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That a giant slap on Panasonic's face, JVC and Sharp can show what M43 can really capable off..
 
So much for M43 is dead according to that Tony guy

Not sure what you mean by that. I don't make a dime from photos and video, it's only something I do for fun... And last I checked cameras do not deserve people... Cameras are inanimate objects. If taking personal pictures of my family is not deserving... well you can go fuk yourself. I don't recall begging you for the $15k I dumped into the Fuji system. And for the life of me I fail to recollect you chipping in for the $30k plus for the 1DXMk2 with lenses and support gear. So to that end who cares what you think deserves what?
I simply shared my personal experience and you look at it as an opportunity to launch a personal attack. Having hardware fail is not "fun" in my experience. But if you enjoy that aspect.. well, what can I say... have fun?

As of yesterday I'm a P4k owner! Here are a couple of initial observations;
The battery door is not a problem once it's removed   The battery is recessed quite a way in so is unlikely to be dislodged by accident.
The battery compartment has rails like the ones on the charger which is unlike any camera I have owned before so this may well be the cause of batteries getting stuck.
The menu system and controls are first rate as an intuitive user interface. 
The lens mount has worrying amounts of play in it compared to my GH5 and BMPCC and with heavy lenses like the 18-35 a gap opens up at the top of the mount between the lens and body flange. If you hold the lens with one hand and the body with the other you can easily rock the lens on it's mount with very little force. I think the spring tabs on the rear of the mount are not strong enough. For heavy lenses I'd want a lens support on the rails. ( anybody else confirm this?)
Battery life is as expected - i.e not great but workable with enough batteries. I have 5 genuine Canon LP-E6's which display % or volts but the BM one has just a crude bar. 
My native M43 lenses - 12-35 2.8, 12-40 2.8 and 12-60 2.8-4 show massive barrel distortion at the widest settings due to the lack of in camera correction but as it has a bigger sensor than standard M43 you do get a significantly wider FOV as a result. I can correct distortion in Resolve fairly easily so it's not a deal breaker but it's quite distracting when shooting to see this amount of distortion. CA is also present on some lenses which can be fixed in post but is more fiddly to do so I'll be choosing my M43 lenses for this carefully.
Tap to focus works well enough but focus assist ( peaking) is very good and much more accurate than on the GH5.
WB function is great as you can just point at a grey card and push to set without digging down into a menu. ( a proper video camera feature)
I've got 128gb Cfast and V90 cards but they don't hold much footage so I reckon a 1TB ext USB-C drive is a must for serious use and a lot cheaper!
The screen is good but pretty unusable outside - it's just crying out for a hood or loupe. I'll probably bodge up a cardboard hood for now until Zacuto or Kinotehnik start making them.
I've only done a few image tests but so far compared to the GH5 it looks like it has colour aliasing on fine edges and is slightly softer. This was to be expected from a non downsampled sensor with no in-camera sharpening or NR but I'm not expecting these issues to be a problem. DR looks to be noticeably but not dramatically better but more testing needed although I don't doubt the tests I've seen already showing a couple of stops advantage. 
It's pretty much as I expected and will be an addition to my GH5 but not a replacement - yet.
Coming tests will be ProRes vs RAW and what lenses work best. 
Oh and for the price it's an absolute steal esp when you get a free copy of Resolve Studio - it's just insane at this price point.
 

At first glance this looks like a good idea, even a necessity in a certain sense. But let me play devil's advocate for a moment.
The problem is with (a) availability of  S35 sensors with the same properties as the one in the BMCC4K and (b) the lens mount. 
If they somehow manage to overcome the first problem, the one with the mount remains. Having an EF or PL mount defeats the purpose of such a camera; a BMPCC4K with a speedbooster will be its equal or better. They could go for a m43 mount (it can cover a S35 sensor for video) and also perhaps offer their own SB versions, with embedded ND, but I don't consider it probable. 
I still find the idea of such a camera highly interesting, especially considering the larger physical format could enable updated battery power, cooling, different storage media or even a clever modular design. 

I was watching the BBC's tech show Click last night and it included a feature about Photokina.
Look what happens when someone speaks to a manufacturer as a journalist rather than an affiliate link peddler and look how fucking shocked and wrong footed the guy from Canon is by it !!
(its at 4:07 if it doesn't auto start there)
 

Up until very recently, traditional Fuji fans have been negative to almost hostile to even the inclusion of video features. I've been in epic fights over having decent video capabilities with the X-Pro2, for instance, and even the X-T2 should be a "pure photography camera" (sic!) for some of these idiots. 
Things have turned 180 degrees in the last couple of years: nowadays most consider the last breed of Fujis as the best hybrid camera system overall in the market, and some even buy them primarily for video. If the X-H2 lives to the expectations, it would solidify this trend.
I'm also wondering if a "proper" cinema camera is in Fujifilm's future. FF video is in fashion lately, but Super 35 is the norm for cinema cameras (not to mention, FF look and light gathering using a SB). As you say, and have heard from a lot of users, having a proper color science and ready-made efficient film simulations is becoming more important than RAW or Prores for a good percentage of potential customers. That is not to say the latter should be excluded, but imagine a small-format cinema camera with Fuji color science+sims. Due to form factor, it would have proper controls and ports, a V-mount battery, possibly electronic ND and slot for small SSD. Heat dissipation would not be problem either. This could compete in the EVA-1/C100 space, and right now people know what to expect from Fuji video. 
But one step at the time: at this point, I guess an early X-H1 replacement is in order. Being at a higher pricepoint and different format than the X-T3 I don't see it hurting its sales; it could also eliminate any advantage Sony may gain introducing their "high-end" APS-C camera. 

You know what: let's take this one tiny (sic!) step further. ?
Perhaps it's time for Panasonic to man up and acknowledge the fact that what 99% of their GH5/GH5s customer base really want, is a Panasonic-made BMPCC4K. Meaning a proper small-format cinema camera with enough stills photography features to satisfy certain needs for a cinematographer (i.e. all the basic ones plus timelapse/stop motion animation, etc). They could even get away with using an electronic shutter only and, if global shutter becomes a reality, this is a moot point anyway. They could have IBIS and non-IBIS versions available (5/5S differentiation) with the "S" version perhaps using a multi-aspect Super 35 sensor with enhanced low-light sensitivity. I wouldn't mind the camera becoming bigger, like the BMPCC4K has. 
Getting rid of the "H" (as in "hybrid") element, or, to be more precise, downplaying it in favor of a video-centric  concept will hurt nobody. Let's be honest, if someone really wants a true "hybrid" camera in the Lumix line-up, he has the option of the G9 and soon the S1/S1R will cover this niche in the FF category. 
Which leads into another hypothesis that is slowly becoming relevant: the S1/S1R will not be so much FF versions of the GH5 but rather of the G9. Panasonic will also have to sometime also make a S-camera with heavier video orientation. 
Going back to your proposed future Panasonic lineup:
G m43, perhaps with a hi/lo philosophy, as the basic hybrid line GH successor as a proper small-factor cinema camera, with emphasis on video operability while  retaining most of GH5/5s stills capabilities S as FF contenders against Sony and Canonikon with an additional version with heavier emphasis on video including 8K  EVA as pro cinema line, including FF sensor and no-compromise operability   
 

You know what: let's take this one tiny (sic!) step further. ?
Perhaps it's time for Panasonic to man up and acknowledge the fact that what 99% of their GH5/GH5s customer base really want, is a Panasonic-made BMPCC4K. Meaning a proper small-format cinema camera with enough stills photography features to satisfy certain needs for a cinematographer (i.e. all the basic ones plus timelapse/stop motion animation, etc). They could even get away with using an electronic shutter only and, if global shutter becomes a reality, this is a moot point anyway. They could have IBIS and non-IBIS versions available (5/5S differentiation) with the "S" version perhaps using a multi-aspect Super 35 sensor with enhanced low-light sensitivity. I wouldn't mind the camera becoming bigger, like the BMPCC4K has. 
Getting rid of the "H" (as in "hybrid") element, or, to be more precise, downplaying it in favor of a video-centric  concept will hurt nobody. Let's be honest, if someone really wants a true "hybrid" camera in the Lumix line-up, he has the option of the G9 and soon the S1/S1R will cover this niche in the FF category. 
Which leads into another hypothesis that is slowly becoming relevant: the S1/S1R will not be so much FF versions of the GH5 but rather of the G9. Panasonic will also have to sometime also make a S-camera with heavier video orientation. 
Going back to your proposed future Panasonic lineup:
G m43, perhaps with a hi/lo philosophy, as the basic hybrid line GH successor as a proper small-factor cinema camera, with emphasis on video operability while  retaining most of GH5/5s stills capabilities S as FF contenders against Sony and Canonikon with an additional version with heavier emphasis on video including 8K  EVA as pro cinema line, including FF sensor and no-compromise operability   
 

Exactly this. Zero to hero is a huge understatement here. I've been using Fuji cameras for photography almost exclusively for the last 3+ years and have been an X-Photographer for the last two and a half. "Video with Fuji" was comedy material 3 years ago. Now that I have slowly transitioned (or, to be more precise, returned to my situation 6-7 years ago) into doing 80%+ video work, Fuji has managed becoming a prominent player in the video field. I have the X-T3 sitting on my desk as I write this and I literally can't believe what they've accomplished in such a short time.
True, there are several things that need polishing and a "proper" heavily video-centric X-H2 is still in the cards. But in my mind they have proven their commitment to this field. IMO they have to look into expanding and/or coming up with newer versions of their lenses that are more appropriate for video work. I have great hopes for the upcoming 16-80mm for example, since this could be an excellent run-and-gun lens with a future camera featuring IBIS especially. An external sound module or, even better, specialized multi-function interface/power add-on (see Panasonic DMW-YAGH) is also in order, I believe. 

Of course..  that makes the list something like:
G m43, perhaps with a hi/lo philosophy, as the basic hybrid line GH successor as a proper small-factor cinema camera, with emphasis on video operability while  retaining most of GH5/5s stills capabilities S as FF contenders against Sony and Canonikon with 8K  ---OR--- EVA as 4K with much larger form factor with dedicated buttons etc Varicam as pro cinema line, including FF sensor and no-compromise operability Even if we started to add their fixed lens cameras below the G series, their entire lineup would still make sense and be useful to almost all film-makers who need A-cam / B-cam / crash-cam options.
This clean hierarchy really doesn't seem to be common amongst the other manufacturers, who completely ignore parts of the market, or have large gaps in IQ between their consumer cams and professional cinema lines.

You know what: let's take this one tiny (sic!) step further. ?
Perhaps it's time for Panasonic to man up and acknowledge the fact that what 99% of their GH5/GH5s customer base really want, is a Panasonic-made BMPCC4K. Meaning a proper small-format cinema camera with enough stills photography features to satisfy certain needs for a cinematographer (i.e. all the basic ones plus timelapse/stop motion animation, etc). They could even get away with using an electronic shutter only and, if global shutter becomes a reality, this is a moot point anyway. They could have IBIS and non-IBIS versions available (5/5S differentiation) with the "S" version perhaps using a multi-aspect Super 35 sensor with enhanced low-light sensitivity. I wouldn't mind the camera becoming bigger, like the BMPCC4K has. 
Getting rid of the "H" (as in "hybrid") element, or, to be more precise, downplaying it in favor of a video-centric  concept will hurt nobody. Let's be honest, if someone really wants a true "hybrid" camera in the Lumix line-up, he has the option of the G9 and soon the S1/S1R will cover this niche in the FF category. 
Which leads into another hypothesis that is slowly becoming relevant: the S1/S1R will not be so much FF versions of the GH5 but rather of the G9. Panasonic will also have to sometime also make a S-camera with heavier video orientation. 
Going back to your proposed future Panasonic lineup:
G m43, perhaps with a hi/lo philosophy, as the basic hybrid line GH successor as a proper small-factor cinema camera, with emphasis on video operability while  retaining most of GH5/5s stills capabilities S as FF contenders against Sony and Canonikon with an additional version with heavier emphasis on video including 8K  EVA as pro cinema line, including FF sensor and no-compromise operability   
 

Mattias, I used to own the 16-55 and used it for about a year and a half with both the X-Pro2 and X-T2. It's a totally magnificent lens for the X-System. Shooting stills, I had shootings where I ended up using it exclusively, although I had 4-5 other Fujinon lenses in the bag. I sold it some time ago to finance some other stuff, but was regretting it terribly sometimes... 
As it happens, just today I received from the Greek Fujifilm dealer a brand new 16-55 along with a brand new X-T3. ? Just scratched the surface so far, but I'm blown away at how well they work together, especially for video AF (stills AF is a given; it's instant and accurate). 
Also keep in mind that, being a heavier lens, actually helps a lot while handholding it. In fact I did some shots at the wider end and, if care is taken, you would swear they are stabilized. You can usually find it in Europe at a little more than 800 euro new; through grey market importers. If you can buy tax exempt from a different EU country, it would be about the same (retail minus tax).  
A word for the Tamron: a colleague uses it mainly in weddings with the a7Sii. He tells me that, initially, he had some issues with AF, but my understanding is they were fixed by some firmware update. Apart from that he likes it a lot, and considers it a swiss-army knife type of lens. Quality wise though I think the Fujinon is in a different class, not to mention not being a "generic" zoom lens (it's "custom-made" for Fuji cameras, I mean). 
 
 

When you watch the FHD footage of this camera you start see this option should not even exist considering the awful output. 
Absolutely 
 
to to come back on topic, I think the eoshd community and similar video minded people are aware of what RS is, and we don’t buy a camera because of Peter M review. The thing is we might represent 10% of people who buy those cameras, even for video use. 90% of buyers are not educated. You might think at 2-3K price point only pros and passionate educated photographer and videographers buy but no, most of them are the Average Joe with more money than other Joe and he wants good camera. 
You would be very surprised how many 5D canon sold to people who shoot JPG full auto only.
My whole point is Andrew is right, and I think those influencers have a big influence on a lot of people buying those cameras. So it’s a shame when their reviews are far from reality whether it’s because they are paid or because they are poorly educated themselves. Sometimes I watch absurdities on video technical aspects on YouTube with people having millions of followers. 

We wonder why Canon continue to sell more cameras than Sony and Panasonic?
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It was a great occasion to enjoy some of Photokina with Dave Altizer. This video was an experiment in many ways, to plant a seed for more EOSHD YouTube content. I hope you enjoy the start of EOSHD TV - let's see how this goes in the future when I rope more unlucky people in front of the camera and come up with more content (the channel won't just be interviews).
We talk about a range of camera-nerd stuff in the video, not least of all that's on the table in front of us.
The Fuji X-T3, the Hasselblad X1D and Fuji GFX 50S medium format cameras, along with the other interesting finds at the show.
Warning: contains controversial opinions!!

As mentioned in the video - Panasonic GH5 / GH5s / G9  AF guide Link 

On day 3 and 4 of Photokina, I collaborated with Dave Altizer of Kinotika to record the first episode of EOSHD TV and an EOSHD Podcast.
We discuss insider topics such as a rumoured on-chip ND filter by Panasonic, Fuji's "super full frame" medium format strategy and round up some of the highlights of Photokina (including the Panasonic S1R).
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Concerning the body design/controls: I'm personally happy with the size and format, but then again Panasonic was always a company that understood a camera should be as hefty as needed for the application. 
I know that it will not make a difference to the final design, but I do wish they could implement a few design traits: 
1) WTF is with this on/off switch? Why can't it be around the shutter button? As it is now, it needs an awkward thumb movement to use
2) I wish the front/rear control wheels were metal. I know it makes no difference in use but I'm spoiled with the feel on my Fujis
3) Why can't we have a mirrorless camera with backlit buttons? Nobody shoots in dark venues anymore? 
4) I liked the X-H1 top panel so much (with ability to show info even with the camera off) that seeing this orange-lit display makes me cringe a bit
5) When other companies are going to steel Canon's idea of recessed strap eyelets? 
 

Concerning the body design/controls: I'm personally happy with the size and format, but then again Panasonic was always a company that understood a camera should be as hefty as needed for the application. 
I know that it will not make a difference to the final design, but I do wish they could implement a few design traits: 
1) WTF is with this on/off switch? Why can't it be around the shutter button? As it is now, it needs an awkward thumb movement to use
2) I wish the front/rear control wheels were metal. I know it makes no difference in use but I'm spoiled with the feel on my Fujis
3) Why can't we have a mirrorless camera with backlit buttons? Nobody shoots in dark venues anymore? 
4) I liked the X-H1 top panel so much (with ability to show info even with the camera off) that seeing this orange-lit display makes me cringe a bit
5) When other companies are going to steel Canon's idea of recessed strap eyelets? 
 

All of the following photos were shot with my Canon FD 85mm F1.2 from 1976 on the Fujifilm GFX 50S. Medium format at F1.2?! Yes, it works and no vignetting!
I am really interested in what Fuji is doing at the moment, but with the most interesting cameras at the show just a development announcement and dummy body-design, we'll have to wait a bit longer for them to truly reveal their cards.
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Our first look video is live... new info to me... bigger battery than GH5 
 
 

Q: "What is the medium format look?"
A: an empty wallet...

This will be a short part 1, as I am about to get on my way from Berlin to Cologne to see all the new stuff at Photokina for myself! It's been a mammoth few weeks for camera announcements and these two top them all.
First from Panasonic we have the first ever full frame cameras to shoot 4K/60p, beating Sony to the punch. Their A7S III is STILL not yet announced. The Panasonic S1 and S1R are probably why! For video they beat every full frame camera past, present and future!
Second we have the Fujifilm GFX 100MP development announcement, which will be a 2019 $10,000 medium format mirrorless camera. They also have a cheaper 50R "rangefinder" style GFX body at the show ($4500) but that is 1080p only like the GFX 50S it's based on. It is the 100 megapixel one I am really interested in.
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There is a rumor (or is it confirmed already? I don't remember) about a new firmware update coming up for GH5(s)/G9. Could it make color science more consistent among cameras? Can it be done with firmware only or is it too much sensor-specific? 
If Panasonic gives us an updated color science which is more or less the same in their whole line of cameras, they will dominate everything. This and high-performance video AF is their only relative weaknesses against the competition. 

Perhaps I could clarify this: users think that either the cheaper Sony lenses are not "good enough" (at least in regards to value/cost) OR they are fantastically good but very expensive (the G-master line and some other Sony branded lenses). 
Not everyone has 10K+ to spend upfront for lenses when adopting a new system, so having a reasonably priced, high performance option is always welcome. Furthermore, many Canonikon users already used to use and love Sigma ART lenses on their DSLRs; in fact most Canon users at least initially use their EF Sigma glass adapted on their Sonys.