Thpriest

Bring it on.
Internal 10bit ProRes 422 (HQ and LT)
GH5S oversized low light sensor.
Next gen of IBIS
Phase-detect AF.
Under $2k.
Now THAT is something to look forward to. Forget the £4000 fancy pants hand warmer.

If anything they have been pushing video quite hard since XT-3.
I really do think, since they added IBIS to the XT series, that the XH series will lean in to video. They’ve already said they want it to do something different, and the XT4 has obviously slotted into what the XH1 offered.
A potential XH2 could have a bigger, chunkier body which adds to ergonomics for video. Add in IBIS, beefy codec, new ASPC sensor, mini XLR, maybe SDI, Fuji colors and Flog. Better AF. Maybe high resolution tilt screen instead of a flip screen. An external monitor is better for sit down head shots or YouTube anyway. You wouldn’t vlog with it. That’s what an XT4 is for now.
Could be a real competitor to C100 or C200 for the hipsters 😏

Ah, a little further elaboration...
I use the 16-80 on one body with tripod, ie, static for ceremony & speeches only.
The Sigma 18-35 is on another body and freestanding monopod for more considered work indoors.
The Tamron 45 takes over outdoors and with both of the latter lenses, mostly shooting wide open ie f1.8.
No client has ever mentioned blur, bokeh or any other technical/visual aspect. If they are ever going to want to talk about something, it will be music choices and can they have their Ed Sheeran first dance inserting somewhere 🤯

I wonder what prompted that interesting choice of name?
My hope is they shrink back to the Japanese market where they already do well.
I think part of their profitability problem was too many management employees from the mirrorless boom time. So maybe slimming back will help cut losses, cost of global marketing, etc...but that means jobs lost.
The biggest hurtle is JIP doesn’t have much cash for R&D and continued investment.
It seems most likely they will slim down, contract to Japanese market and then try to sell. Hopefully someone competent buys it.
They have all the ingredients to release a, yes, “vlogging camera”, that is small and light with serious photography chops behind it.
Maybe Panasonic will feel more comfortable in MFT now? Who knows. MFT is likely to die like all formats probably will. That will be a loss of choice for the consumer.
I hope GH6 comes, even if it’s the last serious MFT camera, because it will be used by myself for years to come until one day I flick the power switch and it doesn’t work.

Well if JIP are in fact a bunch of cowboys then they couldn't have a more aptly named President & CEO.
 
 

I would just like to say that there are quite a few advantages that only Olympus has to offer for shooting video. Here are my favorites:
1) Unparalleled IBIS (though Panasonic isn't far behind). Sony, Canon, Fuji, and Nikon are not in the same league IMO (from the footage I've seen).
2) The ONLY MFT system to offer PDAF with all those Olympus AND Panasonic lenses for video, maybe not as good as Canon or Sony, but not too far off.
3) Fantastic color out of the box (no need to fix with ProColor, sorry EOSHD)
4) Truepic VIII and IX processor equipped cameras offer very decent 4K (24-30fps) video IMO. They're highly-detailed and do wonders with highlights IMO. These cameras include EM1 ii, EM1 iii, EM10 iii, EM5 iii, PL9, and PL10. The rest of their cameras do not produce the same level of video, but they do have fantastic stills (even going back to four thirds cameras).
5) Size and weight (the EM5 iii is only 414g and has all the features mentioned above).
 
Olympus isn't so great at many things for video shoots IMO: 
1) Peaking lacks adjustments
2) Hardly any of the shooting aides such as zebras, luma levels and much, much more that the GH5 has. The list is long. I'm fine with the histogram though.
3) 4k 60fps, good 120fps. Personally, that's not so important for me.
I know many people have written JIP Olympus completely off here (one would believe that the band new factory in Vietnam is boarded up and JIP is actively looking for the highest bidding Chinese company to sell selphie sticks and portable printers), but I still have a little hope. The imaging business is Olympus's historical baby and the Japanese don't think quite like Americans in hyper-capitalistic societies. They take serious pride in what they produce and they don't make rash decisions (how do you think they're currently making some of the best products in the world?). Time will tell, but I don't think JIP is as bad as portrayed by many of you. You're thinking too much like stock market capitalists and I think it's a little more balanced than that.

A shame about Olympus.
Investment is about returns. My GH5 has been a great investment and has made me a lot of money. I recently bought a GH5S (only used a couple of times) with a cage, 2 extra batteries and rapid charger for 1290€. Paid it off on the first job I used it on. I have a 3 camera MFT set up that can film 4K until the cards fill up (with a back up recording!). They fit into a backpack. Pro work but not cine. Lots of events, conferences, training videos etc including stuff that has appeared on TV. I can see myself using it for another 2-3 years. Coming from a full video production background I have found MFT to be the only all rounder up till now.
We will see what happens next!

A shame about Olympus.
Investment is about returns. My GH5 has been a great investment and has made me a lot of money. I recently bought a GH5S (only used a couple of times) with a cage, 2 extra batteries and rapid charger for 1290€. Paid it off on the first job I used it on. I have a 3 camera MFT set up that can film 4K until the cards fill up (with a back up recording!). They fit into a backpack. Pro work but not cine. Lots of events, conferences, training videos etc including stuff that has appeared on TV. I can see myself using it for another 2-3 years. Coming from a full video production background I have found MFT to be the only all rounder up till now.
We will see what happens next!

A shame about Olympus.
Investment is about returns. My GH5 has been a great investment and has made me a lot of money. I recently bought a GH5S (only used a couple of times) with a cage, 2 extra batteries and rapid charger for 1290€. Paid it off on the first job I used it on. I have a 3 camera MFT set up that can film 4K until the cards fill up (with a back up recording!). They fit into a backpack. Pro work but not cine. Lots of events, conferences, training videos etc including stuff that has appeared on TV. I can see myself using it for another 2-3 years. Coming from a full video production background I have found MFT to be the only all rounder up till now.
We will see what happens next!

A shame about Olympus.
Investment is about returns. My GH5 has been a great investment and has made me a lot of money. I recently bought a GH5S (only used a couple of times) with a cage, 2 extra batteries and rapid charger for 1290€. Paid it off on the first job I used it on. I have a 3 camera MFT set up that can film 4K until the cards fill up (with a back up recording!). They fit into a backpack. Pro work but not cine. Lots of events, conferences, training videos etc including stuff that has appeared on TV. I can see myself using it for another 2-3 years. Coming from a full video production background I have found MFT to be the only all rounder up till now.
We will see what happens next!

Your arguments all appear to be circular, or simply saying that things that are MFT or are old are somehow inferior by default.  I guess the Alexa is screwed then, it's really old, the image is soft as hell and it's not FF either!
The S1H might well make a nicer image than the GH5, I didn't say that no camera produced a nicer image.  In fact the S1H sure better make a nicer image - is it twice or three times the current cost of a GH5?  I haven't kept tabs.  It's also large and heavy in comparison.
You can't say that the GH5 is irrelevant because there's a camera with a nicer image that costs way more and is larger and heavier.  If so, the S1H is irrelevant because the Sony Venice exists.
You may not like it, but the 10-bit is still 10-bit.  I know because I shoot in available light high DR situations and grade heavily, and even after attempts to break the image, it has held up.  Someone even made a comment on these forums in the last month or so lamenting the lack of 4k60 in the current lineup of camera bodies.  You can't really argue that its 60p isn't 60p.
Of course there are cameras that make a nicer image.
It sounds like you're living in the internet / vlog / YT / camera reviewer / forums / photographer-as-videographer bubble and don't really know what is happening in the industry.  The reality of working DOPs is that most of them aren't online talking about their equipment, they're out in the world shooting and their images are only available on Netflix / Amazon / Hulu / etc, or non-camera YT channels.
You have absolutely no idea what most of the content you watch in a given day is shot on.  If a camera produces a good enough image then when it's on TV you'll have no idea you're watching that camera.  The GH5 is out there being used by working pros and it's completely invisible to us.  The entire industry is in upheaval with far less money to go around in some areas, in such times people who are interested in feeding their families will put off upgrades and just keep working.
I'm not saying that the GH5 is the best camera in the world, but you're acting like it's no longer being used by anyone making content, which simply isn't true.

lol no offense taken. I understand. I’ve texted this myself and statistically I get higher click through rate when my face is on the thumbnail as well as when there is a more intense expression. It doesnt translate well here because the image is so large... but on a youtube home feed it can help make your video stand out. 
Correct it works. I’m sorry you hate it. YouTube is filled with a bunch of adhd tweens who just click on the first shiny thing they see. 
Ya it really is. It gives you a lot of extra flexibility for a marginal difference in price. 

ok. sorry

They can be which is why when I get asked (a lot! By other photographers and clients) how I do both at the same time the answer is quite simple, - simplicity, ie, not trying to be too ambitious in the first place.
My rule of thumb and thought process is that my video work is simply an extension of my photography work.
No different angles or compositions or focal lengths or lighting or anything.
Instead, one camera captures the video aspect of any scene and a second camera the stills and the only difference is actual lens choice.
IMO it’s the only way one person can do both!
This way video can be as ‘easy’ as photography but of course there is audio and random people walking in the way and a whole other load of things to consider but it’s all scaleable...
Shoot clips + lav mic the talent? Pretty ‘easy’ to capture enough material with intent to tell the story you want.
Anything more than that, the ‘harder’ (or at least more inconsistent) it gets to capture it without disruption.
For instance I say the same thing to all my clients and that is:
If photography is 1 and video (ie, the static capture of ceremony & speeches) is 10, then your ‘Wedding Film’ (ie, the 9-12 minute highlight production) capture process is a 2.
Ie: in the 1-10 scale, the filming /clips are not so different to photography but that static and lengthy duration stuff such as the ceremony is the equivalent of 1 single stills picture and the speeches the same, ie, the total opposite and other end of the scale.
Every single; cough, stutter, mic drop out, serving staff that walks in the way, child that knocks the tripod, the light levels changing, - all have to be considered and the reality is at a wedding you can try and alter the tilt of the playing field as much as possible in your favour, but you can never truly level it. It ain’t a Hollywood or Netflix closed set!

Video is very hard for so many reasons, especially when there’s a load of elements involved. It’s a gruelling and exhausting experience. 
In all honesty I’ve grown quite tired of the larger setups, sometimes it feels like you’re training to move houses rather than create art. Saying that, it depends on the subject matter. If I’m totally engrossed in the subject, I don’t feel the pain as much. 
Overall I’ll be focusing on smaller setups with less stress and more control. 
With gear, I’m looking to completely overhaul my gear and go smaller on everything. I’m going to sell most of what I have and replace them with smaller and lighter versions of stuff I only need. 
For what it’s worth, it depends what you do. How Christopher Nolan shoots for 16 hours a day for 7 months solid is beyond me. But some people are built and made for that. 
Then there’s others who just like to get a kick out of filming cats, trees, flowers and buildings in 8K RAW. As long as you’re happy, doesn’t matter. Do what’s right for you. 

An interchangeable lens full frame/apsc Canon XC-10 type body, eND, Prores and a quality image...yes please.
I would love to see a A7S3, GH6 or whatever camera in the XC10 style body with eND. I really don't understand why that hasn't happened as Canon were for once quite bold with a new idea when they released it.

I don't think Panasonic will give us all of that this year or in early 2021. 

Don't think the GH6 will have 8K, not even in 8bit. 
(but happy to be proved wrong!)

Not unless Panasonic does the opposite approach to the GH5S variant, and gives us the "GH6R" with 8K as a sister camera to accompany the mainstream GH6. (and skip an entire generation entirely, and not offer a GH6S until the GH7 series comes around. This could be a smart approach, alternating between a GHxR and a GHxS for each generation, but never both at the same time)
 

I'd really like the next DMW-XLR to go an extra step beyond with extra I/O than just having XLR inputs. And having 2x BNC for TC I/O & an independent SDI output would be perfect for many folks wanting to rig up a GHx camera in a more professional setting! Gives us a built in eND too and we'll all be as happy as a pig in sh*t.

 

In 2025 my camera will head out to work according to whatever I've programmed it to do with whatever program I use to do that. My camera will the edit the footage perfectly so that my clients (mainly bots) can like me to fuck on whatever social network dominates in 2025. I, hopefully, will be somewhere nice and green with my family. My only connection with technology will be a message that says my client has paid me.

oh, and all cameras should have eND...(how could I possibly send them out to work without that!)

The way things are going MY camera of 2025 will either be another A7s mark 1 or i get to play with Ansel Adams' camera as he shows me how to use it!
I would just like an A7s type low light sensor with PDAF and built in NDs, by then 4k 24/25/30p will probably be what i am using and all i need.

In 2025 my camera will head out to work according to whatever I've programmed it to do with whatever program I use to do that. My camera will the edit the footage perfectly so that my clients (mainly bots) can like me to fuck on whatever social network dominates in 2025. I, hopefully, will be somewhere nice and green with my family. My only connection with technology will be a message that says my client has paid me.

Yes, 5 years is not really that long ago. 
Won't be a RADICAL leap forward in another 5 years. 
Assuming we see the Panasonic GH6 within the next year, then by 2025 we'll have the GH7 as the "current cutting edge model". 

What does that mean? Probably the GH7 will have 8K (but perhaps only 30fps 8bit) but will have the lowlight performance of a GH5S, and will have no crop 4K 120fps 10bit, with finally good AF? Might have some innovations with the body, such as 2x DIN connectors? (they're like "Mini BNC". One DIN for Timecode, and the other DIN for an independent "mini SDI" video output. Independent outputs, so you could make it clean, or with info overlayed, or with a LUT applied or not, all completely independent to what you're monitoring over the full size HDMI output. An important feature for professional sets)
There will be a  Panasonic "DMW-XLR2" as well, you'll have 2x full size XLR with 2x full size BNC connectors (one for monitoring, one for TC I/O), and a lemo connector too for passing DC power through. The GH7 will have 32bit audio recording as an option. There will also be a GH7S that gives us everything the GH7 has but no 8K (however its 4K will be even better lowlight than the GH7/GH5S is/was), but the GH7S keeps the IBIS, and does have eND. 

A Panasonic GH7S /  Panasonic DMW-XLR2 would be a dreamy combo, while still (I hope!) not being a totally unreasonably unrealistic scenario to hope for by 20205.

Actually, what I  REALLY need in a camera is enough AI in it to warn me when the shot I am framing up looks like hot trash...

My camera of 2025 is likely to be the Leica SL as I'm pretty sure it won't be back from its repair at Leica until then.

Thanks for the response. I finally used DaVinci Resolve because $299 FCPX is a relatively big cost for me.  😆