IncriminatingPictures

The test shots in this lens review are P4K BRAW 3:1 if anyone is curious...
 

The camera was tilting up a bit on the original which was making the distortion look even more pronounced so I've re-done it.
They are now closer but the Tamron still shades it if you move it in to 17-18mm so it matches the FOV of the Panasonic and the distortion is actually reduced a bit further.
For added context, I have included a Canon 16-35mm f2.8 L lens (on the speed booster) for comparison and well.........

In theory they could, but in practice I don't see them doing it, especially for Braw recordings.
It is something you can very easily fix in post, and is one of the default panels in Resolve, so it's not a huge issue. 

The Panasonic 12-35mm definitely fisheyes and distorts at 12mm. 
 
i can post the raw, but I had crop in on the wide shot of the fountain in this clip because of the fisheye vignette but you can see the distortion pretty plainly 
 

i dont think i'm taking points away from the bmp4k, rather consider it as user feedback and mostly i'm pretty happy with it,  just in case there was any doubt out there. I certainly never said it was or wasn't run and gun. My style isnt running and gunning, actually my style doesn't include any running at all if i'm honest ?. A lot of machines are heading towards multiple use, dual purpose functionality, take smartphones for example, heck even a fridge can connect to the internet these days. I reckon the first camera company or even upstart company that loads up on features in one model will clean up. They may sell less models but they will sell more of one kind. As they say, build it and they will come.

I think they can be used in the scenarios they are showing, but only with the supporting gear they list rather than in the way they actually illustrate the operators doing it  
Whilst the AF solution is quite a few months away, my small hardware interface to use the Tilta Nucleus Nano focus controller with the electronic lenses (as well as the software route via our app) isn't.
Without blowing my own trumpet unduly, it makes a pretty significant difference to manual focusing control with native lenses and can offer some mitigation operationally for not having an AF system worth the name.
No wires, no motors and no additional powering also makes it a lot more friendly for smaller configurations.

Haha I see your point. I guess I’ve only ever saw the video clips and not the way they were used in the marketing material. 

2.8K Anamorphic Mode 2.6K 120 FPS Changeable area sensor size new frame guides + custom Spirit level
https://www.4kshooters.net/2019/09/20/bmpcc-4k-to-get-2-8k-anamorphic-mode-custom-windowing-of-the-sensor-and-more

Might help give some heft for a shoulder too. EasyRig solo isn’t that much of a pain. You just pull down the cable with one hand and mount the camera with the other. I used to do it all the time with a c100 mk2 operating without an asst for one reason or another 

Nice looking grip with Dtap, USB power and dummy battery:
https://www.newsshooter.com/2019/09/17/cine-x-battery-grip-for-the-bmpcc-6k-4k/

Not sure how much glamming up my iPhone 6 footage can take. But at least I have the neat “blackmist” permanent scratches on the lens. So at least it will be very filmic

I'm completely relaxed thanks.
I was debating a point with a complete idiot that was reducing the collective IQ of the forum every time he posted but if you want to open up the subject again..
From my experience with the JVC LS300, most lenses are able to do 90-94% coverage of the sensor so the windowed mode would be minimal (both in terms of FOV and resolution loss) and a fair compromise for the ability to use lightweight mft lenses. 
I don't know where the E mount or RF mount come into it as I never mentioned those as being a viable option for BM to incorporate.
Its a fair point about the original BMCC but that was also at a time when electronic mft EF adapters didn't exist so people were buying them because it was a shallower mount and more adaptable.
There is no reason why the new mount would not be active as per the Pocket 4K and there are now plenty of electronic EF adapters on the market though so its a bit of a moot point in the context of the point about this camera today.
The lens landscape in terms of quality and range for mft lenses is also significantly different between now and then.
For a camera with such rudimentary AF, there is no loss of performance in using an adapter versus native, only a loss of flexibility in having the option of both.
For the sake of a 90% windowed mode only when using the small lightweight lenses, I don't think there would have been a huge pushback at that compromise, particularly as it would also then allow the use of PL lenses amongst others. 
With regard to PL compatibility, this is a list from the SLR Magic PL Adapter and is actually quite a bit more extensive than other adapters that carry the same core list
SLR Magic SLR Magic ANAMORPHOT-CINE 35mm/50mm/70mm SLR Magic APO-HyperPrime 25/50/85 Century Optics Century Optics S2000 150-600mm - Canon Century Optics 200 mm T 2 - Canon Nikkor Nikkor Micro 200 mm T 4 Nikkor 800 mm T 5.6 Nikkor 300 mm T 2 Nikkor 200 mm T 2 Cooke Optics Cooke 18-100 mm T 3 Canon Canon 800 mm T 5.6 Canon 400 mm T 2.8 Canon 300 mm T 2.8 Canon 20-35mm T4 Angenieux Angenieux 20-120 mm Angenieux 7-81 mm T 2.4 HR Angenieux 17-102 mm T 2.9 Angenieux 24-290 mm T 2.8 Angenieux Optimo 24-290 mm Angenieux Optimo 28-70 mm Angenieux Optimo 17-80 mm T 2.2 Angenieux Optimo 15-40 mm T 2.6 Angenieux Optimo 45-120mm Angenieux Optimo 28-340mm Angenieux Optimo 19.5-94mm Focus Optics Ruby 14-24mm T2.8 AllStar Allstar 135mm T1.9 Allstar 80-200mm T3 Allstar 50mm T1.5 Allstar 18-35 T1.8   Hang on, you're asking if I'm sure "a lot of the PL mount lenses will not work with the PL mount adapter?" and then immediately talking about a product that exists purely to address that issue!
With regard to the speed booster, I don't know who's original quote that is as it's not mine, but there is a big difference between that statement and the Lucadapters solution.
Both products, as smart as they are, are offering solutions that need not have been there had BM continued with the mft mount and are nowhere near as convenient as the solutions on offer if they had.
I'm not saying that EF was a flat out bad choice (and it might actually have resulted in more attraction for people who don't like the mft mount) but it was certainly the less flexible and I don't recall a massive backlash towards the Pocket 4K for having an mft mount in terms of lack of sales of it.
By the way, for what its worth, I'm quite an advocate of thinking outside the box when it comes to BM cameras.
Way outside of it  
 

Everyone probably knows this, but I've seen people rig up cine-type cameras before they leave for the shoot and just pull out the whole rig and then can start using it.  Obviously you need a decent case and it will take up a bit more room, but it's a way to cut out some time and get a bit more flexibility if you need to.

What a shame.
Who are these "deep state" BMD insiders that are here pushing an agenda ? Myself and Hook.  Who else ?  What do you guys think, there's a plot and conspiracy ?  You guys don't wat these contributions I guess ?
I'm here because I've been a member here for years and I'm on many camera forums and this is just another one I like to read and contribute to where I can.
I want to know where all the clowns that were saying on this thread that the world was going to end because BMD didn't have any footage out yet and that definitely meant something was very wrong and the shipping date would be missed.
All I've seen so far is that a planned marketing campaign by BMD that has gone off the way they intended.
They commissioned some actual filmmakers (not bloggers or camera reviewers) that make certain types of film (natural history, action sports, nature) to make some films and then they released them and the camera originals.
Then they gave some cameras, complete with some boxes as if they were new to some secondary users, and whilst having them also under NDA, got them to shoot some test footage and allowed some of them to release that footage.  Again.  Not reviewers.  Not bloggers.
About a thousand reviewers and camera jockeys have done a bunch of made up comparisons and VLOGS based on existing footage. (hey I love seeing my footage being butchered by grading nerds)
Think about it.
No blogger or reviewer ANYWHERE has gotten a functioning camera to shoot with as far as I can tell.  Because that's not what BMD want to do with their marketing of this camera.  This isjust marketing 101. 
They need people using the cameras in the many difference specific sectors of the market will use the camera.  Camera reviews aren't part of that plan. (though it hasn't stopped people doing it based on existing footage)
Until it's shipping, it's their choice to give it to whomever they want.
I'm tired of this entitled bullshit.  
I recently left a few facebook groups I was on for this camera, and I'm doing the same here.  Frankly it's juvenile and I don't need the agro I sure hate explaining what should be obvious.
There's no slight.  
BMD have a marketing department and they have a plan and it doesn't involve forums, bloggers or camera reviewers.  That's not a snub, that's just them marketing the product in the way that they see fit.
JB 
 

Been lurking in this thread since the announcement. Thought I'd throw my hat in the ring and put some color on the footage. I wanted to color it with the least amount of lift to get it looking good, so I chose colored it within Premiere only using the available Lumetri Color panel. No sharpening or grain correction (adding or removing), no HSL Secondary, just color. My rationale for this being that I think the BPCC4k would fair rather well on shoots for a media company who's main delivery is YT/FB/.Com etc. This is the world I currently work in professionally, and the skill level of a video team in that world can vary greatly. 

I think it fairs pretty well without going with an extreme pro level of correction, with fairly minimal time spent. Which is exciting when I'm thinking about projects where the deadline is tight. 
 

Yeah I really like the BM color science in this PCC4k, but it does skew cool in the highlights and mids for sure. I'm pushing quite a bit of orange and red into them for that balloon shot, using the color wheels in Lumetri. 

Been lurking in this thread since the announcement. Thought I'd throw my hat in the ring and put some color on the footage. I wanted to color it with the least amount of lift to get it looking good, so I chose colored it within Premiere only using the available Lumetri Color panel. No sharpening or grain correction (adding or removing), no HSL Secondary, just color. My rationale for this being that I think the BPCC4k would fair rather well on shoots for a media company who's main delivery is YT/FB/.Com etc. This is the world I currently work in professionally, and the skill level of a video team in that world can vary greatly. 

I think it fairs pretty well without going with an extreme pro level of correction, with fairly minimal time spent. Which is exciting when I'm thinking about projects where the deadline is tight.