currensheldon

Basically an S1H with 120fps in 4k in a video-camera body (XLRs, internal NDs, etc). Has to be 20-24 megapixels to get 6k raw output or maybe even get it up to 8k raw output (36 megapixels?). 

In my opinion, Panasonic makes the best cameras with the best IQ (especially video IQ) in the business. They are reliable, packed full of features, ergonomically nearly perfect, and just fantastic to use. The S1 and S1H (and seemingly the S5) are the most useful mirrorless tools and the S1H in particular is a brilliant video camera.
But Panasonic needs to go all-out with L-Mount NOW, because Canon and Sony are going gangbusters with camera releases. With the C70 RF and Sony FX6 coming out soon, Panasonic needs to release an EVA-2 ASAP and load it with features to solidify the L-Mount. The EVA-2 has to be an FS7-type release, where they give out features that no other manufacturer has at that price point. Main competition will obviously be the C300 III, FX9, FX6, and C70. 
Here is what I think they need to do:
- Release EVA-2 with L-Mount
- FULL FRAME - has to be.
- 120-180fps in 4k (C300 III and C70 does this, but has a Super35 sensor)
- IBIS - first ever in a cinema camera and make it LOCKABLE (I know cinema cameras "NEVER!" have IBIS, but I think the market would love it).
- Dual ISO (640 and 4000)
- 12-bit codec - Codecs in EVA-2 and S1H and 5.9k ProRes Raw output are great - internal raw would be excellent but maybe not possible. An internal 12-bit codec would be awesome though.
- PDAF - I don't care as much about AF, but the market demands it. At least the S5 AF in the EVA-2. 
- Compact Body - Make it smaller, more like the FS5 sized than EVA-1
- $7499 - Same price as EVA-1 and WAY below any full-frame cinema camera with these specs. Could even go closer to the FX9 ($10k even) with these specs.
If they put out a pretty standard Super35 camera with 4k 60fps and raw out (basically an EVA-1 with L-Mount), they're not going to gain much traction. They need a GH5-level release (2-3 years ahead of the competition on specs) but in full-frame. The FS7 changed the trajectory for Sony and wasn't matched on specs and price until the EVA-1, nearly 3-4 years later. They need THAT type of camera now.
 
 
 
 

Something like external prores raw @ 60fps FF, somewhere between 4k and 6k, with a low rolling shutter would get my attention.
Sounds doable based on what they're currently doing... they just also need to do a good job on the included monitor and choice of media.

In my opinion, Panasonic makes the best cameras with the best IQ (especially video IQ) in the business. They are reliable, packed full of features, ergonomically nearly perfect, and just fantastic to use. The S1 and S1H (and seemingly the S5) are the most useful mirrorless tools and the S1H in particular is a brilliant video camera.
But Panasonic needs to go all-out with L-Mount NOW, because Canon and Sony are going gangbusters with camera releases. With the C70 RF and Sony FX6 coming out soon, Panasonic needs to release an EVA-2 ASAP and load it with features to solidify the L-Mount. The EVA-2 has to be an FS7-type release, where they give out features that no other manufacturer has at that price point. Main competition will obviously be the C300 III, FX9, FX6, and C70. 
Here is what I think they need to do:
- Release EVA-2 with L-Mount
- FULL FRAME - has to be.
- 120-180fps in 4k (C300 III and C70 does this, but has a Super35 sensor)
- IBIS - first ever in a cinema camera and make it LOCKABLE (I know cinema cameras "NEVER!" have IBIS, but I think the market would love it).
- Dual ISO (640 and 4000)
- 12-bit codec - Codecs in EVA-2 and S1H and 5.9k ProRes Raw output are great - internal raw would be excellent but maybe not possible. An internal 12-bit codec would be awesome though.
- PDAF - I don't care as much about AF, but the market demands it. At least the S5 AF in the EVA-2. 
- Compact Body - Make it smaller, more like the FS5 sized than EVA-1
- $7499 - Same price as EVA-1 and WAY below any full-frame cinema camera with these specs. Could even go closer to the FX9 ($10k even) with these specs.
If they put out a pretty standard Super35 camera with 4k 60fps and raw out (basically an EVA-1 with L-Mount), they're not going to gain much traction. They need a GH5-level release (2-3 years ahead of the competition on specs) but in full-frame. The FS7 changed the trajectory for Sony and wasn't matched on specs and price until the EVA-1, nearly 3-4 years later. They need THAT type of camera now.
 
 
 
 

Exactly my thoughts as well. I prefer using Panasonic or Canon and Canon really blew it with the R5 and R6 for video shooters (I also just don't like the ergonomics and design of their RF mirrorless cameras). The C70 looks really interesting, but not sure it will be any better than the S1H, which is my favorite sub $15k camera/image I've ever used.
But I have been reluctant to go full L-Mount due to the lack of a smaller camera I can use as a B-Cam and as my photography camera. But with the S5 and a small 24mm and 50mm coming out soon (hopefully by end of year?), I'm pretty stoked to have the S1H/S5 combo for the next few years at least.
Now an L-Mount, full-frame EVA-2 needs to come very soon. 
 
 

So I took the plunge. One Panasonic ambassador told me about an interesting offer with a shop in France. Besides the Panasonic offer with the Sigma 45mm offered for free, this shop will give you 3 years more warranty + a free battery. I thought it was a good deal so I pre-ordered it. I am pretty sure I would do it as I need another body to complement my S1H but this offer made me purchase it right away.
So it should arrive by the end of september/beginning of october. I will put it through its paces as I have some interesting jobs coming along, especially one shooting a documentary for the french national television service (France Television) if it is delivered in time.
So I'll give you all my first feedback really quick I think.
Pretty excited by this camera as it is the one I was waiting for in the L-mount system : a smaller camera than my S1H that could still shoot awesome video to match with the bigger brother, being quite smaller to be my B-cam/gimbal cam, also my main stills camera, and one that I could bring everyday to shoot some street and mundane photography (without the hassle to release the S1H from the rig/cage between pro gigs) and one camera that I could take on vacation without sacrificing any quality in stills picture and video.

Oof, hate to admit it but this is close to the camera I've been wanting for 4-5 years. A small, compact cinema camera with all the bells and whistles (ND, xlr, etc). I think Panasonic would have been smart to do this with the S1H - make it a bit bigger, add NDs, mini XLRs, and charge an extra $500-1000. That would have quieted some of the AF chatter too.
Canon is frustrating, especially right now, but this does look pretty amazing. 

Correct. Shooting BELOW 6400 ISO is 98% of use cases. But I usually shoot (75% of the time) at whatever the native ISO is (640 ISO for GH5, if I remember correctly?).
Even with the S1H, I almost never go above 4000 ISO. 

Sorry for misunderstanding you. I totally agree!
That is why is great to have dual native ISO, one for day time and one for night. The GH5S, EZ and Pocket sensor is really liberating for me and negates the one issue I have with the GH5, which admittedly isn't that great at 3200 and more.

There is also one feature I've been dying to see - a big 4.5-5 inch flip out screen. And a fuckin bright one. The never released Sharp prototype of 8k camera nailed it. 

Correct. Shooting BELOW 6400 ISO is 98% of use cases. But I usually shoot (75% of the time) at whatever the native ISO is (640 ISO for GH5, if I remember correctly?).
Even with the S1H, I almost never go above 4000 ISO. 

As an S1 owner, I'm still perfectly happy with my camera. The addition of 10-bit 60p is just not that big of a deal for me -- an incremental update, at best. The 8-bit holds up just fine, I use it on every shoot. I wouldn't be surprised if the S1 does get a firmware update to bring features into parity, but even if it doesn't, I don't think we should be encouraging Panasonic to cripple their lower-tiered new releases in order to protect further on up the product line-up, because isn't that exactly the kind of corporate BS everyone is pissed at Canon for right now?  The S5's reported anamorphic modes sound cool, I wish I was able to take advantage of them anyway, but let's be honest, I'm not going to be shooting with real anamorphics anytime soon anyway. 

Technology always moves onward and upward, and better tech and features trickles down to newer, lower models, that's just the way it is. And, despite the addition of the S5, the S1 is still going to have a much more robust, abuse-proof body, and that big, beautiful, detailed EVF, and still have class-leading DR. I am looking forward to hopefully picking up an S5 for for a smaller, lighter b-cam, perhaps to replace my GH5. 

You nailed it.
I see the G9 at $999 almost everywhere. In terms of hardware it is superior to the GH5, has better photo capabilities, better low light imaging, much better burst modes, HiRes Mode, much better IBIS, better design etc.
After the S5 at under $2000 with free Vlog(?), Panasonic should just resume the GH lineup, with a price between the G9 and GH series, and preferably much closer to G9.
Smartphone sensors are getting bigger and their zoom and low light capabilities are growing exponentially. That's the biggest competition to ILCs. And FF cameras at $2000 are the other issue.
Panasonic needs to move fast. Outline the roadmap instead of sounding confused in interviews (IR interview). 

For MFT and GH6 to survive now that everyone has caught up with the GH-series but in full-frame (10-bit, All-I, 60fps in 4k, etc) is to offer things that will take another 3-4 years for other manufacturers to do (especially since Canon and Sony have just put out their mirrorless video flagships):
- high frame rates (for sure), including 120-180fps in 4k at good bit rates (and not insane ones like R5). Maybe even 480fps in HD?
- e-ND - they HAVE to have internal ND filters.
- GH5s or better low light - just to at least be in the same ballpark as Super35/full-frame (meaning usable to 6400 ISO, which is 98% of use cases)
- Internal raw or at least some form of 12-bit compression that gets you close to raw quality (BM Raw?) 
- Great XLR capabilities - perhaps a better version of the grip that is also dual XLRs? I would prefer this than the hotshoe one so there is still a place to mount a microphone without a cage (or to keep your monitor centered over camera).
- Global Shutter or miniscule rolling shutter - MFT has always been good for this, but now to take it a step further. 
- $1799 or lower - Has to be cheaper than entry-level full-frame and something like the XT3. 
- Tof AF? - I don't care a ton about AF (always seems to fail me in critical moments with Canon/Sony so I don't use it), but so many people care A LOT, that they have to do something.
- Insanely good IBIS - This has always been Panasonic's strong suit, but Canon has caught up. So 8-10 stops of IBIS and improved mechanism for walking forward to create close-to-gimbal like movement. 
Pair this camera with the 10-25mm f1.7 and video shooters are set.

For MFT and GH6 to survive now that everyone has caught up with the GH-series but in full-frame (10-bit, All-I, 60fps in 4k, etc) is to offer things that will take another 3-4 years for other manufacturers to do (especially since Canon and Sony have just put out their mirrorless video flagships):
- high frame rates (for sure), including 120-180fps in 4k at good bit rates (and not insane ones like R5). Maybe even 480fps in HD?
- e-ND - they HAVE to have internal ND filters.
- GH5s or better low light - just to at least be in the same ballpark as Super35/full-frame (meaning usable to 6400 ISO, which is 98% of use cases)
- Internal raw or at least some form of 12-bit compression that gets you close to raw quality (BM Raw?) 
- Great XLR capabilities - perhaps a better version of the grip that is also dual XLRs? I would prefer this than the hotshoe one so there is still a place to mount a microphone without a cage (or to keep your monitor centered over camera).
- Global Shutter or miniscule rolling shutter - MFT has always been good for this, but now to take it a step further. 
- $1799 or lower - Has to be cheaper than entry-level full-frame and something like the XT3. 
- Tof AF? - I don't care a ton about AF (always seems to fail me in critical moments with Canon/Sony so I don't use it), but so many people care A LOT, that they have to do something.
- Insanely good IBIS - This has always been Panasonic's strong suit, but Canon has caught up. So 8-10 stops of IBIS and improved mechanism for walking forward to create close-to-gimbal like movement. 
Pair this camera with the 10-25mm f1.7 and video shooters are set.

For MFT and GH6 to survive now that everyone has caught up with the GH-series but in full-frame (10-bit, All-I, 60fps in 4k, etc) is to offer things that will take another 3-4 years for other manufacturers to do (especially since Canon and Sony have just put out their mirrorless video flagships):
- high frame rates (for sure), including 120-180fps in 4k at good bit rates (and not insane ones like R5). Maybe even 480fps in HD?
- e-ND - they HAVE to have internal ND filters.
- GH5s or better low light - just to at least be in the same ballpark as Super35/full-frame (meaning usable to 6400 ISO, which is 98% of use cases)
- Internal raw or at least some form of 12-bit compression that gets you close to raw quality (BM Raw?) 
- Great XLR capabilities - perhaps a better version of the grip that is also dual XLRs? I would prefer this than the hotshoe one so there is still a place to mount a microphone without a cage (or to keep your monitor centered over camera).
- Global Shutter or miniscule rolling shutter - MFT has always been good for this, but now to take it a step further. 
- $1799 or lower - Has to be cheaper than entry-level full-frame and something like the XT3. 
- Tof AF? - I don't care a ton about AF (always seems to fail me in critical moments with Canon/Sony so I don't use it), but so many people care A LOT, that they have to do something.
- Insanely good IBIS - This has always been Panasonic's strong suit, but Canon has caught up. So 8-10 stops of IBIS and improved mechanism for walking forward to create close-to-gimbal like movement. 
Pair this camera with the 10-25mm f1.7 and video shooters are set.

Did you miss the Sigma L mount 85mm F1.4? Looks great.

The S1's AF with Panasonic, native lenses (or the Sigma 45mm f2.8, which I have also tried) seemed pretty darn good to me. If the subject is clear and there was decent contrast, it seemed pretty darn smooth to me. Where it had trouble is backlit subjects or scenes with very little contrast. But, at the same time, the EOS R and C200 have failed on me consistently under the same conditions and I've missed shots relying on the AF.

The S1's AF with Panasonic, native lenses (or the Sigma 45mm f2.8, which I have also tried) seemed pretty darn good to me. If the subject is clear and there was decent contrast, it seemed pretty darn smooth to me. Where it had trouble is backlit subjects or scenes with very little contrast. But, at the same time, the EOS R and C200 have failed on me consistently under the same conditions and I've missed shots relying on the AF.

The S1's AF with Panasonic, native lenses (or the Sigma 45mm f2.8, which I have also tried) seemed pretty darn good to me. If the subject is clear and there was decent contrast, it seemed pretty darn smooth to me. Where it had trouble is backlit subjects or scenes with very little contrast. But, at the same time, the EOS R and C200 have failed on me consistently under the same conditions and I've missed shots relying on the AF.

AF performance differs radically based on lighting. A flatly lit face will track much better than a moodily lit one. Contrasty lighting bit me hard on a C700 shoot, and wasted 5 minutes of valuable setup time wrestling with AF settings. I'm sure it works well for many people and many projects; personally, I'm not ready to give up the level of control I have with a wireless puller.

The S1's AF with Panasonic, native lenses (or the Sigma 45mm f2.8, which I have also tried) seemed pretty darn good to me. If the subject is clear and there was decent contrast, it seemed pretty darn smooth to me. Where it had trouble is backlit subjects or scenes with very little contrast. But, at the same time, the EOS R and C200 have failed on me consistently under the same conditions and I've missed shots relying on the AF.

With the V-Log upgrade, the S1 matches the S5 in specs on almost everything (except 10-bit 60fps 4k and some anamorphic modes, perhaps?). But on the S1 you also get: a more robust build, much better EVF, longer battery life, better back monitor, and a top LCD (for those who like that).
While in specs they are (close) to equals, the S5 will definitely be cheaper because those changes are how manufacturers really save money on manufacturing costs. As an S1H owner, I can live with those changes because I'm way more interested in having a smaller, lighter L-Mount camera for photos and a gimbal b-cam when needed. So, very pumped for the S5 and ready to fork over $2k for it, but thinking it will be closer to $1699 - $1799... hopefully. 

What a mess Canon made. If they wanted to protect their cinema line, they should have just put a 5-min time limit on the 8k and 4khq modes instead of an overheat timer. That way it was at least usable as a b-cam. Now you have an unreliable piece of expensive junk you cannot trust at all.