Juank

I have used both in commercial projects, mostly digital content for brands. The C300II since it came out, the same for the C200.
Both are great cameras for low budget production, it's the step before a RED or the Alexa. Both also are great in hands of good colorist for matching with high end production cameras like RED or Arri. That's my experience.
Talking about the C300II vs the C200, I think that the C300II falls with the inclusion of 4K60 RAW in the C200. The color science are a little better, but definitely the game breaker it's 4K60. The DPAF it's better, the monitor it's better, dynamic range and low light are better on RAW, and the body it's better. Since we were shooting commercial jobs we always wanted the highest quality possible (and delivering 1080p final output!), so we are not concerned of storage or the cards we use, that's why we always shoot raw. Also the crop factor on the C300II its a big deal. My only concern it's the lack of interchangeable mounts for some projects when we were using PL cine lenses.
But now things are a little different since the C300II option to shoot external Prores RAW, but the lack of 60fps at 4K still hurts.
Now, if you're shooting in more run and gun situations and you need fast delivery or broadcast standards, the C300II it's the camera to go, but only in this situations. I feel that the C200 it's something like a "future proof" camera for at least a few years. 4K60 RAW it's a huge step for our workflow, and the DPAF works amazing. And don't forget the canon color science, you can almost start grading for yourself with the Alexa standard lut in premiere if you can't afford a colorist.

It sounds like you’re threatened by this camera so you’re making sure you point out any and all shortcomings you can. Isn’t sissy a bit emotional ? You’re reaching.
Some people will be happy with 10bit 422 as their maximum image quality as long as they have a tilt able screen and autofocus. 
Most serious image makers know that 12bit raw and 10 bit ProRes for half the price trumps the MILC features you’re desperately trying to remind everyone your precious GH5s has. Mostly because “filmmakers” don’t tend to use those features anyway. I don’t use AF.  But I shoot narrative drama.  What I need isn’t what others need.
For the majority, they will prefer the utility of the form factor, longer battery life, AF and IBIS on the GH5 and will find the bare minimum for serious work 400Mbps codec to be good enough. 
People who care about image fidelity will likely prefer what a Pocket 2 produces side by side and will also decide that they can work around the shortcomings that pertain to the way they work.
The same way others will prefer to work around the shortcomings of a lower bit depth more compressed and sub sampled image because other features are important to them. 
On board batteries on an Alexa mini on my last show were lasting about 40 mins by the way.  I guess you’re calling me a sissy. 
JB
EDIT  by the way, I don’t think it’s at all appropriate to use sissy, a word that means effeminate man or homosexual. Maybe you want to change that.

Shot on 2.8
setup:

Make it 40... to me this camera doesn’t even exist. 
Eventually we’ll have footage from John Brawley or Frank Glencairn or Noam Kroll and the footage will look amazing. More people will love it but a few will find something wrong with it...
Eventually card info will be released, and more people will complain.
Eventually AF tests will show up comparing this camera to the PDAF of the a6500 and more people will complain.
Eventually low light tests will show up comparing this camera with the GH5s or the a7sii and more people will complain.
At the end, when it’s released, a bunch of people will complain because they hate that they have to use an IR Cut filter and they will complain that they only get 45-60 minutes of battery life and that they wish it had IBIS...
And eventually the usual suspects will be the only people that have the camera and the footage will be absolutely gorgeous.
The End.

I picked up a Helios 44-2 for £5 in a local camera shop... Its battered with large scratches on the elements but delivers a fantastic low contrast image, blooming highlights and good looking flares and outstanding bokeh. for £10 (£5 adapter) it puts many lenses to shame. I paired it with my GH5 & Speedbooster to test it out on a dog walk.

All images have been transformed to Rec709 with minor contrast adjustments on some images. (loving the low contrast!)

And their hit song would be Thunder, thunder, thunder, thunderbold 

Apparently we are only 15 years away from commercially viable nuclear fusion reactors. Funny, but when I went on a tour of the Joint European Torus 35 years ago they said we were about 15-20 years ago from commercially viable nuclear fusion reactors then too. 

I think the pocket 4k is intended to deliver professional level quality, which it will. But given it's priced at $1300 and had been marketed at vloggers, I don't think it's being marketed for the traditional/typical professional. Think about how they have emphasized the pocket 4k's microphones, which no traditional professional would use. While the camera can definitely work for a cheap studio set up, I think it can really capture market share from Panasonic and Sony prosumers, and that's a really big market.
I've been really confused by people pitching the pocket 4k as a vlogging camera. But I think I'm starting to understand the idea. Personally, I don't really watch YouTube. So I thought it was basically just people like Logan Paul making light of suicide or PewDiePie being anti semitic. However, I then thought about stuff that I've seen some of my past girlfriend watch. There are a lot of fashion and make-up vloggers who really need incredibly high quality images even though they are basically running the channel on their own. Same thing for food and travel vloggers. No one wants to travel to the Rift Valley, Grand Canyon, Colosseum or Great Wall and capture anything less than the best. The price tag along with things like the low light capability mean that semi professionals, who might have more knowledge about fashion or travel than video, can capture incredible video even if they don't know how to or have the ability to light their scene. I'd bet that they could make great user of the baked in lut capabilities as well. 
I'm not trying to suggest that prosumer vloggers are the primary target audience of the pocket 4k. But I do think that using an HDMI port and also the USB-C connection make the camera accessible to users from a big market that companies like BM don't typically get to tap into. I'm really excited not just for the camera itself, but also to see who uses it and what they produce. If travel vloggers start using the pocket 4k, I might actually start going to their channels instead of watching national geographic reruns. (Though YouTube could certainly improve it's codec)
Just my 2 cents. I understand that there are good reasons to prefer SDI over HDMI.

Spread the love, not the hate! Take the victories as they come knowing you can't win all the fights (and some aren't worth stepping in the ring for).
The world is too big to make everyone happy, so whatever you do, do it for yourself and don't be bothered too much with what others think.
Seen you and Albert Fast do great things with the new Olympus Pro f/1.2 optics and I appreciate the willingness to share your findings with us!

The color science of these guys coupled to their solid bit rate and truly golden acquisition have no parallel wherever we're looking for at similar range (I even intimidate myself to write price range... WTH it's 700 bucks!)

Looks like the Micro is already going down in price on the second hand market. I got one for under $700. This is my first test, also my first time shooting Raw. Love this little camera. My Micro and Pocket should compliment each other well.

For people asking about the stills function.

This is just as the Ursa Mini Pro. Its a frame grab. I think they are marketing this WAY wrong. People think it take stills.. well.. no. It grabs a frame or the live video feed it produces from the sensor. Like a video for 1 frame what ever settings your are on. The format is DNG which you can convert to whatever you want afterwards. As it is a frame grab it will be at the resoultion you have choosen in-camera. So for 4K DCI it is 4096 x 2160 = 8.8mp (max).

I would not buy this for taking stills - unless you are a cinema guy and don't experct a "regular" stills camera as there is no dedicated stills functions and no mechanical shutter. But for taking a BTS frame grab its fine.

--- Monitor ---

The monitor is the same as the one found on their Ursa Mini 4K and 4.6K (not pro 4"). So expect what you get from that and not like 1000 nits. I think it was Stuart from BMD who said it - as a source.
No. They used the knowlegde gained when they created the SSD recorder for the Ursa Mini. On the Ursa Mini when using the SSD recorder it sends a data signal out the SDI and onto the SSD. Its is not a video feed. It is data.. Like a USB connection. So thats what they put into the BMPCC4K. So no USB external monitor unless they develop something for this. Its is only used for firmware update, powering/charging and external recording to a USB source (can be anything from a thump drive to a RAID array).

Nikon has been using the same stuff in the front half of the Nikon D810 for years. This has been proven to work. It isn't going to be a toy camera, holy crap.
How many magnesium alloy cameras do you think Canon makes? The sky is falling.

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

Philip The Bloom is on it...4k @ 100 Fps!
 

Very nice. I love your delivery as well.

Who's gonna make one of those old school Hitler videos with the Panasonic staff reaction to this? 

The worst quirk of IBIS is that directors/producers expect me to use it at 100% of the time, and when I ask time to set a tripod/monopod just look me weird and/or with disgust and hate!
A7s cameras destroyed the traditional lighting experience for a lot of young people, and sadly I see a lot of young people in the industry forget about tripods, which is my favorite kind of shot, and they loose completely a few letters that consist the cinematic language.
Tools are good, abuse of them is terrible.

I think the guy that designed the Atari 2600 designed this.

Clear zoom works great.       It is for both video and Jpeg stills but doesn't work in RAW.      I have it set to turn on (A7s) via the down button and then use the left/right buttons to zoom in and out.
It is virtually lossless variable zoom to 2x (you can also use variable digital zoom which goes to 4x but above 2x, it does start getting lossy and especially as you get to 4x).
If you start with a decent lens you keep a decent lens and (for example) ANY 50mm prime zoomed to 90mm (1.8x clearzoom) is going to be better than 90mm on my worst Canon zoom optically but lenses like the Sony Zeiss 55 1.8 zoomed leave it for dead (an old 28-90 EF kit lens).
It turns a lens like my Canon 17mm f4 L TS-E into a 17-34 tilt shift zoom but also works great with fast longer lenses too.
 
M43 has its ETC which works very well but to date at least none have been variable and they are more like fixed teleconverters (1.4x or 2x I think) than "zooms" like Sony has.
As for lenses, I have used a few across systems and some I liked on both M43 and FF E mount are the old Tamron 300 2.8 adaptall manual focus lens, the Canon EF 135 f2 L, an old EF 100-300 5.6 L (an old lens that focused slowly on my first gen A7 cameras but was still ok and was fast AF on my M43 camera and Kipon adapter- AFS only), and a Sigma 150 2.8 APO macro (plays up on Sony but works ok for MF as well as fast AF on M43) and a EF 100 f2.
FD lenses I liked on both systems include the 80-200 f4 L, FD 50 1.2 L,  and FD 85 1.2 L.  
I have cut right back lately though so only have the 300 2.8 (followed me across several systems) , Sigma 150 2.8, and FD 85 1.2 L (though is a bit sick and needing a fix but since getting an FE 85 1.8, just isn't needed now).
 
 

Some stills:
Schneider ES Cinelux 2x (Custom Single focus)
Chinon 50mm F:1.7 wideopen
Sony a6300
 

No. I am sorry.
The entry level, lowest camera in the M line is the M100, but even the M3 is still on the shelves.
I would neither consider an 800 USD camera as entry level. For this price, the M50 is rather an insult.
Actually, the whole M-line is a mess. Incomprehensible naming, i.e. segmentation, mediocre lens line-up, and empty marketing buzzwords. The "5-axis "image stabilization is "non-axis", as Canon uses electronic, software-based picture make-up, The 4K is a joke, huge crop, no dual pixel AF, and on this "Vlogging-monster" the microphone input blocks the articulated screen.

I couldn't find any samples or a demo of low light 240 fps footage from the Gh5s. Thus, I went out and made my own test video to see what's possible. Here it is:
 
 

m50  has a 1.6x crop when shooting 4k,that's about 2.5x crop from a  ff  sensor.
And dual pixel AF is not available when shooting 4k, the Contrast AF is very slow
more over, the battery life is terribly short 
Why Canon keep making those weird  things?

Canon is being Canon.  No DPAF in 4K and ridiculous crop.  I wonder how terrible the rolling shutter is.  I'm surprised how much hype is around this camera that has useless 4K.