Mmmbeats

I think this is going to be priced out of reach for most indie filmmakers and jobbing one-man-bands.  Where I can see this being really popular is as a b-cam, tricky-corner cam, backup body, etc. on professional crewed shoots.  If I was DPing on something critical with a top end cinema camera, I'd really love to have something like this sitting in a bag on standby.  It looks like it's capable of being tuned to deliver footage that could live alongside top level stuff quite convincingly (based on how the S1 is shaping up).
I can't think of a better combo for that particular usage (which is big money if it really catches on).
Also, small productions (web series', multi-cam doc, etc.) might be interested.  There's a lot of money to be saved over full-blown cinema cameras, especially if you're buying several units.
I just can't see solo operator / owners coming in in large numbers.  So far, there's not enough to suggest value over the other fantastic cameras in the sector.  Plus, if you really need to step up in quality the fully-featured cinema cameras start to come into range for just a bit more.  Also, the inbetweeny market is starting to come to life a bit (Z Cam), so there's that temptation too.
I'm not so fixated on either FF or 6K as selling points.  Of course, I'm happy to take them if on offer, but give me a really super-functioning S35 camera at 4K and my money's yours.  The market as a whole may feel differently!
So far Panansonic's L-Mount offerings all seem perfectly interesting, but from a selling POV, a bit niche.  I hope they know what they're doing.

I think this is going to be priced out of reach for most indie filmmakers and jobbing one-man-bands.  Where I can see this being really popular is as a b-cam, tricky-corner cam, backup body, etc. on professional crewed shoots.  If I was DPing on something critical with a top end cinema camera, I'd really love to have something like this sitting in a bag on standby.  It looks like it's capable of being tuned to deliver footage that could live alongside top level stuff quite convincingly (based on how the S1 is shaping up).
I can't think of a better combo for that particular usage (which is big money if it really catches on).
Also, small productions (web series', multi-cam doc, etc.) might be interested.  There's a lot of money to be saved over full-blown cinema cameras, especially if you're buying several units.
I just can't see solo operator / owners coming in in large numbers.  So far, there's not enough to suggest value over the other fantastic cameras in the sector.  Plus, if you really need to step up in quality the fully-featured cinema cameras start to come into range for just a bit more.  Also, the inbetweeny market is starting to come to life a bit (Z Cam), so there's that temptation too.
I'm not so fixated on either FF or 6K as selling points.  Of course, I'm happy to take them if on offer, but give me a really super-functioning S35 camera at 4K and my money's yours.  The market as a whole may feel differently!
So far Panansonic's L-Mount offerings all seem perfectly interesting, but from a selling POV, a bit niche.  I hope they know what they're doing.

I think this is going to be priced out of reach for most indie filmmakers and jobbing one-man-bands.  Where I can see this being really popular is as a b-cam, tricky-corner cam, backup body, etc. on professional crewed shoots.  If I was DPing on something critical with a top end cinema camera, I'd really love to have something like this sitting in a bag on standby.  It looks like it's capable of being tuned to deliver footage that could live alongside top level stuff quite convincingly (based on how the S1 is shaping up).
I can't think of a better combo for that particular usage (which is big money if it really catches on).
Also, small productions (web series', multi-cam doc, etc.) might be interested.  There's a lot of money to be saved over full-blown cinema cameras, especially if you're buying several units.
I just can't see solo operator / owners coming in in large numbers.  So far, there's not enough to suggest value over the other fantastic cameras in the sector.  Plus, if you really need to step up in quality the fully-featured cinema cameras start to come into range for just a bit more.  Also, the inbetweeny market is starting to come to life a bit (Z Cam), so there's that temptation too.
I'm not so fixated on either FF or 6K as selling points.  Of course, I'm happy to take them if on offer, but give me a really super-functioning S35 camera at 4K and my money's yours.  The market as a whole may feel differently!
So far Panansonic's L-Mount offerings all seem perfectly interesting, but from a selling POV, a bit niche.  I hope they know what they're doing.

R = resolution, S = speed (?), and the H = heat ?

Yes but Arri is also renting equipement itself to large productions, They are able to offer complete seamless solutions.
Red is selling luxury marketing, including David Fincher who they sponsor .

Nothing wrong with that, it s a business after all, but I feel red is in a awkward position now,  I think that netflix trend with red is going to fade now that Arri have the LF and the LF mini, those camera are still very recent and that article don t reflect that.

Canon and sony have a more define cine/broadcast department that I believe is profitable overall ( I see FS7 and C300 everywhere) Panasonic is more blurry with that I find.
Blackmagic are outputting cinema gear at consumer price and also sell a full post production system to go with it, I think their approach is different , people buy because it s cheap and they are willing to try the product, so whether the client is satisfied or not they still make sales. 

Getting back on the topic would be good.

Since it doesn’t include OIS, which is really unfortunate, then I would say no.

Game-changing could also be a large amount of incremental improvements that result in one very amazing camera. 
- The low light of the A7sII (or S1)
- Codecs of the BMPCC4K (or equivalent)
- Usability of the GH5/S1
- 14+ stops dynamic range with full V-Log (EVA-1/Varicam dynamic range)
- IBIS of S1/GH5
- Internal NDs (never been done on something this small/compact - so pretty game changing)
- 3-4 channel audio and great pre-amps
- Timecode
- 120fps+ in 4K, 24
And maybe a couple of other surprises. that would do it in my mind to be game-changing... 
 

Incremental improvements are not "game changing."
However, a marketing department accurately representing how much better the new product is would also be game changing. I guess it's kind of a double or nothing statement.

Not 8K.  (latest L5 Rumour)
https://www.l-rumors.com/l5-the-new-panasonic-l-mount-cine-lumix-camera-will-not-record-8k/

Not 8K.  (latest L5 Rumour)
https://www.l-rumors.com/l5-the-new-panasonic-l-mount-cine-lumix-camera-will-not-record-8k/

No, once it gets 'smart' it will try to take over the worm ?.

The Sony FS700 was a popular camera for its time. 
The FS700 was the #1 choice by far for low budget super slow motion filming. 
And the FS700 was the #2 choice behind the C300 mk1 for a low/mid ish budget camera for general purpose.

Especially if you're trying to juggle focus with a manual focus 0.95 lens!!
 

Thanks all, some interesting ideas here.
lol about the Moneymaker and I already have a camera strap that I've experimented with.  Ultimately it was just too cumbersome when getting in and out of cars combined with backpacks etc, which is why I prefer hand-held with a wrist strap, although the problem with that is that you can't be walking around and then stop to tie your shoe or eat a snack or whatever because there's no-where to put the camera.  
Of course that's where the Peak Design Capture comes in and it might be the best idea I've seen so far, so thanks for mentioning it.  I have seen them before, but had no idea they were so cheap / accessible.  I'd have to think about where I'd put it, but even if I just hung the X3000 from it and operated it one-handedly while still also holding the GH5.
I'm not too sure about the GH5 though, considering I have the Rode Video Mic Pro+ on top of it, but anyway.
Shooting two cameras at once isn't likely to have a high yield I'll definitely conclude that, although if one of them is fixed focus and super-wide-angle then your chances improve somewhat.  The problem with just panning to myself is that 'just panning' is actually 'just turning off the camera, opening bag, getting wide angle, changing lenses, turn on camera, flip screen to face forwards, pre-focus, hit record, ......' then the opposite to go back.  Having a separate camera makes this a lot simpler and means I can leave the GH5 on and ready to shoot at a moments notice should something happen suddenly, which it frequently does with my kids.
This is the other avenue, to have one rig with two cameras.  I've played around a lot with this in the past using flash-brackets or cold-shoe mounts, such as these setups:

Ultimately though I discovered that these setups are very conspicuous and are also really heavy when filming yourself.  The position to get a reasonable selfie-frame is a relaxed bent-arms length away and almost straight-on, otherwise the effect of the wide-angle lens makes the person next to you seem like they're starring in Honey I Shrank The Person Next To Me, and I also find that when you hold it out there it's psychologically distracting for quite a bit, maybe 5-10-20 or 30s before you just kind of ignore it, so unless you're ok with the 'oh shit I'm on camera does my hair look alright I hope I don't have food on my face is this lighting flattering' inspired internal motivation then you have to hold the camera for a long time.  The technique for the kids is more to surprise them as they mostly act stupid when they realise they're on camera so a huge rig doesn't help that either.
Thanks Chris, interesting you're moving from the X3000 to the gopro - how have you found it in post?  To me digital stabilisation has real limitations, especially in low-light when shutter times allow movement during the exposure, although the X3000 is several generations of tech behind.  I really would have liked to hold off until they updated it, but my next trip is before their previous release cycle occurs, so oh well.
The tests I've done with my existing GoPro were with a floaty handle (the bright yellow one) which is comfortable to hold and easy to put in a pocket even if the camera is sticking out, but of course isn't the most stealthy option.  If I go with a handle I'm contemplating designing one that perhaps folds up and doesn't add any real bulk to the setup, or alternatively if it's on a clip then maybe it doesn't fold but it might be super-light-weight.
If I was rich, maybe, but if you look at professional vloggers who have a camera-person with them they basically become a member of the family, and that's not quite the dynamic I'm looking for.  Plus, making films is what I enjoy, especially filming, and anyone that films me will mostly just be filming me filming other people, so not really a recipe for success  
My GoPro is fixed focus 30cm (12in) to infinity, and best composition is actually with arm bent and relaxed.  The X3000 might benefit from a handle though, as minimum focus distance is 50cm (20in).  I'll have to work that out, although having a small handle isn't a big deal, and I have longish arms so that helps.
The Osmo Pocket is an interesting device, but not wide enough for my needs.  The "wide 80degree" lens is likely 22mm which isn't nearly wide enough for a proper selfie unless you like the 'I'm filming myself' look, and the waterproof case appears to still be unavailable?  Maybe v2  
I have noticed that I was good at filming other people and at filming interesting things like buildings, but rubbish at everything else.  For my first videos I had to scrape together establishing shots because I never knew to concentrate on them, but I'm pretty good at that now.  The standard format of a trip is travel -> location -> travel -> location with an action/wet location occasionally, so I now know to film some travel montage, an establishing shot or three, and people doing things / interesting inanimate objects.  What I'm missing is shots of myself, and a variety of shots, as I still kind of shoot how I see.  The shot-list I then thought of adding to my normal style is selfie shots, time lapses of things like eating meals, sunrises / sunsets, and a much greater variety of shots in general.  I bought a Manfrotto tiny tabletop tripod for the GH5 in anticipation of doing more time lapses and it's great but I haven't yet trained myself to use it for that yet.

In a sense the action camera would be the best fit for this as it would attract basically no attention if I brought it to dinner (a GoPro Session would be an ideal size for this!) but a GH5 is very disruptive, both to the fact it's extremely obvious to my family, and also finding room on a tiny table where there's barely room for the salt and pepper when everyones plates are there makes a DSLR form-factor almost impossible.  The GoPro Session is enticing simply because it is so small and pocketable, but its discontinued and would have been a PITA to change between video and time-lapse with no buttons or screen.
Compromises everywhere!

This. It is incredible complicated to be a good boom op.
People do not understand the complexities (physics, experience, good knowledge of lenses, high IQ, memorize lines, physical capabilities, technique, e.t.c). A good boom op can be almost 80% of your sound or more. I was (still am) mixing with the boom at times.
This was a very interesting thread, then became the usual iPhone love letter, now people that do not understand sound say whatever they want, because they have a keyboard and unlimited free time.
This is a forum about video creation, when a young kid comes here to gather information, what is the message? "Screw sound and buy an iPhone"?
All very bad advice..

Hello Andrew,
It seems that from some of your other posts you are sometimes criticized. I read many of your articles and I don't post very often.  I am just writing that I, from one of the many, support your independent work, your independent views (unlike those that get buttered up by canikon). I greatly appreciate your work over the years. I am very positive that I speak for many silent readers.
Cheers!

I am in the wedding business, photography & video and have mixed views on this.
First of all, there is a lot more competition. a LOT more. Since I started out close to 20 years ago, there are at least as 10x as many offering a service.
Also, the competition is a LOT better than it ever has been, both in quality of output and in regard to marketing it.
Video is less crowded than photography however as the learning curve is steeper and the production times longer, - less appeal for many ie, less see it as a fast buck, whereas with photography, everyone with a camera thinks they can do it.
Bollocks, it takes years and dozens of different scenarios to get really good at it. I came from 5 years of college and uni photography and reckon it took me nearly 8 years until I felt I really knew what i was doing without having to really think about it.
Then there is this 'race to the bottom'. It's been talked about for years and to an extent, it is true...but at the same time, not completely.
The trick of it is twofold.
First, you need to be offering something that is on another level to 'the rest'. I am not saying you need to be the best in the world, but better than anyone else they will probably look at. Ideally, you need to have a number of 'points of difference' and deliver this message with clarity. People have increasingly shorter attention spans.
Second, you need to be found by the type of people that are your clients. This may only be 1% of the entire market. Or less. If you are trying to appeal to all and catch fish with a massive net, you might actually be better off with a rod and fishing for one species only.
In regard to the latter, you can try and have a broad appeal and try to snag that 1% through the sheer volume approach or target your marketing and have a much smaller volume of contact, but a much higher booking rate.
I've found the latter works for me and prefer the 'larger fish in the smaller pond' approach works better.
Over the years, I have seen so many 'young bucks' come into the industry.
First of all they are full of enthusiasm and it drives them for a while and all that energy helps compensate for the relatively low prices most charge, fully intending to put them up once established.
They then try to do that and the work begins to dry up. Most then give up and go back to their 9-5 day job with all it's securities when they realise the reality is not swanning around the world at their clients expense and editing on a laptop in coffee shops.
One other thing I have found is that 'good enough' is not good enough and you need to go above and beyond simply to maintain your position. It's extremely easy to get sucked downstream and incredibly hard to swim upstream/against the current.
The latter can be done, but to get that extra 10%, often requires another 100% effort. Is it worth it? Maybe...
But yes, I 'lose' out sometimes to the sub 500 photographer who either promises the moon on a stick, or more often than not, don't and they (the clients) know they won't be getting much...but that exists in all kinds of services. Or the client deludes themselves that the cheaper option will work out for them only to regret it. Doesn't help us if they do however as folks rarely pay twice and in weddings, never.
To conclude, another couple of attributes any small creative business needs are a thick skin and a lot of drive/determination.
I would not want to be starting out in photography/video today knowing what I know and would persuade my daughter against it.
The bottom line though is that there IS a market still and a very good one but it's a case of finding the right one for you and working it. Continually. Just like an athlete, there are some people who are naturally gifted, but they can and will be beaten by someone with not so far off genetics that grafts harder then the rest.
Oh and one other thought, I have tried several times unsuccessfully to get into the commercial market and in the end gave up concluding I could just not make it work for whatever reason, so I plod along with weddings which I genuinely enjoy shooting. Not overly keen on the whole industry and what goes on behind the scenes, but that is another story...

Seems to know his way around a camera. But does he have enough experience reading spec sheets on forums to back it up?  

It does seem really odd that focus assist is not enabled during recording on the GH5.  I know it might be a hardware limitation, but that just seems really hard to believe.
The omission of this feature is what leads me to rig up a monitor most of the time.   

A foldable Galaxy bar could have it's uses, but I reckon the hinge bit would have to be made out of Curlywurly, and I'm not so keen.

A foldable Galaxy bar could have it's uses, but I reckon the hinge bit would have to be made out of Curlywurly, and I'm not so keen.

Another thing to consider is that filters apply the effect to the actual light entering the lens. Post effects are added to the heavily compressed data you end up with in your edit codec. Even the most efficient codecs are massively compressed when you also consider chroma subsampling, debayer, etc. The physical filters have a considerably greater amount of 'data' to manipulate.

True, but considering this filter adds a massive blur, I wouldn't think it would make much difference.
Maybe for other filters it might matter.

I don't care about af but i really want magnification to check focus whilst filming. That would be huge. Change the headphone input to avoid clashes with the screen. Battery remain in minutes. Move display button. Lowlight like GH5S and lockable ibis. Prores maybe?