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No way would a Panasonic L Mount FF mirrorless camera priced substantially under the S1 have all of the features that would be in a GH6. 

Lol I probably jumped the gun with that GIF ? I know it seems like a s35 sensor behind a mft mount comes with lots of drawbacks, but honestly it doesn't. This is something many of us discovered at the release of the LS300. The implementation was honestly amazing. You saying you guess there would be significant drawbacks is sorta the point we're making - everyone dismissed the camera because it didn't seem possible, but it was! Just a sad missed opportunity for cameras that came afterwards.

It's been done - the JVC LS300. Fantastic implementation, too. It just wasn't popular enough of a camera to spark a movement.

Lol I probably jumped the gun with that GIF ? I know it seems like a s35 sensor behind a mft mount comes with lots of drawbacks, but honestly it doesn't. This is something many of us discovered at the release of the LS300. The implementation was honestly amazing. You saying you guess there would be significant drawbacks is sorta the point we're making - everyone dismissed the camera because it didn't seem possible, but it was! Just a sad missed opportunity for cameras that came afterwards.

?
I wish @Andrew Reid had reviewed it. It didn't get nearly enough attention and still is an excellent camera. 
I do hope they were serious about releasing a follow up. They really thought outside the box with the LS300 and supported it with updates/features long after most companies do. Of the "big companies" only Panasonic has done that 
 

It's been done - the JVC LS300. Fantastic implementation, too. It just wasn't popular enough of a camera to spark a movement.

Lightning in a bottle is my guess. Sigma released it very early on into their new Art line - maybe the first or second lens. I wouldn't be surprised if they priced it barely above cost in order to attract a ton of people. Then, they were able to keep their margins due to the massive scale. Everyone that wants this lens has one, so I don't know if it would be wise for another manufacturer to even try their own version. They probably wouldn't be able to match the price:quality value.

I'm rocking the GH5, the G85 and the GX85 for my multicamera shoots these days. My original plan was to sell the G85 and buy a second GH5 but then I got the GX85 for a steal used and decided to also get the 35-100mm f/2.8 when I found it in pristine condition for an absolute bargain. 
I still use my JVC LS300 too, though I'm considering selling it. It's hard to part with, as I really do love it, but I also feel bad not putting it to use more. I instinctively just grab my Panasonic kit most of the time. 
I think a lot of people have gotten caught up on full frame, which I understand, but I still love M43 and see so much more upside in the system than full frame. I want a small, compact kit. It's literally what I dreamed of way back when. If you told me 10 years ago that I'd be able to fit my entire multicamera kit in one small Pelican case AND get the quality that I'm able to get, I don't know that I'd have believed you. Using the GX85 has really reignited my love for the system and reminded me of the possibilities. It's so tiny and lightweight! But the image! It's lovely! And slap that 35-100mm on there! It's insane! I won't hold my breath, but if they could pack all the features of a GH5 into a small body like that? Gimme! 

Potato Jet has access to all that gear through a variety of ways. He is an active video producer so he has access to rentals and other equipment used for that. He has many filmmaker friends that loan him stuff. He has many sponsors that send him items for review. And he is has a healthy case of G.A.S as well that leads to many of his own purchases. 
If you watch enough of his videos, he eventually tells you how/why he has basically every piece of kit. Sometimes he'll reference a RED he rented or borrowed for a video from months prior, for example.
TBH Potato Jet is my favorite Youtuber right now. He feels very genuine and I legitimately like watching his stuff.

Potato Jet has access to all that gear through a variety of ways. He is an active video producer so he has access to rentals and other equipment used for that. He has many filmmaker friends that loan him stuff. He has many sponsors that send him items for review. And he is has a healthy case of G.A.S as well that leads to many of his own purchases. 
If you watch enough of his videos, he eventually tells you how/why he has basically every piece of kit. Sometimes he'll reference a RED he rented or borrowed for a video from months prior, for example.
TBH Potato Jet is my favorite Youtuber right now. He feels very genuine and I legitimately like watching his stuff.

Potato Jet has access to all that gear through a variety of ways. He is an active video producer so he has access to rentals and other equipment used for that. He has many filmmaker friends that loan him stuff. He has many sponsors that send him items for review. And he is has a healthy case of G.A.S as well that leads to many of his own purchases. 
If you watch enough of his videos, he eventually tells you how/why he has basically every piece of kit. Sometimes he'll reference a RED he rented or borrowed for a video from months prior, for example.
TBH Potato Jet is my favorite Youtuber right now. He feels very genuine and I legitimately like watching his stuff.

Probably they are all waiting for the backups to finish...

Potato Jet has access to all that gear through a variety of ways. He is an active video producer so he has access to rentals and other equipment used for that. He has many filmmaker friends that loan him stuff. He has many sponsors that send him items for review. And he is has a healthy case of G.A.S as well that leads to many of his own purchases. 
If you watch enough of his videos, he eventually tells you how/why he has basically every piece of kit. Sometimes he'll reference a RED he rented or borrowed for a video from months prior, for example.
TBH Potato Jet is my favorite Youtuber right now. He feels very genuine and I legitimately like watching his stuff.

Although I'm not the person you asked, I often edit in Premiere and on those projects, I find it much easier to grade in Lumetri rather than round tripping. This way, you can do a rough edit, rough grade, fine tune the edit, adjust the grade, tweak the audio, tweak the grade, add titles, tweak the grade leave it over night, tweak the grade with fresh eyes and then export. 
I'm sure it's different for everyone, and workflows differ, but rarely am I totally happy with my first grade, and even if I think I am happy with it, watching the project again will prove myself wrong. If I had to roundtrip for every pass I'd waste even more time for not very much gain.
For this reason, when I can I also edit in Resolve, but due to client criteria, that's not always possible. I'm also much quicker with Premiere than I am with Resolve and when your workflow wastes as much time as mine, claiming back as many seconds as you can really helps.

It is a damn pity that era of "HALF PRICE WOW" never got repeated by BMD. Wouldn't two BMPCC4K for the price of one be great!

Imagine if an UMP G1 or even the OG URSA Mini 4.6K got offered at half price?  Dammnnnnn

Heck even now in 2020 many people would love to see a brand new BMPCC/BMMCC for US$500!
 

I love Panasonic's Cameras. I had to choose between the Canon 7D and the Panasonic GH2, and I chose the GH2. Tried a couple of hacks and loved the video quality. I saw Andrew's famous B&W video with the ISO at 12800, and the whole thing seemed so surreal. I believe Panasonic's marketing and supply chain didn't push the GH2 enough, otherwise it would have been a lot more popular, on Indie Films, both shorts and features. 
I then got a GX85 and GH5. The GX85 is amazing for the size and great for travel, and the GH5 was atleast 1-2 years ahead of its time, when it released. I like the bright and portable lenses of the M43, most of all, I guess. 
I also use a Samsung S7 (I may buy an S11/S20, if it has a great camera) since its highly portable, and while I carry ILCs when I travel, I don't really like the idea of changing lenses or opening and removing cameras from bags, when I am travelling. Plus I tried a few softwares for upressing the 12MP photos to 48MP and they seem pretty promising. The final quality seems in between Instagram and ILC quality. 
I guess in 2020, if I find something that does High Res photos well (16MP+) and 6k on a smartphone, I may actually use a smartphone, for photo and video, even more.
I wish Blackmagic would push RAW into a proper DSLR/Mirrorless kind of body, with way better battery, maybe IBIS and general ease of use, right out of the box. I would like to pick up something like that too.

An in-depth look at the white paper and 1D X Mark III codec
https://www.eoshd.com/2020/01/canon-1d-x-mark-iii-finally-canon-get-serious-about-dslr-video/
Certainly the best DSLR (note... "DSLR"!) for video on the market at the moment... But those file sizes are media costs are eye-watering for the 5.5K RAW.
In region of $500 for 13 minutes.
The 4K 10bit is more tempting and it's 60p, no crop.
Still, it is in the wrong form factor... Needs to be in a mirrorless camera.
I think the 1D X Mark III will be a great shot getter and sexy gimbal camera though.

* 13 mins is for 5.5K RAW 60p, yes the 24p will give you more time on a card... still expensive though to get through a shoot with 1800Mbit to some of the most expensive cards on the market.
In my opinion yes there are, and they are cheaper.
Panasonic S1 gives you 1D X Mark III rivalling codec and image quality for around $2k (with V-LOG update).
Although none of them marry 4K 60p 10bit full frame with Dual Pixel AF, they are better in other areas.
Principal one being usability and feature-set.
Yes you can argue Canon has made the first 4K/60p/10bit/full frame/DPAF camera and those are all headline features, if you wanted all that on a Panasonic or Sony you may have to wait another year or 2.
Panasonic S1H however does all the 10bit 4K stuff better aside from FF 60p and the AF...But it is $3.5K and Netflix approved, the image is blazing a trail.
This has advantage of IBIS and an EVF too, as well as articulated screen and more adaptable lens mount, cheaper media costs, more options.
Leica SL2 is a sexier camera to use, sex on legs, sexier than anything I have personally handled
It offers full frame (well, near full frame 1.1x crop) 4K/60p in 8bit and 4K/24p full frame 10bit ALL-I 400Mbit. No RAW but an extensive feature set - very in-depth. Like a supercharged S1R for video.
A7R IV is a contender for hybrid stills / video use. The stills side is beyond compare, 60 megapixels, cutting edge AF, large EVF and very good IBIS... although not as steady as Leica SL2 or S1H.
Remember the A7S III is on the horizon which is likely to give you the full frame 10bit 4K 60p for $3k mark along with Canon beating AF...
Canon 1D X Mark III might be short lived at the top for people who want 4K/60p/DPAF and RAW.

My gear of the decade is also the gear that started my career: the GH2. That camera came around at the precise moment I started making the transition from photography to videography. It offered superb image quality with the hacks, but it wasn't magic. You still had to work hard for it to deliver the goods. It sucked in low light and had sub-par audio. I was a poor college student so I had to learn how to light with work lights and shower curtain diffusers and sync audio from a handy recorder. The GH2 made it all worth it though. 
I've always said that I couldn't have gotten my start at any other time in history. Any earlier and I wouldn't have been able to commit to the time and energy of cutting together DV clips. Any later and things would be too easy and I wouldn't be at the level I am today. The GH2 was the catalyst to everything for me.

My gear of the decade is also the gear that started my career: the GH2. That camera came around at the precise moment I started making the transition from photography to videography. It offered superb image quality with the hacks, but it wasn't magic. You still had to work hard for it to deliver the goods. It sucked in low light and had sub-par audio. I was a poor college student so I had to learn how to light with work lights and shower curtain diffusers and sync audio from a handy recorder. The GH2 made it all worth it though. 
I've always said that I couldn't have gotten my start at any other time in history. Any earlier and I wouldn't have been able to commit to the time and energy of cutting together DV clips. Any later and things would be too easy and I wouldn't be at the level I am today. The GH2 was the catalyst to everything for me.

For me it´s the Blackmagic Cameras.
I startet with a Canon HV 20, recording HDV on miniDV-Tapes  and continued with a Canon 550D/Rebel T2i.
The first Blackmagic Camera I got was the Pocket Camera (during the summer sale) and bought the 2.5k Model a couple of months later. Even if there´s no extreme grading necessary, the pure and organic quality of the Raw- and ProRes-Files was (and still is) stunning and delivers beatiful footage. Having this much features accessable for a relatively low price was great and even though the BMC Cameras did and do have their downsides, they made it possible for me to create shots that looked just like I imagined them.

My gear of the decade is also the gear that started my career: the GH2. That camera came around at the precise moment I started making the transition from photography to videography. It offered superb image quality with the hacks, but it wasn't magic. You still had to work hard for it to deliver the goods. It sucked in low light and had sub-par audio. I was a poor college student so I had to learn how to light with work lights and shower curtain diffusers and sync audio from a handy recorder. The GH2 made it all worth it though. 
I've always said that I couldn't have gotten my start at any other time in history. Any earlier and I wouldn't have been able to commit to the time and energy of cutting together DV clips. Any later and things would be too easy and I wouldn't be at the level I am today. The GH2 was the catalyst to everything for me.

Best approach is to work out what you’re missing and then either fix that or give yourself a reality check..
For example, if you’re chasing good autofocus then you should consider why you need AF in the first place, and if using a deeper DoF would fix it, for example.  The reality check is to assume you just bought an A7iii, so just donate $4K to charity to simulate the financial hit of being locked into the Sony lens rort, then take all your 10-bit footage and batch convert it to 8-bit and apply a sickly green WB to simulate the experience in post.
There’s currently no FF camera that can do everything the GH5 does without giving up something.  Even the S1H (which won’t fix your AF envy) will still hit the CC pretty hard and IIRC is bigger and heavier than the GH5.
The grass always looks greener, but often it tastes just as bad, but in a different way.....

Then there are no BRAW settings since I'm targeting the timeline clip, not the master one. 
 
I've found it fixes itself after restarting Premiere and reimporting the clip but then for some reason breaks again after a couple of minutes.

If you use any EOSHD color settings you should always use the luts that are included and/or follow the instructions.
If you're planning to use filmconvert it's best to shoot in unmodified profiles that are supported. Take a look at the different combinations for the A73 like "S Log 2 + Pro" or whatever they have and stick to those.
But for the footage you already have why not download some canon and sony profiles and just see which one works best for you?