Dirk Gently

Thanks indeed for your insights on this.  I'm happy to stand corrected on Canon's Cine Raw Lite, not least since it expands the number of  codecs in which I can be confident of shooting without causing any ripples in editing and grading.

Main positives re S1H:
1. Near-bullet-proof AF (Canon and Sony's video AF are coalescing in being as good as each other, only in slightly different ways)
2. Internal Raw (S1H raw will be external to Atomos)
Negatives re S1H:
1. No IBIS [though Canon are said to be working on IBIS for an EOSR (X) version - who knows when this will come - in combination with lens OIS and 'digital' stabilisation].  1DXIII will have no IBIS; I only make this footnote in respect of the likely EOS R equivalent of this DSLR.
2. Canon's Cinema raw lite (as per C200) is not a NLE-friendly codec; the ProRes Raw that will come from an S1H feeding a Ninja V (post the planned S1H ProRes raw upgrade) is likely to be much more pleasant to work with.
A couple of posters have asked about the crop in 4k.  Given that the 4k crop of the 1DX Mk.II is 1.3, we can be certain that the 1DX Mk.IV will have a crop of 1.3 or less - it would be so wantonly alien to Canon's modus operandi to do something so disruptive on their 'most pro' body like causing pros to have to buy a whole new set of lenses by switching from 1.3x in an existing model to (say the crazy) 1.74x of the EOS R/5DIV in the next version of that same model.
For me, the fascinating comparison - in terms of positioning - is with Sony.  The Panasonic S1H is a video-centric beast of wonder - very much the one-off space alien at the current time (and plaudits to Panasonic for producing such a model).  But where is Sony, the disruptor-in-chief or yore?  In the last 6 months they have produced new versions of their A9 and A7RIV cameras, both of which could have featured 10 bit (at least to a Ninja V) and more in terms of upgrades to the video specs.  Even if the compact dimensions of the A7 bodies meant that heat dissipation precluded internal 10 bit 4:2:2 at a decent bitrate, they could have provided this externally.  At the same time, the previously PR-savvy Sony let rumors run wild about the new cameras, such that the (real) improvements in other areas were overshadowed by the failure to provide even half of the expected video bit-depth, sub-sampling and bitrate improvements.

Perhaps I was not sufficiently clear when t I referred to the 'friendliness' of the codec.  Few have found Canon Cinema Raw Lite friendly to work with in the sense I intended, which is to say that it poses a heavy load on the processor and is not straightforward to grade (unlike the XFAVC codec produced by the C300 Mk.II, say, which most find very agreeable).  Of course, ProResRaw is too new to feature in any but Apple's own fcpx to date.  But it has been designed as a particularly friendly codec to work with.  I'd be very surprised if Apple didn't deliver on this promise (it's the sort of thing their good at).
Of course, this is no reflection on your own experience with Canon's Cinema raw lite - if you find it good n friendly then all well n good.

Main positives re S1H:
1. Near-bullet-proof AF (Canon and Sony's video AF are coalescing in being as good as each other, only in slightly different ways)
2. Internal Raw (S1H raw will be external to Atomos)
Negatives re S1H:
1. No IBIS [though Canon are said to be working on IBIS for an EOSR (X) version - who knows when this will come - in combination with lens OIS and 'digital' stabilisation].  1DXIII will have no IBIS; I only make this footnote in respect of the likely EOS R equivalent of this DSLR.
2. Canon's Cinema raw lite (as per C200) is not a NLE-friendly codec; the ProRes Raw that will come from an S1H feeding a Ninja V (post the planned S1H ProRes raw upgrade) is likely to be much more pleasant to work with.
A couple of posters have asked about the crop in 4k.  Given that the 4k crop of the 1DX Mk.II is 1.3, we can be certain that the 1DX Mk.IV will have a crop of 1.3 or less - it would be so wantonly alien to Canon's modus operandi to do something so disruptive on their 'most pro' body like causing pros to have to buy a whole new set of lenses by switching from 1.3x in an existing model to (say the crazy) 1.74x of the EOS R/5DIV in the next version of that same model.
For me, the fascinating comparison - in terms of positioning - is with Sony.  The Panasonic S1H is a video-centric beast of wonder - very much the one-off space alien at the current time (and plaudits to Panasonic for producing such a model).  But where is Sony, the disruptor-in-chief or yore?  In the last 6 months they have produced new versions of their A9 and A7RIV cameras, both of which could have featured 10 bit (at least to a Ninja V) and more in terms of upgrades to the video specs.  Even if the compact dimensions of the A7 bodies meant that heat dissipation precluded internal 10 bit 4:2:2 at a decent bitrate, they could have provided this externally.  At the same time, the previously PR-savvy Sony let rumors run wild about the new cameras, such that the (real) improvements in other areas were overshadowed by the failure to provide even half of the expected video bit-depth, sub-sampling and bitrate improvements.

Main positives re S1H:
1. Near-bullet-proof AF (Canon and Sony's video AF are coalescing in being as good as each other, only in slightly different ways)
2. Internal Raw (S1H raw will be external to Atomos)
Negatives re S1H:
1. No IBIS [though Canon are said to be working on IBIS for an EOSR (X) version - who knows when this will come - in combination with lens OIS and 'digital' stabilisation].  1DXIII will have no IBIS; I only make this footnote in respect of the likely EOS R equivalent of this DSLR.
2. Canon's Cinema raw lite (as per C200) is not a NLE-friendly codec; the ProRes Raw that will come from an S1H feeding a Ninja V (post the planned S1H ProRes raw upgrade) is likely to be much more pleasant to work with.
A couple of posters have asked about the crop in 4k.  Given that the 4k crop of the 1DX Mk.II is 1.3, we can be certain that the 1DX Mk.IV will have a crop of 1.3 or less - it would be so wantonly alien to Canon's modus operandi to do something so disruptive on their 'most pro' body like causing pros to have to buy a whole new set of lenses by switching from 1.3x in an existing model to (say the crazy) 1.74x of the EOS R/5DIV in the next version of that same model.
For me, the fascinating comparison - in terms of positioning - is with Sony.  The Panasonic S1H is a video-centric beast of wonder - very much the one-off space alien at the current time (and plaudits to Panasonic for producing such a model).  But where is Sony, the disruptor-in-chief or yore?  In the last 6 months they have produced new versions of their A9 and A7RIV cameras, both of which could have featured 10 bit (at least to a Ninja V) and more in terms of upgrades to the video specs.  Even if the compact dimensions of the A7 bodies meant that heat dissipation precluded internal 10 bit 4:2:2 at a decent bitrate, they could have provided this externally.  At the same time, the previously PR-savvy Sony let rumors run wild about the new cameras, such that the (real) improvements in other areas were overshadowed by the failure to provide even half of the expected video bit-depth, sub-sampling and bitrate improvements.