currensheldon

You can add the FX9 top handle and get four channels of audio.
This camera is truly incredible and probably my next purchase from my C300 III unless Canon follows up with something equually as impressive quickly. The fact that this camera inherits almost everything from the most popular cinema camera in the world that doesn't have Arri in the name (the Sony Venice), while also adding features that its target audience (indie and doc owner operators) will love - namely IBIS, E-ND, downsampled 8.6k, Venice color and image, smaller form factor, etc -  is pretty incredible.
I mean, IBIS?! I did not expect to see IBIS and E-ND together for the first time ever in a cinema camera from Sony - but I'll take it. 
This is truly an incredible release. Probably the biggest cinema camera release (again, not called Arri) since the original Venice and the Red Monstro before that. 

You can add the FX9 top handle and get four channels of audio.
This camera is truly incredible and probably my next purchase from my C300 III unless Canon follows up with something equually as impressive quickly. The fact that this camera inherits almost everything from the most popular cinema camera in the world that doesn't have Arri in the name (the Sony Venice), while also adding features that its target audience (indie and doc owner operators) will love - namely IBIS, E-ND, downsampled 8.6k, Venice color and image, smaller form factor, etc -  is pretty incredible.
I mean, IBIS?! I did not expect to see IBIS and E-ND together for the first time ever in a cinema camera from Sony - but I'll take it. 
This is truly an incredible release. Probably the biggest cinema camera release (again, not called Arri) since the original Venice and the Red Monstro before that. 

I think we're at the point where the image from most new cameras is good enough. Most pros in the mid-sector (corporate, lifestyle, web videos, social content, docs, some commercials, etc) understand that once you hit a certain level of image quality, other factors are far more important. They'll be more concerned about things like: Can I hand the footage off to another editor/agency and they'll know exactly how to handle it? Can I hire eight of them locally at short notice for a multi-cam shoot?  Does it still work if I need to shoot something that's not my regular style (this is where the Sony really shines as the FX6 is so versatile)? Will most AC's or 2nd shooters I hire know the camera well already? Are producers going to specifically be looking for owner/ops with this camera? If my lens gets smashed, can I find a replacement to buy/borrow/rent pretty quickly? These are the questions that form the difference between quality output, or a profitable business. 

These are the reasons why Sony dominates this particular market segment right now. The point I was making is that, unless you're providing all of these things to a user as well, then it's going to take a lot more than just offering 8K or "better colour" in order to convince them to buy something else instead.

Pure image output matters more in the higher and lower ends. On the lower end, a lot of the logistical problems disappear as you're only every concerned about yourself, your own camera and your own workflow. And at the higher end, budgets allow for cameras that answer all the questions above while also providing the very best IQ possible. Panasonic probably realise this and know that trying to make an FX6 competitor would be an uphill battle.

Agreed. I would argue for pure image quality at 24-30fps in 4k, the S1H is ahead of the FX6. I think the FX6 is just OK in the under $10k space in terms of IQ - not even in my top 10 cameras (no Sony is). BUT it does do a lot of other things well (favorite form factor, E-ND, 120fps 4k, etc), which might be more important for some jobs. 
But a full-frame, 6k-8k, L-Mount cinema camera that featured the same specs for $5-7k would be very enticing for a lot of people. I like that many new cameras went for just 4k (FX6, FX9, C300 III, C70) as you rarely need more than that, BUT that does leave the door open for someone like Panasonic to leapfrog them to the next level of 6k and 8k, and then to add features like internal ProRes, great 4k downsampled from 8k, etc. If they just put out an EVA-1 with an L-Mount, probably wouldn't move the needle, but a bigger leap would.

I don't think they're that far off from being able to EXCEED what the FX6 is capable of and at a lower price point. I'm not saying they should try to, but the gap between the S1H and the FX6 isn't THAT huge. The big difference is form factor, e-ND, and I/O. It already beats it in numerous ways, like resolution and dynamic range. 
People act like Sony is unbeatable, but the tech gap and the headstart they had is narrowing more and more. We're at a point where even Nikon and Fuji are creating powerful video tools, while Canon has started becoming more and more aggressive with its video features and pricing. Whether it's in the mirrorless market or the cine market, Sony isn't invulnerable. 

Oops. Didn't quite finish the post and it wouldn't let me edit.
Here ya go:
A lot of the niche manufacturers are doing some really amazing things with their cameras and Panasonic should take the same approach. Black Magic with their internal raw and giant 5" very bright screen. Kinefinity with their design, use of SSDs, electronic ND, dual battery plate, and great monitor solutions, Z-Cam F6 Pro with V-Mount (YESSS), etc. The Ronin 4D is also brilliantly designed and if it didn't have the gimbal on the front, I would buy it in a heartbeat. 
All of the major manufacturers use the exact same photo-first design (even the Sony FX3 and FX30 and Canon R5c), which just isn't great for video shooting (the Canon C70 is great, but sort of proves the point. Pain in the butt to hold that large of a camera out in front of you and use the dinky screen). 
Panasonic needs to think out of the box and expand the S1H into a video-creating monster for $4000 - $4500. In my mind that means mostly hardware upgrades (assuming they'll snag something like the A1 sensor):
- Electronic ND that works with IBIS
- Two Mini XLRs
- TIMECODE (criminal that the S5 IIx doesn't have this)
- Dedicated top handle (the FX30 does this great)
- 4 - 4.5", 1200+ nit screen - you may still want to use an external monitor, but don't make it a necessity). Would also be great if this could be mounted to the side of the handle (like the Mavo Edge). 
- SDI port
- Same PDAF as S5 II
- Some other out-of-the-box accessories: a battery grip that has an SSD slot for external raw (rather than having to buy crappy Atomos monitor/recorders).
Every time a manufacturer has caught up in the space they did something others were not doing (Sony with small, full-frame mirrorless cameras and then a focus on AF, Fuji with their retro design and aesthetics, Red with 4k and 8k, Black Magic with interesting features and low prices, etc).
Panasonic is not going to win doing the same thing as everyone else, even if they do it better. They have to take a leap and offer something others won't. I hope they do.

For sure. Unfortunately, the Varicam and EVA-2 were from the cinema division and not the Lumix division and I think the cinema division is done. However, I still think Lumix could fill the same gap and kind of did with the BS1H, but it was missing too many features to snag any of the Red Komodo, Z-Cam, and other box-like camera pie.  
A lot of the niche manufacturers are doing some really amazing things with their cameras and Panasonic should take the same approach. Black Magic with their internal raw and giant 5" very bright screen. Kinefinity with their design, use of SSDs, electronic ND, dual battery plate, and great monitor solutions, Z-Cam F6 Pro with V-Mount (YESSS), etc. The Ronin 4D is also brilliantly designed and if it didn't have the gimbal on the front, I would buy it in a heartbeat. 
All of the major manufacturers use the exact same photo-first design (even the Sony FX3 and FX30 and Canon R5c), which just isn't great for video shooting (the Canon C70 is great, but sort of proves the point. Pain in the butt to hold that large of a camera out in front of you and use the dinky screen). 
Panasonic needs to think out of the box and expand the S1H into a video-creating monster for $4500. In my mind that means mostly hardware upgrades (assuming they'll snag something like the A1 sensor):
- Internal NDs that work with IBIS
 
 

The difference in lenses is overall build and optical quality. The Panasonic 50mm f1.8 is vastly superior in every way to the Canon or Sony equivalents, especially in build and function. With that said, it would be good for Panasonic to have a $150-200 lens to get people into the system. I like the 40mm f2 or 40mm f2.8 pancake option. 
The Panasonic S5 was recently selling for $1500 in the USA and you got a free 50mm f1.8 or awhile and then they switched it to a free 85mm f1.8. I think they should just keep this pricing permanent. After a year or two of using the S5, those users (hooked now with lenses), will be all about upgrading to the S5 II or S2H or whatever comes next. 
But, like they recently said about "looking forward to the rapid expansion of Lumix systems," they need to expand very quickly and aggressively. PDAF is here, the excitement is up, they are better in almost every way compared to the other brands in terms of IQ, tools, IBIS, video assist tools, ergonomics, look/design, mid-tier lens quality, high-end lens quality (for 24-70mm, 50mm f1.4, etc), etc - I really think Panasonic just have better cameras than all of the competition outside of telephoto lenses and AF - but now the AF is comparable to Sony and easily better than the video AF on Canon's R5c. 
They need to spend the next 6-9 months releasing at least 2-3 more bodies. Specifically a VERY video focused video at NAB in April (like BS2H or S2H with updated stacked sensor, high-frame rates, electronic ND (please!), timecode, and (probably though I don't care too much) 8k) and then a 47-61 megapixel S5 IIr. 
A 24mm and 85mm f1.4 in the 500-650 gram range would also be very welcome.

The difference in lenses is overall build and optical quality. The Panasonic 50mm f1.8 is vastly superior in every way to the Canon or Sony equivalents, especially in build and function. With that said, it would be good for Panasonic to have a $150-200 lens to get people into the system. I like the 40mm f2 or 40mm f2.8 pancake option. 
The Panasonic S5 was recently selling for $1500 in the USA and you got a free 50mm f1.8 or awhile and then they switched it to a free 85mm f1.8. I think they should just keep this pricing permanent. After a year or two of using the S5, those users (hooked now with lenses), will be all about upgrading to the S5 II or S2H or whatever comes next. 
But, like they recently said about "looking forward to the rapid expansion of Lumix systems," they need to expand very quickly and aggressively. PDAF is here, the excitement is up, they are better in almost every way compared to the other brands in terms of IQ, tools, IBIS, video assist tools, ergonomics, look/design, mid-tier lens quality, high-end lens quality (for 24-70mm, 50mm f1.4, etc), etc - I really think Panasonic just have better cameras than all of the competition outside of telephoto lenses and AF - but now the AF is comparable to Sony and easily better than the video AF on Canon's R5c. 
They need to spend the next 6-9 months releasing at least 2-3 more bodies. Specifically a VERY video focused video at NAB in April (like BS2H or S2H with updated stacked sensor, high-frame rates, electronic ND (please!), timecode, and (probably though I don't care too much) 8k) and then a 47-61 megapixel S5 IIr. 
A 24mm and 85mm f1.4 in the 500-650 gram range would also be very welcome.

It definitely would make sense for BMD to start using an L mount given the adaptability, vs. EF. Other than working with Canon to use the RF mount or Sony to use the E mount, it's probably the best option for them.

They should simplify the lineup and just do an S1H replacement with full-width 4K60/120, internal raw, timecode etc and internal ND's, locking IBIS, basically what the R5C should have been, a full-tilt "video DSLR". No need for an EVA2.
Then meld the S1 and S1R together into a single replacement model that's like the S5II but with full-width 4K60, combo screen mechanism, and the bigger battery and better EVF.

I'm hoping instead for a "BS2H" instead. 
Maybe a very very modest update to the S1H? Just like the GH5 to the GH5mk2

Yeah, I mean when you factor in the quality of the 1.8 Panny primes they are worth it, I think, BUT it's a hard sell when they are so much more costly than their competitors. You can sell an incredible camera like the S5II for $500 less than your competitors and that will entice people, but then you see those lens prices compared to their competitors, and it becomes a bit less enticing. 
Most of my work uses zooms, but I'll end up getting a couple of those primes. But it'd be nice to get a sub $200 50mm prime that was small and lightweight like Canon offers. 

It basically seems like Sony has been holding out on PDAF for Panasonic cameras for years and they are finally letting them license PDAF on a sensor that is older and that Sony will probably never use again - so why not milk it for some more money since Panasonic's only big gripe against it is the bad AF?
To be fair, that sensor is gorgeous on Panasonic cameras (not so much Sony's), and the S1H still has the best 24fps IQ of any mirrorless camera out there. 
IF Panasonic can dramatically improve the HDMI latency (full-sized, yay!), add internal ProRes, and the AF is as reliable as some of the competition, The S5 II will be very tempting - especially around $2000-2200... It's basically an S1H but much smaller, cheaper, better codec (ProRes), and much better AF (ostensibly). And when you look at it that way, sounds pretty sweet to me.
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I am curious what they are going to do with the S2H (or S1H II) though, as that camera will have to feature 120fps 4k, no crop, probably 8k, internal ProRes, and so many other video goodies. It almost seems like they should just make a BS2H and soup-it up to the max and go all out on video and then the S5 II can be their hybrid. 
 
 

I just don't agree that the L-Mount is all that weak on lenses. The f1.8 prime set from Panasonic is incredibly and their f2.8 zooms are as well (though big, heavy), plus great f4 pro lenses (16-35, 70-200) and nice affordable, high-quality lenses (24-105mm, 70-300mm, and now the new 14-28mm). And Sigma has an incredible line up of DG DN lenses now, whether you're looking for f1.4 primes (20mm, 24mm, 35mm, 85mm) or f2 primes (20mm, 24mm, 35mm, 65mm) or unique/small lenses (24mm f3.5, 45mm f2.8, 90mm f2.8) small but fast zooms (16-28mm f2.8, 28-70mm f2.8) or the standard 24-70mm f2.8 and 14-24mm f2.8 zooms. 
Agree that Sigma needs an 50mm f1.4 DG DN and Panasonic could use a couple more f1.4 primes (24mm and 85mm), but it's a pretty darn full lineup and you could do almost every type of work with native L-Mount lenses - easy. 
My problem is not knowing which to buy - The Sigma "i" series or the Panasonic f1.8 set - both are amazing.

I just don't agree that the L-Mount is all that weak on lenses. The f1.8 prime set from Panasonic is incredibly and their f2.8 zooms are as well (though big, heavy), plus great f4 pro lenses (16-35, 70-200) and nice affordable, high-quality lenses (24-105mm, 70-300mm, and now the new 14-28mm). And Sigma has an incredible line up of DG DN lenses now, whether you're looking for f1.4 primes (20mm, 24mm, 35mm, 85mm) or f2 primes (20mm, 24mm, 35mm, 65mm) or unique/small lenses (24mm f3.5, 45mm f2.8, 90mm f2.8) small but fast zooms (16-28mm f2.8, 28-70mm f2.8) or the standard 24-70mm f2.8 and 14-24mm f2.8 zooms. 
Agree that Sigma needs an 50mm f1.4 DG DN and Panasonic could use a couple more f1.4 primes (24mm and 85mm), but it's a pretty darn full lineup and you could do almost every type of work with native L-Mount lenses - easy. 
My problem is not knowing which to buy - The Sigma "i" series or the Panasonic f1.8 set - both are amazing.

Trying to find a flaw in trading my: S1H, S5 and pair of S1R’s for 3x S5ii’s…
A. Would have preferred a tilt screen but it’s not a dealbreaker.
B. Will I miss not having 47mp stills? Probably not…
C. Other than the stealthy black aesthetic, does the X model (not available until May and too late for me for this year anyway) have anything over the standard model that I would want or need? Doesn’t appear so as I thought it might have a CF Express slot but the internal ProRes is limited to 1080. ‘Only’ 200 mbps (or is that mbs…but who cares) which is fine for me.
I’m away at the moment but I think 3x bodies plus 2x battery grips is going to suit me…
Already have: Sigma 16-28 and 28-70 f2.8 compact zooms for video plus; 20, 35 and 85 f1.4’s for stills.
I also have the f4 24-105 if I do need longer.
I think it’s looking healthy for L Mount 👍

It basically seems like Sony has been holding out on PDAF for Panasonic cameras for years and they are finally letting them license PDAF on a sensor that is older and that Sony will probably never use again - so why not milk it for some more money since Panasonic's only big gripe against it is the bad AF?
To be fair, that sensor is gorgeous on Panasonic cameras (not so much Sony's), and the S1H still has the best 24fps IQ of any mirrorless camera out there. 
IF Panasonic can dramatically improve the HDMI latency (full-sized, yay!), add internal ProRes, and the AF is as reliable as some of the competition, The S5 II will be very tempting - especially around $2000-2200... It's basically an S1H but much smaller, cheaper, better codec (ProRes), and much better AF (ostensibly). And when you look at it that way, sounds pretty sweet to me.
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I am curious what they are going to do with the S2H (or S1H II) though, as that camera will have to feature 120fps 4k, no crop, probably 8k, internal ProRes, and so many other video goodies. It almost seems like they should just make a BS2H and soup-it up to the max and go all out on video and then the S5 II can be their hybrid. 
 
 

It basically seems like Sony has been holding out on PDAF for Panasonic cameras for years and they are finally letting them license PDAF on a sensor that is older and that Sony will probably never use again - so why not milk it for some more money since Panasonic's only big gripe against it is the bad AF?
To be fair, that sensor is gorgeous on Panasonic cameras (not so much Sony's), and the S1H still has the best 24fps IQ of any mirrorless camera out there. 
IF Panasonic can dramatically improve the HDMI latency (full-sized, yay!), add internal ProRes, and the AF is as reliable as some of the competition, The S5 II will be very tempting - especially around $2000-2200... It's basically an S1H but much smaller, cheaper, better codec (ProRes), and much better AF (ostensibly). And when you look at it that way, sounds pretty sweet to me.
--
I am curious what they are going to do with the S2H (or S1H II) though, as that camera will have to feature 120fps 4k, no crop, probably 8k, internal ProRes, and so many other video goodies. It almost seems like they should just make a BS2H and soup-it up to the max and go all out on video and then the S5 II can be their hybrid. 
 
 

The experience of shooting is important to me and I do not like shooting with the Pocket 4k or 6k. Battery life is a pain, ergonomics are awful, don't like EF mount, want IBIS, prefer full-frame, like Panasonic's IQ more, etc. Red Komodo has a lot of the same issues and its IQ is wayyyy below other Red cameras.
I'm sure Panasonic will come out with something soon, so fine with waiting.

Panasonic makes my favorite cameras, by FAR. And they have my favorite IQ under $10k (except maaaybe the C70). And the best IBIS. I also love their f1.8 prime set. That's fantastic. 
But they do need to get something out this year (September/October) before I go all-in on buying a set of lenses. I had the S1H and loved it - still do. If they could give me an S1H II with some nice upgrades (mini XLR port to go with a 3.5mm jack, internal NDs, ProRes recording, a 12-bit HD/4k profile perhaps?), I'm all in for the next 3-4 years.
 
 

Yes, I'd say it's pretty significant. 12-bit Raw on the C300 just gives an added depth and richness to the image that 10-bit can't achieve. I was always amazed by the C200's raw and found it pretty stunning, but the DGO sensor adds a whole extra level of usability.
This update makes the C70 probably the finest cinema camera under $9k. I also love that it's an even lighter version of raw (645mbps), which will make it way more useful in a variety of situations.
Time and tests will tell, but I would think the 12-bit image should be a pretty big jump in IQ - and that's saying something coming from that sensor.

Yes, I'd say it's pretty significant. 12-bit Raw on the C300 just gives an added depth and richness to the image that 10-bit can't achieve. I was always amazed by the C200's raw and found it pretty stunning, but the DGO sensor adds a whole extra level of usability.
This update makes the C70 probably the finest cinema camera under $9k. I also love that it's an even lighter version of raw (645mbps), which will make it way more useful in a variety of situations.
Time and tests will tell, but I would think the 12-bit image should be a pretty big jump in IQ - and that's saying something coming from that sensor.

The C70 codec is definitely soft compared to the C300 mk3. This guy shows a direct comparison:
C200 is also very soft when using XFAVC vs RAW Lite, so hopefully on C70 the RAW Lite will add the missing sharpness/detail. 
I must say adding such a compressed RAW codec on the C70 really seals the deal for me on that cam. Was not expecting such a major firmware update from Canon neither. 

I CAN'T WAIT. Genius. Hope it lives up to my giant expectations.