IronFilm

Colors and skintones look better than the s5ii and seem closer to the first gen S models. Less magenta bias too. This is a big one for me. I like the new A2 profile, too.
Despite the higher MP drawbacks we all predicted, I'm looking beyond: the supposed video-oriented camera on the way just may be the one.
Last thing I'm looking to see is if the compressed recording options are plagued with the same processing issues as the s5ii.

Overheating with active cooling system is a milestone. 37 milliseconds RS is another. 

And first Lumix camera which overheats!
 
 

Basically Gerald trashes the camera...

I've used all of those actually! I built a live streaming business with the Sony PXW-Z90 almost 8 years ago. It was the best option at the time, because of the SDI connection that we could output to our switcher. Originally I wanted to use GH5 bodies but I wasn't confident in HDMI or the HDMI to SDI process in a fast paced sports environment. Locking SDI to SDI seemed like the way to go. Plus every other mirrorless option at the time, minus Lumix, had overheating issues so they weren't an option. The Panasonic AG-DVX200 was also briefly considered, but at nearly $5000 each it just wasn't gonna happen.
I really liked the PXW-Z90 at the time. Today though, it's not good enough in low light for event coverage, in my opinion. Today the footage LOOKs video-y, with poor colors, roll off, and dynamic range. They're still used by my old company, and for several other smaller pro-wrestling companies, and I just don't think the footage looks very good compared to what you can get from even a low end mirrorless camera these days.
I rented a FZ2500 when I was considering it as B and C cameras to my GH5 years ago. Not bad, but the G85 bodies I was using were still better. 
Gimme a power zoom I can buy once and use on whatever new Lumix body I upgrade to in the future and I'll be a happy camper.

Yes - a mere 4kg and 470mm long (and $6000!)... 😉 (but actually the 315mm long, 2kg M43 OMDS 150-400mm f4.5 TC1.25x IS PRO Lens is even more expensive - £6700 in the UK)
 

I think the name says it all. Specs aside this is the most « think different » camera from an engineering and UI perspective I’ve seen in a while. Very ZX1 reminiscent with the monolith design and aluminium unibody is right out of the Apple Johnny Ive MBP / iPhone 5 playbook. 
 
You gotta give it to Sigma for always bringing something different to the table. The Fp was already impressive with its compact solid construction and minimalist approach and this takes it to the next level. Personally I still prefer the modularity of the Fp-L with optional EVF etc but this Bf is stunning in an ultra minimalist way.
 
Spec-wise it’s more a mixed bag but this is more form over function. It’s nice they gave us 6K and L-log but a real shame they took away video DNG Raw, especially considering it’s got internal storage. But I think this is more a premium lifestyle and photography oriented camera. Curious to know if it shoots 10-bit. Probably not because of heat management like the previous compact Fp’s..
 
 
 

Lumix releases a camera without EVF, hot shoe and mech shutter for 1.5K = "crippled".
Sigma releases a camera with the above shortages plus the lack of IBIS, SD, etc for 2K = "innovative".
A real example of it's not what you sell, it's how you sell it.

 

Unless you're Matt's doctor, though, his weight is really not your concern.  If he has health problems, it's up to him to decide if he'll talk about them or not.  This thread was a lot better when it was trolling people about Dave Bautista and/or Perry Farrell.
Let's focus instead on his lens reviews where he does a portrait shoot with it stopped down to like f/13 which will be diffraction limited on just about any modern sensor!
Or on his thing where he has to bring 43 and 250 lenses in like 43 suitcases when he goes on trips!  Instead of, like, a couple of GFX 100 II bodies and a decent selection of Fujinon glass!  And if he really needs extreme telephoto, swap that out for any modern 61 megapixel body and the same focal equivalents as above + extreme telephotos.
Or his pockets.

Wanted to pop in and say: these are some of the best images I’ve seen of work from this forums users. Well done. And you’re right. It’s hard to tell. Can a trained eye tell? Possibly, but that’s not the point.
(I’d love to get some insight to your approach to cinematography if you can spare it)

The S10 af is much better compared to the X-T20 that I had. Since the X-T20 had PDAF and the X-A3 is CDAF only, yes, the S10 AF will be much better than the X-A3.

And yes, the IBIS will allow you much slower shutter speeds (the Fuji IBIS is very good for stills, for movies I still think that it is somewhat abrupt) - but just remember that if there is any movement in the scene, it will appear as a blurry object. Never tried bigger exposures with the Fujis, but with my Oly E-m5 II in the past I could get 1 sec exposures handheld sharp images very easily.

Or check out the newly announced Sigma 300-600mm f/4
https://www.bhphotovideo.com/c/product/1881815-REG/sigma_598969_300_600mm_f_4_dg_os.html 
An easy all day carry around lens indeed! 😉 
https://www.dpreview.com/news/0835876793/sigma-announces-the-ultra-telephoto-300-600mm-f4-dg-os-sports-lens 

For the APS-C shooters, then Simga also announced a Sigma 16-300mm f/3.5-6.7 for only $699:
https://www.bhphotovideo.com/c/product/1881813-REG/sigma_887975_16_300mm_f_3_5_6_7_dc_os.html 

After checking last year's 1.5TB of footage from 60 shooting days or so, and editing it to a 15min HDR video, the IQ from GH6 and GH7 seems to be a bit better, i.e. calmer, compared to S5ii IMO, as over sharpening is not visible on M43. 
6k open gate on S5ii can too look calm and good on some occasions, and it has the DR advantage on low light.
Fingers crossed this S1Rii has both the IQ and even better DR, and I might swap back to L mount from Z6iii

They'll both be the Panasonic 'video flagships' of their respective lens mounts, basically, each with (in system terms) their own strengths - e.g. M43 lenses are generally somewhat smaller and lighter, FF has better low-light performance.
For example, I regularly happily carry around a bird reserve an OM-1 plus Pana 100-300mm lens (total weight about 1.1 kg), but I'd never want to carry around an S5ii plus Sigma 150-600mm f5-6.3 (total weight about 2.8 kg). Both combos have the same FOV at the long end.
At this point in time, I don't really see M43 and FF competing very directly with each other.

I kind of like the ultra-minimalist look/design and simplicity, but the $1,999 is way too high.  Sell it for half that and... maybe.  If anything, this announcement makes me take another look at the S9 and the X-M5.

More like a carbon copy of the Zeiss ZX1 minus the fixed lens. That camera was a smash hit.

Fashioned from a single piece of aluminium, internal storage, minimalist controls…
It’s basically a full frame rebirth of the original Leica T isn’t it ?
Well, minus an SD card slot or optional EVF.
They are mad bastards and I salute them for it.
 

Well, the GH7 shooting package will be both lighter, and probably merely half the price. 

"it cuts out everything that distracts, limits, or stifle creativity".
I didn't know a grip that helps me hold the damn thing distracts my creativity. 

I have worked with Red cameras all the way back from Red ONE, every Alexa camera except the 65 and Sony Venice 1 and 2. The reason that stuff shot on those cameras look better is because of the people using them. They're in a point in their career where working with reliable and professional customer supported camera-systems is necessary to deliver the expected level of craftmanship. If we're only talking about gathering data on the sensor, more than 95% of people can't tell the difference from a Pocket 6K and an Alexa Mini if handled by a professional DP. Yes rolling shutter, yes highlight latitude, but those are extremes.
One camera stands above the rest and that is the Alexa35 - i haven't been able to overexpose that camera yet, and it's built like a tank.

Before your explanation I really thought you were talking about this guy

The point I was making, is that if a production runs into even merely just thirty minutes of overtime, or/and has a very slight increase to post production costs, then those additional costs to production would totally wipe out any "savings" they might get from renting a cheaper camera than an ARRI/Sony/RED/Varicam.
I love this feature as a Boom Op and Sound Mixer!! (nothing to do with an actor entering the frame though, I mean for our purposes)
Huge time savings having an ARRI on set vs "random Camera X" that nobody has ever worked with before. 
A great analogy.  (to carry on this analogy: you'd save time using a F1 over a Camry at the race track, but you'd lose time if you used the F1 for a shopping trip. Ditto cameras, it could be "fast" or "slow" to use, depending on the type of set it's being used on)
Now excuse me while I go do this week's grocery shopping in a F1....

It's about the overall big picture workflow. 
If shooting with an ARRI Mini saves even a mere 30 minutes each day and makes post merely just 5% more efficient, then the total cost differences between renting an ARRI Mini vs S5II is totally nonexistent.
Well, today in 2025 you can buy an ARRI itself (the old classic edition) for sub $5000!
  
Exactly. 
Even if we accept 100% (even though it's a very debatable claim indeed) that "Camera X" can look exactly as good as an ARRI, to use "Camera X" instead means you're going to have to spend money (because: time = money) of at least a couple of days for at least half a dozen people (Director/DP/Editor/VFX/PSM/Gaffer/1stAC/2ndAC/etc). Of them running tests, pushing/pulling it to its max, and ensuring compatibility with existing workflows. 
Even if that's merely $500/day for each person (a very low rate indeed, especially so for an HoD), that's $6K blown on costs at least (am using very conservative guesses here) just so that they can use "Camera X" instead of a mainstream well known choice. 
Those are utterly trivial costs when you consider the costs to rent the whole camera package across say the three weeks you need it for a low-ish budget film. (I say "low-ish" budget in the sense of say a Hallmark TV Movie of the week type of movie, or even something that costs 10x that. Of course as you move up to mid budget or AAA budget films, then saving a few pennies on camera rentals makes even less sense)
Makes no sense at all to spend $6K to try and save money on the camera package, when it only costs six grand ish or so for the entire rental cost (for a three week shooting period) to get an ARRI Mini package (just the body and basic supporting accessories, not counting lens etc) is merely six grand ish! 
https://www.lensrentals.com/rent/arri-alexa-mini-premium-v-mount-kit-pl
Or even less.... for an ARRI AMIRA:
https://www.lensrentals.com/rent/arri-amira-premium-kit-pl
And of course if you go for say Sony BURANO / RED RANGER Monstro / RED V-RAPTOR / RED DSMC2 GEMINI / Blackmagic Design URSA Mini Pro 4.6K G2 / etc, then these are still at least somewhat mainstream cameras and will be widely known/understood by others on set while still being even cheaper to rent for the length of the production:
https://www.lensrentals.com/rent/sony-burano-8k-digital-motion-picture-camera 
https://www.lensrentals.com/rent/red-ranger-monstro-8k-vista-vision-starter-kit 
https://www.lensrentals.com/rent/red-v-raptor-8k-vv-dsmc3-starter-pack-v-mount 
https://www.lensrentals.com/rent/red-dsmc2-gemini-5k-s35-premium-v-mount-kit
https://www.lensrentals.com/rent/blackmagic-design-ursa-mini-pro-4.6k-g2-premium-kit-pl 
 

With the right monopod, it's not that hard.  With something like the Cobra 3 from iFootage, it takes a fraction of a second to change height.
It sounds like you have a really specific use case based on your subject matter and your preferences for how you shoot.  In that use case, rolling shutter is super important to you because the combination of IBIS+OIS on your body/70-200 lens leads to wobbly jello footage.
As you are seeing from this thread, not everybody shoots that way.  For most people, higher RS is fine.  And keep in mind that is coming from a person with 3 GS cameras (Komodo X, Komodo, and E2-S6G).  GS might lead me to choose them over my other cameras, but other things might lead me to choose the Ronin 4D - and with that, I will sometimes opt for the ~30-31ms readout mode that has higher dynamic range vs the ~16ms mode with standard dynamic range.  I have yet to hear a complaint from anybody when I hand over the footage.
One thing to consider for your use case is the use of something like a Ready Rig or Easyrig and a heavier camera body with a shoulder pad.  The footage is more inherently stable when using a heavier body and with more points of contact.

You do you bro… this scenario is not new or unique you’re describing any basic event or wedding style coverage. If RS is bad for you on a longer focal length you might want to learn how to slow down your movements and be ahead of your subjects slightly. I’ve been shooting video since the early 90’s so I’m old. We didn’t have IBIS and light Mirrorless cameras and have been making it work with no issues. I’ve shot hundreds of weddings and half of them on the 5Dmk2 so yeah, keep telling me how the S5ii is terrible.