IronFilm

You joke, but....
https://www.provideocoalition.com/bulletx-c-47

Been reading around comments elsewhere. And found it strange how some people are saying USB-C drives are "expensive". Yes, please tell me more about how a 128gig drive which costs less than forty bucks is "almost as expensive as a CFast card"!
https://www.amazon.com/SanDisk-Ultra-128GB-Type-C-SDDDC2-128G-G46/dp/B01EZ0X55C/

And heck, if you're just doing a basic shot on a tripod that is running for ages (say a locked off shot at an event) you could get a FOUR TERABYTE harddrive for less than US$170:
https://www.amazon.com/G-Technology-G-DRIVE-USB-C-External-0G05666/dp/B06ZY3N7QC/
This is indeed a major feature by BMD!
I remember when I first purchased my original BMPCC I had to spend a small fortune on fast enough and big enough SD cards. Ditto SSD prices when the BMCC first launched, or CFast prices when the big URSA first launched. 

He was meaning they could already film with it in the lab, but they can't take it outdoors into the open to film with because it is an unannounced camera!!!

Of course now everyone knows about it, they're quite free to take it out into public to have a play around with filming with the BMPCC4K rather than staying confined to the insides of a lab. 

They said at the press conference that they get asked about the Pocket 2 in every interview, so they didn't want to do NAB this year without showing it, and they felt ready to unveil it because the camera is finished. It just needs to be mass produced. 

Exactly.

A Zoom rep is here in this video talking about the Zoom F8n, a "sneak peak":
 
 
The recorder is still a few months away ("July"), and details are not yet concrete (price is looking to be twelve hundred dollars). 
But some specs we can expect:
Updated GUI
Selectable line/mic input
New battery slot
Look ahead limiters
Better headphone Amp!
Improved voltage range for Hirose inputs
Anticipated July delivery with pricing around US$1200

Well the BMPCC was a "cinema camera", thus external power/audio/screen is essential if you want high quality. Just like if you used an Arri / RED / etc! I don't get why people didn't get this.  Instead expecting something completely different. 

However it appears BMD really took this criticism to heat, and have greatly improved the audio and internal battery life. 
However the audio in even the original BMPCC isn't that awful if just for casual usage, a lot of my vlog videos are audio straight into the BMPCC with no editing. https://www.youtube.com/c/SoundSpeeding
 

Well the BMPCC was a "cinema camera", thus external power/audio/screen is essential if you want high quality. Just like if you used an Arri / RED / etc! I don't get why people didn't get this.  Instead expecting something completely different. 

However it appears BMD really took this criticism to heat, and have greatly improved the audio and internal battery life. 
However the audio in even the original BMPCC isn't that awful if just for casual usage, a lot of my vlog videos are audio straight into the BMPCC with no editing. https://www.youtube.com/c/SoundSpeeding
 

I'm seeing online people sell their URSA Minis and GH5/GH5S for a BMPCC4K instead. It is happening!
Bit premature though as won't ship until September 

agreed, but it's a real mystery then what they are going to be able to do to justify the expected $3500 price tag. especially with the $2000 A73 being so capable in low-light, stills & AF. maybe they'll just add this new "venice" profile, slap on a BSI sensor with the latest AF enhancements and price it at the current A7S2 cut-down retail which is $2400 (which is basically what they've done with FS5 II). seems like Sony's current strategy is to be agressive on price points to undercut competition rather than really pushing forward innovation...

Skintones are now magenta and not green. Great..!

As we can see, they have written T values different from Veydras - T1.2, T1.5... Actually, and btw - Andrew Chan looks so nice man, although greatly devoted, yet so timid and humble in presentation of its lens-achievements. It seem to me that SLR Magic line suffer little bit because of such non-agressive promotional attitude.

"Full frame" is a nonsense size popularized by the Canikon marketing duopoly. 

Full frame really just means a match between sensor size and image circle the lenses are designed for.

In the movie world, S35 is the "standard size" (or S16 in the indie/doco/news worlds). Thus compared to that the MAVO LF is indeed "large format".

In the film stills world you had 135 film (also referred to as 35mm film) or medium format as the two main standard sizes that people used. 

So what is regarded as "large format" depends on what you're referring to as your reference starting point.

unless they're just rebranded Veydra lenses. 

@jonpais Interesting thread.  My (little) experience on film sets is more than enough to understand the benefits of being able to prepare a focus pull in advance.
In order to add to the completeness of this thread for those lurking out there, in addition to the benefits of cinema lenses already mentioned, IIRC they are also designed so that all the lenses in a set are the same weight (which means not having to re-balance gimbals or adjust steadicam rig counterweights when changing lenses), will also share the same filter size (to enable one set of filters) and will have the same spacing of gears so that remote controllers for focus pulls or zoom lenses don't have to be adjusted.
The total hourly rate of a film set is absolutely huge, and these lenses are designed so that they are quick to change and use.  

I actually commend Sony for this. Their color science in the original fs5 was beyond terrible. The skin tones in this video, however, look fantastic. I know it is early yet but the skin tones appear to be superior to the EVA1 and the c200 and I am a Canon apologist. 
Externally, you have all the framerates you require, so if you don't mind removing the top handle and running an atomos, I think this thing could surpass most cameras in this price point in terms of IQ. The skin tones really do look gorgeous. 
I am surprised by Sony because they usually cater to the specs crowd, but this targets those of us who care about the image quality more than anything, which is a nice change of pace.  

Looks like a Canon release....

@IronFilm I'll send you the outtake where I say I'm working on doing better audio because of you  

Here's my full review. I also wrote a more detailed post at No Film School.

Hopefully it doesn't have the Micro Studio sensor. 

But BMD might think now that they've had the firmware update which boosts DR 2 stops and gives base ISO a raise from 400 to 800 that this is sufficient for BMPCC Generation 2.0?!  

Hope not. 

Fantastic news!! This makes a FS700 much more attractive, as I too didn't want to use a 7" monitor with it. 
 
It was BMD's first ever MFT camera. 
 
I don't imagine they will do an inactive mount again, not now they have the experience of building active MFT mount cameras. 

JVC has quite a large stand at NAB 
I too am hopefully JVC will release another MFT cinema camera. 
I believe this was a mistake by both BMD and Panasonic not to release a locking MFT mount with their cinema cameras. (Like Sony has done with their E mount, with the FS7mk2 and the new VENICE).
Yup, the MFT mount was a *strength* of that camera, while its biggest negative was perhaps its name. 
Exactly why it was a mistake of Panasonic not to have an EVA1 MFT camera. 
As the EVA1 left nowhere to go for Panasonic's **own customers**!! Way to go Panasonic in neglecting your faithful followers. 
Meanwhile with Sony you could buy a lenses for your a5100 and keep on using it all the way up to the VENICE!!

What is Panasonic going to be showing? 

Check out the Kinefinity booth too!

Fantastic news!! This makes a FS700 much more attractive, as I too didn't want to use a 7" monitor with it. 
 
It was BMD's first ever MFT camera. 
 
I don't imagine they will do an inactive mount again, not now they have the experience of building active MFT mount cameras. 

JVC has quite a large stand at NAB 
I too am hopefully JVC will release another MFT cinema camera. 
I believe this was a mistake by both BMD and Panasonic not to release a locking MFT mount with their cinema cameras. (Like Sony has done with their E mount, with the FS7mk2 and the new VENICE).
Yup, the MFT mount was a *strength* of that camera, while its biggest negative was perhaps its name. 
Exactly why it was a mistake of Panasonic not to have an EVA1 MFT camera. 
As the EVA1 left nowhere to go for Panasonic's **own customers**!! Way to go Panasonic in neglecting your faithful followers. 
Meanwhile with Sony you could buy a lenses for your a5100 and keep on using it all the way up to the VENICE!!