Alt Shoo

That is what the older models are for. This is just a disposable DSLR body.

Who is this camera for then? Wedding videographers shooting in terrible dim/mixed lighting? Who would be able to afford the EVA1 + lenses, but not a few Lowel lights? I just recently picked up a second Lowel DP (1K) light, used, complete with barndoors, protective screen, and bulb for $60 from Adorama. The first one I bought used for a similar price. There are also good, bright LED lights that are portable and affordable, so "not having access to power" is no longer an excuse. Lighting should be something all filmmakers (not videographers, but filmmakers) use creatively, to express a feeling, not something that comes last, after camera, drones, gimbals, etc. 
If low light is a concern, why not buy an A7SII for a fraction of the cost of the EVA1?

Kinefinity Terra 5K is "not finalized on shipping date," according to their website: http://www.kinefinity.com/shop/terra/?lang=en
It is still a hypothetical camera not in release, despite promises of shipping so long ago.
As for the 6K sensor, it's the same as the Kinefinity 6K and has the worst rolling shutter you have ever seen in a cinema camera.
For those who want 6K resolution that debayers to proper 4K, there are only going to be two realistic choices: RED and the EVA1.
I think Panasonic has done something amazing and noteworthy. It's a very ambitious camera and the Vimeo footage is truly gorgeous (despite the fact that we are not even talking about the RAW 5.7K output as of yet):
 

For my taste the image out of the EVA1 is fantastic....to bad about the mount, but image wise it's what I'd be looking for!

footage looks beautiful. nice camera.

Power is definitely an issue.  I could see buying a cheap used phone for this purpose (or a couple - keep one charging on a powerbank).  Still possibly a viable alternative to something like a SmallHD 502.

That said, the Oct release date seems pretty optimistic, esp for iOS.  It sounds like the iOS app is still in development, and Apple's approval process can take awhile.  Also, it sounds like the unit itself isn't even out of prototyping, so the Oct timeframe seems really short.

Yeah, no problem! This is a 30 second teaser. We're saving the actual trailer for much closer to the release date. This film was shot on a GH4, by the way.
 

I'm not really "over" IBIS, I've just realized I don't "need" it. But I would love an LS300. Maybe after I sell a screenplay. I think the multi sized sensor and prime zoom of the LS300 are some of the best advancements in the past 5 years. If Panasonic thought of it, it would be the most praised tech on this site. Lol. 

I just don't understand why they haven't done a swappable version.
The swap on an Epic between PL and Canon mounts takes a few minutes with an allen key and even with RED doing their macho bullshit styling and etching everything in BOLD CAPITALS on it can't get it to be over $700 (although inevitably they have also an operation-desert-storm-kevlar-titanium-and-granite version of it for a gazillion quid).
The bottom line though is even doing a swappable version is all a bit of a wheel re-invention as having an MFT mount on it from the get go just gives you more options. They could've gone as far as bundling it with a Metabones smart EF Speedbooster and I think everyone would've been happy.
It won't stop me buying one as I wasn't going to anyway so maybe they have listened to the right focus group from that perspective !
Now you're 'over' IBIS the future AF200 for you is the current LS300

Yeah, this is the camera that just keeps on giving. 

+100 for the other most important piece of the puzzle...arguably as important as the actual image itself!...

With regard to audio, I think the innovation has largely come from the music side of the fence rather than the broadcast/film side to be honest.
From that point of view, there have been numerous 5DMKii moments.
The Portastudio was one, the LinnDrum was another, the Akai S900 sampler, the Atari ST with Cubase, the ADAT digital multitrack, the Yamaha 02R mixing console and of course SoundTools as it was and ProTools as it became.
Arguably, these were all much bigger game changers than the 5DMKii, particularly the latter ones as they changed the entire industry at the high end as well as the low.
The 5DMKii let you make images that looked somewhat  like the movie studios could do, the audio products didn’t just allow you to produce audio that sounded like a real recording studio did but actually became the real recording studios.
The nature of broadcast and film is intrinsically more conservative.
I’ve been involved in product development for one company where it seemed inconceivable why the BBC, for example, would spend five times more for something that did less and then for another company where it seemed inconceivable to me why they would spend five times more on what we were proposing to them than they could on something similar they could get from a music store.
Some days you’re the statue, some days you’re the pigeon !
The problem with audio developments for music is that it plateaued and then became a race to the bottom price wise from which it will never return. It means that the innovation is now in the cost reduction and arguably why not because there really isn’t many more places for it to go in terms of functionality or quality. Which is good for us!
As all of this rapid development was going on in music technology, say between 1982-2000, it was like the wild west at times with companies coming from nowhere with bombshell products that either drove their competitors out of business or drove them on to greater heights.
And the vast majority of these companies were small ones (generally created by musicians who had to invent what it was the market didn’t have for them to buy), which made them lean and agile.
Over time though, the eating each other’s lunch routines often combined with little, no or reckless business practices (and ESPECIALLY poor cash flow from over ambitious product developments) left them vulnerable to being put out of business or, more usually, being bought out by the major manufacturers who were predominantly large Japanese companies. The likes of Oberheim (Yamaha), Linn (Akai), PPG (Korg) and Sequential Circuits (Yamaha again) all went that way and the innovation generally went no further for them once they were under the wing of those bigger manufacturers.  Eventually freed from their ‘consultancy’ deals, most have resurfaced as boutique operations serving an ever more niche market.
If I look at someone like Fairlight and my relationship with them as an example of what happened to an innovative company, its quite informative. I went from being an awestruck kid when they brought the CMI out, to then working for a manufacturer who basically drove them out of the sampler business they’d created, to eventually working on OEM development with them when they transitioned to broadcast. In the subsequent 20 years they’ve changed hands countless times and are now just a tab on a piece of free(ish) software. Its hard to grasp such a transition for me but for anyone who’s too young to know what the CMI was, its the equivalent of RED’s RAW pipeline ending up as a free download in the Sony PlayMemories store for your RX100.
Lexicon are exactly the same. From making jaw dropping almost other worldly products to being gobbled up by a company that was making most of its money off providing car stereos for GM etc and Lexicon was reduced over time to being included in every low end mixing console and software bundle that it could be licensed to. The company that bought them has done the same to every company its bought and I can’t even dignify them by mentioning their name even 20 years after them destroying the company I worked for !
So there’s just no incentive there for anyone to be innovative in music audio anymore as its littered with similar stories and the ones left standing wouldn’t see the amount of volume in broadcast/film that they need to press the button on the mass production runs they now need due to how cheap everything has to be now.
The company that COULD do it are the much maligned Behringer. 
If you look at something like the X Air XR12 digital mixing console and see what they can knock out for £239 retail (inc VAT!!) then it doesn’t take a genius to see what they could do against Sound Devices if they had the inclination but there just isn’t the market there. Because, believe me, they wouldn’t have blinked if there was.
So, unfortunately, I don’t think we’re going to get that 5DMarkii moment and the innovation such as it is will come from individuals themselves looking at products from the music side of the fence and modifying it themselves. Like getting that X Air XR12 and powering it from Sony NP batteries to make an extremely capable digital field mixer and recorder for £269 (including the £30 for the bits to do it) or being a smartarse and using cheap midi controllers to create remote focus and control systems for Panasonic cameras for under £75  (ahem!).
Because music audio had its numerous 5DMKii moments a few years ago there is a backlog of a ton of cheap stuff that flies under the radar for film makers that is waiting for them if they look for it. 
 

This mount may well be another "Yagh" moment for Panasonic...(1) if they think they're going to win over canon users (who love the colors from Canon, NOT Panasonic), good luck with that. (2) The EF mount they are now offering is a DSLR mount....not a professional mount...you can't shim a Cine Zoom with this mount to achieve par focal (3) Their M4/3  customer base is much larger than the Varicam base...far more potential there for selling a "bigger brother"  to the GH5 than Varicam down...If I owned a Varicam, I would have several GH5's as crash/Bcams...not the EVA...and lastly...for those who think a smaller sensor...say s16 or the pertinent available lenses are of now value....I suggest you watch Hurt Locker...best picture/best director oscars in 2008....not 40 years ago...if you call it a Cine Camera, there is an implied suitability for Indy filmmakers and as Panasonic is slowly but surely deepening it's reach into the Cine market, this is not the way their....to wit....the overwhelming complaints at Cinegear about the mount, to the point where Reps were mumbling that they were considering other mounts too....Panasonic sold a lot of GH x cameras and for those here who think you can't use them professionally my advice is, get your head out your ass!... an upgrade from their GH and G series cameras is where the market path lies for this camera.
@Kisaha to be clear...I'm agreeing with you!

I was thinking more FS5 and C200 (though if it is at the 8000€ mark then the FS7 even with external interface and recorder isn't that far off) but completely take the point.
Ditto the mount as well actually.
I'm viewing this from underneath rather than above I suppose.
Cheap varicam rather than what was expected it might be which was an upscale lensless version of the DVX200. 
I still think the LS300 has shown that the Super35 sensor with MFT is a viable proposition but as its been a commercial failure then no one would be using it as a blueprint for success!
They could have had the Super35 sensor and the MFT mount though.  But as my reply above its probably not what the market they want it to be in wants is to have so I've completely misunderstood where they were going with it.
I remember how gutted I was when BM released the MFT version of the BMCC and how much of a more flexible solution it offered versus my EF mount version so I'm still bitter !!

Yh, that was quite promising.
Let's hope they don't add any of the "advanced" GH5 processing. lol

Yes I believe it will be high end because Panasonic kept referring to the Varicam for footage when they spoke about features the EVA will have once they fine tune it. 

Sucks so bad the Panasonic EVA1 lacks a Locking Micro Four Thirds Mount (like a baby made from the union of the JVC LS300 & Sony FS7 mk2 mounts).
Panasonic has blown a massive opportunity to provide an upgrade path for their GH users as they progress through their career, & was an opportunity to grow Panasonic GH5 sales at the same time.
However credit can be given to Panasonic for blasting out of the water the C200 which Canon just announced, but that fact should surprise exactly no one.

LS300 with internal 2K RAW. Great idea. Instant buy!

If they were to do that I think it would be in a DSLR/Hybrid format. This won't eat into their Pro Camcorder sales, but a $4000 version would. 
I predict that JVC will add internal Raw to the LS300 and it will look and work amazingly, and no one will care. 

@Alt Shoo...I looked at the very first clip they released...which I liked...and then started hearing rumors of a different sensor used after the clip was shot...at that time the camera was around 10k...and then the complaints about very low DR started coming in....I liked the form factor purely from a Cine style camera though...I like what Panasonic does with their cameras though...the KineMax  was really the only other camera I considered...but you could get a Cion for next to nothing now...and as with all cameras, the negatives are always never ending...I would advise if you were considering it, to find one to rent...maybe it's a sleeper....we tend to blame cameras far too much these days...there's a great Cooke Masterclass series where Ridley Scott's DP, Mathieson talks about how he shoots battle scenes and the Fstops that are practical and how they solve various problems...the word camera never comes up in the discussion lol...the Cion may well be a camera you'd love...B&H lists the camera for $5000 and specs it out at 12stops....go figure??....link below...the camera I really want is the Varicam LT ?? been lusting after it for over a year, but it would have to be bought for a big project that would pay for it in lieu of renting!
https://www.bhphotovideo.com/c/product/1044863-REG/aja_cion_4k_uhd_and_2k_hd.html/?c3api=2572%2C113041916107&gclid=CMXhusbpmNQCFRBahgodKaUBCw

I looked at the Kinefinity cameras...though I have to say I preferred the form factor of the Kinemax...ultimately any questions I had were either only partially responded to or not at all...and I was inquiring as a potential buyer....after a while I decided that buying the cam would be too risky to me and let it go....perhaps with a US distributor I could have gone that way...I found the image lovely though...truth for me is there's probably a large number of cameras I could use...with a professional colorist, good DP and gaffer, any number of cams....even inexpensive ones could yield a lovely image...when you're shooting a wedding or a feature or television series...and have to get the shot, the Kine camera would made me nervous....especially after the communication in my earlier enquiries.

"AMD is planning to release its own high-end enthusiast Ryzen line — dubbed the “Threadripper” — later this year with up to 16-cores and 32-threads, something that the newly announced 18-core i9 Extreme will compete head-to-head against." - at last an Intel vs AMD speed war.

That's a good point. I also think Fritz was hinting at this, but who is this camera geared towards? Canon gets blasted for their lack of tech but their cameras are geared toward very specific shooters. The C100 i & ii are geared towards the low to mid budget event videographer and documentary filmmaker. The FS5 is geared to the mid level videographer and filmmaker, so of course they would have better specs. Who exactly is this cineX camera designed for? I would assume it's for mid level professionals. If it is touted as a Varicam Mini, then it has a narrative lineage, so the specs need to be at a certain level. And IMO 10bit 4K 60p isn't enough to justify a $6500 price tag. Now if it has 5-axis IBIS with either internal or external Raw... even at 10bit 2K up to 72fps and this camera is a winner. Otherwise you may as well just buy a GH5 or an LS300.
 

Speaking of competition what about AJA Cion and Kinefinity Terra?? They have RAW and at a good price too.

Competition? The FS5 has it. The Ursa Pro has it. Without it, what benefit is there to get the Panasonic? And unless the camera is going to shoot 12 bit 4K at high frame rates, what would be the benefit of paying $4500 more for this camera when you can get a GH5?