DBounce

Riiiight, because your comment doesn't come off at all like Sony fanboyism.
You might have had a case if you were using an A9 series (rest aren't even weather sealed). But the A6300... better than Canon.. for sports really? Cmon.
The joke of the LCD rear display with less than 1M px (not even half of EOS R's resolution) requires that monitor on top. Lack of ergonomics means you need that side handle.
That camera has worst RS than EOS R (more than double in FHD), overheats after like 15mn, AF nowhere near DPAF, no touchscreen, no IBIS/IS, weak battery life etc..
Yeah what a pro solution over Canon that camera is ? Better not rain during the game.. meanwhile Super Bowl last year:

RIP CANON ?
 

Practical...? It’s the most practical camera I have owned. Weighs  nothing... High res sensor... flippy screen... uses SD cards... Sets up in a breeze. Turn it on  and it does it’s thing all day long. No worries at all.
As for rolling shutter... unless you constantly shoot with wip pans it’s a non issue. 
Here is an example of something I frequently use the EOS R for... it sits on my motion controller, acting as the B-cam to my C200. You’ll notice in the image that while we own the follow-focus, we never bother to use manual lenses; preferring to instead use the focus module to control the zoom ring... which works amazingly. We can only afford to do this as the AF on the EOS R is rock solid. So much so, that it makes zero sense to use the focus module to control focus. I call that immensely practical. For reference, there is not another camera outside of the Canon family that we would feel comfortable enough to use in this manner.
 

I hate to say it but the image quality looks pretty good. Too bad they dropped the ball on AF etc... There’s no reason Panasonic could not have made this camera killer. 
At any rate, the competition is certainly hotting up!
 

Specs mean little. I can tell you that the EOS R is a great camera. After comparing to the top contenders from Sony and Nikon, it is the most organic/filmic of the lot. You need to stop thinking in terms of specs and start evaluating on the the basis of image quality, easy of use, reliability etc...
As for what will be released... word on the street is a 26MP sensor based camera.

I hate to say it but the image quality looks pretty good. Too bad they dropped the ball on AF etc... There’s no reason Panasonic could not have made this camera killer. 
At any rate, the competition is certainly hotting up!
 

Specs mean little. I can tell you that the EOS R is a great camera. After comparing to the top contenders from Sony and Nikon, it is the most organic/filmic of the lot. You need to stop thinking in terms of specs and start evaluating on the the basis of image quality, easy of use, reliability etc...
As for what will be released... word on the street is a 26MP sensor based camera.

Specs mean little. I can tell you that the EOS R is a great camera. After comparing to the top contenders from Sony and Nikon, it is the most organic/filmic of the lot. You need to stop thinking in terms of specs and start evaluating on the the basis of image quality, easy of use, reliability etc...
As for what will be released... word on the street is a 26MP sensor based camera.

So Olympus could add a flippy screen to the EM1X, while maintaining excellent weather sealing and extreme ruggedness yet Panasonic claims they omitted this option for strength reasons? I call BS: Panasonic omitted this feature to protect the GH5/S.

Until half your shots are out of focus. I think Panasonic dropped the ball on these cameras. Great AF has to be part of the equation for any new camera... for both stills and video. 

For long-time GH1 to GH5 shooters like myself, loyal from the beginning, at a time everyone else was shooting Canon, the S1 is a milestone. I have a bit of an emotional attachment to it already, being the first Panasonic full frame camera. It is not my first L-mount camera though. I’ve been shooting with the Leica SL for a few years now and it is still the most clean, ergonomic, minimalist full frame mirrorless body. It cannot, however, match the sheer size of the feature-set on the £2000 Panasonic S1.
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I can't say the new Panasonic's really interest me. However, I am somewhat intrigued by the upcoming Fujifilm GFX 100. 100MP sensor with no crop in 4k.

Raw is all the rage... and it can save the day sometimes.  But the truth is if you can avoid the need to shoot in raw you will make your post production much easier. I never shoot raw under controlled conditions. I try to setup my shots so post work involves only minor changes at best.  Storage of all that raw data can become a headache quickly. And even though storage can be had pretty cheaply... $3k or so for a raid... physical space for all the hardware starts to become a problem.  If Panasonic includes the mythical organic sensor... I believe raw becomes irrelevant for 99% of the user base. But honestly, I see little chance of this sensor making its way into a GH camera any time soon. However,  we might see it slow up in a Fuji camera. They partnered with Panasonic to craft the technology. 
Fixed TC will not happen... they could have fixed it on the GH5/s but chose not to. 
The 4k slow-mo is nothing I care about. Truthfully, I think I might have used slow-mo once. I don't shoot music videos and when filming my family... well they move at real time speed. I would wager slow-mo is more of a nice to have,  but not important to most people here just like it is on smartphones. It's the sort of thing that gets used once and then quickly forgotten about. 
 

To answer the question... there is one thing that almost always makes a video seem cinematic... and that is slow motion. Even smartphone video seems cinematic in slow-mo. That's one of the reasons I detest when people post footage from new cameras but only use slow-mo. It's a cheat, because you can't film usable dialog in slow-mo. 
If slow-mo can make a smartphone seem cinematic, then we can conclude it's an important part of the cinematic recipe. This can be further evidenced by looking at the other extreme; record in 30p or 60p and you have instant "video" look. So the key would seem to be tied to motion. Sure lights and framing play a part, but I honestly feel the major component is motion.  And that motion can also be helped or harmed by how the camera is moved. Speed of camera movement is important. Panning too fast produces a visible judder. Though I'm not certain this is an issue with GS cameras? Direction that the subject moves is also critical. One should try to avoid having subjects move parallel to the lens from one side of the frame to the other; favoring instead movements toward or away from the camera at an angle to enter or exit the frame.
 

Make certain that the digital image stabilization is off.

For me the eye opener came from watching some old... really old vintage footage. It wasn’t shot great, but still looked like cinema. Motion is the secret sauce. And that makes sense... it is after all “Motion Picture”... so it’s not a big leap to imagine motion would be the key.

Yeah like were they just pulling focus off the GH5 lcd?

I feel like if a production company signed on to do a TV show they'd at least have a system down that worked for them. I guess failing is part of the learning process. I've seen a ton of incompetence with people who do "video" but its all been non paid passion type projects, so its more understandable there I guess. I consider myself an amateur but some of the stuff I've seen makes me feel professional ?
 

For me the eye opener came from watching some old... really old vintage footage. It wasn’t shot great, but still looked like cinema. Motion is the secret sauce. And that makes sense... it is after all “Motion Picture”... so it’s not a big leap to imagine motion would be the key.

Considering my early experiences of dealing with RED could be summed up as "Hassle" and "Bad" they were arguably getting their customer service approach from the name of that particular camera as well.

It's not a E-M1 II with a grip. In terms of the body it is greatly updated. The weather-sealing is top notch. It no doubt is a much tougher camera. Granted, it shares much of its electronics with the E-M1 II, but the body is a huge upgrade. That said, you would have to be a bit insane to want to plop down $3000 for this camera. From all accounts this camera is robust, but it is outdated in many important ways. While the image stabilization is amazing, the warping effect that it sometimes produces will be the gremlin that ruins the important must get shot for you. 
It's not hard to make the decision to pass on this one. I think this camera may be further proof that M43 is dying. They could have done something epic at this price point.... built in ND, Global shutter, Dual ISO, 120 fps 4k.... the body is certainly large enough; but all they did was to toughen the body and rehash some old tech. Pity. 

So the EOS-R does not crop in when shooting 4K video? I think you mean 1080p... lots of cameras have been shooting full frame 1080p for years. But who cares? I’m speaking of 4K video, and there is definitely a crop in that mode.
I understand you may own this camera, but such comments might mislead others.

Looks good to me, but the skin tones makes him look like a cat?

Looks good to me, but the skin tones makes him look like a cat?

@tweak  Oddly enough the camera was manually set to daylight for every shot in that video.  Almost like the other camera in the video ?
I actually do like the little Z cam but I don’t like that it’s essentially a beta product being sold for full retail price.  Having features that are advertised just straight up not work because the firmware hasn’t gotten around to it yet is unacceptable.
We might have different opinions on that and that’s totally fine.  But I figured I’d at least let you know I was able to figure out the little sunshine icon on the camera.

Features ain't everything : P The proof is in the pudding! 4K 120p is sweet though ; -)
 

I believe it best to capture the footage as close to the final output as possible. Granted I’ve done some pretty heavy handed stuff. But usually this is so I can understand the limitations of the footage. When I find looks that work I’ll save them as presets for my edits. That way I can have consistency as I switch from angle to angle in my multi-cam shoots. In order to make certain this works you need to have the cameras setup so that they are easy to match in post. I control lighting and manually set everything.
I just about have everything to where I want it now. But honestly it’s been a long time getting here. 
Grading is an important part of the project to me. But with thoughtful planning it does not need to be painful.