jpfilmz

I agree. Its interesting because when all these YouTubers use the term cinematic + shallow DOF together, yet the last couple of times I went to the movies its always been a deep Dof.

To answer the question... there is one thing that almost always makes a video seem cinematic... and that is slow motion. Even smartphone video seems cinematic in slow-mo. That's one of the reasons I detest when people post footage from new cameras but only use slow-mo. It's a cheat, because you can't film usable dialog in slow-mo. 
If slow-mo can make a smartphone seem cinematic, then we can conclude it's an important part of the cinematic recipe. This can be further evidenced by looking at the other extreme; record in 30p or 60p and you have instant "video" look. So the key would seem to be tied to motion. Sure lights and framing play a part, but I honestly feel the major component is motion.  And that motion can also be helped or harmed by how the camera is moved. Speed of camera movement is important. Panning too fast produces a visible judder. Though I'm not certain this is an issue with GS cameras? Direction that the subject moves is also critical. One should try to avoid having subjects move parallel to the lens from one side of the frame to the other; favoring instead movements toward or away from the camera at an angle to enter or exit the frame.
 

I agree.  I think the C200 is grossly overpriced.  Im don't see $4000 of image improvement between the 2 cameras.  The C200 should be priced around $3499 and the C100MK down to $1499.  Im curious now how the 10bit 4k image from the EOS R compares with the C200 image in raw.

I have expressed multiple times here that C200 is in reality a glorified, and overpriced, C100. I have used the 2 cameras extensively, and the C200 is half a step ahead C100, while we wished for it to be 2.
If you do not care much about 4K and raw, then the C100mkII is one of the friendliest and straight forward cameras in the industry.
If you want/need broadcast codecs and "advanced"(=which are the norn for most manufacturers) features then even the JVC LS300 delivers, for a 3000$ price tag and the ability to shoot brodcast quality 4K/60p (with an Atomos), and you can get FS5ii raw/Ursa mini Pro for cheap, and EVA for less cheap!

I don't think the grade or how the footage is shot represent either camera well, but the technical aspects in terms of sharpness seem about right, although I think those clips are from .mp4 files, which are not as sharp as raw.
I find this video more representative, though:
But I don't like the +5 sharpening here, either. Anything above 0 looks "digital" to me. 
Regardless, both cameras are plenty sharp. Super sharp 1080p (sharper than the Alexa's 1080p) vs average 4k. But the difference between the two isn't great. The C100 oversamples in a way that achieves nearly 100 mtf. Bayer's mtf as sampled in the C200 drops to zero at around 70% linear resolution I believe. So at best the C200 has "twice" as much resolution in UHD as the the C100 has at 1080p, not four times as you'd expect by counting pixels. If the C200 had an 8k sensor, that would be another story.
There are other differences, however: I prefer the C100's color and its noise pattern, and significantly. But the C200 has much less skew and much better dynamic range.
There are major workflow and ergonomic differences.
And if your client is demanding 4k footage acquired in 4k, well, only one of the two delivers on that.

on the 5D3 MK3 1080 Raw is stable and doesnt over hear the camera.  

Man, I knew I appreciate your insights. But you took exactly my thoughts this time when I watched it, even before this thread to have popped up. So I guess we cannot go wrong, both of us, in any way whatsoever... ; -)

This.
Thats why I felt so confident that I even preordered. After using the 6Dmkii and XC-10 I knew I wasn't going to be disappointed. The only surprise so far is the vast improvement in control and handling making it even more efficient to operate. 
We say it over and over, but it seems it needs to be said over and over. Every persons needs and wants are different. There is no superior camera. It all depends on what you need. 

I had the exact same experience. I shoot weddings for a living and after having 2 strikes with the threat of having everything removed upon the 3rd strike, I opted to go into 2018 uploading everything to YouTube instead. About 2 months ago, I received my 3rd strike on a video I had uploaded 4 years ago and my whole video archive was deleted. I still had to re-upload previous 2017 and 2016 projects to YouTube, but at least all my 2018 files were already safe. I'm just bummed I've put money into Vimeo and they wrecked my shit.

Edit: All that to say, heed Andrew's warning, because it can and will happen. It's just a matter of time.

Not really sure what you mean by this. 
Yes, I like the camera because i knew exactly what it was going to be and it has lived up to that expectation. I'm not going to hate on it because it doesn't have a tilting screen because i knew it wasn't going to have one. I'm also not going to hate on it because it doesn't have continuous AF or  IBIS because A: I don't need those features and B: I knew the camera was never going to have those features. I defend the camera against unrealistic people just because I am interested in the conversation relating to the camera and am quite dumb founded that people would find the need to get on a thread about a camera they do not want and does not meet their needs and start arguing about it. 
It's like me getting on the Sony A7III thread and ranting and raving about the fact that it doesn't do RAW or 10bit. Just sillyness!
I'm trying to give people some perspective but people just want to bang on about why it doesn't have feature A or B that a mirrorless camera does have.
One of my many faults is that I have low tolerance for stupidity, and there has been so much silly talk here that I felt the need to get involved. I mean, why the hell is Resolve not free? Why is Blackmagic not giving away it's products? Seriously. Can we talk about something constructive!
I wonder if Emanuel or Dbounce works for Sony or Panasonic as they are constantly on here bashing the Pocket for not being what it was never intended to be. Why are they so intent on bashing a camera they have not interest in? Andrew has been very vocal about the X-T3 and despite years of interest in RAW, now thinks the X-T3 is the ducks nuts, does he now work for Fuji?
So much ridiculousness....it's quite staggering.

You can record 4k60p in RAW on the Pocket4k with no problems. You just need to use 3:1 or 4:1 RAW, so no need to wait for BRAW (another compressed RAW format).
I really don't know anyone who needs uncompressed RAW though. The Red Weapon doesn't do uncompressed RAW at all, only compressed at 2:1 and up. Is there anyone here that would say the Weapon is not good enough for them?
IF the Pocket4K's USB port is USB3.1 Gen 2, then maybe we'll see an external drive like an NMVE drive, be able to record uncompressed but again, you really don't need it.
Generally, you need two SSD's working as a RAID configuration to get uncompressed RAW. The Convergent Design Odyssey can only record uncompressed RAW CDNG  at 4K60p when there are SSD's in both slots and your files end up needing to be merged afterwards. Wile it's not technically a RAID config, it does send every second frame to the second SSD as the data rates are just too high for a single SSD to handle. Same as Ursa Mini Pro, you need two CFast Cards in the camera for Uncompressed at 60p
 
Maybe 2018 has made people soft. I don't know when it started that people had to have Autofocus and IBIS to be able to shoot on their own. Remember the Canon 5D that started this whole DSLR video revolution, it didn't have usable AF in video mode or IBIS and we all shot fine with that.

Pair the ND adapter with a couple of these..

add an atomos V for that 10-bit 4:2:2 goodness, and set focus to MF Guide mode  and you got yourself a nice mini C200 on the cheap..

Agreed, Canon does not push limits. And they don't have the ambition to do so either. They have said many times that being first isn't a priority (even though they where first with 4K and 4K 60p).
And thats why pros like them so much. They can walk into a store and pick up a new model and go straight to work the very same day. It won't have as many features as the Sony next to it, but it will be a solid performer. 
Same, lenses, same batteries, etc is also a plus.
In forums like these Canons "new features" are often swiped under the rug because they aren't big words like 10-bit or no crop 4K. 
Sometimes Ive even seen really nice features, that affect the shooter every single day, flat out laughed at. But the pros that really benefit from the features aren't laughing at all.
As an example, in the EOS-R I will eledgedly be able to press the video record button in stills mode and it will record with my predetermined video settings.
That doesn't sound as sexy as 10-bit FF. But to me, that switch between my video and photo settings maybe 20 times every 30 min on a shoot.. its a big deal. 

(And there is also the huge selection of affordable native and third party glass.)
 

RED just lost a huge advantage with this release. One of the best things they had going was the many flavors of RAW on their cameras.

I hope Blackmagic does not make it difficult for Adobe to implement support for it, as that is the one thing that could hold this great feature back. 

This is insane. I can edit and playback the 4.6k braw files smoothly on my 2018 macbook pro.

This is insane. I can edit and playback the 4.6k braw files smoothly on my 2018 macbook pro.

Fantastic!

Fantastic!

Video oriented hands-on:
 
Footage doesn't look too bad for a F4 lens in those lighting conditions. Pretty stable next-gen body/lens IS com. Dual Pixel AF better than C200 apparantly..

If everyone is so bothered by the crop,  I guess the new blackmagic pk4 is off the list? My C200 is cropped, but somehow it has never bothered me.  
Personally I find too much dof is not helpful for video.  If it does not support the story it has no place.  And usually when sorry telling you want context,  which is hard to show when the background is consistently nothing but blurry bokeh. 
Full frame is mostly for stills. Most film is shot on Super 35. This camera can do both in their ideal format.  What's the problem? Plus the footage looks good. It has mojo. 
Looks pretty dam filmic to me... 
 

More footage:
Blackmagic Pocket Cinema Camera 4K : Mountain Bike
https://youtu.be/7U_O5YBret0
 
...and on Vimeo
https://vimeo.com/288090282

It's the same size.
Here's some examples of scenarios for me where using a micro that will be replaced by a p4K once I can get one.
JB
 
 



Yes I've been on GEN 4 for a while with the Ursa's and of course the P4K and use them for monitoring.  It's VERY hard to go back to using VIDEO.
JB

All these lack of “mojo” comments are really silly.  People will be able to color grade it to match just about any look they want.