Juank

Sounds like this is going to have a fully articulating screen. Fuji is going for the jugular. 

I think that the most important point is: this time Canon provisioned the budget for the 24p modes licenses? (insert irony here) 

Well I can say I'm pretty impressed. It works in bright conditions as advertised and the files I'm now getting from my Z6 are blowing me away. More samples and impressions to come.
 


 
 

Yeah I think between the Ursa and the Arri Classic, the Ursa is probably the smarter buy but man that Arri image is nice. Now if the Amira was in that price range... I'd definitely go with the Amira.

To add to my previous comment... I think this is the problem with cameras over $2500. For only a bit more you can get an S1H. And then at $4000, for only a bit more you can get a C200 or a Red Komodo or an EVA1 or an FS7 or an Ursa Mini Pro.
After that price bracket it's a big jump before you get to a camera that has a significant jump in specs and even then, it may be worth bypassing those cameras to rent a Red or an Alexa.

I find these specs utterly laughable: 8k raw? 4k120? hahahahahah
Oh, they posted some clarifications:
8K @ 30fps RAW
As suggested on Twitter by a reader, this could perhaps be a timelapse feature. Things get messed up in translation and excitement.
4K@120fps & 4K@60fps
It’s possible that the video features such as this could come with a heavy crop to get the heat down.

Read the article first. He said only the specs in bold were confirmed which is not the case of the 7-8 stops. 
 
Also, @crevice, yes codecs and crops remain to be seen, but considering what they have done on the 1DX, and considering 8K and 4K120 that shows it will rock in videos I find it hard to believe that they wouldn’t put at least 10 bit codec. I don’t care about RAW. And in fact a good h265 8bit would be fine when you consider 4K120, that’s just insane. 
 
Now, if I was not clear enough in first comment for sure I am not confident in those specs. Definitely sounds too good to be true. Also how could it beat the 1DX which has bigger body and for sure bigger price is a question. 
But as I said we are allowed to dream..

Canon traditionally released under whelming spec’d cameras and now suddenly has the fastest readout of any sensor, better IBIS than Panasonic and Olympus, and 8K 30p RAW in a mirrorless form factor?
Why isn’t that in the C500, their flagship cinema camera?

The communication and wording is super crap. I think once they saw the confusion they should have printed big and make it clear like you said.
Btw the table is liked in the spec pdf from the USA web site. 
 

There's a lot of secrecy in Japanese culture but also no such thing as the perfect camera. I believe they play fair. They are multinationals and any wrongdoing would have been discovered by now like Woodford at Olympus and the overstated profits scandal. It's just a little frustrating we have all the features we want spread around different cameras and never in just the one. There's always a cripple hammer somewhere, or a "tech challenge", or a compromise, or just something missing or something taking a wrong path.
Maybe patents are the issue, or certainly a big part of it.
What is the perfect cam anyway? Well - here is the camera you get if you combine the existing "best" technology from everyone... And let's see who provides it...
FF 5.5K RAW (Canon 1DXIII) or Netflix approved 10bit V-LOG (Panasonic S1H)... No crop!
Dual Pixel AF (Canon 1DXIII) or Sony A9 standard 4D PDAF (equally good in my view)
5 axis IBIS (Panasonic S1H has the best performing)
Cinematic colour science (Alexa... oh they are German, erm... Canon or Leica with Fuji a close second!)
Huge 5.5m dot EVF (Panasonic S1H... Who wants an optical one?!)
4K/60p with no crop (Canon 1DXIII)...Second best is 8bit FF 4K60 on Panasonic and 10bit Super 35mm 4K60 on Fuji X-T3)
Slow-mo to high quality (Sony, Fuji, Panasonic all good here at 120fps 1080p+ with crisp detail)
ProRes RAW... Nikon had a go, but only externally
Sexy ergonomics and good menus (Leica SL2)
Anamorphic mode (Panasonic and Leica)
Mirrorless mount (Sony E-mount is my pick for most adaptable with most lenses)
Bonus point for medium format 4K (Fuji GFX 100)
Bonus point for value for money (Fuji X-T3)
Low light performance (Panasonic S1H)
Contribution tally:
Panasonic: 7x
Fuji: 4x
Canon: 3x
Sony: 3x
Leica: 3x
Nikon: 1x
Olympus, Pentax on zero, no stand out leading cinematic features.
So we must conclude Panasonic gets closest to perfect camera all in one body with the S1H but it drops the ball for AF and not having an E-mount on it  but it's a very even spread between top 5. You can argue Leica is only there thanks to SL2, which is damn near a perfect camera in 2020 just lacks Dual Pixel AF and perhaps some form of hinge on the damned screen.
Nikon Z6 gets a lot of things right BTW but doesn't stand out on much apart from ProRes RAW with Atomos does it? Still, you can claim it does everything right... no crop, full frame 4K, IBIS, PDAF, good low light, value for money (a ridiculous bargain used), ProRes RAW external, good EVF, good colour science, nice Canon EF adapter from Fringer with great AF in video mode, very adaptable lens mount, even takes an E-mount adapter, good 120fps 1080p and good ergonomics...
So it is not always about leading in one or two aspects... It's about not falling down in important ways.
Then again, nobody told you lot as interest in Nikon Z6 is about as low as it gets
First time I've seen this table.
So that settles it then.
It is only at 60P DPAF packs up and goes home.
They should reword the sentence to :"Dual Pixel AF operates in all modes except for 4K 60/50p and RAW 60/50p"
Otherwise you can take it to read it doesn't work in any non-crop 4K mode at all.

It does seem to be the Preview Exposure in M Mode where the bug is. On the card, and in playback mode, a still does match the video recording at same manual settings and ISO.
The preview in M mode function is too bright in live-view, giving misleading exposure as you set your settings.
I too tried the manual aperture and focal length input in the optics correction menu but no luck with a fix yet.
I am positively certain this is not going to be a long term bug and in a couple of weeks will be 100% fixed.
Very annoying in the here and now though.
Might be related to another bug... With manual lens and mystery aperture, Exposure bracketing doesn't work.
UPDATE: It does work, camera has to be in continuous shooting mode not single shot. Funnily enough the exposure in live-view now matches the +1 ev shot perfectly, so there's a work-around of sorts.

Yup S1H is the worst when it comes to autofocus i wished Panasonic did something about it since on GH5s it was flawless single point autofocus was dream come true but not so much on S1H😪
Now am learning to shoot manual 

Get a Sony FX9, it's "only" a thousand bucks more than a Fuji GFX100

Everything that Andrew has said in reply to you, plus:
 
1. Metabones Hasselblad V to GFX Speedbooster. It brings real medium format to digital! Good choices (for stills as well as video) are
(a) 50mm f/2.8 F (forget about the FE versions -- the electronics won't communicate, and they are more expensive)
(b) 80mm f2.8 F (the CF or C versions are also good, and optically the same; but the F version focuses closer, and could be easily de-clicked)
(c) 150mm f2.8 F
All three above are excellent optically, could be easily de-clicked, and surprisingly affordable. I have omitted the legendary 110mm f2 not because it isn't good (it is), but second-hand price is very expensive.
 
2. For video use, the 16:9 4K crop of GFX 100 is 0.918x, i.e. only a little larger than the 0.934x crop of Red 8K VV at FF. Any FF lens, except perhaps the widest of superwides, should cover. The DCI 4K crop is just a bit bigger, but we still have room to experiment. Judging from screenshots I've seen (I've forgotten where....), Sigma 24mm f1.4 Art should most likely cover the 0.918x crop wide open at near- to mid-distance, or stopped down at infinity.

It's IMAX approved instead!
Here was my lens adapters strategy with the GFX 50S... It will be same when I get GFX 100, in 100 years when the price is down to under £4000.
1x Leica M -> GFX Adapter
1x EF -> GFX Adapter with Autofocus (Techart)
Then multiple Leica M to whatever SLR lens I was using, be it Nikon, M42, Contax Yashica, etc.
The Minolta MD lenses worked the best
You get some light fall off in the corners but not hard vignetting on lenses that pair well with it. Most of the ones that cover are longer than 50mm and the wider ones don't tend to do as well.
Some SLR lenses designed for full frame were over-engineered to cover a larger image area.
Don't expect much in way of corner sharpness compared to Fuji's own GFX lenses though.
You can also get adapters to Hasselblad HC lenses. Or cheaper, older manual focus ones.
There's a lot of old medium format glass on eBay if you don't wish to experiment with full frame stuff.
My favourites of the full frame stuff on GFX mount are:
Canon FD 85mm F1.2 - covers full sensor and looks sooooooooo damn good Sigma 85mm F1.4 ART Minolta MD Rokkor 58mm F1.2 Minolta MD Rokkor 35mm F1.8 Here is the guy who inspired me to try the Minolta stuff
https://jonasraskphotography.com/2017/08/16/minolta-x-fujifilm/
Sigma 105mm F1.4 ART worked well, but very heavy!
And yes, medium format at F1.2 or F1.4 looks every bit as spectacular as you'd think it would
Yes 10bit 422 external. I think it does 10bit 422 internal in fact, or was it 420 like X-T3?
Ask Philip Bloom, he has one.
I'm too poor.

Id pick both
 

1Dx III as I mostly shoot action so the fps for still and 60fps and 120fps for video are very important.
Plus medium format has more limited lens selection and no real long lenses. MF lens are even more bulky than FF ones.
Last but not least I have a good selection of Canon lenses.
I did not check footage of the GFX 100 so not sure on the impact but is 10bit 4:2:0 and not 4:2:2 and max 30fps... 5 fps still is very slow for any action.
Imo GFX 100 is a landscape camera if that is your primary goal then is probably a great camera and 1Dx is the wrong one. But anything fast paced or need long reach then GFX is not a great choice.
If primary goal is video a C500 II or FX9 is a much better choice.
Not really sure why your question because are so opposite these two cameras.

I'd go GFX 100
Larger sensor
IBIS
Phase-detect AF
Excellent 10bit codec, not too huge file sizes
Very good EVF
Much higher resolution stills
Better ergonomics for video (i.e. tilt screen) and more features

Kind of. The real supporters of the m4/3 format are Panasonic and Olympus - all the others (Blackmagic included) are very niche.

From Panasonic, I clearly see a GH6 on the horizon, but not much more - there are rumors of a GX10, but as a minor update. Olympus just repackaged the E-M1 II in a smaller body to make the E-M5 MK III, and rumors says that the same sensor will be used for the E-M1 MK III.

M4/3 evolution is dependant nowadays on Sony to evolve on sensors. Olympus is struggling financially to evolve their platforms (if the E-M1 MK III still use the same chipset, will be a VERY  bad sign). Panasonic could repurpose the tech developed for the L cameras to m4/3, but don't see much intention to do it - everyone (except Fuji) is pushing full frame, better margins on bodies and (especially) lenses.

As I said, I love my m4/3 gear, it fullfills almost all that I need (except low light - my dream camera is a proper GX body with IBIS and the GH5s internals). And I think that m4/3 will be a viable format for video for a good amount of time - but maybe not for stills, where the sales volumes are. And don't want to end with a bunch of bodies and lenses with very deprecated values in a phase out, like was with 4/3 users.

And Fuji is doing a lot of things right. Have bodies and lenses with the same or a little more size and weight than m4/3 (for people, like me, that likes compact gear). In two generations jumped from some of the worst video tech for some of the best. Is (maybe) the only manufacturer that their bodies frequently surpasses expectations in specifications. Their prices are competitive. IBIS was the last barrier for me (I use a lot of vintage lenses), maybe they will be my future.

I wouldn't mind paying $100 for BRAW on the GH5 (and GH6 when it releases). 

Well shortly after posting that I re upped my preorder. Because this still looks far better than the Atomos options.
Thankfully it looks like there are some signs that it will shortly be released:

1) On blackmagic's website they just posted "Blackmagic Video Assist 3.0.1 Update" Firmware, which I don't think they would release unless it was coming soon.
2) On the B&H preorder page you can now download the Installation and Operation manual, and the first page is labeled  as being created "January 2020"

I have a smallhd 701 that im replacing, looking at the 5inch BM one, Shinobi SDI, Portkeys BM5, and the Smallhd 502 bright. 
I don't even need a recorder it's just a bonus.
However that 5'' 12G seems perfect. Dual batteries, 2500 nits, great UI, Lut preview, metal body, full range of scopes. AND it can record.
This might be the one boys. 

So flippy screen?

Nothing on the screen yet. That's the next big rumor we are all waiting on. Larger screen like the x-A7 and fully articulating would be game changing.
 

That's not enough to efficiently compete with the rest of the market. They need some other breakthrough features like build-in nd (#1 priority), improved IBIS, 4K120P, faster wifi for better image transmission, etc.