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Panasonic is easily my favorite consumer video brand.  They have my favorite image, favorite tools, and the best approach for video-creators, in my opinion.
The EVA-1 had a beautiful image and I did own it for some time. I agree that it really needed an MFT mount. The FS7 was so successful not just because of its specs, but because almost EVERYONE loved being able to use a speedbooster and their EF lenses on it. Same with the FS5. I knew a lot of owners of these cameras and only recently have people really started using native glass on them. 
With an MFT mount and the same sensor, users could have done the exact same thing on the EVA-1, while also having the option of using a 1.5x (give or take) MFT crop to use their MFT lenses and keep it small and light. And it did have a 5.7k sensor, so that would have been plenty for pixel-to-pixel 4k with an MFT lens.
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At this point, I think Panasonic should really avoid going after the C300s and FS7/FX9s of the world and give us something completely different with the EVA-2 (don't even call it that). If they put out an EVA-2 with the normal "new" specs (120fps in 4k, HDMI raw, maaybe 8k in h265), then I don't think they'll pull many FX6/C300/C70 owners away.
Instead, give us a full-frame BGH-2 with all of those great specs, internal NDs, XLRs, and shake it up a bit. Z-Cam and the Komodo has shown that people really like this form factor. 
 
 

I think of all the video-capable cameras I've owned, the Pana G6 (which Andrew dubbed the 'GH2 Redux' when he reviewed it) was almost perfect for me - small, light, fits nicely in the hand, mic input, FHD 50p/60p to MP4 files, a lever to control power zoom lenses (the last G series camera to have that), 'creative video' mode etc. and a simple uncluttered control layout. For stills (not video), it also had variable telephoto sensor crop controlled by the zoom lever.
It's successors gained 4k video and then IBIS, but I think they lost some of the 'only what you really need' control simplicity along the way.

I think of all the video-capable cameras I've owned, the Pana G6 (which Andrew dubbed the 'GH2 Redux' when he reviewed it) was almost perfect for me - small, light, fits nicely in the hand, mic input, FHD 50p/60p to MP4 files, a lever to control power zoom lenses (the last G series camera to have that), 'creative video' mode etc. and a simple uncluttered control layout. For stills (not video), it also had variable telephoto sensor crop controlled by the zoom lever.
It's successors gained 4k video and then IBIS, but I think they lost some of the 'only what you really need' control simplicity along the way.

Dito.
I found a GH2 a few months back for dirt cheap and ran across this comparison:
I find it absolutely amazing that the hacked GH2 still holds up in some areas against the GX80, which is a great value proposition in itself. I'd go as far as saying the hacked GH2 still holds up in many ways to current offering by Panasonic (G100). This not a knock on Panasonic but rather congratulating the people who've hacked the GH2. Now, actually prefer working with a GH2 to working with a GX80.

Yeah, the client wrote it, recorded it.  I edited to her script. 
This video work is indicative, I think, of my  "90% rule."  Meaning, I score shots from 1 (shit) to 100 (perfection), and often try to hit a sweet spot of 90.  Yes, you could do a bunch of other crafting to squeak out the final 10% to make the shots technically perfect, but the last 10% requires an ridiculously exponential amount of expense and effort.
So, one tries to find a balance.  I'd give myself an 80-85 on this stuff.
It's all relative to what the client demands, what you demand of yourself, and what the budget allows.
That all being said, the era of dudes like me delivering "90" is going away.  Clients are okay with 30 these days.  On the high end clients will expect 100.  Seems like people in my range of stuff are not in demand so much anymore.
p.s. I add a lot of grain in post.  My ISO never went over 800 on this gig.

I think of all the video-capable cameras I've owned, the Pana G6 (which Andrew dubbed the 'GH2 Redux' when he reviewed it) was almost perfect for me - small, light, fits nicely in the hand, mic input, FHD 50p/60p to MP4 files, a lever to control power zoom lenses (the last G series camera to have that), 'creative video' mode etc. and a simple uncluttered control layout. For stills (not video), it also had variable telephoto sensor crop controlled by the zoom lever.
It's successors gained 4k video and then IBIS, but I think they lost some of the 'only what you really need' control simplicity along the way.

The Panasonic G9 is underrated as well, especially since all the video firmware updates
I'll have to do a bigger video on YouTube about all the underrated and forgotten tools in the age of Sony-Fuji-Canon brand worship.

Olympus 3840 x 2160 at 24/25/30 fps is about 100 Mbit/s => 12.5 Mbyte/s. At 4 Gbyte per file and 13 files, that works out at just under 70 minutes maximum 4k recording time (and much longer in 1080p)?
The  E-M1 ii is also limited to 13 files per recording.
As I rarely record for longer than 10-15 minutes, enabling focus-stacking (on E-M1 ii) with any lens is of more interest to me, but as I don't have > 30 minute recording on any other camera I own, having it available on my E-M1 ii might be useful one day 🙂
Thanks - I'd seen that info posted on EOSHD a while back (maybe by yourself) but not yet tried it with a recorder.

Modern de-interlacers are adapative, so they use different combinations of techniques in different parts of the frame, depending on things like how much motion and inter-field differences there are.
For DV I use command line FFmpeg to deinterlace (using 'yadif'), upscale and sharpen - in the example command lines below input is DV avi, output is H264+AAC audio at 1920x1080p at double the DV frame rate (so 25 fps interlaced -> 50 fps progressive):
ffmpeg.exe -i <input_file>.avi -vf yadif=1,scale=1920x1080:flags=lanczos+accurate_rnd+full_chroma_int+full_chroma_inp,unsharp -c:v h264_qsv -global_quality 30 -look_ahead 1 -c:a aac -b:a 384k <output_file>.mp4
You can add motion-compensated de-interlacing 'mcdeint' to the processing, which improves the deinterlacing quality but is quite a bit slower:
ffmpeg.exe -i <input_file>.avi -vf yadif=1,mcdeint=0:1:10,scale=1920x1080:flags=lanczos+accurate_rnd+full_chroma_int+full_chroma_inp,unsharp -c:v h264_qsv -global_quality 30 -look_ahead 1 -c:a aac -b:a 384k <output_file>.mp4
 
(I'm using nVidia hardware H264 encoding for the output in the above examples - h264_qsv - but you could use any of the many FFmpeg software encoders instead e.g. ProRes etc.)
I got some of the ideas for the deinterlacing settings from here: https://askubuntu.com/questions/866186/how-to-get-good-quality-when-converting-digital-video

Modern de-interlacers are adapative, so they use different combinations of techniques in different parts of the frame, depending on things like how much motion and inter-field differences there are.
For DV I use command line FFmpeg to deinterlace (using 'yadif'), upscale and sharpen - in the example command lines below input is DV avi, output is H264+AAC audio at 1920x1080p at double the DV frame rate (so 25 fps interlaced -> 50 fps progressive):
ffmpeg.exe -i <input_file>.avi -vf yadif=1,scale=1920x1080:flags=lanczos+accurate_rnd+full_chroma_int+full_chroma_inp,unsharp -c:v h264_qsv -global_quality 30 -look_ahead 1 -c:a aac -b:a 384k <output_file>.mp4
You can add motion-compensated de-interlacing 'mcdeint' to the processing, which improves the deinterlacing quality but is quite a bit slower:
ffmpeg.exe -i <input_file>.avi -vf yadif=1,mcdeint=0:1:10,scale=1920x1080:flags=lanczos+accurate_rnd+full_chroma_int+full_chroma_inp,unsharp -c:v h264_qsv -global_quality 30 -look_ahead 1 -c:a aac -b:a 384k <output_file>.mp4
 
(I'm using nVidia hardware H264 encoding for the output in the above examples - h264_qsv - but you could use any of the many FFmpeg software encoders instead e.g. ProRes etc.)
I got some of the ideas for the deinterlacing settings from here: https://askubuntu.com/questions/866186/how-to-get-good-quality-when-converting-digital-video

For anyone with an E-M1 ii, someone has managed to modify the v3.4 firmware to remove the 30 minute video record limit and allow focus-stacking (for stills) with any lens - https://www.mu-43.com/threads/modified-firmware-looking-for-users.99804/post-1449131 
I've loaded it on my E-M1 ii and the focus-stacking certainly works with Panasonic lenses. Not yet tested > 30 minute video recording, but the display certainly shows more than 30 minutes available.
(There are also modified firmware versions for some other Oly cameras at the beginning of that thread e.g. for the E-M10 iii and E-PL9, plus earlier E-M1 ii firmware versions - see https://www.mu-43.com/threads/modified-firmware-looking-for-users.99804/post-1184700 )
I dipped a toe in the Olympus pool by getting a used E-M1 ii about a year ago (I own several Panasonic cameras as well). It's grown on me over time - relatively small, great colours, IBIS and build quality, but the differences/restrictions in how it operates in video versus stills mode get frustrating at times (like no 5x5 focus areas in video, and the single centre focus area is larger). The audio pre-amps are noisy too. It feels like there is a better video camera lurking in there but Oly have never really been interested/committed enough to video to let it out...

This right here.
I am not enjoying your rants, Andrew, because (a) it’s a losing game, (b) makes you come across as bitter and (c) doesn’t seem to be your ‘groove’ and doesn’t accentuate your differentiation and strength. 

Whether you are right or wrong isn’t the point; you can’t change the rules of the game and it doesn’t make for entertaining content.
In my opinion, your strength is the intersection point between technology and creativity (I would love to see more of the latter to balance the tech side).
You aren’t competing with bloggers, YouTube’s or even cinematographers if you create your own category.
And that doesn’t mean you can’t voice a strong opinion as part of your concept. I just would rather see you fight FOR something instead of AGAINST.

5720 x 4290
Completely revamped DFD AF that's on par with, and sometimes better than A7S III.

The GH5s and G9 have more recent, faster processing than the GH5 - hence there have been more performance upgrades via firmware updates for those two versus the GH5. I guess the new GH5 ii probably has (at least) the processing and IBIS from the G9 combined with the better thermal management of the GH5 to allow unlimited recording times.

The GH5s and G9 have more recent, faster processing than the GH5 - hence there have been more performance upgrades via firmware updates for those two versus the GH5. I guess the new GH5 ii probably has (at least) the processing and IBIS from the G9 combined with the better thermal management of the GH5 to allow unlimited recording times.

(Speaking as an electronics engineer) the turn-on problems sound like the extra 'startup' current drawn by the phantom power circuitry on power-up (if it's on when the XLR module powers up) is 'tripping' some protection system - which then cuts off the power to the XLR module because it thinks it's faulty.
'Staging' the power up by first turning on the module (with phantom power off), then turning on the phantom power probably keeps the peak 'startup' current draw low enough to stop the protection tripping.
Unfortunately I think the only way to find out if it's the XLR module or the S5 having a problem is by trying another XLR module or S5.

Not surprised - as an owner of a G85, I know it's a great camera for the money (and size/weight) but when I bought a G9 I realised what I'd been missing...

Weighs almost nothing as well - it's my 'carry in the bag just In case' low light lens.

It goes above your budget but I just switched from the Blackmagic Micro to the Panasonic G9. In 4K the Ex Tele Crop mode gives you a 2.8x crop, very close to the 2.88x crop of the original Pocket and Micro. I got one used with Vlog already installed for $900. I'm very thrilled by this camera. You can get a 4K s16 without all the horrible moire and IR pollution. With Vlog and the Panasonic Vlog lut I'm getting great color and dynamic range. Plus with a focal reducer I have s35, and of course the native MFT sensor crop as well. And I can still use all my c-mount lenses. And I have IBIS and good battery life, and more importantly, I don't have to rig it up to make it more usable. A friend of mine still has a Micro, so I may be doing a side by side test soon.

I own both a G9 and an EM1 II and honestly I'm not convinced that (overall) the Oly autofocus is much better than the G9 - and IMHO the G9 is a much better overall video camera than the EM1 II. The G9 1080p leaves the Oly 1080p in the (soft) dust, then add 4k50/60p and 10-bit video modes which the Oly hasn't got at all...
On the other side, the Oly is nice to use, has great IBIS and battery life, and is smaller and lighter than the G9.

If it's like the '6K photo' mode on my G9, the files are H.265, 10-bit, 4:2:0 at 200 Mbps (info below - from the VideoRedo editor - for 3:2, 30 fps capture), with AAC audio. It uses 'long-GOP' encoding, but the GOP is quite short, only 16 frames, with only has IDR and P frames (no B frames) according to VideoRedo.
If you want to upload a short clip from the S5 (a few seconds is enough) I'll check the parameters for you.
 

There is always '4k photo' mode on the GX800, which allows PASM modes - 30p only though, and I think all 4k is limited to 5 minutes max per clip.

If you can live with M43, then add the Panasonic G9 to the list - 10 bit video support and excellent IBIS, with 1080p and 4k video quality comparable to the GH5 (albeit without All-I codecs and limited to 30 minutes - 10 min for 4k60 - record time). It's a bargain for what you get...around £700 used, £900 new in the UK at the moment.

Also note what omega1978 said upthread:
 

Have you got 'Continuous AF' enabled for video (this is separate from the stills AF setting) ? - see the 'Using AF (Video)' section in the S5 User Guide - it's on page 256 in the pdf I have.