currensheldon

Based on just what we know, if Sony released this exact same camera but as the A7sIII, people would be heaping praise on them. 
- first mirrorless to offer full frame 60p in 4k
- 10 bit for 24-60p in 4K (first ever) 
- very very usable IBIS (unlike Sony’s)
- Anamorphic shooting 
- and oh, btw, the first camera to shoot full frame 6k under $30k... 
- 14 stops dynamic range with Panasonic’s color science (which is way nicer than Sony).
Still hoping for internal NDs, but we’ll see what else they put in here. This thing is PACKED full of features. 

Based on just what we know, if Sony released this exact same camera but as the A7sIII, people would be heaping praise on them. 
- first mirrorless to offer full frame 60p in 4k
- 10 bit for 24-60p in 4K (first ever) 
- very very usable IBIS (unlike Sony’s)
- Anamorphic shooting 
- and oh, btw, the first camera to shoot full frame 6k under $30k... 
- 14 stops dynamic range with Panasonic’s color science (which is way nicer than Sony).
Still hoping for internal NDs, but we’ll see what else they put in here. This thing is PACKED full of features. 

Based on just what we know, if Sony released this exact same camera but as the A7sIII, people would be heaping praise on them. 
- first mirrorless to offer full frame 60p in 4k
- 10 bit for 24-60p in 4K (first ever) 
- very very usable IBIS (unlike Sony’s)
- Anamorphic shooting 
- and oh, btw, the first camera to shoot full frame 6k under $30k... 
- 14 stops dynamic range with Panasonic’s color science (which is way nicer than Sony).
Still hoping for internal NDs, but we’ll see what else they put in here. This thing is PACKED full of features. 

Depends on when it's released. Z Cam has FF 6k60 with a planned October release. But I agree with everything you say. It shouldn't be taken lightly that this thing has specs well beyond any of the competition, as was the S1 for that matter.
 
And there are a lot of specs/features that we haven't heard anything about. Rolling shutter? Even if it gets down to ~10ms that would be huge over other FF cameras. How about timecode? Or something as simple as two 1/4-20 holes on the bottom? Nikon is the closest so far, with a 1/4-20 and a locator pin. What if they add a mini XLR like the P4k? A DC power input would streamline a rig. I know most of those probably won't be present, but it's worth waiting to see before dissing it. 6k might be a headline feature, but I'm more interested in the multitude of little things that would make my life easier.

Based on just what we know, if Sony released this exact same camera but as the A7sIII, people would be heaping praise on them. 
- first mirrorless to offer full frame 60p in 4k
- 10 bit for 24-60p in 4K (first ever) 
- very very usable IBIS (unlike Sony’s)
- Anamorphic shooting 
- and oh, btw, the first camera to shoot full frame 6k under $30k... 
- 14 stops dynamic range with Panasonic’s color science (which is way nicer than Sony).
Still hoping for internal NDs, but we’ll see what else they put in here. This thing is PACKED full of features. 

That seems like quite a bit for a mirrorless camera. If they can get internal NDs in there, have great pre-amps to eliminate any low level hiss from the XLR adapter (that the GH5 did have a bit of), and broadcast approved 10-12 bit codecs for $4k-$5k (or so), I do think that is game-changing. Nobody has anything even close to that in this size, form factor, or price.
Yes, I hope there is some really game-changing extra surprises (like global shutter or 4k 120fps or internal compressed raw), but the above is still leaps and bounds ahead of everything else. There isn't even a manufacturer that offers anything better than 8-bit 420 in UHD.
It's a bummer that people are dismissing the S1 when it is such a more capable camera than an EOS R or any Sony I've used (and way nicer image quality) - just because the AF can't perfectly track people sprinting at them, a situation I have never needed to film in my 7+ years making videos and films... 
 

Rubbish. It’s not just about autofocus performance. Ergonomics, build quality and reliability are equally or more important in a professional environment.
Autofocus isn’t necessarily important at all for professional use. Depends on the job. 

Yea agreed - if it is really for filmmakers, then just make a true video camera with these specs. 
The S1 is the true hybrid, so it seems strange that this would be called a hybrid version.
 

I kind of wish that Panasonic would've let go of the mirrorless form factor for this camera. Strictly speaking, there is no good reason to give a purpose-built video camera a mirrorless-style body. It does not really fit with the way people operate cinema cameras. As a hybrid between still and video, OK. But for a dedicated cinema camera, I would've much preferred a LS300/VG900 camcorder-style body. It would make it much easier to accommodate the inevitable PL mount adaptors and pro battery plates. Also, XLR inputs and audio controls.

Well, I don't normally do this but I'll be first to preorder because I have a feeling this lens will be on backorder for awhile.

Yea we'll see how much the L-Mount camera will be, but the GH6 + 10-25mm f1.7 isn't that much different than an S1 + 24-70mm f2.8, which would be way heavier, more expensive, and losing that very useful 20-24mm range. That is, if the GH6 can make sure to have the low light capabilities of the GH5s. And, chances are, the GH6 will be the most feature-packed $2k camera out there. 

Any camera that allows you to get the job done and get paid is a pro tool imo.
Of course if you're doing high-end cinema, sports photography or have broadcast requirements, that may exclude most hybrid MILCs (at least as A-cams).
The C200 is definitely pro gear even if it isn't Netflix approved or has a broadcast-friendly codec. 
There is a indie feature film presented at Cannes festival this year making buzz that was shot on 4 C200s, another one last year was shot on couple A7S2s.

You’re right. 
I know countless people using the GH5 for serious video work. I’m one of them and everybody is fine with it, and never questions it. I use it alongside the EVA1 and the GH5 performs brilliantly, every time.  
 

This is a very impressive price and weight. Depending on what the GH6 has will probably dictate whether I grab this or not.
but I’d love something like this that is that much lighter than the Sigma/Metabones combo (which I stop down to f1.4-1.8 most of the time anyway).
and the extra wide angle is amazing. Getting a 20-50mm (with AF) compared to something like 27-55mm is also very useful. Add on the GH5 1.4x punch in and you have a 20-75mm f1.7 - really impressive. 
Almost makes me want to stay with MFT, but that new L Mount camera coming is going to be sweeeeeet

Hopefully Panasonic realizes it makes more sense to cannibalize your products, than to let someone else do it. Like Sony did with the FS7 vs F5 (or F35 vs F23, or F3 vs F35, or F55/F5 vs F3, etc). 

Also the Panasonic Varicam S35/LT are kinda getting old ish, so although they're still very capable and relevant, perhaps time for an update? 

One rumor says it is "built like a tank," so I would think they are following their S1 mode of creating true professional tools. I'm all for that. But definitely a fan of small-ish form factors (FS5/EVA) over something like Ursa Mini Pro or FS7. 
It is difficult to figure out where and how this will fit in the Panasonic lineup without hurting the EVA-1 or Varicam LT. Maybe Panasonic has decided it is better to have one massive hit and cannibalize yourself rather than wait for someone else to do it... 

I'm very curious (and excited!) about what this will be, what it will look like, and where it will fit in Panasonic's lineup.
If it is just an S1-C (cinema) with minor upgrades, that would be a bummer. However, if they could add internal NDs, I'm all in right away. Surely they'll add at least the higher-end codecs and All-I of the GH5, but that alone wouldn't excite me much. I tend to use the 10-bit 150mbps on the GH5 more often anyway for space reasons (and the S1 is already getting that with full V-Log). And, as Andrew noted, the H265 already on the camera is excellent. 
So, I would think this camera would have to be something quite a bit more to be appealing - hoping for a FS5-sized full frame camera or an XC-15 style camera. Internal NDs, IBIS, 120fps in 4K, and an efficient raw codec (please BM Raw and not ProRes Raw), are all high on my wish list. 
I just hope it's more of an FS5/EVA-1 form factor (or smaller, more LUMIX-y) and not a FS7 shoulder cam. 
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Also excited that they'll have a working DP talking about her experience using it at CineGear, which may mean it is closer to being ready to roll than the GH5, EVA-1, or S1 were when they were announced (all announced with just basic details to sit there for 3-5 months). 

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... 
 

Agreed. Very happy rumors point to it NOT having 8K. Unnecessary for another 3-5 years, I'd think for a camera at this level. Instead, they need to focus on making our 4K workflows easier and even better: internal NDs, compressed raw, other great codecs ("streaming service and broadcast approved"), still compact enough to use on handheld gimbals, timecode... etc.
If it can offer those things and make my EVA-1 unnecessary, then a bit bigger than the S1 is perfect. 

"Small" being for me around the size of an FS5.

Just give me a small FF camera with great internal ND's...
Hope it's a product that will result in competitors dropping prices.

I'm very curious (and excited!) about what this will be, what it will look like, and where it will fit in Panasonic's lineup.
If it is just an S1-C (cinema) with minor upgrades, that would be a bummer. However, if they could add internal NDs, I'm all in right away. Surely they'll add at least the higher-end codecs and All-I of the GH5, but that alone wouldn't excite me much. I tend to use the 10-bit 150mbps on the GH5 more often anyway for space reasons (and the S1 is already getting that with full V-Log). And, as Andrew noted, the H265 already on the camera is excellent. 
So, I would think this camera would have to be something quite a bit more to be appealing - hoping for a FS5-sized full frame camera or an XC-15 style camera. Internal NDs, IBIS, 120fps in 4K, and an efficient raw codec (please BM Raw and not ProRes Raw), are all high on my wish list. 
I just hope it's more of an FS5/EVA-1 form factor (or smaller, more LUMIX-y) and not a FS7 shoulder cam. 
--
Also excited that they'll have a working DP talking about her experience using it at CineGear, which may mean it is closer to being ready to roll than the GH5, EVA-1, or S1 were when they were announced (all announced with just basic details to sit there for 3-5 months). 

True. I love MFT and if they had a EVA-1 style video camera, I probably would be using MFT fully, especially once the 10-25mm f1.7 lands. But, without really knowing what's ahead for MFT and Panasonic, hard to justify buying what will probably be a $2k+ lens. 

Panasonic has definitely been known to make bold moves compared to Canon, so maybe they will really go for it, so to speak.
I think the L-Mount needs a GREAT camera, a game-changing camera, to really push it forward. The E-Mount was very slow to take off as well with the VG900, original A7 line, and FS100/700 - some adopters but not a ton... but the A7s' low light abilities really made people take notice. And then the second generation cameras improved dramatically. The FS7 launch was also HUGE for Sony (4 years into the E-Mount's life).
Consider, in 2014 (5 YEARS AGO), the FS7 had 4K 10-bit 422, 60fps in 4K, 180fps in HD, and external raw. Canon still doesn't have much of that unless you're shooting raw on the C200 and Panasonic matched it with the EVA-1 just 2 years ago. The FS7 + A7s combo really pushed the E-Mount forward. 
We have been recycling the specs of the FS7 for 5-years in the under $10k field. 
So Panasonic does need that game-changing, 2019 L-Mount camera to push their new mount and direction forward. The S1 is amazing and will get even better with the coming firmware. But this cinema camera needs to be packed full at a price that is attainable (like the FS7 was). 
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Then, Sigma needs to deliver a collection of f2 primes that aren't HUMONGOUS and expensive, like every L-Mount lens right now. 
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EDIT:
Woah! So I guess it is an official LUMIX event: https://www.eoshd.com/2019/05/cine-gear-expo-reveals-new-cinema-lumix-camera-announcement-on-may-31/
So maybe we are looking at something more affordable and not from the high-end Panasonic cinema team (unless they are going to start branding everything LUMIX). 

Me as well.
Though, I do think that if you can put internal NDs into a GH6 and add in 4K 120fps and the low light capabilities of the GH5s, that would satisfy my MFT video needs - which I would use mainly for traveling jobs and times when I need to go super lightweight.
Full V-Log and internal/external raw would be nice as well.