Chrad

To be honest I haven't really used my Godox units a whole lot. 
With the quieter fans comes reduced airflow and higher temps.  I'm in a generally cool climate, stock operating temp for the sl200 I think was 42C and with the quieter fans I'm getting 53C.  If you are in the desert I doubt either will last, but the stock fan would keep it cooler for slightly longer.
I forgot if I swapped out to the regular vs the ULN (noctuas has different versions of the same fan at diff speeds and noise levels).  Whatever I'm running only adds 3db to noise floor in tiny quiet bathroom so huge improvement over stock and basically silent on location.
I'm trying the led flex panels because they're so much lighter and easier to carry around AND the bicolor is so much easier to live with than gels. I hate trying to get these cobs
 

With the exception of.... Fujifilm! They've done a darn good job with their latest release

Also RED often puts out fairly slick release videos too. 
 

I'm quite partial to using my BP-U30 (and BP-U60 batteries) to powering my original BMPCC, the check light on the battery is handy to have. 
 

Oh no, it is too good!

 

Hello Kye, for me the entire world is a film set ? I am agree, new techs must serve creativity not replace it. By the way, A.I. will never replace human mind, we only talk about techs which can make our lives easyer on set.

The real question is "Can we use techs like autofocus or IBIS on a film set ?"
I live in France and I can tell you that many people are very conservative about that. They say that you can't use AF because movies are only made with cameras which have PL mount with manual PL glasses so for them it is literally impossible to use AF. Even worse, many people think it is forbidden!
There are many exemples of great movies made with DSLRs and photo glasses. If AF works why don't use it on appropriate situations? If IBIS is relevant on some case why don't use it? When I said to some peole it was a pity that P4K lacks AF and IBIS they replied "it is a cinema camera so it is normal if there is no AF and IBIS"... wow... It is time to break the old rules!

Well, just because because there are a new kid in class doesn’t mean that the other cool kid is suddenly shit. Can we get past that, please?

I’ve been saying this for a while now. The DSLR Revolution was ruined by “filmmakers” using the equipment as if they are on a Hollywood set.
It’s been said ad nauseum... different tools for different jobs. I have a film idea I am fleshing out that is entirely static shots... so of course I’ll use sticks for that project. The film after that will be a found footage movie... I’ll probably use a camcorder with OIS turned on, or a camera with IBIS and you can be damned sure I will use Sony’s PDAF or Canon DPAF.
For the film I’m working on now, I decided to shoot handheld with just my camera and a strap, for some of the reasons Kye mentioned, but also to get in and get the shot. I’m relying on Canon IS and it is serving me well. With dialogue scenes, I’ll put the camera on sticks or use my monopod because I don’t want any movement while rack focusing. But I will say that I would love to have DPAF for tracking shots and for touch focus. I’m getting by without it, with a few misses here and there but it’s doable. 
I think webrunner’s point is valid though. I’m just a hobbyist, so I have the time to do more takes until I nail the focus or nail it enough that I can cut away in the edit. But if I was a videographer that gets paid to shoot events... without a doubt I would get a Canon or a Sony... time is money... or I’d get a camera with IBIS for the same reasons. 
Obviously this is a post born from the P4K thread and although I understand the OP’s sentiment, the problem with the P4K, which isn’t the P4K’s fault... even though the front record button is slightly misleading to the vlogger crowd, is that a lot of videographers feel they need the specs of a cinema camera to shoot a talking head video or an event and it’s those people who webrunner is referring to regarding the benefits of IBIS or AF.

I made that Gemini vs Pocket video. If you download the original ProRes file, zoom in around 300% and notice the edges of her hair/face is fringing significantly more on the Gemini. I'm extremely impressed with the Pocket 4K thus far.

Given sufficient quality, which is less than people think as @webrunner5 says, a video camera can be viewed as 25 fps burst mode (or even 50/60 fps) stills camera.
Why bother with trying to nail 'the decisive moment' when you can find that moment in post and extract a still.
You can say that is lazy, or you can say that it's using the technology to get better results, but you can't deny that it can work.

RED Gemini vs Blackmagic Pocket 4K
 

I agree with most of the above, but the thinking is wrong.
Is super slow-motion required in 2018?  Not if you're shooting a doco, but yes if you're shooting a hair or shampoo commercial.
Is IBIS required in 2018? Not if you have the time, space and permission to take a stabiliser of some kind and set it up, yes if you're shooting in situations where a tripod/monopod/shoulder-rig/gimbal/etc isn't allowed or isn't practical.
Is 4K required in 2018? Not if you're shooting for a client that doesn't mandate it, yes if they do (eg, Netflix).
Is RAW required in 2018?  Not if the requirements of your scene will be sufficiently captured in a more compressed coded, yes if you need the flexibility or resolution in post (eg, green screening)
Is AF required in 2018? Not if you have the ability to manually focus sufficiently on set to track the subject in your images, yes if you don't.
Is extreme high ISO performance required in 2018?  Not if you are shooting a bright enough subject, or have the ability to light them sufficiently, yes if neither of these is true.
Anyone can ask the question of ANY parameter within photography and find examples of both yes and no, depending on the project.
ANY DISCUSSION OF REQUIREMENTS BEGINS WITH THE CONTENT TO BE CREATED.  CAMERAS ARE TOOLS FOR A JOB.  EACH JOB IS DIFFERENT.
Anyone who thinks they can generalise is too stupid to understand that other people shoot different projects, using different techniques, in different circumstances.

Is anyone really buying this for the slowmo?

It's nice that they threw it in, but I'm more after beefy prores files recorded directly in cam and all the other positives this $1300 camera offers.

ISO 1250 is the WORST iso to choose to test the red clipping issue.    It is pulled 3200 iso, so even properly exposed it only has 2.3 stops of latitude above middle grey.  So of course the highlights will clip and look shitty.  ISO 1250 will be the number one noob trap on this camera.
Im more worried about the wide angle lens blurryness.  Yes, lenses have field curvature that is more aparent wide open and yes the Pocket 4k has a wider field of view that shows more of it, but that alone doesn't account for what the examples in that thread show.  It must be the sensor stack thickness also.  If stopping down to 2.8 doesnt resolve that issue then that is going to be a way bigger deal breaker than red clipping.

Its at least a flop in the UK, because the FS7 was released and Canon couldn’t beat many of its features. Now, the FS7 is the most rented and requested camera. The C300 II is nowhere to be seen, where before the C300 was always No.1. 
For sure, the Canon has the prettiest image and DPAF, however with more productions calling for high quality HFR - Sony succeeded massively. The FS7 today still has sexier specs than cameras released now. 
Even on shoots now with many cameras and shooters (at least the ones I’m on)  - I’ve seen all the cameras being used are Sony now, where in 2012 it was all Canon. They’ve simply lost their hold. 
I love the C200 image, it’s stunning. I’d have bought one if the HFR was better. I could see it working with the X-T3 nicely.  But with a lot of my clients asking for high quality HFR, EVA1 it is. 
Like the topic title, camera choice is important. My advice - stick to a brand and just go for it. Minimise swapping them around and only change if the difference is greatly beneficial. 
 

None of these recent camera releases has persuaded me to parts ways with the GH5, here’s why: 
- Ergonomically awesome for video with loads of custom functionality. Feels MADE for video. 
- 10 bit 4:2:2 codecs are very strong. 
- MFT sensor, while Speedboosted, is easier to focus than a full frame sensor. Very adaptable. 
- Great battery life. 
- IBIS is excellent.
- EVF and Flip Out LCD are awesome. 
- @Sage Alexa conversion makes it a different camera. 
- Anamorphic modes. 
- Monitor LUT - super useful! 
I’ve tried the AF on a gimbal with the GH5 and it works quite well. Not Canon or Sony level, but decent. 
Theres features in the other cameras that look appealing, but the way I view it, how much will it change my videos? 
I’ve opted to spend and upgrade my lighting to a full Aputure setup and camera movement. These things directly influence the picture more and invite increased skill and knowledge in composition. 

There are now 4 more films that have been uploaded to the Official Blackmagic Design Gallery for the Pocket 4K.
https://www.blackmagicdesign.com/au/products/blackmagicpocketcinemacamera/gallery

Isn't the whole point of the big monitor that this is a pocket camera and you don't need an external monitor? 
If you need to rig up a monitor to mount external power without some unorthodox rigging whatsit designed to prevent blocking the view of the screen, then the rear monitor is just a waste of space and energy. 
Or are you saying this isn't a real cinema camera because they included a screen on the back? 
Broken design: halfway between a cinema camera that requires rigging and a low form factor device, in ways that are trampling on each other. The least they could have done here is add a hinge for the screen and then this would be a non-issue.

For me it is a simple equation..  if you want IBIS for use with MF / vintage / cine primes then this is the camera.
I think that "50 reasons" video is quite compelling..  partly because it wasn't 7 reasons, and because the reasons were "it has feature X and P4K doesn't", not the usual "feature X is 7% better" that these videos are normally full of.
The fact that "It's also a stills camera" was only one of the reasons was quite telling I think!!
 

Isn't the whole point of the big monitor that this is a pocket camera and you don't need an external monitor? 
If you need to rig up a monitor to mount external power without some unorthodox rigging whatsit designed to prevent blocking the view of the screen, then the rear monitor is just a waste of space and energy. 
Or are you saying this isn't a real cinema camera because they included a screen on the back? 
Broken design: halfway between a cinema camera that requires rigging and a low form factor device, in ways that are trampling on each other. The least they could have done here is add a hinge for the screen and then this would be a non-issue.

Happy to report that adding a non glare screen protector to the Pocket has made a huge difference. Much easier to see the screen in direct sun while still being bright and sharp. Still easier to see in the shade obviously but now not unusable in sun.
As others have said, I'm also a big fan of the menu system, add to that the scroll wheel with push action, dedicated ISO, SHUTTER and WB buttons plus three custom buttons and you can change all the most used functions easily with just your right hand on the grip. I have my Function buttons set to 1)False Colour 2) LUT Toggle 3)Focus peaking toggle.
 
 

The adaptor for the mini XLR isn't really an issue as it locks in place at both ends so just like having one cable really.
When I first received my camera, I was horrified at the battery life and how unreliable the battery meter was. For a minute, I thought about selling the camera straight away. Once the included battery was charged and discharged a few times, the battery life started to improve and the accuracy of the meter did too. I bought four Wasabi batteries as I have used Wasabi in my GoPro's and X-T2 and had been happy with them but the LP-E6 versions only gave me 25mins of battery life. Even after a few discharges and charges, they didn't improve at all. 
I have now switched to Genuine Canon LP-E6's and now getting just over an hour of continuous run time with the screen at 65% brightness so the battery life is not really a concern for me any longer. Also, the meter accuracy is spot on and I get a good warning when the battery is low
 It was me who reported that the screen was hard to see in bright sun and that was to do with the reflectiveness of it rather than the lack of brightness. I have just fitted an anti glare protector to it. Unfortunately it's night time here, and I can't test it in full sun until tomorrow but even indoors it's obvious that the reflections have been cut substantially without quality loss so hopefully this results in my second major gripe (the battery was my first) with this camera being resolved.
The camera really is fun to use without any rigging at all, the only thing I do now miss is a tilting screen but I knew it didn't have one before I bought it. I might get a SmallHD Focus to remedy this.
 
Ultimately, we need to compare Apples to Apples so let's recap your issues below.  90% of the issues you describe here will be issues for many other mirrorless cameras anyway.
The screen Issues: I have used the A7 series a lot over the years and while it did have a tilting screen, I hated using it for video as it was just too small and also wasn't great in direct sun (most mirrorless screens suffer the same issues), so it too needed an external screen as do most Mirrorless camera for critical work.
Battery Issues: Again, the A7 series battery life sucked, as it does on my own X-T2 (I carry 4 batteries with my X-T2 when I go in holidays!) so apart from the GH series, you need to carry around batteries for any prolonged shooting anyway with most mirrorless cameras. As they are so small, I'm not seeing this as a major problem.
The USB-C/ Hard drive issue: You don't have to use the USB-C feature if you don't want to (and no other camera even gives you the option) so can't see that as being a negative. Once the camera gets BRAW, you will have RAW to SD Cards. To do that with any other mirrorless, you need an external recorder (more rigging, more batteries). 
The Audio XLR adaptor issue: Audio wise, having phantom power is great as is the XLR connection, minijack input and Timecode in. Adding those to a mirrorless camera requires external recorders so more bulk, rigging and batteries. I'll take the XLR- Mini XLR adaptor over a H4N or similar any day.
While it's easy to look at all the negatives of the Pocket4K, you need to compare apples to apples and any camera in the ballpark price range (and even thousands $$$$ more) is going to need external accessories to get the same job done as the pocket. 
The fact is, 90% of of the time, you can easily get away with shooting in a bare bones config on the pocket. I'd only really recommend using an external monitor for shorts where the camera is low to the ground or up above your head. 
BMD really have given you so many options and ways of using this camera.
 
 
 
 

I agree that it's a little less quirky than the original, but I don't think by much. 
Yes, the sound situation is better, but you're still going to need to use an adaptor if you're not going the 3.5mm jack route. The more things change, the more things stay the same.
The battery situation here is truly horrific and shouldn't be downplayed. People are reporting 40 minutes or so. Blackmagic are once again shipping a broken design - the camera should take larger batteries or have been engineered in such a way as to save power if it is to be advertised as a 'pocket' camera. 
Yeah, you can carry around half a dozen batteries with you, but who wants to do that? Or more to the point, who wants to be changing batteries every 45 minutes (of usage, not shooting) in a run and gun situation?
The screen is great, but reportedly hard to see in bright sunlight, so depending on your shooting conditions you might need to buy a monitor anyway. 
The USB-C features are neat, but they require carrying and rigging up a power brick or hard drive. 
And once you're going to that kind of effort, we get back to what I was saying originally. You still need a lot of accessories and effort to make this thing practical, and that's what's going to stop it from being the kind of film-democratizing modern super 8 type thing for amateur enthusiasts. Needing to rig the thing up is prohibitively intimidating, expensive and slow and gets in the way of the fun of getting out and shooting.
For small production companies? Sure, it brings down the cost of professional codecs, particularly raw.

The vast majority of hobbyists and vloggers will get better results with a GH5/S or XT-3 than the 4K Pocket. Just like the vast majority of them got better results with a GH3, 5D3 etc than the original Pocket and the endless ‘organic retro lut’ grades that abounded with that camera. Although Blackmagic are trying to aim this camera at a broader market that the Ursa 4.6k/Pro, I don’t think it is the right solution for people who don’t use Davinci in their workflow.
BM have tried to simplify things for users with the Gen4 colour science but they overestimate the average person’s interest in correctly white balancing (even in post), using more than one node, appropriate lift/gamma/gain and selective sharpening etc. The fact that this camera has a much higher quality ceiling than everything else under $3k doesn’t mean it will play out that way in most situations.
It is in that tricky space between being able to cut seamlessly with an ARRI or Ursa Mini Pro(which looks fantastic with Gen4 colour) and looking potentially worse than consumer cams. 

I think it comes down to what you look for in your final project, and not what “most people” want in terms of features. It’s just flame war at this point. Kind of like a console war between Xbox and PlayStation. I still bring my own bmpcc to work, even though we have a canon c200 (whatever it’s called) at the office. Some people just prefer a different look and a different work style (as in terms of handling). And again, you don’t need to buy the P4K if you don’t want to, if you have the GH5s go out and shot with it then.
I printed 11x17 prints from DNG’s of the BMPCC, so knowing I’m getting 8Mb of data compared to 1.9Mb this time around. I don’t see a problem. Also been doing portrait work with it for companies such as Beam Suntory and some architecture firms; https://www.olarch.com/retail

I don't think that's true.   A lot of blackmagic cameras have exposed holes, but all of the stuff that is vital to the camera (FGPA, Sensor, etc.) are sealed from dust/weather, etc.
 
I do think that the Pocket 4K is a better option for professional cinema use, but for everyday users I don't think Blackmagic cameras are ideal.  Autofocus, IBIS, rotating screen, etc. are huge features that will greatly benefit the average user more than raw will.
 
If another brand of mirrorless camera would incorporate the BRAW codec then there would be very little reason to buy a Blackmagic cam anymore.