Sharathc47

The problem is that Canon, like all big camera manufacturers, uses an ASIC architecture for the camera electronics and signal processing: single-purpose boards where most functions are hard-wired, allowing smaller bodies, less cooling and lower manufacturing costs in high volumes.
To implement ProRes, Canon would need to develop a new ASIC from scratch, which is expensive, and is only done every couple of camera generations, with one ASIC for all current Canon SLR and mirrorless cameras.
Blackmagic, Arri and RED and other smaller manufacturers use FPGA instead of ASIC: fully programmable boards (or mini computers) where new codecs and functions can be implemented in software. While FPGAs are more flexible and cheaper to develop initially, they are larger, require more cooling andbigger camera housings, and are more expensive to manufacture per piece than ASICs.
The Blackmagic Pocket Cinema 4K and 6K cameras are good examples for those advantages and disadvantages of the FPGA architecture.
The Sigma fp is a good example for the advantages of ASIC (smaller body with a full frame sensor), but also for the disadvantages (lots of limitations that likely can't be fixed in firmware).
 

Yep, I couldn't give a shit about 6k, just give me IBIS, flippy screen, better battery - the 30 minute limit removed, full size hdmi, and an easier 10 bit to edit would be icing on.the cake but I don't want anything that will push the price too high. The  XT3 is a great camera that just needs a few improvements, big difference to Canon who are finally coming out guns blazing after all the crap they've been serving up these last few years.
The R5 sounds like it will be a great camera too but at a much higher price with big heavy full frame lenses required. I much prefer the sleak svelte Fuji system

I can see why he needs raw, wb is totally off 😄

I get 1000+ shots out of a single battery stills only shooting raw + Jpeg every wedding. Easily. 1000-1500. And before anyone cries "balls", week in, week out. It mostly depends how you have the thing set up and how you use it...
But the XT3 absolutely chews through batteries for 4k video no question and even with a battery grip, ie, 3 batteries in total, I need to swap out at least the 2 in the grip to get through a typical 9-12 hour day.
However, I prefer the Anker power bank / USB option and have that attached to my monopod and with that system in place, can easily shoot (video) on a single internal battery (ie no grip) 9-12 hour day.
Neither solution is ideal which is why I welcome the XT4 with IBIS and supposedly better battery. The only two things I am really interested in.
 

I just want three things on the x-t4:
1) Better battery/battery life
2) Ibis
3) better CAF (ideally a touch-to-track option)

https://www.blackmagicdesign.com/products/blackmagicvideoassist
Monitor/recorder, 5 and 7 inch models, HDR support, scopes, etc.
A blazing 2500 nits for both options.
$800 and $1000 respectively
The most interesting part is you can record BRAW with it. I wonder how this will work with other cameras from diff manufactures. 
Also Blackmagic RAW is officially supported in Avid and Premiere Pro. 

Just opening this to start off the discussion of the Z-CAM E2 models.
I shot with one for the first time at IBC in 2019 and will bring you some footage from the full frame 6K version of the Z-CAM 2

5.5K RAW *** OMG **** B ROOOOOOLLLL *** CUM IN YOUR PANTS DROOOOOOOL ** CLICK HERE, Subscribe.

I also like the idea of Fuji cinema camera. But S35 one with X-mount. 

Bingo! A Fuji Cinema Camera would have none of the downside risks that a FF camera would have, while playing to Fuji's strengths and existing product range / customer base. 

Take the X-T3 internals, boost it up to make it be 4K 60fps 422 10bit internal, with built in NDs, and a couple of XLR inputs, and a TC & SDI I/O, plus just in general a smartly designed body like a FS5 or EVA1, then Fuji has a winner on their hands so long as they keep its final price below the competition!

Actually Fuji already has 2 ILC mounts, and they creating a 3rd one, or even if it uses one of the existing ones, for a new sensor size, doesn't make much sense. Plus the XT3 does over 75% of what many full frames do, and many things that many full frames probably don't. With IBIS and slight tweaking of the sensor and/or processing, the XT4 could be a good replacement for a full frame, with a smaller size and better pricing. 

I'd prefer if they released a dedicated cinema camera instead. It's easy to forget that Fuji has over a half century of experience making motion picture stocks. They were Kodak's main competition. Their Vivida daylight stocks were gorgeous. Deep rich colors and solid velvety blacks with warm lovely skin tones. Sadly, they no longer produce film stock, but bringing that look and feel to a digital cinema camera would be an amazing coda to that legacy. 
I also think that Fuji's ergonomic sense work translate very well to a video camera. They have a charming analog feel to all their cameras, which is something that is sorely missing from most low cost video cameras today.

This Quora answer will probably help: https://www.quora.com/Why-did-HDMI-succeed-where-HD-SDI-didnt
Basically, money and ease of development. Big surprise....
As far as data rates compared to the SDI-12G
HDMI 1.4 is up to 10Gbps
HDMI 2.0 is out to 18Gbps