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....and in todays episode of "the camera YT echo-chamber doesn't know shit about the real world", here's a real-world and very high-end studio shooting VFX background plates with a gazillion BGH1 units, or arrays of GH5S paired with 12-35mm f2.8 zooms. Their website indicates they've worked on Joker, Stranger Things, Mission Impossible, and dozens of other high-end productions. The thumbnail appears to show 17 BGH1 units: One shot from the Stranger Things rig detailed on their website shows "our standard nine camera array" is 9 x GH5S units - 5 at the back (with two facing sideways) and 3 on the front: To all those who suggest that the size/weight advantage from MFT is gone, their page says "The rig was still able to fly as luggage and efficiently attach to a rental car, all while being street legal." How much does a 24-70mm F2.8 weigh again? If you can't remember then the short answer is more than double the MFT equivalent. In the video he talks about how each BGH1 + lens is about 1lb, and keeping the weight down allows them to rig the car up in such a way that keeps them from needing increased permitting and things like escort cars (which for 360 cameras appear in the shot). So, the GH5S (2018) and BGH1 (2020 - 3 years old), which aren't FF, don't shoot RAW, don't have IBIS, and have been completely forgotten by the entire camera YT echo-chamber, are being actively used on some of the biggest and most VFX heavy films being made in Hollywood. They also just casually mention in the video (11:35 if you don't believe me) they've been involved in over 2000 productions, and that "these cameras are able to match perfectly with all your A-cameras".

Yes, but have they shot weddings?

As a BM pocket user I’m not sure I even have “features” let alone enough to give them up…

To add to my post, external recording is the biggest thing I would give up. Being able to record 12-bit RAW internally would be idea. I wish camera manufacturers would add uncompressed CDNG recording to their flagships. Compressed RAW is such a mess…patents and external workarounds…and then one does not necessarily have freedom of choice when it comes to what NLE to edit the RAW footage in…unless one converts. Give us uncompressed RAW to the card. Or give us Prores 4444 12-bit. The codec everyone has forgotten about 😆

We'll definitely look back at todays cameras as inferior, but the number of pixels will be one of the last things that we'll be looking at. Isn't it funny how when people talk about resolution they say more is better, but when they talk about images they put the Alexa at the top?

@Geoffrey there's also the idea that you upgrade to keep your investment at a certain level. When a new camera comes out, the old model's value goes down quick. If you don't need the upgrades and don't plan on needing anything more for a few years, then yes... you might as well keep it. Who cares if the used value drops in half over the next year. But in some instances small upgrades can eventually allow you to afford a higher price bracket of cameras. So if you sell the S5 now, you may get $1000 for it and you'd only need to shell out $800 for the new camera. If you wait a year, you may have to shell out more. If you skip a generation entirely, you may have to shell out a fortune more. With that said, I've been shooting with the same camera for almost 6 years, so every case is different. Good luck.