currensheldon

I think Panasonic will keep their MFT GH-line to push out awesome video specs before anyone else (like they did with GH5's 10-bit 4K, and 60fps 4K). Then they'll trickle up to their full-frame cameras a couple of years later.
I wouldn't be surprised to see a late 2019 GH6 with 12-bit 4K internal raw (perhaps BM Raw, since it is open), 120 fps 4K, and maybe even a higher resolution like 6k or 8k at 30p.
Also, they may just go all in on the video front and throw in the one thing I'm waiting for: an internal variable ND. Please? someone? 

I think Panasonic will keep their MFT GH-line to push out awesome video specs before anyone else (like they did with GH5's 10-bit 4K, and 60fps 4K). Then they'll trickle up to their full-frame cameras a couple of years later.
I wouldn't be surprised to see a late 2019 GH6 with 12-bit 4K internal raw (perhaps BM Raw, since it is open), 120 fps 4K, and maybe even a higher resolution like 6k or 8k at 30p.
Also, they may just go all in on the video front and throw in the one thing I'm waiting for: an internal variable ND. Please? someone? 

I think Panasonic will keep their MFT GH-line to push out awesome video specs before anyone else (like they did with GH5's 10-bit 4K, and 60fps 4K). Then they'll trickle up to their full-frame cameras a couple of years later.
I wouldn't be surprised to see a late 2019 GH6 with 12-bit 4K internal raw (perhaps BM Raw, since it is open), 120 fps 4K, and maybe even a higher resolution like 6k or 8k at 30p.
Also, they may just go all in on the video front and throw in the one thing I'm waiting for: an internal variable ND. Please? someone? 

With all the new mirrorless combos, I'm really looking for a mirrorless system where I can use the same lenses for both a full frame, pro-body and a smaller APS-C, take anywhere, be more discreet body - as well as possibly use for higher end cinema stuff when needed. Unfortunately, Sony is the only manufacturer that has a good lens lineup and mount (FS7/5, A7x, A6500...) to achieve this. But wow - their ergonomics and image and color continue to be horrible in my opinion. 
Hoping the L-Mount lens lineup fills out soon, plus adds an L-Mount EVA-2 and Sigma APS-C camera. The Panasonic S1 is really exciting.

Really true on the cannibalization. Give me a GH5 with MFT mount in a smaller EVA-1 body (internal NDs + XLRs) and that would be good for me (maybe another stop of useable ISO to get it to 3200 or so). 
Fuji could do it, since they have nothing to protect, but not looking likely in the next year or so (or maybe ever). They also have those amazing affordable cinema lenses. 
 

Really true on the cannibalization. Give me a GH5 with MFT mount in a smaller EVA-1 body (internal NDs + XLRs) and that would be good for me (maybe another stop of useable ISO to get it to 3200 or so). 
Fuji could do it, since they have nothing to protect, but not looking likely in the next year or so (or maybe ever). They also have those amazing affordable cinema lenses. 
 

Yea - Because the Pocket 4K already got so much bigger, they should have gone all the way and just made it even a bit bigger, added internal NDs, and a real battery slot somewhere. The 5-inch screen is great, but 4-inches would be just fine. Even at $2.5k - $3.5k, that would be right in line with my ideal A-Cam (though, I guess then there isn't much differentiation between it and the Ursa Mini Pro). Perhaps they'll make an Ursa Mini Pro Mini soon. 
I look forward to the day when a manufacturer makes a C100 II-sized (or a bit smaller) 4k 60fps camera. A workhorse that you don't have to worry about power, screw-on NDs, overheating, etc and can still get a beautiful BM Raw esque image quality. The only thing that comes ergonomically close is the FS5, but that camera may have the worst internal 4K image coming out of a $1k+ video camera.
With that said, I LOVE the image of my Pocket 4K and will definitely be using it for a lot of applications. But not sure I can trust it on a professional shoot until I get some real power solutions (looking forward to the tilta solutions). With this sensor, codecs, ISO-ability, menu system, etc they could have really crushed the indie crowd market with a $3k-$4k camera that had real batteries and internal NDs - even the audio is pretty great for 90% of scenarios (with one xlr and one 3.5mm). 
 

I think Panasonic will definitely focus more on full-frame and cinema cameras moving forward. The S1 and S1r look great and an upgraded EVA-1 with L-Mount would be awesome. 
Where MFT will exist and thrive is in Panasonic's ability to put more advanced specs with this sensor size. For example, they were the first to really get IBIS down (Olympus MFT too), the first to offer 4K internal for a high-end hybrid camera (GH4), first to offer 4K 10-bit 422 internal (GH5), first to offer 4K 60p (GH5) and the first to offer a quality XLR adapter for a hybrid camera. 
So, I think Panasonic will continue to use the less processing power it takes to read a MFT sensor and also add in advanced video features to the GH6 and GH6s, namely:
6k or 8k internally (or via HDMI) 120fps or 180fps in 4K Internal ND filter (rumored to be in the S1 anyway) Better XLR adapter for high quality audio Great battery life, like in GH5 - which is leaps and bounds better than Fuji X-T3, EOS R, and Pocket 4K (I hear Sony A7III does well too, but my A7rII ate through batteries). Improved IBIS and low light - perhaps matching the GH5 IBIS with the GH5s low light If they can do these things, while also adding lenses like the 10-25mm f1.7, MFT will be strong for awhile. They could also help it out by offering a small EVA-mini with MFT sensor, IBIS, and 96-120fps in 4k.
 
 

BATTERY JAM
I read this yesterday and have not had any issues with the battery jamming for the two weeks I've had the camera.
But last night, on the first real shoot that I've really used it on, the battery jams! And I couldn't get it out (battery also randomly died when it said 85%!) and missed some of the action. Luckily, I still had the GH5 and quickly swapped over my lenses and microphone and kept shooting. But man, not cool. Not when I was thinking of making this my A-Cam for all one-man-band documentary or lower budget commercial work.
Battery is still stuck in the compartment. 
Andrew - seen any videos or reports of how to get the battery out once it is jammed in there? Definitely getting external power (the Tilta cages + power look fantastic), but still need the LP-E6 batteries to work. Obviously. 

Honestly, I'd love to use smaller cameras with IBIS for all my work. But still end up using Canon C100/200/300 because of internal NDs and high-quality audio. It just doesn't seem like it would be too difficult to add NDs into mirrorless cameras (look at what the FS5/7 can do). if the GH6 (or my hope, the X-H2) did add NDs + have a slightly higher quality XLR adapter, it would be a no brainer. Sony and Canon are a bit hamstrung because of their cinema lines, but Fuji is free to do whatever they want there (with the best Super35mm lenses in the business and linear focusing to boot). Panasonic also seem to be willing because they'll throw everything they can into a product. 
The best thing the EOS R has going for it, in my opinion, is that variable ND adapter - really cool solution if you want to use EF lenses (which you kind of have to at this point still).