Chrad

'The Camera Cage for Black Magic Pocket Cinema Camera 4K features a completely customizable, modular design. Fill out your camera cage as you see fit. An optional right side handle features a small finger wheel that can allow you to control the upcoming Nucleus Nano motor and also features an SSD card holder as well as a battery compartment for Sony F970 batteries to allow you to extend the battery life of your camera. More info and pre-order available soon.'
 

Will be close to ideal once the D-tap cord is widely available. A better option than the dummy battery, since you could charge a real battery as you run the camera.

My impression is that people don't like backgrounds that are unnaturally blurry.
Hold your finger up close to your face and focus on it.  Now, while maintaining focus on your finger, become aware of the items in the location you are in and how much detail you are able to ascertain.  It is normally quite a lot, although if you do this with test charts you will obviously find that the detail is obscured.
Your eyes aren't as large aperture as you might think.  However, in video, you are able to look at the out-of-focus areas directly with your eyes, and so any detail present can be distracting, so it's not a straight aperture conversion.
Basically, the human eye has a relatively small aperture, the translation is a weak one, but the more you push it faster than the human eye the more unnatural it looks.
I completely agree that it's a photographer thing, as photographers have learned to idolise shallow DoF because they are associated with portraiture and expensive lenses, and that it isn't the consumer as much as a photographer lusting after a completely unnatural sea of blur behind a subject in their images.

It's interesting that you're able to perform DR comparisons by mentally comparing unrelated and differently graded shots seen on youtube, and are confident enough in the results to announce them.
The usual complaint about youtube "reviews" of BMD cameras is that the tuber has no idea how to grade the material, so the tests are meaningless.  But it's gone one better now:  comparisons of unrelated shots (from youtube?) done by memory.

I'd trade IBIS for a proper 4mm MFT filter stack. 

Bit worried about the screen really.
As it's a touch screen, a loupe is going to disable a lot of the menus and controls. There is no d-pad or joystick. Is it possible to navigate the menus without the touch screen?
I've heard people describe the screen as "good"... For me a "good screen" is one you can actually see. If it goes invisible outdoors and you can't tilt it, it's not a good screen
Blackmagic have the guts of a great cinema camera here - and the good workflow to go with it (Resolve). Why could they not have spent more than 5 minutes on the body design? Just basic common sense stuff...
1. With such a large body and high power requirements, why only have room for one battery? Why not have a vertical grip? With it being a Canon fit, I wonder if any of the Canon DSLR vertical battery grips fit? Why not use a 1D X size battery under the base?
2. Screen should have been articulated... surely
3. The hotshoe should have had contacts for a slot-in EVF - pretty sure Olympus has one they could have made it compatible with, powered by the cam.
4. Not talking about adding too much cost or complexity here, just the basics... Like if you have a battery door, make sure it stays shut properly?!
5. They are on their 4th generation of camera now... So no excuses for badly thought out half baked solutions
6. Do a $2500 version next. Use the classic slim Sony NEX 7 form factor - twin dials, corner EVF, tilting screen, slim body, IBIS, power efficient processor, XQD card slot, lighter, that would be a major winner.

It detects if a lens has it and switches it on automatically, though you can switch it off in the menu and you'll need it because.....
The monitor.
The issue with the monitor, for me, is the lack of a tilt as much as the quality of it. 
If you want to shoot handheld with it, its quite a lump to hold up and front of you at eye level and the bigger screen is actually a drawback here as you'll be holding it slightly further away.
It means its not only uncomfortable but obviously inherently less stable.
With a tilt mechanism on the screen, you'd be able to cradle it at least which would make it far more viable.
I honestly do think that we will see a raft of 5" loupes appear on the market soon to address this as giving you that point of contact will make a huge difference.
Its a bit of a perfect negative storm really of form factor, fixed screen and no IBIS but it is what it is and I'm sure workarounds will come but, for me at least, an EVF is going to be the way to go.
It would be nice to actually have an option to switch the monitor off totally if you are using an EVF as its pretty superfluous at that point and anything that reduces power consumption and heat generation on this camera would be welcome.
 

i "stole" so many shots for my short i just made. the bus, a train, a public parking garage. if anyone has a problem with that... well...

Wow.
What I also don't like is the idea that it's ok for advertisers to bombard us everywhere we go, but we're not allowed to photograph it. So, they can fill our mind-space with their products to make money- but we would not be legally allowed to record it ourselves. That's like a one way street.

The BMPCC4k is an evolution of the original cinema camera, and original pocket - combined into one camera. 
I think BM is going higher end with a large format version of the UMP.

It depends on how you shoot. It might not be a major issue for many, but I draw a lot of inspiration from the aesthetic of directors who make prominent use of ultra wides like Terry Gilliam, Terrence Malick and Michael Mann (of late), so it is for me.

All of the IBIS systems I have seen to date seem to occasionally introduce a weird warping effect into the footage. It is unpredictable and can often times ruin otherwise great shots. I just prefer to have more control. If something it going to go wrong when I'm filming, I want it to be my fault... that way I have the power to fix it.

Just a note that the 'soft edges' discussion on BMC user has moved forward significantly.  Kin869 has uploaded loads more examples.  The upshot is that (unless his camera is an exception) if you are using a non telecentric wide angle lens (native or speed boosted) and you shoot a wide shot you will probably see an edge softness issue at any aperture wider than f5.6.

lol at pixel peeping license plates from a mile away. these kinda tests always crack me up.. do a skin tone test in mixed lighting and we'll see who comes up on top!

The battery gauge behaviour on this camera just emphasises what a balls up BM have made not having the external power options available from the get go.
It appears to go :
Full Quite full About half full About a quarter full (showing Red) Off The rate at which it goes from 1-3 is probably reasonably accurate for the expected run time but the step from 3-4 isn't and the almost instant drop from 4-5 (ie Off) is ridiculous. 
As is the fact that if you switch it back on again, it goes back to 4 for about a minute and then back to 5.
And then if you leave it for a few moment, you can do that same thing again.
And again.
The fact that I wasn't actually taxing the camera at all other than having it sat there while I sent a few Bluetooth messages to it (so there was no variance in power consumption from putting it in and out of record for varying times) is a bit concerning as to how this erratic power indication would work under actual  use.
I thought the battery gauge behaviour on the original Pocket was random enough but at least that had a percentage indicator to let you know precisely how random it was being.
If it behaves like this when it is more or less just sat there then I would be very wary about doing anything critical with this camera once the the battery randometer has gone below half.
And before the sock puppets show up and ask, yes I was using the real BM battery and yes I had fully charged the battery out of the box before the camera was switched on.
 

I think that amounts to roughly about 40-50 pages per camera actually owned on here though !
 

No, I think its still there, it just seemed to die.  I have been waiting for the update on that.  Did he have a faulty camera? Did the problem go away once he stopped down further?  I may need to bump it, because that seemed a serious issue.

They should just fire half the people in the pro division. They're causing so much problems!

They're the main reason we for instance don't see a Panasonic EVA1 MFT  ?    Even though that would be completely logical to do!
 

I've been impressed at how much I've been able to lift the blacks and mids with no noise on a number of challenging scenes.
One shoot was brilliant bright fall light streaming through an autumn canopy for an all day mountain bike segment.
The light and contrast changed constantly with no time to adjust even with a couple of grips with bounces.
Bottom line, I don't even think about ETTR with this. It's a totally different image/negative.
Very clean very gradeable - and all we've shot so far is in ProRes HQ UHD.

Out of likes. Wow that is some thick looking footage. Can't complain about that.
 

Hollywood loves the Alexa for its reliability as much as anything else.

And with a lot of $$$$$$ spent on lights.

Alternative to the T5...
 

It depends on what you're trying to achieve.
Turning a RAW photo into a nice picture is basically the same for video.  Perhaps video might be a little harder if theres a single shot where the subject moves between light sources with different colour temperatures, but that's unlikely for most of us.
I think there are two situations where grading does require a very high level of competence:
When you're trying to compare two cameras by grading them to look the same, or trying to make both look as good as possible so the potential of both cameras can be compared, or, When you're trying to grade a piece of footage so it just looks absolutely stunning. The first scenario is what the videos in this thread lacks: people that can't match two cameras (or can't even WB both cameras properly) or people that grade one camera nicely and grade the other one very poorly, resulting in that BMPCC4K vs GH5 video where everyone said the GH5 footage looked worse than even average GH5 footage, let alone be good enough to compare to another camera.
The second is a bit less relevant to this thread, but we've talked a lot about the BMPCC videos and how they just looked wonderful with lots of mojo and general awesomeness, and that the BMPCC4K hasn't lived up to that.  Unfortunately, what we're doing is comparing the best results from years of people shooting with the BMPCC - both in terms of people getting to know the cameras modes and best lens combinations, and how to grade it, but also picking those videos where the colourist was quite skilled.  The BMPCC4K hasn't been out long enough for the people who have it to get to know it, test lens combinations and filters, and probability suggests that the best colourists haven't even touched any of the footage yet.
You simply can't compare the best ever footage from one camera with the first few quick films from another.
The videos we've seen so far have been basic colour space conversions, or even just a LUT.  Wait until people really get stuck into the footage.  
The highest level of grading work will have qualifiers to treat skin and various other specific tonalities, will have localised adjustments that will be tracked as objects within the frame move, and these days often some VFX elements, which it's also worth noting that VFX elements don't always mean adding in objects that aren't there, but can also do more subtle things like adding lens flares, digital re-lighting to change a scenes light-source behaviour, digital make-up with face tracking and face enhancements, etc etc.  Lord Of The Rings is obviously a movie with a lot of VFX but IIRC they said that every frame had some VFX on it, even if it was just localised adjustments to dodge-and-burn elements in a landscape or whatnot.
Truly skilled colourists will not only do all the above to make things like nice and give them a look, but they will emphasise and de-emphasise elements and adjust colours according to the psychological effects that these adjustments give, but all in support of the story and characters and entire world of the film.  When we watch a film we become emotionally invested in the world that the film creates, and we cannot help but let this effect the way we see the footage.  A photograph will have more meaning to us if we know the people in it, and so if a great story has characters we care about then the footage will all look better to us because of our emotional engagement.  
This cannot possibly be emulated by random test shots of strangers in parks, models posing, or travel films where the people aren't really featured and certainly don't have any real dialogue.
Have a look at this video which shows a good but still basic colour grade, and note the difference between the first step (LogC to rec709) and the final grade, even though this is a very basic adjustment.
Truly great images will be made from footage recorded with this camera, but the images themselves won't be truly great until they are made into emotionally engaging art.
Otherwise, cameras really would improve our film-making.

I don't remember, my notes say 63C with fresnel attachment and 40+ with bare light.