CaptainHook

I agree that it would be nice to have additional tools but I have to say that I think that with Pocket 4K having false colour available (especially on a hardware switch) it will get a lot of people, myself included, closer to where they want the exposure to be a lot quicker.
The very quick contextual overview it gives you works better - for me at least - than a waveform so I'm going to say that from a purely selfish point of view, BM chose the right option for the initial release
 

There are two parts to BMD Film, the log curve (gamma) and the "colour space" (gamut). The log curve is always optimized for the sensors dynamic range so the curve you get for cameras with different sensors will vary. Some will have more contrast than others. The gamut in previous versions would vary across cameras as well but with Gen 4 it is the same for any of our cameras using it and like Gen 3 it is more saturated to make it faster/easier to grade.
Note shot it.

You get the full studio version of Resolve with the Pocket 4K camera.
The differences between the versions available are listed here:
https://documents.blackmagicdesign.com/DaVinciResolve/20180404-10399d/DaVinci_Resolve_15_Feature_Comparison.pdf

Why so harsh man? Is that really needed? What do you know about my experience with this company?
For your information, I've dealt 28 camera units with Blackmagic now. These days... Never saw so improper attitude coming from a similar industry player in my 25 years of business. Real world. Period.
Business policies and lack of industry vision, yes. Or you only are able to talk about technology?
You complain. Very well, I also complain on lack of business knowledge from a few of you. Go to school. That's what I did. Why to spread misinformation on topics we have no even clue they exist?
Who are you after all?
Sorry pal, but I am starting to see you as a shill over us. I read recent Andrew's thread on topic. And that's what comes to my mind after your new post. You look like a child to whom we can't address a compliment or the kid starts to misbehave. Fully stupid this attitude. You come here to insult (y)our webmaster... In the same page. C'mon, give yourself a better shot.
 

The overexposed super saturated LEDs are clipping the gamut. This will happen with Gen 4 on 4.6K too. You can reduce the issue by soft clipping the gamut using the colour space transform Resolve FX plugin. Here I am using the Broadcast gamut because the Pocket 4K option isn't in the colour space transform plugin at this time but they are actually the same gamut/primaries anyway.



Without soft clipping the gamut:

The overexposed super saturated LEDs are clipping the gamut. This will happen with Gen 4 on 4.6K too. You can reduce the issue by soft clipping the gamut using the colour space transform Resolve FX plugin. Here I am using the Broadcast gamut because the Pocket 4K option isn't in the colour space transform plugin at this time but they are actually the same gamut/primaries anyway.



Without soft clipping the gamut:

If you set the power source in the camera settings correctly, the camera will offer flicker free shutter angle/speeds when you tap the shutter speed/angle icon from the HUD. It's okay to shoot 60/25 or 60/24.

If you set the power source in the camera settings correctly, the camera will offer flicker free shutter angle/speeds when you tap the shutter speed/angle icon from the HUD. It's okay to shoot 60/25 or 60/24.

Just got an email from my retailer saying that my Pocket4k has arrived and is ready to be picked up! I guess they made the September delivery!
Will grab it tomorrow. 

The SDK handles reading and applying the metadata from the sidecar if present. App developers don’t need to need to manually do this.

The SDK handles reading and applying the metadata from the sidecar if present. App developers don’t need to need to manually do this.

Isn't this some Pied Piper, middle out kind of ish?

It's legit.

It's legit.

It's legit.

215.7° is flicker free for 23.98fps @60hz
192° is flicker free for 32fps @60hz

The lenses are the ones we had available when the photography was done. As @jonpais says, we try to be as agnostic as we can practically be and we often recommend Panasonic lenses and others to people at trade shows etc when they ask.

John Brawley talks about the new Blackmagic Pocket Cinema Camera 4K. ‘Models Close up at Night’ is his third camera test where he checked out the camera’s ability to handle different skin tones in very low light conditions.
“This camera test was about shooting different skin tones in different low light conditions, so we wanted to keep it simple using the least amount of artificial lighting. We had a hotel room in Atlanta where we shot from 3pm until 11pm and got through about 70-80 shots cycling through different lighting and skin conditions. When you can get really great pictures at ISO3200 and above, things suddenly get very interesting. In this test, we were shooting two hours after sunset and you can still see blue sky around the buildings in the background! This camera can really read a long way into the shadows, which was a big surprise.”
“I see this camera as continuing the evolution that Blackmagic started with the Pocket Cinema Camera by now making it 4K. Having something that we can work with in really low light like this, means you can still get really great results with any type of ambient light.” 
Blackmagic Pocket Cinema Camera 4K
Apple ProRes 422 HQ 
ISO1000 and 3200
Olympus Pro 17, 25, 45, 1.2 Micro Four Thirds lenses

The lenses are the ones we had available when the photography was done. As @jonpais says, we try to be as agnostic as we can practically be and we often recommend Panasonic lenses and others to people at trade shows etc when they ask.

The lenses are the ones we had available when the photography was done. As @jonpais says, we try to be as agnostic as we can practically be and we often recommend Panasonic lenses and others to people at trade shows etc when they ask.

John Brawley talks about the new Blackmagic Pocket Cinema Camera 4K. ‘Models Close up at Night’ is his third camera test where he checked out the camera’s ability to handle different skin tones in very low light conditions.
“This camera test was about shooting different skin tones in different low light conditions, so we wanted to keep it simple using the least amount of artificial lighting. We had a hotel room in Atlanta where we shot from 3pm until 11pm and got through about 70-80 shots cycling through different lighting and skin conditions. When you can get really great pictures at ISO3200 and above, things suddenly get very interesting. In this test, we were shooting two hours after sunset and you can still see blue sky around the buildings in the background! This camera can really read a long way into the shadows, which was a big surprise.”
“I see this camera as continuing the evolution that Blackmagic started with the Pocket Cinema Camera by now making it 4K. Having something that we can work with in really low light like this, means you can still get really great results with any type of ambient light.” 
Blackmagic Pocket Cinema Camera 4K
Apple ProRes 422 HQ 
ISO1000 and 3200
Olympus Pro 17, 25, 45, 1.2 Micro Four Thirds lenses

John Brawley talks about the new Blackmagic Pocket Cinema Camera 4K. ‘Models Close up at Night’ is his third camera test where he checked out the camera’s ability to handle different skin tones in very low light conditions.
“This camera test was about shooting different skin tones in different low light conditions, so we wanted to keep it simple using the least amount of artificial lighting. We had a hotel room in Atlanta where we shot from 3pm until 11pm and got through about 70-80 shots cycling through different lighting and skin conditions. When you can get really great pictures at ISO3200 and above, things suddenly get very interesting. In this test, we were shooting two hours after sunset and you can still see blue sky around the buildings in the background! This camera can really read a long way into the shadows, which was a big surprise.”
“I see this camera as continuing the evolution that Blackmagic started with the Pocket Cinema Camera by now making it 4K. Having something that we can work with in really low light like this, means you can still get really great results with any type of ambient light.” 
Blackmagic Pocket Cinema Camera 4K
Apple ProRes 422 HQ 
ISO1000 and 3200
Olympus Pro 17, 25, 45, 1.2 Micro Four Thirds lenses

John Brawley talks about the new Blackmagic Pocket Cinema Camera 4K. ‘Models Close up at Night’ is his third camera test where he checked out the camera’s ability to handle different skin tones in very low light conditions.
“This camera test was about shooting different skin tones in different low light conditions, so we wanted to keep it simple using the least amount of artificial lighting. We had a hotel room in Atlanta where we shot from 3pm until 11pm and got through about 70-80 shots cycling through different lighting and skin conditions. When you can get really great pictures at ISO3200 and above, things suddenly get very interesting. In this test, we were shooting two hours after sunset and you can still see blue sky around the buildings in the background! This camera can really read a long way into the shadows, which was a big surprise.”
“I see this camera as continuing the evolution that Blackmagic started with the Pocket Cinema Camera by now making it 4K. Having something that we can work with in really low light like this, means you can still get really great results with any type of ambient light.” 
Blackmagic Pocket Cinema Camera 4K
Apple ProRes 422 HQ 
ISO1000 and 3200
Olympus Pro 17, 25, 45, 1.2 Micro Four Thirds lenses

John Brawley talks about the new Blackmagic Pocket Cinema Camera 4K. ‘Models Close up at Night’ is his third camera test where he checked out the camera’s ability to handle different skin tones in very low light conditions.
“This camera test was about shooting different skin tones in different low light conditions, so we wanted to keep it simple using the least amount of artificial lighting. We had a hotel room in Atlanta where we shot from 3pm until 11pm and got through about 70-80 shots cycling through different lighting and skin conditions. When you can get really great pictures at ISO3200 and above, things suddenly get very interesting. In this test, we were shooting two hours after sunset and you can still see blue sky around the buildings in the background! This camera can really read a long way into the shadows, which was a big surprise.”
“I see this camera as continuing the evolution that Blackmagic started with the Pocket Cinema Camera by now making it 4K. Having something that we can work with in really low light like this, means you can still get really great results with any type of ambient light.” 
Blackmagic Pocket Cinema Camera 4K
Apple ProRes 422 HQ 
ISO1000 and 3200
Olympus Pro 17, 25, 45, 1.2 Micro Four Thirds lenses

John Brawley talks about the new Blackmagic Pocket Cinema Camera 4K. ‘Models Close up at Night’ is his third camera test where he checked out the camera’s ability to handle different skin tones in very low light conditions.
“This camera test was about shooting different skin tones in different low light conditions, so we wanted to keep it simple using the least amount of artificial lighting. We had a hotel room in Atlanta where we shot from 3pm until 11pm and got through about 70-80 shots cycling through different lighting and skin conditions. When you can get really great pictures at ISO3200 and above, things suddenly get very interesting. In this test, we were shooting two hours after sunset and you can still see blue sky around the buildings in the background! This camera can really read a long way into the shadows, which was a big surprise.”
“I see this camera as continuing the evolution that Blackmagic started with the Pocket Cinema Camera by now making it 4K. Having something that we can work with in really low light like this, means you can still get really great results with any type of ambient light.” 
Blackmagic Pocket Cinema Camera 4K
Apple ProRes 422 HQ 
ISO1000 and 3200
Olympus Pro 17, 25, 45, 1.2 Micro Four Thirds lenses