybe I'd consider picking up a Panasonic EVA1 as maaaaybe it could pick up a few rental dollars here or there going onto those productions which I'd already be working on)
3) you stubbornly ignore all those factors above (or you're lucky and they don't apply to you) and you really want the power of a FS7/XDCA (or F5) but in the smaller form factor of a FS5 body (and/or you don't like "the Sony look") but you can't afford a FX6. (and for whatever reason, you're a Canon hater, so the C300mk2 is ruled out) Then the Panasonic EVA1 is perfect for you!
4) or you already own a Panasonic Varicam, and you need a smaller and/or cheaper B Cam. But you don't want the rigging hassle of a S1H/BS1H. Then the Panasonic EVA1 is perfect for you!
5) you're a S1H/S1/S5/etc shooter and you really really really want built in NDs (or SDI out, or BNC TC, or whatever... but don't want the BS1H). Then the Panasonic EVA1 is perfect for you!
6) you're a contrarian with a conspiracy minded bent. And it was either this or a ZCam/Kinefinity, but you didn't want the CCP spying on you. Then the Panasonic EVA1 is perfect for you!
7) you get offered the EVA1 for free. Then the Panasonic EVA1 is perfect for you!
That I think is a fairly extensive list of who I think the Panasonic EVA1 is suitable for someone to get in 2024. 
Might have missed out one or two niche exceptions, but I think it's quite comprehensive. 
I hope this year Panasonic brings out an EVA2 with a L Mount (or a MFT mount.... ha!!). But if it happens, the EVA2 will fall victim to the same crime the EVA1 was guilty of: just was simply far too late to market. 
The FX6 has been out for yonks now (heck, I bet within the next couple of years we'll see a mk2 for either the FX6 and/or the FX9. That's just how long it's been!). And the Canon C70 and Blackmagic Pocket 6K cameras have been out for a good chunk of time too, together with the RED Komodo they've swept up nearly every corner of the low/mid budget market. Only a few little corners left to exist in such as where ZCam and Kinefinity are, or Panasonic's own BS1H. 
There is very little space left there for EVA2 to take market share, it would have to fight hard for every inch of it. 
I think Panasonic's best move is not an EVA2, but to relaunch the BS1H (the "BS2H"?) with built in NDs, the AF of the S5mk2, and with the problematic delays of the SDI out fixed that was in the original BS1H. If they can do that at the same price point as the original BS1H was launched at, then they might see some traction they can then build upon.  As such a BS2H could be "the poor man's ARRI 35" who can't afford anything close to ARRI prices, but wants: a box format camera, with good color science, 4K, with built in NDs, SDI, TC, and all at an affordable price. (as strangely enough... think about, what camera meets this?? None aside from the ARRI 35!! And Mini LF. Plus perhaps the OG ALEXA Mini if you ignore the fact it's technically upscaled 4K, not true 4K. On a low budget the closest thing otherwise is using a stripped down FX6 body, or similar. Such as C70)
But the BS1H is only a little over two years old, so I can't see a BS2H coming out this year so soon. 
More likely (at least... we hope?? Be terrible if they don't even do at least this) is that the S1H will be updated with the PDAF of the S5mk2, but otherwise no other major changes of note, just general smaller improvements here or there from the original S1H. 
Then another year or two after that we get the box camera version announced of the S1H mk2.
But by that point, it will be too late? As Blackmagic/RED/ZCam/Kinefinity/Canon/etc won't keep standing still in the years to come. 

Don't forget his father too! (or was it an uncle? Man, was a few years ago, I'm forgetting all the juicy details!) 

60p afficiando can be a medical doctor, these two are not exclusive. lol. 

because i may be from cairo too. lol. 

you mean that guy who cheated some one here on board? i don't want to sell you my selected cameras. i want to hold them until in my cold hands. lol. 

He's from Egypt. A double Doctorate in Medicine 💊