sanveer

Looks very good. Out of curiosity, did you think of adding some grain? It already looks very impressive as it is, the grain may just add a little bit more. My two cents. 

Looks very good. Out of curiosity, did you think of adding some grain? It already looks very impressive as it is, the grain may just add a little bit more. My two cents. 

This looks great, I can’t wait to watch it!
I’m going to make another post about older cameras and how they’re still viable today so I won’t step on this post’s toes anymore. Hopefully people will link to some samples like this.
@sanveer sorry for the off topic.

A "pro" shared by all three (yet is very rare at this price point!): timecode inputs!
It is an unknown however as to which of the three are implementing it best, my money is on perhaps the BMPCC4K

https://www.bhphotovideo.com/c/product/1304877-REG/panasonic_dmw_xlr1_xlr_microphone_adapter.html
The Panasonic DMW-XLR1 is a specific pro in favor of just the GH5.

The mini XLR input is a pro just in favor for the BMPCC4K

Certainly. Brands have been setting themselves up for failure by holding back features in certain price ranges. It only takes someone like Z-Cam to disrupt that, they could really shake up the entire market if they pull it off. Great news for independent filmmakers.
 

I couldn't agree more. They could do a DJI, wherein they suddenly capture a market that already has many players, but nobody offers the features that they do, especially at the price point.
 

The Z Cam E2 offers the following resolution and framerate options:
4096x2160 
@120fps/60fps/50fps/
30fps/25fps/24fps

3840x2160
@120fps/60fps/50fps/
30fps/25fps/24fps 

1920x1080 
@240fps/120fps/60fps/
50fps/30pfs/25fps/24fps 
I am not sure why Blackmagic isn't offering higher frame rates for 4k higher than 60p. I am guessing it is to protect their URSA and other cameras? Which may the case with Panasonic too?
If the Z Cam E2 drops their prices slightly, and collaborate with someone for supply chain and after sales, they could actually pull off a mini coup.  
Also, for some curious reason the Z Cam executive Specifically stated the dynamic range as 13.5 stops. It's like they seem to have implemented something unique to them. 
 

Absolutely.
I believe he says it at 2:40 or so. I could be wrong. 
 
Actually each and ever interview with Pety and the Blackmagic guys is interesting. Because they all give interesting information Including why they didn't put ProRes RAW on it and whay he thinks about it.  

Actually it does seem to suggest having AF (even if it's as bad as the one on the GH5 and GH5s), and the Bluetooth is for monitoring. If it does monitoring well enough, one may not miss the articulating screen (and maybe use a phablet or tablet for monitoring instead). Bluetooth is far lower energy than WiFi, though the question is how well can it be used to actually control the camera. 
I guess more questions will keep getting answered as the actual product starts hitting shelves. 
 

This is what Grant Petty had to say when they acquired DaVinci in 2009.
"When we were doing the due diligence on DaVinci, I saw a $50,000 price in the price list if you bought a secondhand system, and now wanted to be supported by DaVinci. And not only that, you're paying upward of $80,000 a year for support contract after that."
That was just the service charge price you paid to get it checked out if you bought a second hand one.
At that time he was talking about getting the purchase price of the high end systems down from $850K to $500K
At $1299, I'd say its the camera you are getting for free and not the software.

I "think" I remember reading that the sensor was enclosed somehow, and that the air was circulated around the protection??

The BM production Cam has a similar design. You can see right through from top to bottom of it. I can only assume the other cameras in their catalogue have similar designs. 
I think it'll be OK. Maybe not in a sandstorm, or very heavy rain, but there will probably be some kind of raincoat available for those situations soon after release.

Lovely in winter though.
 

...you two Don and Jon, you are a must... LOL : ) This forum would become another one without any of you ; ) Cheers to both, E :-)

Some of us seem to have lost the plot.
And the discussion seems to be all over the place.
HDR for photos is not the same as HDR for video. In photos they combine multiple exposures (from 2 photos upto 9), and have a single photo with the colour, dynamic range, and other information into a single image. Some smartphone do it actually pretty well, compromising only on very fine detail. But they are 4-2-0 8-bit JPEGs. Another issue is that smartphone users want their photos to pop.  So their colours are a bit exaggerated, thereby destroying scope for post work.
HDR in video, on the other hand, may or may not combine multiple exposures, but it keeps colours as bland or washed out as possible. The Entire purpose of HDR in video is to prepare video for post work, retaining as much dynamic range and information as possible, in a photo that is Not a RAW photo. The codec could range from 8-bit 4-2-0 to 10-bit 4-2-2, and the bitrates could also vary within a very large range.
Another interesting thing that Jon has already mentioned is that Rec709, the television standard (and the standard for most monitor that didn' cost a small fortune, until about 10 years back), contained 7 stops and under only for viewing. New HDR standards like HLG too have about 10 stops at most, whether they are for recording or for viewing on HDR ready TVs and monitors. I have sat on a few feature film edits, but I didn't quite figure how many stops the high end monitor are actually capable of displaying.
 
About the GH5: It is a Superb camera, especially for the price. The only thing it lacks IMHO is the low light capabilities of the newer GH5s Sony Sensor. Though it does have a 20MP photo advantage, along with a 6k Anamorphic Mode and that great IBIS.
 
Let's stick to the topic.
btw, I saw a German video of the BMPCC 4k and the employee said something very strange. He said that the camera has vents for air intake at the top, and the air exits from the bottom portion of the camera. I found it hilarious if its true. I wonder if people are actually able to notice this gush of hot air blowing on their hands, while shooting. 

Grant Petty talks about Prores raw at 6.4 
 
 

Wolfcrow makes a habit of this. Rushing to be first. Rushing to be first wrong that is!!

As everyone in these forums has already figured out, in the last few days, at NAB, we have 2 more contestants in the Best M43 Video Category, and suddenly in the sub-2k Category, we have now 3 Very Competent Cameras for the Ultimate Face-off for Features and Price. The bad part is that there is there is a lot of confusion, and some would want to own All Three (or atleast test them comprehensively). The Good part is, any of these 3 would be better than good enough. This is a face-off in terms of features, by way of Pros and Cons, between the Blackmagic Pocket Cinema Camera 4k, the Z Cam E2 and the Panasonic GH5s. 
What is common is obviously the New Sony Starvis IMX-294 sensor and thus the excellent low light capabilities that come with it (Dual ISO)

Here are the Pros and Cons of each. Please feel free to make corrections or additions.

Blackmagic Pocket Cinema Camera 4k
Pros:
Cheapest of the 3 at $1295, which is approx. 35% Cheaper than the Z Cam E2 and approx 48% Cheaper than the Panasonic GH5s. Which is Huge TBO.  The masters of post production colour and grade. Excellent colour science and the industry leaders in colouring and grading, and thus the ability to know what codecs, colour science  and what bitrates would best suit cinema camera footage. The first guys to point out the fundamental flaws with ProRes RAW. I am betting on their Colour Science would be better than the other two. The only question would therefore be, by how much (considering how lovely the Varicam image it, I am guessing, by maybe a hair, in ProRes, though noticeable in RAW).  Have a 5 year experience in RAW shooting Affordable Cinema Camera Manufacturing, with the Original Blackmagic Pocket Cinema Camera being a runaway hit, despite all its flaws, mostly due to its 13 stops usable dynamic range and its tiny form factor. The design on that one was superb even if the battery life a lack of ports was a major drawback.  Bluetooth control Includes FREE DaVinci Resolve Studio thrown in, which itself is about another $299 alone It seems to be the only 1 of the 3, to have an onboard fan. Which seems odd, but Grant mentioned the advantage of a fan, saying that any kind of heat would adversely affect the image quality, having a degrading effect on the image. I am guessing it would introduces very visible noise, make the image soft, and also reduce dynamic range. This may be a clear advantage for the BMPCC 4k, for pushing slightly past the competition. Also, if the fan is anything like that on the MacBoom Pro, it would be very faintly audible, if at all. Right now, the BMPCC seems have the largest Codec options. Arguably the best Interface/ OS. Very predictive (like the Panasonic), with large clear button, and not insanely wide menus like Sonys, and everything very clearly laid out.  A Bright and Large 5 Inch Screen Balanced Mini-XLR mic jack for some good on-board recording (though unlikely to replace a boom operator, or talents with lapels).  3 Onboard mic options (4 onboard mics, Mini-XLR and 3.5mm mic in options). SD and CFast Card option,s apart from SSD  Dual Continuous Power options. One by way of USB type-C Limited storage options due to SD, CFast and USB options The Only one of the 3 offering RAW right now Cons:
The largest in size of the 3. Though not the heaviest, and also, likely with the best ergonomics for comfortable long recordings. Codecs are limited to ProRes and RAW. Which, TBO is not a bad thing, considering the the sheer number of flavours of ProRes and RAW that are available, and the fact that ProRes starts at some very lot bitrates (PRoRes LT and Proxy). This could, though, be Incorrect, because I heard grant saying that it has HLG, which I am guessing would be on the H.264/ H2.65 platform (please correct me if I am wrong).  It has a fan on board, which would mean that there is a possibility of it being heard, atleast in extremely quite environments. Also, the fact the heat wave may also be mildly distracting if you hold the camera in the hand Completely non-articulating screen. Most likely due to the dangers of a huge screen in a swivel design causing hinges to break easily or pushing into wires and ports. Also, tensile strength may be an issue with the carbon composite hybrid material. 
Panasonic GH5s
Pros:
Arguably one of the best weather sealing in a camera. Surprisingly a lot better than even some top end DSLRs. Superb battery life Fully articulating screen OLED Viewfinder Bluetooth Control Excellent ergonomics and very manageable shape and size of body 240 fps at 1080p Dual SD Card slots with swappable SD cards during recording, as cards fill up, to have almost limitless recording  Continuous power option 3 Year Extended Warranty. Though, for me, the Panasonic after sales has not been terribly inspiring. I am sure, your mileage may vary, varying from region to region Being in the Cinema Camera industry for pretty long, despite the short hiatus when RAW was the new Cinema Camera Industry Standard Cons:
Most Expensive of the 3 at $2500 Screen size is good by DSLR standards, but requires a monitor, especially for very fine monitoring Codecs limited to H.264, though from some reviewers, they seem at power or better than some flavours of ProRes 10-bit 4-2-2
  Z Cam E2
Pros:
The Only one among the 3, that is offering 120fps at 4k. which frankly is HUGE Claimed dynamic range of 13.5 stops (which is Quite Likely, if they use the QuadBayer pattern, this sensor is capable of). The 1/2 stop of dynamic range may even be noticeable to some some self-claimed experts of dynamic range and great camera testers.  Presently the tinniest form factor Offers H.265 apart from H.264. Which would make file sizes noticeably smaller than the other 2 for the same kind of data While neither RAW nor ProRes are available right now, there was mention of a RAW flavour (could be DNG RAW) Deep Learning Engine (not sure how it fits into a Cinema Camera lineup, except for fancy lingo, used by all random smartphone companies nowadays) Gigabit Ethernet port for control setting & live streaming
Cons:
ONLY CFast storage options on-board No Screen to see the footage Tiny LED to check data only Missing most of the body, including LCD or monitor, handles etc etc The missing accessories could add substantially to the final price of a usable product Company that is relatively unheard of. Warranty and after sales may be a bet It only has the equivalent of a camera brain. Users would have to buy a host of accessories to be able to fully use the camera  
All there have autofocus, and if GH5s is any indication, it would absolutely dreadful. I am also guessing that Time Code sync, Waveform, Vector Scopes, and programmable Zebra patters (apart from false colour etc), may be common to all three. All the extra bells and whistles would be knows soon enough, I guess. . 

Ursa Nano it is then

As everyone in these forums has already figured out, in the last few days, at NAB, we have 2 more contestants in the Best M43 Video Category, and suddenly in the sub-2k Category, we have now 3 Very Competent Cameras for the Ultimate Face-off for Features and Price. The bad part is that there is there is a lot of confusion, and some would want to own All Three (or atleast test them comprehensively). The Good part is, any of these 3 would be better than good enough. This is a face-off in terms of features, by way of Pros and Cons, between the Blackmagic Pocket Cinema Camera 4k, the Z Cam E2 and the Panasonic GH5s. 
What is common is obviously the New Sony Starvis IMX-294 sensor and thus the excellent low light capabilities that come with it (Dual ISO)

Here are the Pros and Cons of each. Please feel free to make corrections or additions.

Blackmagic Pocket Cinema Camera 4k
Pros:
Cheapest of the 3 at $1295, which is approx. 35% Cheaper than the Z Cam E2 and approx 48% Cheaper than the Panasonic GH5s. Which is Huge TBO.  The masters of post production colour and grade. Excellent colour science and the industry leaders in colouring and grading, and thus the ability to know what codecs, colour science  and what bitrates would best suit cinema camera footage. The first guys to point out the fundamental flaws with ProRes RAW. I am betting on their Colour Science would be better than the other two. The only question would therefore be, by how much (considering how lovely the Varicam image it, I am guessing, by maybe a hair, in ProRes, though noticeable in RAW).  Have a 5 year experience in RAW shooting Affordable Cinema Camera Manufacturing, with the Original Blackmagic Pocket Cinema Camera being a runaway hit, despite all its flaws, mostly due to its 13 stops usable dynamic range and its tiny form factor. The design on that one was superb even if the battery life a lack of ports was a major drawback.  Bluetooth control Includes FREE DaVinci Resolve Studio thrown in, which itself is about another $299 alone It seems to be the only 1 of the 3, to have an onboard fan. Which seems odd, but Grant mentioned the advantage of a fan, saying that any kind of heat would adversely affect the image quality, having a degrading effect on the image. I am guessing it would introduces very visible noise, make the image soft, and also reduce dynamic range. This may be a clear advantage for the BMPCC 4k, for pushing slightly past the competition. Also, if the fan is anything like that on the MacBoom Pro, it would be very faintly audible, if at all. Right now, the BMPCC seems have the largest Codec options. Arguably the best Interface/ OS. Very predictive (like the Panasonic), with large clear button, and not insanely wide menus like Sonys, and everything very clearly laid out.  A Bright and Large 5 Inch Screen Balanced Mini-XLR mic jack for some good on-board recording (though unlikely to replace a boom operator, or talents with lapels).  3 Onboard mic options (4 onboard mics, Mini-XLR and 3.5mm mic in options). SD and CFast Card option,s apart from SSD  Dual Continuous Power options. One by way of USB type-C Limited storage options due to SD, CFast and USB options The Only one of the 3 offering RAW right now Cons:
The largest in size of the 3. Though not the heaviest, and also, likely with the best ergonomics for comfortable long recordings. Codecs are limited to ProRes and RAW. Which, TBO is not a bad thing, considering the the sheer number of flavours of ProRes and RAW that are available, and the fact that ProRes starts at some very lot bitrates (PRoRes LT and Proxy). This could, though, be Incorrect, because I heard grant saying that it has HLG, which I am guessing would be on the H.264/ H2.65 platform (please correct me if I am wrong).  It has a fan on board, which would mean that there is a possibility of it being heard, atleast in extremely quite environments. Also, the fact the heat wave may also be mildly distracting if you hold the camera in the hand Completely non-articulating screen. Most likely due to the dangers of a huge screen in a swivel design causing hinges to break easily or pushing into wires and ports. Also, tensile strength may be an issue with the carbon composite hybrid material. 
Panasonic GH5s
Pros:
Arguably one of the best weather sealing in a camera. Surprisingly a lot better than even some top end DSLRs. Superb battery life Fully articulating screen OLED Viewfinder Bluetooth Control Excellent ergonomics and very manageable shape and size of body 240 fps at 1080p Dual SD Card slots with swappable SD cards during recording, as cards fill up, to have almost limitless recording  Continuous power option 3 Year Extended Warranty. Though, for me, the Panasonic after sales has not been terribly inspiring. I am sure, your mileage may vary, varying from region to region Being in the Cinema Camera industry for pretty long, despite the short hiatus when RAW was the new Cinema Camera Industry Standard Cons:
Most Expensive of the 3 at $2500 Screen size is good by DSLR standards, but requires a monitor, especially for very fine monitoring Codecs limited to H.264, though from some reviewers, they seem at power or better than some flavours of ProRes 10-bit 4-2-2
  Z Cam E2
Pros:
The Only one among the 3, that is offering 120fps at 4k. which frankly is HUGE Claimed dynamic range of 13.5 stops (which is Quite Likely, if they use the QuadBayer pattern, this sensor is capable of). The 1/2 stop of dynamic range may even be noticeable to some some self-claimed experts of dynamic range and great camera testers.  Presently the tinniest form factor Offers H.265 apart from H.264. Which would make file sizes noticeably smaller than the other 2 for the same kind of data While neither RAW nor ProRes are available right now, there was mention of a RAW flavour (could be DNG RAW) Deep Learning Engine (not sure how it fits into a Cinema Camera lineup, except for fancy lingo, used by all random smartphone companies nowadays) Gigabit Ethernet port for control setting & live streaming
Cons:
ONLY CFast storage options on-board No Screen to see the footage Tiny LED to check data only Missing most of the body, including LCD or monitor, handles etc etc The missing accessories could add substantially to the final price of a usable product Company that is relatively unheard of. Warranty and after sales may be a bet It only has the equivalent of a camera brain. Users would have to buy a host of accessories to be able to fully use the camera  
All there have autofocus, and if GH5s is any indication, it would absolutely dreadful. I am also guessing that Time Code sync, Waveform, Vector Scopes, and programmable Zebra patters (apart from false colour etc), may be common to all three. All the extra bells and whistles would be knows soon enough, I guess. . 

As everyone in these forums has already figured out, in the last few days, at NAB, we have 2 more contestants in the Best M43 Video Category, and suddenly in the sub-2k Category, we have now 3 Very Competent Cameras for the Ultimate Face-off for Features and Price. The bad part is that there is there is a lot of confusion, and some would want to own All Three (or atleast test them comprehensively). The Good part is, any of these 3 would be better than good enough. This is a face-off in terms of features, by way of Pros and Cons, between the Blackmagic Pocket Cinema Camera 4k, the Z Cam E2 and the Panasonic GH5s. 
What is common is obviously the New Sony Starvis IMX-294 sensor and thus the excellent low light capabilities that come with it (Dual ISO)

Here are the Pros and Cons of each. Please feel free to make corrections or additions.

Blackmagic Pocket Cinema Camera 4k
Pros:
Cheapest of the 3 at $1295, which is approx. 35% Cheaper than the Z Cam E2 and approx 48% Cheaper than the Panasonic GH5s. Which is Huge TBO.  The masters of post production colour and grade. Excellent colour science and the industry leaders in colouring and grading, and thus the ability to know what codecs, colour science  and what bitrates would best suit cinema camera footage. The first guys to point out the fundamental flaws with ProRes RAW. I am betting on their Colour Science would be better than the other two. The only question would therefore be, by how much (considering how lovely the Varicam image it, I am guessing, by maybe a hair, in ProRes, though noticeable in RAW).  Have a 5 year experience in RAW shooting Affordable Cinema Camera Manufacturing, with the Original Blackmagic Pocket Cinema Camera being a runaway hit, despite all its flaws, mostly due to its 13 stops usable dynamic range and its tiny form factor. The design on that one was superb even if the battery life a lack of ports was a major drawback.  Bluetooth control Includes FREE DaVinci Resolve Studio thrown in, which itself is about another $299 alone It seems to be the only 1 of the 3, to have an onboard fan. Which seems odd, but Grant mentioned the advantage of a fan, saying that any kind of heat would adversely affect the image quality, having a degrading effect on the image. I am guessing it would introduces very visible noise, make the image soft, and also reduce dynamic range. This may be a clear advantage for the BMPCC 4k, for pushing slightly past the competition. Also, if the fan is anything like that on the MacBoom Pro, it would be very faintly audible, if at all. Right now, the BMPCC seems have the largest Codec options. Arguably the best Interface/ OS. Very predictive (like the Panasonic), with large clear button, and not insanely wide menus like Sonys, and everything very clearly laid out.  A Bright and Large 5 Inch Screen Balanced Mini-XLR mic jack for some good on-board recording (though unlikely to replace a boom operator, or talents with lapels).  3 Onboard mic options (4 onboard mics, Mini-XLR and 3.5mm mic in options). SD and CFast Card option,s apart from SSD  Dual Continuous Power options. One by way of USB type-C Limited storage options due to SD, CFast and USB options The Only one of the 3 offering RAW right now Cons:
The largest in size of the 3. Though not the heaviest, and also, likely with the best ergonomics for comfortable long recordings. Codecs are limited to ProRes and RAW. Which, TBO is not a bad thing, considering the the sheer number of flavours of ProRes and RAW that are available, and the fact that ProRes starts at some very lot bitrates (PRoRes LT and Proxy). This could, though, be Incorrect, because I heard grant saying that it has HLG, which I am guessing would be on the H.264/ H2.65 platform (please correct me if I am wrong).  It has a fan on board, which would mean that there is a possibility of it being heard, atleast in extremely quite environments. Also, the fact the heat wave may also be mildly distracting if you hold the camera in the hand Completely non-articulating screen. Most likely due to the dangers of a huge screen in a swivel design causing hinges to break easily or pushing into wires and ports. Also, tensile strength may be an issue with the carbon composite hybrid material. 
Panasonic GH5s
Pros:
Arguably one of the best weather sealing in a camera. Surprisingly a lot better than even some top end DSLRs. Superb battery life Fully articulating screen OLED Viewfinder Bluetooth Control Excellent ergonomics and very manageable shape and size of body 240 fps at 1080p Dual SD Card slots with swappable SD cards during recording, as cards fill up, to have almost limitless recording  Continuous power option 3 Year Extended Warranty. Though, for me, the Panasonic after sales has not been terribly inspiring. I am sure, your mileage may vary, varying from region to region Being in the Cinema Camera industry for pretty long, despite the short hiatus when RAW was the new Cinema Camera Industry Standard Cons:
Most Expensive of the 3 at $2500 Screen size is good by DSLR standards, but requires a monitor, especially for very fine monitoring Codecs limited to H.264, though from some reviewers, they seem at power or better than some flavours of ProRes 10-bit 4-2-2
  Z Cam E2
Pros:
The Only one among the 3, that is offering 120fps at 4k. which frankly is HUGE Claimed dynamic range of 13.5 stops (which is Quite Likely, if they use the QuadBayer pattern, this sensor is capable of). The 1/2 stop of dynamic range may even be noticeable to some some self-claimed experts of dynamic range and great camera testers.  Presently the tinniest form factor Offers H.265 apart from H.264. Which would make file sizes noticeably smaller than the other 2 for the same kind of data While neither RAW nor ProRes are available right now, there was mention of a RAW flavour (could be DNG RAW) Deep Learning Engine (not sure how it fits into a Cinema Camera lineup, except for fancy lingo, used by all random smartphone companies nowadays) Gigabit Ethernet port for control setting & live streaming
Cons:
ONLY CFast storage options on-board No Screen to see the footage Tiny LED to check data only Missing most of the body, including LCD or monitor, handles etc etc The missing accessories could add substantially to the final price of a usable product Company that is relatively unheard of. Warranty and after sales may be a bet It only has the equivalent of a camera brain. Users would have to buy a host of accessories to be able to fully use the camera  
All there have autofocus, and if GH5s is any indication, it would absolutely dreadful. I am also guessing that Time Code sync, Waveform, Vector Scopes, and programmable Zebra patters (apart from false colour etc), may be common to all three. All the extra bells and whistles would be knows soon enough, I guess. . 

Yes. This 2nd generation product does 10-bit in H.264 and H.265 for now with a hint for RAW capabilities in the future.
 
The GH5 has a much higher 20MP resolution sensor and average low light. Plus that IBIS is a boon or a curse depending on whether you like to destroy cars and cameras, or you prefer using them as instructed. 

As everyone in these forums has already figured out, in the last few days, at NAB, we have 2 more contestants in the Best M43 Video Category, and suddenly in the sub-2k Category, we have now 3 Very Competent Cameras for the Ultimate Face-off for Features and Price. The bad part is that there is there is a lot of confusion, and some would want to own All Three (or atleast test them comprehensively). The Good part is, any of these 3 would be better than good enough. This is a face-off in terms of features, by way of Pros and Cons, between the Blackmagic Pocket Cinema Camera 4k, the Z Cam E2 and the Panasonic GH5s. 
What is common is obviously the New Sony Starvis IMX-294 sensor and thus the excellent low light capabilities that come with it (Dual ISO)

Here are the Pros and Cons of each. Please feel free to make corrections or additions.

Blackmagic Pocket Cinema Camera 4k
Pros:
Cheapest of the 3 at $1295, which is approx. 35% Cheaper than the Z Cam E2 and approx 48% Cheaper than the Panasonic GH5s. Which is Huge TBO.  The masters of post production colour and grade. Excellent colour science and the industry leaders in colouring and grading, and thus the ability to know what codecs, colour science  and what bitrates would best suit cinema camera footage. The first guys to point out the fundamental flaws with ProRes RAW. I am betting on their Colour Science would be better than the other two. The only question would therefore be, by how much (considering how lovely the Varicam image it, I am guessing, by maybe a hair, in ProRes, though noticeable in RAW).  Have a 5 year experience in RAW shooting Affordable Cinema Camera Manufacturing, with the Original Blackmagic Pocket Cinema Camera being a runaway hit, despite all its flaws, mostly due to its 13 stops usable dynamic range and its tiny form factor. The design on that one was superb even if the battery life a lack of ports was a major drawback.  Bluetooth control Includes FREE DaVinci Resolve Studio thrown in, which itself is about another $299 alone It seems to be the only 1 of the 3, to have an onboard fan. Which seems odd, but Grant mentioned the advantage of a fan, saying that any kind of heat would adversely affect the image quality, having a degrading effect on the image. I am guessing it would introduces very visible noise, make the image soft, and also reduce dynamic range. This may be a clear advantage for the BMPCC 4k, for pushing slightly past the competition. Also, if the fan is anything like that on the MacBoom Pro, it would be very faintly audible, if at all. Right now, the BMPCC seems have the largest Codec options. Arguably the best Interface/ OS. Very predictive (like the Panasonic), with large clear button, and not insanely wide menus like Sonys, and everything very clearly laid out.  A Bright and Large 5 Inch Screen Balanced Mini-XLR mic jack for some good on-board recording (though unlikely to replace a boom operator, or talents with lapels).  3 Onboard mic options (4 onboard mics, Mini-XLR and 3.5mm mic in options). SD and CFast Card option,s apart from SSD  Dual Continuous Power options. One by way of USB type-C Limited storage options due to SD, CFast and USB options The Only one of the 3 offering RAW right now Cons:
The largest in size of the 3. Though not the heaviest, and also, likely with the best ergonomics for comfortable long recordings. Codecs are limited to ProRes and RAW. Which, TBO is not a bad thing, considering the the sheer number of flavours of ProRes and RAW that are available, and the fact that ProRes starts at some very lot bitrates (PRoRes LT and Proxy). This could, though, be Incorrect, because I heard grant saying that it has HLG, which I am guessing would be on the H.264/ H2.65 platform (please correct me if I am wrong).  It has a fan on board, which would mean that there is a possibility of it being heard, atleast in extremely quite environments. Also, the fact the heat wave may also be mildly distracting if you hold the camera in the hand Completely non-articulating screen. Most likely due to the dangers of a huge screen in a swivel design causing hinges to break easily or pushing into wires and ports. Also, tensile strength may be an issue with the carbon composite hybrid material. 
Panasonic GH5s
Pros:
Arguably one of the best weather sealing in a camera. Surprisingly a lot better than even some top end DSLRs. Superb battery life Fully articulating screen OLED Viewfinder Bluetooth Control Excellent ergonomics and very manageable shape and size of body 240 fps at 1080p Dual SD Card slots with swappable SD cards during recording, as cards fill up, to have almost limitless recording  Continuous power option 3 Year Extended Warranty. Though, for me, the Panasonic after sales has not been terribly inspiring. I am sure, your mileage may vary, varying from region to region Being in the Cinema Camera industry for pretty long, despite the short hiatus when RAW was the new Cinema Camera Industry Standard Cons:
Most Expensive of the 3 at $2500 Screen size is good by DSLR standards, but requires a monitor, especially for very fine monitoring Codecs limited to H.264, though from some reviewers, they seem at power or better than some flavours of ProRes 10-bit 4-2-2
  Z Cam E2
Pros:
The Only one among the 3, that is offering 120fps at 4k. which frankly is HUGE Claimed dynamic range of 13.5 stops (which is Quite Likely, if they use the QuadBayer pattern, this sensor is capable of). The 1/2 stop of dynamic range may even be noticeable to some some self-claimed experts of dynamic range and great camera testers.  Presently the tinniest form factor Offers H.265 apart from H.264. Which would make file sizes noticeably smaller than the other 2 for the same kind of data While neither RAW nor ProRes are available right now, there was mention of a RAW flavour (could be DNG RAW) Deep Learning Engine (not sure how it fits into a Cinema Camera lineup, except for fancy lingo, used by all random smartphone companies nowadays) Gigabit Ethernet port for control setting & live streaming
Cons:
ONLY CFast storage options on-board No Screen to see the footage Tiny LED to check data only Missing most of the body, including LCD or monitor, handles etc etc The missing accessories could add substantially to the final price of a usable product Company that is relatively unheard of. Warranty and after sales may be a bet It only has the equivalent of a camera brain. Users would have to buy a host of accessories to be able to fully use the camera  
All there have autofocus, and if GH5s is any indication, it would absolutely dreadful. I am also guessing that Time Code sync, Waveform, Vector Scopes, and programmable Zebra patters (apart from false colour etc), may be common to all three. All the extra bells and whistles would be knows soon enough, I guess. . 

I read somewhere about June.
Indeed. Hope Vlogging may push the boundaries, as matter of fact. Funny to write it but that's the way it is. Media convergence times advantage, I believe :-)

http://www.reduser.net/forum/showthread.php?167012-Update-4-12-2018

Heh, RED has been pretty bad in the past with delays (or straight up cancelling projects), but even still now in 2018 they don't meet shipping targets. 

I think we can give BMD a bit of slack! Even though I'm fairly optimistic they'll meet their November target.