KC Kelly

They both support timecode via the flash sync port, just like the GH5S and GH6 does. 

Sounds like a package of Panasonics are perfect for you right now!
 
Ah this is the problem then, what is right for you "now" isn't right for you now once you consider where you want to be in one, two or five years time. 
Meh, if you're shooting low budget stuff with mirrorless cameras then just punch in anyway then still use it in your timeline for an upscaled 4K export. 
Nobody else will notice or care, other than you being extra hard and finicky on yourself. 
As yeah, in the Sony world you'll need to spend at least Sony FX9 money to get yourself a 6K camera. 
Although.... the Sony FX30 does record to ProResRaw 4.7K, so if you just want "a little bit more than 4K" that might tick the box for you. 
 
Get the FX series cameras and you'll have TC support. (FX30/FX3/FX6/FX9)
 
Just because a camera has great autofocus doesn't mean you have to use it all the time. If I got an FX30 I'd certainly be using the great autofocus on low budget videography jobs but then when I shoot a short film / music video with it then I'd be stealing/borrowing/begging a set of anamorphics for the day. 
Plus when Sony was #1 for the low/mid budget productions back just before I started, back in the era of Sony EX1 / EX3 then it wasn't #1 due to autofocus. 
When Sony slipped down to and held strongly the #2 position during the C100/C300mk1 vs FS100/FS700 era (& sort of F3 era), that had kinda almost nothing to do about Sony's autofocus performance. 
When Sony regained the #1 crown for the low/mid budget productions in the FS7 era (and kinda FS5 / F5 era, they played their part too)  that also had nothing to do with their autofocus performance, as it had terrible AF (almost "none" for all practical purposes).
Likewise, Sony is still #1 today in the Sony FX Era not purely due to its autofocus performance, but due to all the other factors being the primary reasons why. 
My suggestion is get the cheapest a7 you can get away with. If it's an original a7 secondhand, then fantastic! (I dunno how important stills are to you, and how much of your work you do as a stills photographer. If it's major, then of course you might need better than an a7mk1! Or is the a7mk4 a body you already have?)
So that you've got as much cash free to get a Sony FX6. If you have any budget still left, then get one or two Sony FX30 bodies, otherwise just get it as soon as you can. 
Having an FX3 by itself as your "best" camera still unfortunately puts you in the same general category as someone shooting with say an a7mk3 or heck even an a6100 shooter. You get viewed as a mirrorless/hybrid shooter. Sure, you can pick up low/no budget shooter jobs as a second videographer for weddings or little short films or whatever. 
But if you want to have a shot at breaking into the more professional low/mid market, then an FX6 is the price of entry. (or at least say an FS7, although that's becoming rapidly old and irrelevant)
Do however consider if you've got the right body of work / showreel / connections to have a real shot at making it up to that next left? If not, maybe buy the Sony FX30 bodies first. Then in a year or two get the FX6 (especially as they'll be even more affordable secondhand by then), and just rent an FX6 until then if you need it. 
  
Indeed it is you to a T!
If the EVA1 could take photos would you get it?? 😛 🤣

First, thanks for the three replies. You do seem to have a pretty good grasp of the current camera situation at most of the different budget levels.
Yes, I agree with your points. 
My needs are that MOST of the time I would be a one-man-band doing it all myself. 
And used EVA1s are fairly inexpensive (around $2,500 on ebay).
And the 24-015 f/4 L Mount I use currently on my Lumix S1 and S5 OG is a great lens for product photography.
But...
I would also want to pick up work where I can as, say, a cam op on an agency job, or as a second shooter at a wedding, etc., and here in California, it is much like the rest of the USA (and probably the world) that agencies pretty much want Sony operators, and wedding shooters want second shooters who shoot Sony, too.
(Of course I am sure there are some agencies that want RED or Canon, but it seems most of the agency-originated jobs are going to Sony shooters. Unless I am missing somethign completely.)
I don't HATE Sony, and in some instances it would make (much) more sense than Panasonic and / or L Mount.
My only real gripes are why they don't have 6K resolution? I don't need to DELIVER in 6K, but kind of need it to cover up jump cuts (the kind of talent I work with struggles even with a teleprompter, so being able to cut to a tighter shot can cover up a jump cut... of course, I have a second camera too).
Also, I saw a video comparing an FX6 to the Varicam LT (I know, an EVA1 is not a Varicam LT), and I certainly liked the image from the Varicam a lot more than the FX6:
Oh, my other gripe is, why can't they put waveforms on their hybrid cameras? And why no Timecode??? (I got the Deity TC-1 and I use Resolve so I can convert audio timecode to meta data in Resolve, but still, since I suck at audio, I like to have as much redundant audio as possible and using up the audio jack on an a7 IV with the TC-1 timecode is kind of a bummer.)
Also, S-Cinetone is trash.
And I can't stand "creators" who buy sony because of the amazing autofocus, and then shoot in anamorphics on them. 
Anyway, so now that I am done complaining, I will probably end up with an FX3 and an a7 IV since I need a camera for still photos (that has a mechanical shutter for firing  flash).
Heck, Maybe I will even get an FX30 since I still have a handful of Sony aps-c lenses like the 10-18 f/4 and the 50mm E OIS, and about four copies of the 16-50 pwoerzoom kit lens that all suck and I can't even seem to give them away...

If you're working solely by yourself (never on other people's productions) say as a wedding videographer or small in house corporate productions, then yes getting say an EVA1 + S1H + S5mk2 (for when AF is critically important, say when shooting solo on a gimbal unpredictable content) would be a nice little package to have!
 
Of course it depends a lot on where you live, and what kind of markets you work in (narrative vs doco vs sports vs commercials vs whatever can all have very different preferences. Likewise low vs mid vs high budget tiers can have different preferences too. Ditto what's popular in Berlin vs Vancouver could be quite different) but generally speaking if you're looking to work quite a bit as a Cam Op / Second Shooter / etc it would be rather foolish to pick anything other than a Sony. 
With a very strong preference for going with the Sony FX6, maaaybe the FX9 depending on your market niche and/or budget. (some people might even be targeting the Sony BURANO, such as this guy who just posted about it this week: https://www.youtube.com/watch?v=91_psSssbGk&ab_channel=CrankyCameraman As that what makes sense for his market and the work he does) But if on a very tight budget, and the FX6 isn't viable, then go with either the FS7 or FX3/FX30 instead. 
If for perhaps you hate Sony and your joy is more important the $$$ in the bank account, or maybe you are targeting a niche where Sony isn't so big & relevant (say narrative for instance) then you can think about other non-Sony alternatives. 
For instance if you're trying to break into the narrative world and make it as a DoP (or you've already "made it" as a DoP, and you can work on productions where you can use whatever cameras you wish and are suitable for the shoot. As they've got the rental budget for it. But you want a smaller cheaper "personal camera" for yourself, so you can bring it along to passion projects you're shooting that you wish to help out) then I'd be seriously considering non-Sony cameras such as the Blackmagics (any of them) or the RED Komodo (or older cheaper models such as the RED Raven or RED Epic / Scarlet) or an older ARRI Alexa Classic (or perhaps the AMIRA). Maaaaybe the BS1H would get a consideration. 
 

I personally have never shot with the EVA1. 
Have worked on a TV Series where the EVA1 was fairly regularly used as an extra camera. (their day to day usage was shooting with 3x Panasonic Varicam LT Every. Single. Day. That was a joy for the Sound Dept!) Any time a fourth (or even 5th!) camera was needed then it probably was going to be an EVA1 ( think sometimes they could get their hands on 4th Varicam? But wasn't that often during the reason)
Also worked on a handful of various no/low/mid budget productions (shorts/commercials/etc) where an EVA1 was used as there was one DoP around here who used to own an EVA1 who I'd semi regularly work with. (he sold it off a couple of years ago? Uses a RED Komodo now. These days I honestly could not think of even one DoPs who has an EVA1 here locally)
So yeah, worked in productions using the EVA1 a fair bit, but in the grand scheme of things it was quite rare. 
I think the Panasonic EVA1 was sadly dead on arrival when launched. As it came out waaaay after the FS7 was already on the scene, thus even though the EVA1 was arguably "better" than the FS7, it was just way way too late. The FS7 was already entrenched in place. 
Heck, Canon had even already launched the C300mk2!
Thus the EVA1 was put squarely in at least 3rd Place (arguably even 4th Place, or worse. As the Blackmagic URSA series attacked hard the no / low budget section of the market which was non-FS7).
Here is the niches where the EVA1 still makes sense in 2024 (but only if you're buying it bargain secondhand prices. Would be crazy to buy it brand new!!):
1) you don't need to ever worry about working with productions that use Sony shooters (say for instance if you do everything about a production in house yourself, and not working as a freelance Cameraman For Hire). Has not having a camera compatible with the #1 brand puts you at a big disadvantage (or heck, at least have a camera in the top five! Sony/ARRI/Canon/Blackmagic/RED)
2) you work in a weird little niche where somehow strangely Panasonic has clawed itself into the top three market share or better. As I'm sure there are little pockets of the filmmaking communities where you might find a large handful of your buddies are all shooting Panasonic. (for instance here in NZ if I was not a PSM but a Cam Op / DoP who was tight with Producers / Directors who work all the time 24/7 with SPP, then maaaybe I'd consider picking up a Panasonic EVA1 as maaaaybe it could pick up a few rental dollars here or there going onto those productions which I'd already be working on)
3) you stubbornly ignore all those factors above (or you're lucky and they don't apply to you) and you really want the power of a FS7/XDCA (or F5) but in the smaller form factor of a FS5 body (and/or you don't like "the Sony look") but you can't afford a FX6. (and for whatever reason, you're a Canon hater, so the C300mk2 is ruled out) Then the Panasonic EVA1 is perfect for you!
4) or you already own a Panasonic Varicam, and you need a smaller and/or cheaper B Cam. But you don't want the rigging hassle of a S1H/BS1H. Then the Panasonic EVA1 is perfect for you!
5) you're a S1H/S1/S5/etc shooter and you really really really want built in NDs (or SDI out, or BNC TC, or whatever... but don't want the BS1H). Then the Panasonic EVA1 is perfect for you!
6) you're a contrarian with a conspiracy minded bent. And it was either this or a ZCam/Kinefinity, but you didn't want the CCP spying on you. Then the Panasonic EVA1 is perfect for you!
7) you get offered the EVA1 for free. Then the Panasonic EVA1 is perfect for you!
That I think is a fairly extensive list of who I think the Panasonic EVA1 is suitable for someone to get in 2024. 
Might have missed out one or two niche exceptions, but I think it's quite comprehensive. 
I hope this year Panasonic brings out an EVA2 with a L Mount (or a MFT mount.... ha!!). But if it happens, the EVA2 will fall victim to the same crime the EVA1 was guilty of: just was simply far too late to market. 
The FX6 has been out for yonks now (heck, I bet within the next couple of years we'll see a mk2 for either the FX6 and/or the FX9. That's just how long it's been!). And the Canon C70 and Blackmagic Pocket 6K cameras have been out for a good chunk of time too, together with the RED Komodo they've swept up nearly every corner of the low/mid budget market. Only a few little corners left to exist in such as where ZCam and Kinefinity are, or Panasonic's own BS1H. 
There is very little space left there for EVA2 to take market share, it would have to fight hard for every inch of it. 
I think Panasonic's best move is not an EVA2, but to relaunch the BS1H (the "BS2H"?) with built in NDs, the AF of the S5mk2, and with the problematic delays of the SDI out fixed that was in the original BS1H. If they can do that at the same price point as the original BS1H was launched at, then they might see some traction they can then build upon.  As such a BS2H could be "the poor man's ARRI 35" who can't afford anything close to ARRI prices, but wants: a box format camera, with good color science, 4K, with built in NDs, SDI, TC, and all at an affordable price. (as strangely enough... think about, what camera meets this?? None aside from the ARRI 35!! And Mini LF. Plus perhaps the OG ALEXA Mini if you ignore the fact it's technically upscaled 4K, not true 4K. On a low budget the closest thing otherwise is using a stripped down FX6 body, or similar. Such as C70)
But the BS1H is only a little over two years old, so I can't see a BS2H coming out this year so soon. 
More likely (at least... we hope?? Be terrible if they don't even do at least this) is that the S1H will be updated with the PDAF of the S5mk2, but otherwise no other major changes of note, just general smaller improvements here or there from the original S1H. 
Then another year or two after that we get the box camera version announced of the S1H mk2.
But by that point, it will be too late? As Blackmagic/RED/ZCam/Kinefinity/Canon/etc won't keep standing still in the years to come. 

I don't care who is running the camera division at Panasonic, but would really like to see an EVA1 successor.  It will probably be L mount and full frame, which is okay with me.  Would love to have the Focus Squares focus peaking from the EVA1.  Needs to have a movable viewfinder, or low latency HDMI and SDI ports, and dual CF Express type B cards.

I don't care who is running the camera division at Panasonic, but would really like to see an EVA1 successor.  It will probably be L mount and full frame, which is okay with me.  Would love to have the Focus Squares focus peaking from the EVA1.  Needs to have a movable viewfinder, or low latency HDMI and SDI ports, and dual CF Express type B cards.

I don't care who is running the camera division at Panasonic, but would really like to see an EVA1 successor.  It will probably be L mount and full frame, which is okay with me.  Would love to have the Focus Squares focus peaking from the EVA1.  Needs to have a movable viewfinder, or low latency HDMI and SDI ports, and dual CF Express type B cards.

Just saying there exists proper Panasonic cine cameras with V-Log etc.
An L-mount BMD cam would have different log and color science so not really an upgrade path to Panny users imo.
I do wish/hope Panny comes out with an (L-mount) EVA-2 or something..

I've changed my EVA1 to the Wooden Camera PL mount.  I don't miss having EF glass.  Since the PL mount is split, there is a possibility to convert to other lenses mounts.

I knew a professional photographer (think Sports Illustrated covers) who switched from Nikon to Canon back when Canon F-1 was their top of the line camera.  He said he could only afford the switch because Canon sponsored him.  He also did a USA television commercial for Canon.
So, I think pro photographers will wait until it is absolutely necessary to switch. 

Inequality of wealth is not the problem. Its inequality of rules! 

I'm okay with my current cameras (EVA1, GH5, GH4.)  Unless one of them has a failure, I'll probably not buy a new camera in 2021.  But, BGH1, S5, GH6, EVA2, or possibly Red Komodo would interest me.  At least I can afford them.
My main purchase in 2021 will be a Tokina 25-75m T2.9 when it comes out.

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It would be nice to have a GH5S with IBIS.
I wonder what they will call the G9 successor. Panasonic G10 was a low-end early camera under the G1. G100 we know about and it tarnishes the entire brand 🙂
So G... what?
Whatever it's called, as the main stills flagship for Micro Four Thirds, a G9 successor will leave room for GH6 to go low-megapixel, good low light like GH5S rather than the 20MP GH5... That is, unless they choose to go down the 8K route!

1) Are they going to make a new DVX200 based on the GH5 internals ?
2) Are they going to make an L mount EVA1 ?
3) Have they had a refund from the market research company for that new vlogging camera ?

Get a Masters in business.  It's applicable to all fields.  It also shows that you're serious about the bottom line, and will help you running your own business.

Get a Masters in business.  It's applicable to all fields.  It also shows that you're serious about the bottom line, and will help you running your own business.

Get a Masters in business.  It's applicable to all fields.  It also shows that you're serious about the bottom line, and will help you running your own business.

Get a Masters in business.  It's applicable to all fields.  It also shows that you're serious about the bottom line, and will help you running your own business.

Get a Masters in business.  It's applicable to all fields.  It also shows that you're serious about the bottom line, and will help you running your own business.

I would rather have a crew with enough knowledge and experience to make things work with the equipment on hand.

I would rather have a crew with enough knowledge and experience to make things work with the equipment on hand.

As I started this mess I wanted to give an update some time later
 
AVC-I at 400 Mbps beats the xxxx out of ProRes 422 and I could not see any difference to ProRes 422 HQ at naked eye and pixel peep
Looking for explanations I believe is due to two things
1. intraframe predictive coding on 16x16 blocks that achieves high level of compression than standard discrete cosine transform in ProRes
2. CABAC entropy encoding squeezing additional bits without loss in the clips
It is difficult to average what the benefits are compared to ProRes but is not difficult to see that they are at least 30% based on perceived quality
As there are no fast enough SD cards this is limited to 30p on the GH5 but in terms of non RAW capture this appears to be very good
 
And with this I think I have closed the case I opened myself

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.