Bioskop.Inc

If it has Tomioka on there, as well as Chinon etc. its the same lens - Tomioka made them & they were sold/rebranded (55mm f1.4 & F1.2). If there's no Tomioka on it, it might not be the real deal.
@mercer Make it in B&W - so under rated these days (just think/watch Ida & Cold War). I shot something a while ago, in colour & have decided to go B&W for the edit - also saves a lot of time with CC!

Still got my OG Pocket & all I can say is forget RAW, simply because ProRes HQ has all the DR you'll ever need - RAW also produces way too much M&A & noise, whilst I've never seen in it in PRHQ. Also the highlight roll off is lovely, even if you clip it slightly & I've had to do that a few times in the past - no complaints.
It does get hot - i've burnt my finger on the metal casing before, but it was about +30 degrees when I that happened!
Make sure you've got the latest FW on it, as they made huge strides with the Video mode setting & the colour it produced - it was like they'd added a BM LUT to the Film setting & you still had room to grade it more.
Be really careful of the mini-HDMI port as it is really fragile - i've heard of it breaking even with a cage clamp. Which brings me onto the screen - don't believe all the rubbish about how bad it is. I never used anything but it's screen & I was able to nail focus every time - I could pull focus using it too!
IR/UV cut filter essential. And if i remember correctly WB of 4500 was always a safe bet, which you could easily tweak in post if need be.

Nice lens & pretty rare, so well done for buying it.
A few tips about infinity & some vintage lenses (especially the Helios) - I've found that sometimes the taking lenses infinity mark is slightly off & you might need to dial it back a little (mm if anything). Test the taking lens, get the infinity set properly & tape it down so it doesn't move or remember the mark - this should sort your infinity problem out with some vintage lenses, it's certainly the case with most of my Russain lenses.
The Meyer 100m is a really nice lens, one of my favourites for colour/contrast, not always the sharpest but I don't care about that nonsense.
I've found that the Nikon Ai-s 50mm F1.8 pancake lens is a really good one for anamorphics - really cheap too!
Another one to think about is the Super-Takumar 55mm F1.8 - small & sharp (don't get the SMC one, the Super-Tak version is single coated so will be good for flares etc.).
The normal rule of thumb for taking lenses for these anamorphic attachments is to find one with a simple lens recipe - the Helios 44-2 is normally a winner with most of these attachments, but if it's not working for you then you'll need to experiment.
One thing to take account of, if this is really a Baby Iscorama rebranded etc. (as is claimed in this thread), then wide open they are dreamy soft.

Man I love the white vignetting & some of us feel it is part'n'parcel of using anamorphics -  it recently appeared in "You Were Never Really There" Dir. Lynne Ramsey (great film, great framing, great narrative).
Embrace the White!

He thinks he’s smarter than everybody else and he’s a miserable prick. Admittedly, I shouldn’t have let him bother me so much but after a while, his annoying little comments are grating. 

I really love my Super-Takumar 55mm f1.8 & I don't care what sensor it's on.
For me, it's never about focal length, it's how the lens always seems to deliver something special no mater what. The exclamation "it's not wide enough" is never something that enters my mind - I just move about & frame with what I've got.
Go take a look at the original version of Point Blank (1967) - they just used a 50mm lens & diopters.

I really love my Super-Takumar 55mm f1.8 & I don't care what sensor it's on.
For me, it's never about focal length, it's how the lens always seems to deliver something special no mater what. The exclamation "it's not wide enough" is never something that enters my mind - I just move about & frame with what I've got.
Go take a look at the original version of Point Blank (1967) - they just used a 50mm lens & diopters.

To get steady shots with a minimal set up, then you need 3 points of contact to your body - just holding the camera bare bones is a complete disaster without in-camera/lens help (& then you get that dodgy looking image). If you rig out the camera for a shoulder rig, then unless you exercise & build up your back muscles, you will ruin your back for life - you also will need to learn to put the camera down, a lot or at least take it off your shoulder (years of using ENG cameras taught me so much, especially how delicate & important your back is). Heavier lenses always help with a small camera, but again, you'll need to re-asses how you hold the camera (cradle it or use a top handle etc.) & add movement to your shots to avoid noticing those slight movements you get from breathing or just standing still for too long - you won't be able to just hold it out in front of you for extended amounts of time.
It's amazing how many people just don't want to practice, practice, practice! Handheld camera operating isn't something you can learn or be good at overnight - It's time consuming & you just can't rush to the finishing line without putting in the time. IMHO all the gimbals, IS (whether in-camera/lens or in post) etc. will never look as good or natural as a well rehearsed handheld shot & in the end you will be able to get those shots without thinking about what you're doing.
If you can't be bothered, then a Tripod or Monopod are your options - I also have the Gorillapod with me, as it's so adaptable & will get you shots you'd never be able to get with anything else.

Nothing wrong with your idea, back in the day we used to borrow 2 or 3 Sony Z1s from work & shoot shorts etc... Not the best quality, but they were broadcast approved & had all you needed all in one handy package. Just remember that Festen was filmed using a Sony Handycam & it is still one of the best films from the 90s! As long as your story is good, it doesn't matter what you shoot it on. Just shoot something....
I'm editing up a short ATM which I shot a few years ago on my 60D - I had shelved it as I decided the original idea wasn't that great & work got in the way. I've come back to it now, with loads of ideas & I don't care what I shot it on - it looks absolutely fabulous considering what people say about how crap the 60D was for filming. I'm also using this film as a way of learning Resolve, finally!

What a burst of colour & some of those shots made my jaw drop!
I understand why you stopped doing music videos - my very brief experience was people wanting something for nothing & the hassle you get from armchair filmmakers, especially when they don't want to cough up some money to get what they want.
You could quite easily do a YouTube channel explaining lighting, editing, CC & probably, most importantly the preparation/budgeting side of things as well. You don't have to be an overtly visible presence, but you have all the tools to pass on some knowledge - if that's your thing.

Think it might be a no after all - spec sheet on website doesn't have 3k anamorphic mode on it.
Only the mini pro 4.6k has that mode ATM! Maybe something they might add in a future firmware update - they added loads of improvements via updates on the last Pocket, so if people shout enough this might be there too.

Well here’s a BIG YES!

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What else are these fuckers hiding from me!

You're right, this was one of the better vids released, but mostly because he used vintage glass & the whole thing shone.
I think the bigger question here is what were BM doing in Manchester? Well, we know that the BBC has it's main hub up there now & they are one of the most rigorous testers of cameras - they have a list of cameras you can & can't use to film with. There is no wriggle room whatsoever & if it doesn't make their list you are screwed! DSLR's are not allowed, only for timelapse or extreme location shooting. It's obvious that BM have gone the ENG style route for their other cameras & if you look at the link below, you can see the report for their URSA MIni 4.6K (tier 2, oops!):
https://tech.ebu.ch/camera_reports_tech3335
The conclusion makes for interesting reading (as does the whole thing & then read the Arri one!). It would be interesting to see who they invited, my guess anyone who could get them a break in the BBC market or even the BBC themselves. Small cameras like this could be good work horses for small BBC productions, but the BBC won't use RAW or Film mode - they want good quality & quick turnaround ("fix it in post" is not a phrase to be used, ever!).
The other thing to think about is that BM seem to have forgotten the UK - last time round the Pocket's came in in 2s or 3s (Asia & US got loads). I think the tipping point for Andrew was probably that Cinema 5D got a look in & they really don't deserve to. I think most people would have preferred Andrew to see what was what, but hey, the advertising people probably don't know shit. And yes, the somewhat sloppy/unprofessional nature of some of the videos does beg the question of why they gave them to some people - they do want people to buy this thing, don't they?
Anyway, read some of those reports - very interesting & informative if you ever want to be taken seriously.
(GH5 report is on there too!)

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What else are these fuckers hiding from me!

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What else are these fuckers hiding from me!

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What else are these fuckers hiding from me!

Shaky footage is shaky footage & I don't care who you are - it shows a lack of professionalism, there are no excuses for it & is always deemed unacceptable!
And your comments/excuses for him show just how arrogant people in this area are becoming - he wouldn't get or keep a proper gig pulling shit like that....

Used to work for the BBC years ago - so, yes, i probably could teach him a thing or two about using a camera.
There was no need for him to go handheld as neither she or he moved to any great extent, so no need for shaky footage.
I'm having a go, cause no one is really putting this camera through its paces. And I'd really like to see some footage that is straight out of the camera & by this I mean ProRes HQ in video mode - lets see what the camera can do on its own & then we can decide when to use Film mode or RAW.

Well I sure as hell can't see how they are going to get a comparison to the BMPCC, or the Micro when the footage is shot in 4K LoL. If they really believe 1080p and 4K output can look equal, hmm.

For those of us that have been around here long enough know full well that Bioskop knows how to operate a BM camera and we also know that he is very helpful to all forum members.
I personally think it’s pretty unbelievable that we get ridiculed for butchering footage but Jun gets a pass for shaky footage?

Shaky footage is shaky footage & I don't care who you are - it shows a lack of professionalism, there are no excuses for it & is always deemed unacceptable!
And your comments/excuses for him show just how arrogant people in this area are becoming - he wouldn't get or keep a proper gig pulling shit like that....

That video gave me a headache...! I don't need to slag it off, it speaks for itself.
Just don't know who BM are after with these films? BM certainly aren't a big camera company, so their market is firmly with really low budget filmmakers (the majority of people here?) but so far I'm distracted by the lack of a professional finish to some things that have been posted. The voice in my head keeps saying "why did you do that" etc. and that is distracting me from going WOW! Maybe that's the strategy, but why not give it to people who are going to stress test it to the max?
Then again, it's better than the last Pocket release - we had one short piece & then loads of people slagging it off once they got it into their hands on it. Just can't see the release of this thing being any different from any of their other camera releases - there will be problems & I'll be surprised if people don't dump it like the last pocket (the battery!?). I'm sure it'll be a good camera for some people, but the majority will not like it & run on to something else or something new.

I think only the HDD need external power. And any enclosure that needs external power will have 2 cables coming from it.
I use this wire & the SSD gets powered by the computer:
https://www.amazon.co.uk/Sabrent-2-5-Inch-Adapter-Optimized-EC-SS31/dp/B014T3JRFM/ref=sr_1_sc_2?tag=macr0e-21&s=pc&ie=UTF8&qid=1480434478&sr=1-2-spell&keywords=sabremt%2Busb3%2Bto%2Bssd&th=1
It's exactly the same as the T5, so the camera will power the SSD. Be careful of which enclosure you get, as some aren't great & actually slow down the Read/Write rates, which might mean you might not be able to record. Personally, when I get the P4K I am just going to use the SSD without an enclosure & just keep it in a jacket pocket because the SSD is already in a case.

I think only the HDD need external power. And any enclosure that needs external power will have 2 cables coming from it.
I use this wire & the SSD gets powered by the computer:
https://www.amazon.co.uk/Sabrent-2-5-Inch-Adapter-Optimized-EC-SS31/dp/B014T3JRFM/ref=sr_1_sc_2?tag=macr0e-21&s=pc&ie=UTF8&qid=1480434478&sr=1-2-spell&keywords=sabremt%2Busb3%2Bto%2Bssd&th=1
It's exactly the same as the T5, so the camera will power the SSD. Be careful of which enclosure you get, as some aren't great & actually slow down the Read/Write rates, which might mean you might not be able to record. Personally, when I get the P4K I am just going to use the SSD without an enclosure & just keep it in a jacket pocket because the SSD is already in a case.