Axel

Agree. I remember that I was sold for usability of solo and solo+gimbal possibilities of IBIS after watched two brilliant examples, and after remarkable author encouraged and favored combined usage of both in the second example: "In fact I tested the camera on the gimbal with IS turned off and on and I expected that having it ON would make it worse because they would fight each other....however I found that the camera IS being turned on whilst on the gimbal helped improve the overall feel of the shot and took out a few of the minor jitters." 
 

The Crane 2 is 1300 g, the follow focus above 170 g, the remote for the latter weighs 200 g.  
But: keep in mind that because you HAVE to see the image and the Zhiyun's roll motor perfectly blocks the Pocket's display, you'd then need an external monitor (but then again, with smallest battery, the smallHD Focus would add just 230 g, which would make the setup 1900 g sans camera). 
Now the final weight of the BMPCC 4k ist not yet out afaik. Because the pre-production model was made of aluminum and that will be changed to carbon fibre. So the frame itself can be 30-40 % lighter. Let's be optimistic and hope that camera, battery (80 g) and card (20g) are just under 850 g.
Now we talk about 2750 g without lens. Add your lens of choice, but don't forget IR cut filter and ND or variND.
But don't worry. Saw a tut by Brandon Washington on balancing the Canon 1DX Mark ii on the Crane 2 - needs unscrewing parts of the Zhiyun's cradle because this camera is too high. Must be even heavier. And Brandon puts on the same big Tiffen variND I'd also recommend. He carries that on a skateboard, dolly-filming his little son. 
 

Would love to pair the BMPCC4K with this.

You got me wrong. I know all the tools like the back of my hand. Started with Apples Color, read the whole manual, bought a (Ripple? Lynda?) training, graded. Went on with Color Finesse (as part of AAE, in the short period of a year or so when I was pissed after FCP X launch), then learned Resolve 9, again with van Hurkmans Ripple and (also his) manual. I also entertain myself musing about the best workflows for grading.
It's just that the further I tweak the image the less confident I become as to whether what I'm doing makes things better or worse. I'd better just primary color correct, add a tiny bit of "mood" - and leave it alone. This is almost camera-independent.

You got me wrong. I know all the tools like the back of my hand. Started with Apples Color, read the whole manual, bought a (Ripple? Lynda?) training, graded. Went on with Color Finesse (as part of AAE, in the short period of a year or so when I was pissed after FCP X launch), then learned Resolve 9, again with van Hurkmans Ripple and (also his) manual. I also entertain myself musing about the best workflows for grading.
It's just that the further I tweak the image the less confident I become as to whether what I'm doing makes things better or worse. I'd better just primary color correct, add a tiny bit of "mood" - and leave it alone. This is almost camera-independent.

Make it 40... to me this camera doesn’t even exist. 
Eventually we’ll have footage from John Brawley or Frank Glencairn or Noam Kroll and the footage will look amazing. More people will love it but a few will find something wrong with it...
Eventually card info will be released, and more people will complain.
Eventually AF tests will show up comparing this camera to the PDAF of the a6500 and more people will complain.
Eventually low light tests will show up comparing this camera with the GH5s or the a7sii and more people will complain.
At the end, when it’s released, a bunch of people will complain because they hate that they have to use an IR Cut filter and they will complain that they only get 45-60 minutes of battery life and that they wish it had IBIS...
And eventually the usual suspects will be the only people that have the camera and the footage will be absolutely gorgeous.
The End.

I think you'd only edit from the original if you're really time pressed. I've opened the file off the SSD from my Atomos to start grading an interview while it's copying to other drives, but would never do any actual editing or work on a full project that way.
Here's some more info from BM, the focusing idea sounds interesting.

After some experience with the actual camera, people will adjust their expectations. At first I thought, yes, I want to plug in the actual recording media (SSD) and start editing.
Really? Is that a good idea? Had this been a good idea if a fast 2TB SSD cost $10 and I didn't have to re-use it? I think not. All at once the whole flimsy-USB-epoxy-third-party-clamp discussion sounds a bit absurd.
And then, my NLE lets me start editing from any source right away anyway. For camera formatted SDHC cards it wisely forces me to make a background-copy. To a big HDD raid, a bottomless pit!
But the costs for 4k 60p RAW on CFast cards, and how many I needed for that!
But what about 4k 24p? What if I realize I don't need RAW over ProRes? BMs ProRes implementation is very good. Even Phillip Bloom found ProRes LT to be visually indistinguishable from ProResHQ in the classic Pocket. Almost 2 hours UHD @24p would fit on a 256 GB card, roughly an hour in ProResHQ (or ProRes Raw, should that make it into the P4k until fall). Do some vloggers need their faces in front of their carefully lit desktop still-life be recorded with more? There are twerps everywhere, and I guess once a camera offers THE BEST, it'd be infra dig to use any other option.
 
 
 

I'm not sure if you were asking for recommendations, or just being thankful that I offered...  but regardless, here's a few 'vlogging' channels with high production value:
https://www.youtube.com/channel/UCpnuadQ_w3r6f4Q_NRlqd-w Kraig Adams - makes vlogs and travel films on A7SII - used to be a pro wedding videographer https://www.youtube.com/channel/UC3DkFux8Iv-aYnTRWzwaiBA Peter McKinnon - makes photography / videography focused vlogs and shoots C300 in studio and 1DXII out of the office Here's a few channels with high production value that aren't 'vlogging' channels:
https://www.youtube.com/channel/UC3stPIuUoCDHG7COfwr0tEA Brandon Li - makes short travel films with A7 cameras https://www.youtube.com/channel/UC2hAbftpVjHtFrDOpEM90aA Action Movie Kid - short videos where the (average IQ) videos are CG'd by a professional CG guy https://www.youtube.com/channel/UCJHA_jMfCvEnv-3kRjTCQXw Binging with Babish - cooking videos shot on A7SII with Atomos ext recorder and just for sanity, here's potentially the best YT channel out there, which is probably shot on a point-and-shoot... https://www.youtube.com/channel/UCAL3JXZSzSm8AlZyD3nQdBA Primitive Technology, which is videos of a guy making things without any tools - he literally has a pair of shorts on and walked into the jungle and makes things with what he finds.  Why is it so great? He doesn't talk, there's no music, but they're still hugely engaging.  It's a combination of "what is he doing?" and one of those rainforest tapes people meditate to.  This is a channel where the content is so good I don't give a sh*t what it's shot on.
I got as far as him saying he "looked at the spec sheet and....".  Judging a camera from the specs alone is the equivalent of judging a restaurant by googling recipes of the dishes on the restaurants menu.
The fact that this thread is mostly around this has not escaped me! :D

Thanks, kye!
Yesterday I saw this, and became so angry that I - almost - downvoted the video, something I'd never done before:
This tells me, of course, that I already am a true P4k fanboy . Be it as it may, I also watched a GH5s review (not the first one, not my last one, despite my admitted fixation to BM). It showcased the ergonomics and built quality. The vlogger said: what a pity! It's got everything I asked for, even *very good* lowlight through Dual Native ISO, but the AF sucks and no IS, epic fail!
Was again tempted to vote "thumbs down". But how had this been justified? I had bingewatched vlogger's vomit all evening!
Last report, this a funny one. About Sony A7iii, and how it smoked, killed and destroyed the whole competition. Yes, it's 'a full frame MONSTER', it has IS, it has AF, but that's the extent of it. Terrible ergonomics (as usual), threadbare 8-bit codecs, he dumb thing smokes itself. I'm allowed to say, as a Sony owner. It's a Phony.
 

Why not? At least it's a little smaller than...
 

Need for an external monitor depends on how you use it.  If camera is on a tripod then you're probably fine, but if you're hand-holding for an ability to quickly get a variety of shots then you might miss a screen that can't articulate vertically.  In terms of hand-holding I can hand-hold my XC10 / Gorillapod 5K setup with my arms fully outstretched at 240mm steady enough so that the IS locks the shot with no movement, so it is possible.
Depends on the vlogger and what you'd call a "vlogger" (as opposed to many other styles of YT film-making).  I see YouTubers with A7SII / Atomos external recorders, C300s, C100s, 1DXII, A7RIII, GH5, GH5s, EVA, etc.  If you definition of 'vlogger' is only people that prattle endlessly into the selfie camera on their phone while walking somewhere to get their nails done, then your definition needs expanding radically.  I'm happy to provide examples of YT channels with high production value if you're interested.

Would you buy the Ninja V despite the fact that it's heavier and more expensive than the smallHD Focus (yeah, I know, only 800 nits, but it works well in bright sunlight) and that you couldn't record anything bigger than 1080 through the Pocket 4k's HDMI (see one of Anacondas Q/A)? I wouldn't. Bought - let me count quickly - 3 external monitors before - won't sell this one!
Zacuto built a viewfinder loupe for the old Pocket, I hope they do for this new "Batcam" (your name). You'd need no rig with one - perfect 3-point stabilization (though on the long run it's more comfortable for me if the right grip is in a 45° angle).
This time I will not use a shoulder rig.I am already thinking about the right-arm-only "exoskeleton" isometric contractor. Imagine your right arm was in a sling made of rubber (problem with just a sling is that it will slip). To extend the arm to the position in which you can hold the camera, you'd need to use some force. And concentration. Left hand cradles the lens and pulls focus. Should be as lightweight and easy as possible. Any ideas/suggestions? Let's build this together!

I’m not sure I can agree with the absolute claim of “not useable” because...well I use them all the time in pretty bright situations.
Yes in some situations the glare makes it impossible but I can make it work the vast majority of the time.
https://www.flickr.com/gp/johnbrawley/10XBcm
Here’s an operator making do on a shoot in colombia.
 
And here’s a shot on a recent rig  
Yeah it could be brighter. But it’s not unuesable if you want a camera that’s small and compact. Or it functions well enough as your camera function screen once you fit an external monitor that better suits your needs. 
 
JB

I don't know, these aren't my questions, I'm just keeping track of them.  
 

Nice video that shows all of the menu options, etc.
 

I just found a Q&A with a 'Black Magic Design Expert'. Let me know if there's a better way to display this. I'll try to add to it as more information comes.
















 

On the lens debate - 'crappy', 'different strokes for different folks', 'opinion vs facts':
There are a lot of optically superb native M43 lenses. For example the Olympus 12mm f2.0 (Zuiko Digital or so). Had better reviews than SLRM 12mm f1.6 (less distortion, sharper at wide open, less lens flare). 
But was not a manual lens. And (my opinion) you should prefer a lens with a good and big focus ring. A 12mm was a 35mm equivalent on the old Pocket, the 'reporter wide'. Now a 16mm (Sigma 16mm f1.4) would be a 30mm. 420 €. Easy choice.
I own the 18-35mm Sigma (once for Nikon, now Canon, swore to never sell it again). Had it with the Pocket MB speedbooster then, made it a 30-58 @ f1.0 (!!!). Practically never changed the lens from then on.
Speed booster Viltrox is just 160 €, will make it effectively a 24-47 @ f1.3:
Easy choice.
Don't need to go wider, but obviously need a longer lens. Adapter without speedbooster? Didn't look into that, but why not? 
 
Opinion on adapted vintage lenses: good, but you need to become an expert. Don't expect good old lenses to be bargains anymore. People became smart.
Opinion on slow lenses: no. Anything below 2.8 should be considered 'crap' for this kind of camera. This is no Sony.

What works with GH5S probably also works with P4k.

On the lens debate - 'crappy', 'different strokes for different folks', 'opinion vs facts':
There are a lot of optically superb native M43 lenses. For example the Olympus 12mm f2.0 (Zuiko Digital or so). Had better reviews than SLRM 12mm f1.6 (less distortion, sharper at wide open, less lens flare). 
But was not a manual lens. And (my opinion) you should prefer a lens with a good and big focus ring. A 12mm was a 35mm equivalent on the old Pocket, the 'reporter wide'. Now a 16mm (Sigma 16mm f1.4) would be a 30mm. 420 €. Easy choice.
I own the 18-35mm Sigma (once for Nikon, now Canon, swore to never sell it again). Had it with the Pocket MB speedbooster then, made it a 30-58 @ f1.0 (!!!). Practically never changed the lens from then on.
Speed booster Viltrox is just 160 €, will make it effectively a 24-47 @ f1.3:
Easy choice.
Don't need to go wider, but obviously need a longer lens. Adapter without speedbooster? Didn't look into that, but why not? 
 
Opinion on adapted vintage lenses: good, but you need to become an expert. Don't expect good old lenses to be bargains anymore. People became smart.
Opinion on slow lenses: no. Anything below 2.8 should be considered 'crap' for this kind of camera. This is no Sony.

What works with GH5S probably also works with P4k.

On the lens debate - 'crappy', 'different strokes for different folks', 'opinion vs facts':
There are a lot of optically superb native M43 lenses. For example the Olympus 12mm f2.0 (Zuiko Digital or so). Had better reviews than SLRM 12mm f1.6 (less distortion, sharper at wide open, less lens flare). 
But was not a manual lens. And (my opinion) you should prefer a lens with a good and big focus ring. A 12mm was a 35mm equivalent on the old Pocket, the 'reporter wide'. Now a 16mm (Sigma 16mm f1.4) would be a 30mm. 420 €. Easy choice.
I own the 18-35mm Sigma (once for Nikon, now Canon, swore to never sell it again). Had it with the Pocket MB speedbooster then, made it a 30-58 @ f1.0 (!!!). Practically never changed the lens from then on.
Speed booster Viltrox is just 160 €, will make it effectively a 24-47 @ f1.3:
Easy choice.
Don't need to go wider, but obviously need a longer lens. Adapter without speedbooster? Didn't look into that, but why not? 
 
Opinion on adapted vintage lenses: good, but you need to become an expert. Don't expect good old lenses to be bargains anymore. People became smart.
Opinion on slow lenses: no. Anything below 2.8 should be considered 'crap' for this kind of camera. This is no Sony.

On the lens debate - 'crappy', 'different strokes for different folks', 'opinion vs facts':
There are a lot of optically superb native M43 lenses. For example the Olympus 12mm f2.0 (Zuiko Digital or so). Had better reviews than SLRM 12mm f1.6 (less distortion, sharper at wide open, less lens flare). 
But was not a manual lens. And (my opinion) you should prefer a lens with a good and big focus ring. A 12mm was a 35mm equivalent on the old Pocket, the 'reporter wide'. Now a 16mm (Sigma 16mm f1.4) would be a 30mm. 420 €. Easy choice.
I own the 18-35mm Sigma (once for Nikon, now Canon, swore to never sell it again). Had it with the Pocket MB speedbooster then, made it a 30-58 @ f1.0 (!!!). Practically never changed the lens from then on.
Speed booster Viltrox is just 160 €, will make it effectively a 24-47 @ f1.3:
Easy choice.
Don't need to go wider, but obviously need a longer lens. Adapter without speedbooster? Didn't look into that, but why not? 
 
Opinion on adapted vintage lenses: good, but you need to become an expert. Don't expect good old lenses to be bargains anymore. People became smart.
Opinion on slow lenses: no. Anything below 2.8 should be considered 'crap' for this kind of camera. This is no Sony.

On the lens debate - 'crappy', 'different strokes for different folks', 'opinion vs facts':
There are a lot of optically superb native M43 lenses. For example the Olympus 12mm f2.0 (Zuiko Digital or so). Had better reviews than SLRM 12mm f1.6 (less distortion, sharper at wide open, less lens flare). 
But was not a manual lens. And (my opinion) you should prefer a lens with a good and big focus ring. A 12mm was a 35mm equivalent on the old Pocket, the 'reporter wide'. Now a 16mm (Sigma 16mm f1.4) would be a 30mm. 420 €. Easy choice.
I own the 18-35mm Sigma (once for Nikon, now Canon, swore to never sell it again). Had it with the Pocket MB speedbooster then, made it a 30-58 @ f1.0 (!!!). Practically never changed the lens from then on.
Speed booster Viltrox is just 160 €, will make it effectively a 24-47 @ f1.3:
Easy choice.
Don't need to go wider, but obviously need a longer lens. Adapter without speedbooster? Didn't look into that, but why not? 
 
Opinion on adapted vintage lenses: good, but you need to become an expert. Don't expect good old lenses to be bargains anymore. People became smart.
Opinion on slow lenses: no. Anything below 2.8 should be considered 'crap' for this kind of camera. This is no Sony.