Damphousse

Don't buy this card. The write speed is only 160mb/s. These are the data rates specified in the Tech Specs for this camera on the BMD  website. These are also based in 30fps recordings, so basically double it for 60p.
4096 x 2160
CinemaDNG RAW - 272 MB/s
CinemaDNG RAW 3:1 - 129 MB/s
CinemaDNG RAW 4:1 - 97 MB/s
Apple ProRes 422 HQ - 117.88 MB/s
Apple ProRes 422 - 78.63 MB/s
Apple ProRes 422 LT - 54.63 MB/s
Apple ProRes Proxy - 24.25 MB/s

3840 x 2160
CinemaDNG RAW - 255 MB/s
CinemaDNG RAW 3:1 - 122 MB/s
CinemaDNG RAW 4:1 - 92 MB/s
Apple ProRes 422 HQ - 110 MB/s
Apple ProRes 422 - 73.6 MB/s
Apple ProRes 422 LT - 51 MB/s
Apple ProRes Proxy - 22.4 MB/s
 

It looks like LG may have looked at Samsung's 3 camera offering and said "Hold my beer"...
https://www.theverge.com/circuitbreaker/2018/6/26/17506434/lg-v40-phone-five-cameras-report-rumor

No I think you are seeing how terrible an Apple laptop is LoL.

Hello,
Sorry this is a bit off topic, but I have to say this out loud. The last few years the following has become a trend: Review websites are posting articles with youtube links without summarizing the content of the video. And this is annoying the hell out of me. Is it that much to ask to write an article summarizing the content of a video. All the big websites are doing this, nofilmsschool, fstoppers, ...
I cannot watch video's all the time because of various reasons:
1: I cannot use audio (work, school, library, public transport, ...)
2: Video's take forever, I do not have that much free time (they will have an intro, outro, jokes, ...), I rather spend my time on watching an actual film or spend my time with my family then watching several youtube video's, where the content could be summarized in a 5 min read.
3: Reading is more efficient for me at least, as you can reread faster with less distractions
4: Clickbait titles with shitty content.
5: Its making influencers the biggest contentmakers, why should I visit other websites if everything links to youtube videos.

So please if you are writing articles on photography/cinematography summarize the video's. 
I will be very thankfull!
Cheers

A setup is anytime the script supervisor changes the ID on the slate ?
That's a lens change or a substantial change in storytelling shot construction.  On take 1 of a setup, if there's something blocking and screwing up the shot and you have to move the A camera six feet to get around it, then the shot is considered the same shot, you go to take 2 and its the same setup because the intention is the same.  Kind of the same if the lens change is from a 27mm to a 24mm because you're not quite fitting everything in.  
Sometimes though on take 3, the B camera has gotten what they need and you give them a different shot to do so that would generate a new setup and a new ID on the slate. (don't get me started on the differences between US and AU slate ID's.
The lighting is always being tweaked to each CAMERA (not shot) so that's constantly updating in small ways.  I tend to have some go-to ways to light for cross shooting and it's established often on the first setup and then tweaked to each subsequent setup.
Kubrick seems to have the reputation of most number of takes.  
"For The Shining I spent two weeks on the set in Elstree. My scene with Jack Nicholson lasted about eight minutes. We shot it 50 or 60 times, I should think - always in one take. Then Jack Nicholson, Stanley and I would sit down and look at each take on a video. Jack would say, 'That was pretty good, wasn't it, Stanley?' And Stanley would say, 'Yes it was. Now let's do it again'."
 
I always wanted to be in the camera department.
My first job was working for a camera rental house but the owner was a working DP.  He shot a lot of documentary work and TV promos. I was his full time assistant for nearly 5 years. It was really like going to DP school for 5 years.  But being his assistant meant you had to record sound.  So I learnt to record sound ?
He was by far the biggest single influence on my working style  He taught me the importance of a bedside manner on set, he taught me to pull my own focus when shooting (when necessary) he taught me how to test, how to be hungry, to learn.  He was a technology innovator and a true pioneer. One of the first to embrace HDTV in Australia.  One of the first to buy RED cameras and advocate them.   I wrote about his passing here. https://johnbrawley.wordpress.com/2011/04/17/the-passing-of-john-bowring-acs/
It's never too late to change ?
I'm not sure what you mean when you ask "finish an episode".  It NEVER goes longer than the number of days.  It's scheduled within an inch of it's life and if the schedule isn't make-able then it's re-written ?
TV drama and Docos are where I've trained in.  The pace is not new.  What's gotten better is the production standards generally.  We've gone from using 2/3" video cameras to S35 sized sensors and cinema style framing and editorial style.  
Streaming services and VOD has lead to a new era of "elevated" TV drama.  It's shot like a movie, it's got MOVIE actors and directors working on it and it's visually told in "movie" style choices.
Except we have to still shoot it as fast. Yeah I know time is always the enemy.
Typically a movie, even a low budget one, aims for 2-3 mins of screen time a day.  TV drama is typically 6-8 mins on location and 7-12 mins in a studio.  I like shooting with more cameras (three full time) because it gets me more shots from the same number of setups.  More shots = more coverage. Simple maths.
Some shows are different.  A show like stranger things shoots an episode every 14 days. They shoot it "one camera" style and this takes longer.  I know some crew on that and they tell me that they never make their days and that the directors on that can pretty much do whatever they want and Netflix don't care much about the show's budget.  But that kind of "auteur" perspective in a TV show is pretty rare and unusual and is only permitted because of the show's great success. Arguably this could be why it's successful too.   Most directors would be fired or never re-hired again if they didn't deliver an ep in their allowed days.
When I look up directors I'm about to work with, I look at how many episodes they've done on a show.  If they've only done one and never gone back, it's a pretty good sign they're going to be....difficult.
I know a great director who started doing TV drama. He loved big architectural wide shots.  We shot a few scenes without ANY close coverage.  I begged him to shoot close up passes "just in case" and he was adamant.  Nope.  If we shoot those shots they'll use them !
He got reamed in the edit when the producers screening happened.  They asked for closeups on his edit and he said he didd't have any.
He's never been employed again by one of Australia's most prolific producers.  If any other producers call him to ask for a reference guess what he's going to tell them.
TV truly is a "producers" medium and these days, most of the producers are really writers.
JB
 
 
 

Escorts have been paid to have dinner with old, rich creeps for decades if not centuries. It's nothing new. 

Well well we all have to admit as of late the line between "Professional" and "Consumer" have really narrowed. When I was most of you guys age you either worked for a place that did video, or you bought a $200.00 at the time spring powered 8mm movie camera. If you were rich you had a Bolex, or my dream camera, a Beaulieu 4008 ZM Camera. They made beautiful looking cameras. Not too many choices compared to today.
Now with the 4K BMPCC coming out it can nearly compete with rich people on an equal footing. The GH5s is amazing, the Sony A7 mk III is, the ML Canon 5D mk III, Canon C100, on and on. We live in an amazing time for video. It is now down to skill more than gear. The tables have leveled. No real excuse these days to not get the job done.
 

omg thought this was a joke at first ?
crazy times guys

I don't see how they can sell it for 500 dollars with the BM coming out. And at some time you will be able to buy the 4K BMPCC without the Resolve Dongle. You know that is going to happen, and that it will really be just 995 bucks. The E2 is dead in the water unless you Need a little form factor. And it's not like the BMPCC is Hugh either. Sure it's bigger but..

It seems like the main message here is "If you learn the real skills of cinematography then the quality of your images will far eclipse all the high tech features, megapixels, and technical specs of the modern digital video age."  And it's true - great craft and artistry will win out over tech specs.
But I also think this is message overlooks some obvious realities about the nature of amateur and hobbyist videography - that tech specs often do increase image quality at relatively low cost.  Sure I could spend many months and even years learning great portrait lighting techniques so I can light a interior people shot really well, or I could buy a 50mm f/1.4 lens, slap it on my high-ISO/low-noise full-frame 4K camera, do a basic rule-of-thirds framing with existing ambient lighting, press the touchscreen focus with face detect and boom, I now have a fairly professional looking shot with creamy bokeh and sharp eyes in focus.
So sure it could be a much better image if I go much deeper into learning cinematography, beyond basic and overused techniques like point-of-focus shots.  But the shortcuts and some of the tech specs that enable them can be very high bang-for-buck for us hobbyists and amateurs.  Even more so if you're a vlogger or hobbyist that shoots run-and-gun or only with natural/available light under uncontrolled situations and you don't have the opportunity to do lighting setups or carefully framed shots.
I think Boyle's message is still correct and can even inspire us shortcut-happy hobbyists (I am firmly in this category) to go deeper.  But it does miss the point for a huge chunk of the videography audience, since few of us have the time or commitment to achieve the level of artistry he's calling for.  Technology has enabled us to generate images that make us and our fans/friends happy, often with an investment that matches our commitment or resources.  All of us are trying to maximize our return on investment, whether that's in time, money, or stress/difficulty spent learning a technique or tool, and technology has definitely escalated the return on investment ratio.

I couldn't agree more. These are the very first samples from the camera. They seem to have neither log nor any flat profile, and the fact that the CEO is playing with the football in the video (which incidentally nobody else seemed to notice) seems to indicate how casual and informal (non final) the nature of this video is.
 
I am not completely sure about these figures. What are the flavours of RAW that you are referring to? Blackmagic itself has 3 flavours on the BMPCC4k. So it basically would depend on the kind of flavour of RAW. 

hmmm... whats this about? cards, subtitles/algorithm?
?

100%. I have had these conversations with YouTube consultants. This is true. VR, 4k at 60fps, EVERYTHING YouTube is offering you need to prioritize that for analytics advantage. 

TLDR; always upload in 4k if you can
 
Basically: if people aren't subscribed to you or have a direct link to your video, how is someone going to find your content?
Google needs to assign a score to YouTube content so it can determine what to show people. For your particular niche (niche being the genre of video your viewers are interested in,) you are competing with other videos.
It's safe to assume good content does well with viewers and thus your channel and videos get a better ranking.
But there's a whole chicken and egg thing at the start. If you don't have many views or videos, how do you get a better score to drive in more views? And then with very competitive niches (fashion, makeup, tech reviews, let's plays, etc) just having amazing content isn't good enough, you need an edge to beat out your competition for views.
Uploading in 4K and beyond, creating subtitles, using whatever best practices YouTube outlines for creators, all give your channel and videos just a few more points.
And that can make all the difference in getting views.
More views, more people see your work, and if you want, more ad revenue.
 

The paid version of Resolve 15 has a great noise reduction feature in it. But yeah if you are going to buy the 4K BMPCC wait, don't double buy Resolve.
And I think Ethan is right, just the data rate alone makes it worth going 2K or more on YT. 1080 at 8Mbps can be pretty Gnarly at times. But I have seen some damn good 1080p on there, but it might have been down sampled from 2K, 4K.

Yes 4k monitor. 
This goes a long way to explain what I saw. I honestly thought I screwed something up. Mind you, I never once before questioned the 4k image... that is, until I saw it side by side with the 2k DCI Scope image. Now I understand. 

A couple days ago I decided to do some test with the Canon C200 and Panasonic GH5S. I set up the two cameras next to one another and ran the C200 at 200 ISO vs the base 800 ISO of the GH5S. I then progressively increased the ISO of the Canon until it matched the GH5S, at which point I matched the same setting on both cameras. ISO 200 is the cleanest on the Canon. Both are quite clean at 6400 ISO. And this is good, as I almost never shoot higher than that. 
The real surprise came when I started to edit the footage in DaVinci Resolve 15 Beta. I'm using the free version as I see little point in paying for the full version since it comes bundled with the BMP4k. Well, as luck would have it, the free version has limitations. It cannot output at DCI 4k. The max output resolution is UHD. These days I tend to prefer Cinema Scope as it is wider and works well on high-end mobile devices with widescreen aspect ratios. With this in mind I selected DCI 2k Scope 2.39. Strangely, when I rendered out the footage... to my eyes it looked every bit as detailed as the 4k render from the GH5S. I checked to make certain I had rendered the Panasonic footage correctly. Sure enough, it was 4k. I am now left wondering if there is any reason to deliver anything in 4k given that DCI 2k looks so nice when down sampled.
Have any of you here experienced anything similar?

The discussion about the sensor stack thickness affects the optimisation of the speed booster (as I understand it)
It means they have to alter their optical design to make certain lenses perform better post speed booster, and I believe this tends to affect the faster lenses or faster apertures at F1.4 and higher.
JB
 

@John Brawley I just want to thank you for your patience and the information you've shared. It's truly appreciated. 

A couple of days ago I wrote to Metabones:
"Will Speed Booster XL 0.64x m4/3 work with the BMPCC 4K or are you developing a new booster especially for the new BMPCC 4K?"
Their answer:
"Sorry! We still waiting a test with BMPCC 4K …."

Moza Air seems to work:
 

Here's some more info, but it's more that I thought these were funny questions to be asking about this camera.

And this one answers my thoughts on having 3 audio inputs. It doesn't sound like you can record a stereo track via the 3.5mm socket AND the XLR at the same time. You'll have to choose if you want the left or right channel off the jack. Perhaps you can mix left and right to one single track, but that means you can't really control them independently once its recorded.
That said, most of the boxes I'm talking about have input level control anyway. As long as you get it right while recording, this could still be a viable option if you NEED 3 inputs. 

Could you mount the external monitor on the handle of the gimbal and run a (very flexible) cable to the camera?  I've seen people running cables from fixed microphones or power banks to the camera on a gimbal before and they seem to work.
230g isn't much but every bit counts!

Seems like a pretty fair overview of the camera, and interesting that it's more sized like the BMCC rather than original BMPCC.