A_Urquhart

I suppose this is a necessity when you have Arri's poor wireless track record. The WCU4 was absolutely terrible when it came to wireless performance so whatever can help the situation is good I suppose. The Hi5 is supposedly a big step up ....which it needs to be.

I’m not disputing that the P6K may have better highlight rolloff. I have both the 6K Pro and the FX30 but haven’t done any side by side tests. 
I do wonder how accurate comparing two cameras can be when using a lut.

Just out of interest, why do you need to shoot 8K on a phone? 

For 'run n gun' I'd say the camera is MORE important than if you are taking the time to light.
You wan't something robust, that has most of the controls at your fingertips and allows you to plug in and control/monitor a microphone easily. You also want something that has good Image quality, a good codec and good dynamic range to handle the vast variables that Run n Gun has to deal with.
When you have more time and control over the scene, you can get away with less Dynamic Range as you can light for the camera.
I wouldn't run n gun with an iPhone but after that, C70, R5, Pocket 6K,FX30, S1, S5, GH6 etc etc are all great cameras and will not hold you back.
IDK what camera you have but if looking to buy, I'd recommend the Pocket6k Pro or G2 for it's BRAW Codec and super intuitive menus. RAW for Run n Gun is not necessary but does give you more of a chance of recovering a shot when it comes to exposure and white balance in post. There is a reason why most productions I work on shooting Alexa 'only' shoot ProRes, big crews can light accordingly so RAW is not required but for Run n Gun it comes in handy.
I also personally don't recommend AF for Run n Gun. If you have one chance to get the shot, you don't want to risk the AF losing the subject and throwing focus off wildly while it searches for it again. AF systems are getting better and better but the viewer would rather see a shot where you might lose focus momentarily and pull it back organically that a shot where AF goes crazy looking for the subject. AF has a time and place, but manual focus is my pick for Run n Gun work.
This is also why I prefer APS-C sensors, for the same light gathering, you get a slightly deeper DOF to work with that is still shallow enough to look pleasing by today's standards. 
Most importantly, choose a lens that is easy to work with. For fast paced doc work, a Par focal zoom will make your live easier.
 

For 'run n gun' I'd say the camera is MORE important than if you are taking the time to light.
You wan't something robust, that has most of the controls at your fingertips and allows you to plug in and control/monitor a microphone easily. You also want something that has good Image quality, a good codec and good dynamic range to handle the vast variables that Run n Gun has to deal with.
When you have more time and control over the scene, you can get away with less Dynamic Range as you can light for the camera.
I wouldn't run n gun with an iPhone but after that, C70, R5, Pocket 6K,FX30, S1, S5, GH6 etc etc are all great cameras and will not hold you back.
IDK what camera you have but if looking to buy, I'd recommend the Pocket6k Pro or G2 for it's BRAW Codec and super intuitive menus. RAW for Run n Gun is not necessary but does give you more of a chance of recovering a shot when it comes to exposure and white balance in post. There is a reason why most productions I work on shooting Alexa 'only' shoot ProRes, big crews can light accordingly so RAW is not required but for Run n Gun it comes in handy.
I also personally don't recommend AF for Run n Gun. If you have one chance to get the shot, you don't want to risk the AF losing the subject and throwing focus off wildly while it searches for it again. AF systems are getting better and better but the viewer would rather see a shot where you might lose focus momentarily and pull it back organically that a shot where AF goes crazy looking for the subject. AF has a time and place, but manual focus is my pick for Run n Gun work.
This is also why I prefer APS-C sensors, for the same light gathering, you get a slightly deeper DOF to work with that is still shallow enough to look pleasing by today's standards. 
Most importantly, choose a lens that is easy to work with. For fast paced doc work, a Par focal zoom will make your live easier.
 

I have the P4K, 6KPro and FX30. 
By far, my favourite to use is the 6K Pro.....mainly for the internal ND's and the better battery life compared to the P4K and regular P6K which use the small LPE6 batteries.  I only got the FX30 as a B Camera to the FX6 for quite a few clients that want Sony but I can't say it brings me 'joy' to use or is a 'fun' camera. I've never really found Sony's user friendly but use them more out of necessity. Technically the FX30 is fantastic, specs wise it's amazing but if you wan't a camera that is easy to use and allows you to focus more on creativity, the 6K Pro is the pick of the bunch. Also has the best image quality IMO even if I do 'only' really ever shoot in ProRes 4K on it.
I also love the fact that the Pocket Cameras can record to inexpensive Samsung T5 and T7 SSD's and this saves you a ton of money compared to Sony where if you want to shoot 10bit ALL-I, you need to buy expensive CFexpress type A cards. With a Tilta cage on the Pockets and using the Tilta Samsung T5 holder, it feels like the SSD's are an integrated part of the camera rather than add on external storage. 

Just out of interest, why do you need to shoot 8K on a phone? 

Just out of interest, why do you need to shoot 8K on a phone? 

I have the P4K, 6KPro and FX30. 
By far, my favourite to use is the 6K Pro.....mainly for the internal ND's and the better battery life compared to the P4K and regular P6K which use the small LPE6 batteries.  I only got the FX30 as a B Camera to the FX6 for quite a few clients that want Sony but I can't say it brings me 'joy' to use or is a 'fun' camera. I've never really found Sony's user friendly but use them more out of necessity. Technically the FX30 is fantastic, specs wise it's amazing but if you wan't a camera that is easy to use and allows you to focus more on creativity, the 6K Pro is the pick of the bunch. Also has the best image quality IMO even if I do 'only' really ever shoot in ProRes 4K on it.
I also love the fact that the Pocket Cameras can record to inexpensive Samsung T5 and T7 SSD's and this saves you a ton of money compared to Sony where if you want to shoot 10bit ALL-I, you need to buy expensive CFexpress type A cards. With a Tilta cage on the Pockets and using the Tilta Samsung T5 holder, it feels like the SSD's are an integrated part of the camera rather than add on external storage. 

I’m not disputing that the P6K may have better highlight rolloff. I have both the 6K Pro and the FX30 but haven’t done any side by side tests. 
I do wonder how accurate comparing two cameras can be when using a lut.

The dual base ISO's of the FX30 are 800 and 2500. As an FX6 user, I find the FX30's Base ISO's more usable than the FX6 unless I am shooting in complete darkness (which I never do because professionals use lights.)😉

Panasonic need to play the long game if they wan't to regain a user base especially one that does spend quite a bit of money over years of ownership. I think Panasonic could easily produce a camera on par, if not better than the FX6 for at least $1000 less. Even if margins are low to start with, they play the long game and entice pro's back to the brand.
Yep, Sony are definitely beatable! For a start, I hate the cheap feeling menu dials that ofter skip two or three menu items in one click. Their EVF/Screen is not very robust at all. I'd say Sony's build quality on the FX6 is pretty poor overall. 
Panasonic have been in the broadcast/ ENG game a long time. They now have the tech including AF for those that need it. They just need to package it up in a camera that suits the pro user. FX6-ish form factor, eVND, Full size XLR, Timecode input/output, Genlock, good EVF, etc etc.
 

Regarding GH6, information regarding image quality is very contradictory. Noise reduction and anti rolling shutter algorithms messing with the image too much to be reliable enough to trump a GH5II by a meaningful margin, if at all.
I would have been interested by the promise of a pocket4K image in a GH5 body. But it´s not like that it seems. It has proved to hold onto colour and resolution much better than a GH5s in low light but that on locked shots with little onscreen movement. Forum friends have reported here that digital mambo jambo, 3D noise reduction is degrading the otherwise potentially great image quality from this camera. I hope to get more insight into this, as I am still interested in this intriguing camera. Btw no Prores for UHD modes and no Prores LT is just a super dumb move! No battery grip, wtf.
For FF, please, Timecode and 4K60p full frame and open gate, 10bit 422, All Intra, rolling shutter less than 15ms in open gate. Nothing else needed. Make it 3000 Euro. With SDI and internal ND for a 4000 model. Thank you!

There is plenty of need for an EVA replacement in a slightly smaller body. 
Firstly, it's going to be hard cramming all that in to a thin mirrorless body. Sure, you could do something like the Pocket6K Pro but if you are aiming for the next level up user, the professional, most do not like the form factor of DSLR's for video.
Panasonic needs a Sony FX6 level camera in their lineup. The FX6 is hugely popular for any work where an Alexa Mini is too expensive or not required. FX6's are everywhere and easily dominate the Pro market globally. Why wouldn't Panasonic want a slice of that pie? 
Do you know what most Camera Operators that shoot on FX6's also buy? FX30's and FX3's as B Cameras. 
You know what else these operators are starting to purchase? Genuine lenses for Autofocus. Lots of shooters doing sport content (which is a huge market) are now wanting AF as the new systems are very reliable. For the best performance, they are buying genuine lenses. So, with an FX6 purchase, you will likely get an FX3 or FX30 purchase AND two or three G Master lenses. 
Panasonic would be absolutely crazy to not chase that market.

I think you'll be very happy with the S5II. Looks like a great hybrid camera on paper. 
I wonder wether Panasonic will be able to add timecode input vie the mic minijack in a firmware update like is possible on the BMD Pocket cameras? Seems like a strange omission especially in the X model considering it is obviously aimed at the more professional user. Lack of TC makes it a non option for many and seems like a fairy simple feature to implement but then I'm no engineer.
 

There is plenty of need for an EVA replacement in a slightly smaller body. 
Firstly, it's going to be hard cramming all that in to a thin mirrorless body. Sure, you could do something like the Pocket6K Pro but if you are aiming for the next level up user, the professional, most do not like the form factor of DSLR's for video.
Panasonic needs a Sony FX6 level camera in their lineup. The FX6 is hugely popular for any work where an Alexa Mini is too expensive or not required. FX6's are everywhere and easily dominate the Pro market globally. Why wouldn't Panasonic want a slice of that pie? 
Do you know what most Camera Operators that shoot on FX6's also buy? FX30's and FX3's as B Cameras. 
You know what else these operators are starting to purchase? Genuine lenses for Autofocus. Lots of shooters doing sport content (which is a huge market) are now wanting AF as the new systems are very reliable. For the best performance, they are buying genuine lenses. So, with an FX6 purchase, you will likely get an FX3 or FX30 purchase AND two or three G Master lenses. 
Panasonic would be absolutely crazy to not chase that market.

I think you'll be very happy with the S5II. Looks like a great hybrid camera on paper. 
I wonder wether Panasonic will be able to add timecode input vie the mic minijack in a firmware update like is possible on the BMD Pocket cameras? Seems like a strange omission especially in the X model considering it is obviously aimed at the more professional user. Lack of TC makes it a non option for many and seems like a fairy simple feature to implement but then I'm no engineer.
 

10000000% agreed!

And it is not just FX6 owners, but also aspiring FX6 owners. 
Lots of buyers of an a7S  / a7 / a6x00 / etc who get those and aspire to one day have "a pro camera", and get a mirrorless stills camera with the same mount as what they know they'll one day upgrade to. 
As much as I like this new S5mk2 release, and think it is awesome, it's nearly impossible for me to justify getting when a) I have a FS7 with an E Mount, and b) if/when I get another pro camera (in a few years time, no rush. I want the supply shortages to end, and for them to depreciate in cost), it will most likely be a FX6! (or maaaaaybe FX9, anyway it is definitely an E Mount!)
This was the biggest issue with MFT Mount as well, when it became clear there would never ever be an AF100 replacement. At least BMD kinda sort of filled that hole (in a different way) for a while with their MFT cameras. 
Panasonic is seriously crippling themselves by not having an "EVA2 with a L Mount". 
People need to know there is an upgrade path for them well beyond the S5mk2. 
  
Also true 😞

If we are talking in general terms of Panasonic v Sony rather than being camera specific, while the new S5II is a step in the right direction, Panasonic are not even playing in the same ballpark as Sony for anyone more than a hobbyist. Sony are dominating the market and Panasonic really need to start producing some exceptional cameras both at the FX3/FX30 end and to rival the FX6 if they want to compete in the next few years. Most professionals are not going to jump ship from a system of bodies and lenses unless they are given a very good reason to. Panasonic need to produce an FX6 which is as good or better than Sony's but at a much lower price for people to even consider changing system. Same for FX3 and FX30 level cameras. 
For enthusiasts or people who do their own projects then it's less of an issue to swap systems but to people who spend a fair amount of money on equipment, throwing that all away for a 1-5% improvement when pixel peeping is not going to happen. Panasonic have waited too long to get up to speed and without a proper video camera like the Fx6 I can't see them growing too quickly in markets other than hobbyists.

There is plenty of need for an EVA replacement in a slightly smaller body. 
Firstly, it's going to be hard cramming all that in to a thin mirrorless body. Sure, you could do something like the Pocket6K Pro but if you are aiming for the next level up user, the professional, most do not like the form factor of DSLR's for video.
Panasonic needs a Sony FX6 level camera in their lineup. The FX6 is hugely popular for any work where an Alexa Mini is too expensive or not required. FX6's are everywhere and easily dominate the Pro market globally. Why wouldn't Panasonic want a slice of that pie? 
Do you know what most Camera Operators that shoot on FX6's also buy? FX30's and FX3's as B Cameras. 
You know what else these operators are starting to purchase? Genuine lenses for Autofocus. Lots of shooters doing sport content (which is a huge market) are now wanting AF as the new systems are very reliable. For the best performance, they are buying genuine lenses. So, with an FX6 purchase, you will likely get an FX3 or FX30 purchase AND two or three G Master lenses. 
Panasonic would be absolutely crazy to not chase that market.

Cool story bro. If you can't get images out of the FX30 that don't make you want to vomit, that's user error. You're doing something very wrong.

Cool story bro. If you can't get images out of the FX30 that don't make you want to vomit, that's user error. You're doing something very wrong.

If we are talking in general terms of Panasonic v Sony rather than being camera specific, while the new S5II is a step in the right direction, Panasonic are not even playing in the same ballpark as Sony for anyone more than a hobbyist. Sony are dominating the market and Panasonic really need to start producing some exceptional cameras both at the FX3/FX30 end and to rival the FX6 if they want to compete in the next few years. Most professionals are not going to jump ship from a system of bodies and lenses unless they are given a very good reason to. Panasonic need to produce an FX6 which is as good or better than Sony's but at a much lower price for people to even consider changing system. Same for FX3 and FX30 level cameras. 
For enthusiasts or people who do their own projects then it's less of an issue to swap systems but to people who spend a fair amount of money on equipment, throwing that all away for a 1-5% improvement when pixel peeping is not going to happen. Panasonic have waited too long to get up to speed and without a proper video camera like the Fx6 I can't see them growing too quickly in markets other than hobbyists.

If we are talking in general terms of Panasonic v Sony rather than being camera specific, while the new S5II is a step in the right direction, Panasonic are not even playing in the same ballpark as Sony for anyone more than a hobbyist. Sony are dominating the market and Panasonic really need to start producing some exceptional cameras both at the FX3/FX30 end and to rival the FX6 if they want to compete in the next few years. Most professionals are not going to jump ship from a system of bodies and lenses unless they are given a very good reason to. Panasonic need to produce an FX6 which is as good or better than Sony's but at a much lower price for people to even consider changing system. Same for FX3 and FX30 level cameras. 
For enthusiasts or people who do their own projects then it's less of an issue to swap systems but to people who spend a fair amount of money on equipment, throwing that all away for a 1-5% improvement when pixel peeping is not going to happen. Panasonic have waited too long to get up to speed and without a proper video camera like the Fx6 I can't see them growing too quickly in markets other than hobbyists.

If you want a hybrid camera, id skip the FX30. I love it as a video camera but wouldn't want it to be my only camera if I needed stills as well. 
If you take video seriously and don't really need stills, the FX30 would be my pick even over the newly announced S5II....and A7IV.
I'd also be very careful of taking advice from anyone that says the FX30's image quality is 'vomit'. This obviously indicates they have no idea what they are doing.