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I think it makes a difference, if a manufacturer tells you, that the camera is good for 30min recording, and then (after 10, sometimes even less) minutes it overheats or if one tells you: "10 minutes, that's it" and you really get those 10 minutes everytime
 
From what I have heard, Fuji did a lot to get the heat down. Those new batteries are one of the things. (A bigger heatpipe is another). What I have heard too: they are not opposed to add more video funcionality with firmware updates, if people really use the camera for video.
 
4K is not full sensor, it's a mild crop (something like 5K). That way they could get 24, 25 and 30p at the same crop and not have another crop for 30p. Furthermore it reduces rolling shutter (should be below 30ms, which still is a lot, but better than A6300 and some others) 

Now even FujiFilm (the brand for a hipster's purest photography) of all people have got an affordable 4K camera!!!! Says an awful lot when even FujiFilm is beating Canon in the filmmaking stakes. 

Fuji's lenses are larger than m43 because they're covering a larger sensor, but certainly not expensive, the 16/1.4 is cheaper than the Panasonic 12/1.4, and the 56/1.2 is cheaper than the 42.5/1.2 and so on. Fuji has a few excellent pancakes and the 35/2 as well. The upcoming 23/2 will be another gem. Fuji holds regular sales which helps to keep used prices down.

I think it makes a difference, if a manufacturer tells you, that the camera is good for 30min recording, and then (after 10, sometimes even less) minutes it overheats or if one tells you: "10 minutes, that's it" and you really get those 10 minutes everytime
 
From what I have heard, Fuji did a lot to get the heat down. Those new batteries are one of the things. (A bigger heatpipe is another). What I have heard too: they are not opposed to add more video funcionality with firmware updates, if people really use the camera for video.
 
4K is not full sensor, it's a mild crop (something like 5K). That way they could get 24, 25 and 30p at the same crop and not have another crop for 30p. Furthermore it reduces rolling shutter (should be below 30ms, which still is a lot, but better than A6300 and some others) 

Yes just $599 more than the A6300 for a camera with better ergonomics, better EVF, weather sealing, better colour science, better styling, better menus and seemingly no major overheating issues with the vertical grip.

There are lots of info and even videos on YouTube. But until the official announcement there is little point in posting them. The get taken down rather quickly
But here, http://www.fujirumors.com/online-now-full-fujifilm-x-t2-presentation-specsimagesproduct-description/
I've loved everything I've seen from the X-Pro2. I think Andrew was spot on with his review. The colors are outstanding.
I also feel that the general opinion that the X-Pro2 had a low DR is rather false. Play with the files and you will be amazed at all the info that lurks in the shadows.
What kept me from it where three things. 1. Already have two Leica M Rangefinder's. 2. A tad much Moire. 3. I knew the X-T2 was coming.
I'm not much for preorders but I might book this baby today.
 

Have you tried it?
In my experience the DR is just fine, lots of info to bring out in the shadows and just as gradable as any 8-bit footage. 
 

Yep the X Pro 2's colour is effortless, you don't need to do anything to it in post and if you just want 1080p, it's a lovely simple solution.
The magenta cast in the S-LOG 3 footage though is down to the user not being knowledgable enough with grading tools to correct it.
S-LOG is a bitch to work with, so it is partly the camera's fault and partly the user's.
I don't blame anyone who has trouble getting the colour from Sony cameras to match Fuji! It's hard!

Yes. It was designed when Sony thought mirrorless should be small and compact and thus APS-C is enough. Fitting a full frame sensor behind that mount was both stupid and a engineering masterpiece. 
I think they could, but lenses would get even bigger. The small flange distance and the tiny mount diameter are giving the lens designers a really hard time. 
Yes. And IBIS does of course affect image quality. Very likely it's electronically corrected and people just don't care. Image quality from µFT, APS-C and full frame is more than good enough, so why even bother searching for the problems?
Lol. No. Those G Masters are just in the same league as others (Nikkor, Canon, Zuiko, Fujinon have been for quite some time. And when it comes to aspherical lenses, Panasonic is extremely good too) 

I don't think it is the wrong wording. I've owned this camera now for just over a month, and all the video has crushed black and mid tones. Why do I say crushed, well if you look at a Xpro2 clip in FCPX you'll notice the black level is below zero, and that the blacks clips at -5 NOT zero. The Xpro2 clips sits right on -5, anything lower than that smashes to a white line. So, all Xpro2 clips need to be raised to proper levels, it's not that you're gaining any more information in the blacks than any other camera is shooting presently. 
I know there has been talk, well actually a wish, that Fuji release 4K capability to this camera in FW. I've seen several talks from Fuji reps, and I can say with certainty, that ain't going to happen. I agree with Fuji, although it could shoot 4K quite easily, the camera body design would create a heat issue, so it's a matter to them as to why create problems. What I do wish Fuji would release in FW to the Xpro2 is to enable the Shadow Tone, Highlight Tone, Color, Sharpness, Noise Reduction, and Film Grain all to the video side of the camera, as it sits now, all of these controls are defeated upon video recording.

Well, but that's with a freaking fan on the body. 

@Andrew Reid
finally someone telling the truth how the industry works. Thanks for that!
 
But I think you are wrong on one little detail (that has nothing to do with the rest). The removal of the video Button on the X-T2 prototype probably point to the video mode becoming more important. Why is that?!
Because we already know it should do 4K. Fuji managers have said as much. And then there is the technical detail, that somehow everyone missed on the internet: there is another setting on the mode dial (the dial beneath the ISO dial). I am pretty sure that this is the Video mode. 
Making video a mode and not a button you press to start and stopp, gives more freedom. You could change some video settings before starting (probably with the release button). 
Of course this is speculation, but I am pretty sure it will happen in a similar way

Yup, Ive thought about that before as well.
A lot of people get excited by the "new Sonys with even more specs", but they sometimes seem to miss the fact that the price went up as well.
So the "bang for buck" argument actually gets weaker with every new model. Same thing in the RX100 line. They haven't "added more", just raised the price accordingly.
Imo Panasonic is the mirrorless company that keeps cost down by releasing the G-model of their GH-cameras.

Sony need to be careful how far they push the prices up.
I think the lens prices in particular are difficult to justify for many people.
And A6300 a much more expensive proposition than the A6000.
They have kept the original RX100 and A6000 for the bargain bins, when really perhaps they should have upgraded them and given us an A6300-type camera as a separate line.
Outfit an A7R II with a couple of decent Sony FE lenses and you're easily looking at $5k+ for a consumer camera.

If only their camera would be as good...

In my experience, the X Pro2's 1080p is indeed better than the A6300's 1080p. It's very detailed for full HD, the sharpest since the GH2, but not exactly perfect in terms of moire.
The X-T1 was the worst performing 1080p camera on the market in 60p. In 30p it gets a little better. The A7S still has the best overall 1080p quality of the Sony cameras. A7R II and A7S II are more about 4K. The 80D is similar to the Nikon D610 but not full frame, it pixel bins heavily, is soft and has moire. See below:
A7S:

D610:

X-T1:

In the above X-T1 1080/60p shot you can really see how much it kills the circles, it's horrendous.
Meanwhile the 5DR = D750, maybe even slightly sharper, so a rather solid performance there and better detail than the 5D Mark III stock video. However, 5D Mark III pulls ahead when you factor in Magic Lantern and raw video.
The XC10 is a little better in 1080p still (a bit cleaner, a bit more detail) even though the lens is slightly on the soft side as a 10x zoom.
By the way, the way DPR have used the stills test scene for video doesn't exactly stretch the camera. There's not enough movement or detail on this locked down shot to push the codec. Also as the lens is quite close to the scene and it is a small scene, you won't notice the lack of detail on the less well performing cameras as much as you would in a real life test. Buildings and landscapes at infinity focus would be a better test. Human subject for skintones would be a better test for colour. A very detailed fast moving shot, with some motion blur present would be a better test of the codec as would a blue sky and a high ISO shot to see about the macro-blocking and noise handling.

I don't agree with the people saying Fuji's colour is anything less than stunning.
In video mode the XPro 2 can compete with all of the below cameras for resolution and detail in 1080p, whilst giving far more pleasing colour and variation in tone out of the box. All shot on standard profiles. The others look like they have a veil over them.
If it looks too dark or crushed then it's your monitor that needs adjusting not the Fujifilm film simulation.

Also for stills I'd rather use the XPro 2 than any of the above. It's far more Leica-like and enjoyable during a shoot.

Now that the dpreview is out, it's easier for many of us to do some more comparison. 
http://***URL removed***/reviews/sony-a6300/5
Of course the A6300 blows away the X-Pro2 with it's 4K, log profile and other stuff, but looking at the 1080p samples is interesting:

The X-Pro2 looks much more detailed (at some points over sharpened), but all in all it looks really nice, especially if you know how older Fuji cameras did.
 
Any other thoughts/news? 

Just returned my sony a6300 because over overheating  issues, yesterday was the final straw, shooting in the sun in Aust summer is a no go for this camera, if you don't want to miss a shot (which means the camera must be on when you want it on) I missed two great candid shots which cannot be repeated, projecting this forward shows me with simple maths that this situation will continue and will be so frustrating and stressful and embarrassing as a professional. 
 
I tried the open battery door while filming this morning in case it miraculously fixed things, but still overheated, but definitely to a lesser degree. Still to unreliable for me.
 
 
 

I wonder on a couple of things, Pg.44 "Zoom can be adjusted while recording" Meaning, you can punch in on your subject while in a record mode? Pg. 153 restrictions, this luminance thing may be because that gamma range is set to auto by default, I'd hope Fuji would allow for the other two settings in video. All the MF-Assists, Digital split image, and the rest are defeated in video. It would be cool if they release a lot of that list to the video mode as well.
If you're viewing his raw files from the race track, you'll need to re-set the luminance levels, as this camera, for whatever reason, has a bug that crushes the blacks something fierce. I've tweaked these files in FCPX with Color Finale, and I'm seeing a very nice image. Sure, it isn't perfect, Yes, they have a ways to go, but it's still a pretty decent image none-the-less!

It's a combination of things -
1. Sony cameras don't handle difficult white balance situations with any grace
2. Sony offer a huge degree of options that control the sensor
3. Sony give you profiles that require grading - and I mean, proper, years of experience as a colourist grading, not just drop on a lut or tweak sat and curves
Combine this with low prices and any tom, dick or harry can grab one, stick it in pp9, wave it around a baby with leds, sunlight and an incandescent bulb and wonder what happened to the skin
They aren't cameras for everyone, thats for sure, you can mitigate many of the issues, but they are cameras that demand, in certain modes, a very high degree of cameramanship and skill.
1. Desaturating the higher luminence can work wonders to help take the green and yellow gills away.
2. Stick to pp0, and your fave creative style, if that's too limiting, stick to cine 4, s.gamut.cine. If that's ever too limiting, then you are going to have to start reading technical documentation to understand what the options do and how they do it.
3. Just look at the size of s.gamut 3, and think what is going to happen when you cram all of that into the comparitively tiny space of 709 and understand why colourists can charge what they do. Then never, ever use it.
Or just grab a camera you can get decent results with because clever engineers did all that for you and plenty more besides

The X-Pro2 for video? Interesting.
Personally I am waiting for the X-T2 which is said to be more video centric (probably the 6k read out with 4k downsampling from the A6300) and have more video features. (personally I am hoping for a non fixed touchscreen, more video settings and feature like peaking and zebra) 

Yes all the film simulations work in video mode. It is only the other controls like grain simulation / shadow / highlight / sharpness that don't seem to work in video mode. But it doesn't bother me as the film simulations are so nice anyway and as I said before, you can bring up a lot of shadow detail in post.
Dynamic range is good. Not quite as good as SLOG or Nikon flat profile but you're trading a bit to get the nicer tonality and colour.
That's doing a great job of showing why I like it so much for video.
Great detail, superb film simulation / colour out of the box.
I see he used Film Convert in post on it. The codec does hold up well. Very similar codec performance to a Nikon D750... but more detailed and 'alive'.

Ah but you can in post and the Pro Neg Standard gives you a softer, flat picture profile for video. The shadows have a lot of detail and they are clean when brought up, very little macro blocking, noise or compression weirdness.
So in other words the individual JPEG controls for shadow tone, saturation, etc. are not needed as the same effect is provided by selecting a certain film simulation mode and the way you grade the image.
The quality of the 1080p in terms of sharpness is definitely way past the mushy 5D Mark III's H.264, but it doesn't have the moire filter.
In terms of detail it is at the GH4 or C300 1080p mark so not bad at all for a Fuji.

So I really didn't think I'd end up keeping this camera, especially as it is 1799 euros body only(!!) for just 1080p and no articulated screen.
BUT this camera is a lesson to all the others...
1. May seem like a small thing to start but it has the BEST menus I have ever used, end of story. Properly organised. Not too long. Snappy to navigate. It is amazing how many other cameras get this wrong, even Canon which have too many sub-sections / tabs. Then there's a nice big MY menu at the end of the new Fujifilm main menu so you barely have to dig into the other tabs at all. It is such a nice improvement on the previous Fuji cameras. During a shoot the menus can make or break a camera. Ask any FS7 owner
2. COLOUR and CODEC and DETAIL - it excels at each. The images have an electricity to them, super alive. On most cameras, even with H.265 on the NX1, the codec always pays lipservice to the blacks. Whenever you bring them up they are a mess of banding, compression, blocking. The X Pro 2 codec handles like the D750, super clean in the shadows and LOTS of detail. You can bring so much out of the blacks even when they are crushed in-camera when using Velvia - which by the way, is giving me the most satisfying out of camera non-graded non-fussed with colour yet.
3. SMOOTH editing, and 60p for slow mo. With 4K i have come to miss my render-less timeline, snappy editing and 60p with small file sizes. The only 4K 60p DSLR is $6k and 800Mbit. Hmm - no thank you.
4. SOUL. It has as much soul as a Leica but is far cheaper and with a much more versatile feature set and viewfinder. The EVF is super sharp and you don't even have to magnify focus half the time, just go off the EVF or the back screen. Both are superb. To shoot with it is a pleasure. The water sealed body, the build quality, the twin memory card slots, the reassuringly photographic clunk of the mechanical shutter, which by the way is much quieter than a DSLR but no less beefy, the retro good looks - SUPERB looking camera body - it all adds up to something you just want to pick up over anything else. Makes the GH4 and NX1 feel like boring utility tools.
5. It is FAST and the LENSES are lovely. AF and general speed of operation is a big improvement from the X Pro 1. Then there's the lenses 35mm F2.0 WR, small and affordable. 56mm F1.2, creamy like a Noctilux. I also love the 18-55mm F2.8-4 zoom, it is small and well above average for an APS-C zoom of this kind, 35mm F1.4 is slower to focus and has no OIS but it is a lovely piece of glass, 23mm F1.4 also a stunner.
OK, I wish it had zero moire, I wish it had 4K and I'd love an articulated screen.
And yes... This is designed purely as a purist photographer's Leica-style rangefinder, what the hell am I doing shooting video with it?
Because it FEELS so good to do so and it LOOKS so nice when I playback the results afterwards.
Two things that are so important - the feel of holding the damn thing and the feel you get from the colour and details afterwards. Vibrant and alive, the whole experience.
Sony, Canon, Panasonic experience dull by comparison.
They really need to take a hint from Fujifilm.