IronFilm

I wonder if BMD will ever offer built in NR or sharpening? For users who wanted SOOC footage closer to what they desire. 

'Bugs'
Peter Nearhos talks about using the new Blackmagic Pocket Cinema Camera 4K and the Laowa probe lens for the first time. ‘Bugs’ is a unique project where Peter could try out the Blackmagic Pocket Cinema Camera 4K in the world of macro filmmaking.
“This was the first time I had shot with the Laowa probe or the Blackmagic Pocket Cinema Camera 4K. The great thing about the probe is it will cover all of the 4K sensor. Larger 4K sensors tend to play havoc with your depth of field with this sort of work. So the smaller micro four thirds sized 4K sensor used by Blackmagic Design, is much better for this kind of shooting.”
“I have to say the 13 stops of latitude was also really great, because you can see into all of the dark spots. Which is very good when you are using hard lights, because you have detail well into the shadows under leaves and things. The other great thing about this camera is the really high native ISO. I tended to stay around ISO 2500 but you can go as high as 25,600. There are other cameras with insane ISO levels, but they become incredibly grainy which means a lot of work in post. I think Blackmagic have their ISO at a sensible level. Given that for most macro filming you will be using lights, the 25,600 ISO with this camera is all you’ll ever need.”
Blackmagic Pocket Cinema Camera 4K
ProRes 422 HQ
ISO 2500
Laowa Probe 24mm, 60mm Macro 2:1, 15mm Wide Macro 1:1, 25mm Ultra Macro 5:1 EF mount, Canon 100mm 1:1, 65mm f/2.8 5:1 EF mount.. 
Laowa 7.5mm Micro Four Thirds mount. 
Metabones Speedbooster Ultra
Aputure LS C300d and LS-mini20 daylight LEDs
OG files on the download page: https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera/gallery

Leslie.
You've admitted you've not watched any footage and have no production experience.  You're speaking to an audience here in this thread that has a either a great deal of experience, or lot more experience than you yourself and who have actually bothered to read a little more before posting to an audience of like minded individuals.
Consider researching a little more thoroughly at least before throwing some handgrenades of questions like the ones you dropped in your previous post. 
I don't even know where to begin if I have to explain why it can take much longer to grade a shot than to shoot it. 
Learning is great, and knowledge can be had here.  This is a very helpful community but you have to put in a little effort rather than it being spoon fed to you.
JB

I wonder if BMD will ever offer built in NR or sharpening? For users who wanted SOOC footage closer to what they desire. 

I like the pictures. A lot. 
This camera will probably replace the micro cinema camera for me as it’s not much bigger and is much easier to work with. 
I didn’t feel as strongly about the 4K production camera / Ursa because they were limited, principally by dynamic range.
I have a deep affection for the 4.6K sensor and have shot nearly daily withnit since before it was launched. I know it very well. 
This pocket camera will integrate and sit very nicely alongside the 4.6K. It’s already a closer match than the micro for me without having really tested it in an A/B scenario. 
I was a little worried about it having less DR Than the 4.6K but I think the other clips  show some great examples of what this sensor can do. “Nature” was incredibly tricky material to shoot as anyone who’s been in that situation before would know and it was unfair to see it being derided.  
Those that did so only reveal their own inadequate understanding of what those shots reveal. 
I can think of a million other scenarios I would have rather done but these sequences were specifically produced to illuminate what the camera can do in specific situations. 
What im almost more excited about is the unification that Gen 4 brings. As I mentioned earlier, it’s pretty much the same people at BMD that brought you the first camera working on this camera.
They’ve learned a lot (and so have I) and I think Gen 4 is really strong. I wish this and extended video would get rolled out wide already as I think half the issue I see with users of BMD products is a lack of knowledge in grading. 
Now BMD do have perhaps the greatest colour correction tool on the market BUT they don’t make it easy to get to a great result without a little arcane knowledge.
Even I often run into issues when working by myself and I see extended video being a great step in addressing that shortcoming. There’s no point in talking about how great you can make images shot RAW if you don’t know how to do it and can’t easily or intuitively find a way to do so. 
With regards to the 4k Pocket. 
Its a genuine low light contender. I was really impressed at what a useable picture it produces with little lighting.
I’m laughing at those that said it’s overlit. I mean a 500w chimera dimmed to almost nothing so the background lighting would still show though the tinted hotel windows is very very low light, much lower levels than the idiots demanding I walk out on the street and light by sodium were demanding.
Again, I laugh when I see comments about how noisy ISO3200 is but I’m guessing those users aren’t aware how much image processing their cameras are doing at high ISOs.  BMD allow you as the user to choose your poison. A very very underrated feature. And like colour correction it’s almost too powerful because users haven’t been instructed to change their expectations, nor how to add noise reduction or sharpening so they can season to taste. 
The best testbfootage will be friends users so the sooner they ship the cameras the better.  Hopefully Gen 4 means there will be less hysteria about its performance and a few will realise there’s no point comparing it to a GHx or a Sony and learn to get the most from what it is good at.
JB

I never get why people call someone out when they share their experiences with a camera or a lens. Its just a lens and I'm just pointing out my experiences. I want to get the shot without having to do a lot of work in post to fix it. Having ugly purple highlights around your subject - especially in someone's hair, or surrounding a tree, or filling up a backlit shot is a deal breaker for me, hence why I said "YMMV" -- because its not something that matters for everyone. I didn't find it to be particularly sharp either and the posted samples demonstrate that, or maybe that was just my copies. For me the Nikon was better, sharper, more contrast and a better overall lens. Just like lenses that need heavy in-cam corrections, some don't care, I don't like it. Its just a lens, its really not that big of a deal. 
I like lenses to be good throughout their range, but I'm a one-man-band and always shooting high mp stills with video when someone is paying for my services. The Tok/Ang isn't up to 42mp stills. And I prefer opening the aperture to bumping ISO for cleaner files or when faster SS's are needed, so performance wide open is something I want. So my needs are obviously different for yours, no big deal. As always YMMV.
Sorry to take the P4k thread OT with a silly lens debate. Back to more Pocket talk.
Cheers
Chris

Simple solution: Tentacle Sync E
 
 

2030?
Someone is feeling optimistic. That is only twelve years away!

A teeny teeny tiny percentage of big budget feature films are shot on vistavision sized sensors. 
 

I agree, in this declining market it is madness to see three new mounts pop up in as many weeks!

 
LOL! 
Maybe with new epic pixel shift tech to market it as "higher resolution"? :-P

But yeah, that is a no go. 
However I'd still like to see the GH5S sensor in a cheaper body. 
 

You've given the marketing department a tough task - selling a photo-oriented camera with a 10 megapixel sensor!

2030?
Someone is feeling optimistic. That is only twelve years away!

In my eyes the bodies aren't the problem, it's the glass. Take your typical higher end zoom kit common amoung those that shoot stills and video.
Panasonic 12-35mm f/2.8 II $1000 Panasonic  35-100mm f/2.8 II $1100  
Sony FE 24-70mm f/2.8 GM $2200 Sony FE 70-200mm f/2.8 GM OSS $2600  
FF. is over twice as much.  The sad thing is, I don't think this is something your average person looks into when choosing a system.   


 

2030?
Someone is feeling optimistic. That is only twelve years away!

The stupid thing about cannibalizing their pro video line is that, even if they put almost every feature into a smaller mirrorless camera, a large segment of that pro line market will still buy the cinema cameras anyway. I can't tell you how many people I know that own C200's or whatever that don't really do anything with it that they couldn't also do with the 1D X or the 5D mk IV (assuming they insist on staying in the Canon family.) They own them as much for the "prestige" or credibility as much as the functionality. It's about ego and image, not practicality and quality for a lot of people. 
It's like projects I've helped on where they insisted on renting a RED camera and lenses, spending as much on that as they would've spent on buying a GH5, Sony A7Sii or comparable camera that they could've used on their next project. Tons of indie films that never make money and hardly get seen do this, and for no reason. 
I'm guilty of it myself, on a smaller scale. I love my LS300 but I don't really need it anymore since I've got a GH5 and G85. However on certain projects I bring it when I have a feeling that the client will look poorly on me using what looks like normal cameras instead of a more professional looking one. And while the LS300 doesn't have the greatest build quality, once you rig it up with monitors and stuff it looks a lot more professional than my GH5 set up. 

I wouldn't hold my breath. Canon slapped a 8-bit 4:2:0 codec in their $7,500 C200.. no way they're going 10-bit on their entry MILC. That's not the Canon way.

Fingers crossed but I have a bad feeling...

I'm happy with them, except I wish they'd used a more flexible cable. 
They're $75 unterminated, then another $19 for the Sony end
 

NX1 is actually more advanced with H.265, 6K readout, 1080/120fps and it is 5 years old.

Nikon Z7 has it for breakfast.
About the only improvement over the 5D Mark IV seems to be substituting MJPEG for H.264. Not that it was overdue or anything!
https://www.eoshd.com/2018/09/here-are-the-official-video-specs-of-the-canon-eos-r-full-frame-mirrorless/
About only thing I can hope for is that the 4K is somehow full frame and not a crop but I honestly just think it is a 5D Mark IV in a mirrorless body, looking at the specs sheet, rather than anything really new.

What the hell Panasonic?? Noooo... stick with making awesome MFT cameras!

Wild guess: the mount could be a more extreme version of EF-S: same backward-compatible mount, but a special pin to prevent forward-compatibility. And then lenses with the RF mount are allowed to have a much deeper rear element, but it won't butt up against the mirror on a dSLR because it can't be mounted on one despite the superficially similar mount and forward-compatibility of the RF, due to the pin...
With the new lenses, the rear elements can go much deeper, so the rear element needs to be protected, so there's a deeper plastic ring extending around the rear element, and the lens caps are much deeper, too, to accommodate it. But otherwise it's the same basic shape of the EF mount. Telephoto lenses etc. will never be RF, because they don't need to be. Rear lens caps will not be interchangeable, but RF lens caps will mount on EF lenses, they'll just also extend too far.
Wild guess: RF stands for rangefinder, or something similar is implied.
Would be nice to see this mount on the FF 6k C300 Mk III when it's released in mid-September. (Another wild guess.)
Hoping that'll knock down the price of the C200. ? 

So stupid, as if BMD was dumb enough to fake footage, they wouldn't use another small camera to create this fake "awesome footage", they'd use a big ARRI ALEXA or their own UMP!
 
A very good idea!
But probably wouldn't shut up those who just want something to complain about.
 

A new mount seems like a very dumb idea for them, as it means abandoning EF-M! (can't it do FF??)

Would mean starting from scratch, and leaving their many EF-M owners stranded. 

I can't see them doing that. 

Not unless the EF-M mount can't support FF (which would have been a dumb dumb mistake indeed!), and/or if they're doing a big bold gamble such as a new mount which can support both FF and MF! :-o (however having no entry level APS-C cameras for the bulk of their sales and for newbies to dip their toes in, would likely be a far too risky strategy)
 
 
That infringes upon my patent for autodriving flying pigs!
 

Lets see.. will Sony claim #1 in US sales again? ?