deezid

Is it just me that can't download "Models Walking at Night" clip?
I'm interested because of exclusive usage of Olympus 12-100 in it... but that clip always answer "The URL is invalid or expired..."

Ok, I'm sold.
No artificial sharpening, looks way smoother than in the vimeo clips
Amazing level of detail for a 4K sensor.
Great colors.
Great dynamic range.
Rolling shutter seems low.

(where's the chroma noise from the vimeo clips?)
Here's a BMD Pocket 4K Color Science 4 to Rec709 conversion + curve screenshot

Ok, I wanted to see how organic/filmic I could get this footage without going too vintage. I was going for something filmic while still modern. What do you folks think? Ignore the low resolution image below... it's actually at 1080p and looks much better. Not sure why YouTube always show these awful looking placeholder images?
 

Cool,  getting on my apron so I can get to butchering?

Let's see what you colourists are made of.
JB

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 really don't think (or hope) it's done in camera. BM never did that before. They always delivered a RAW like image in ProRes with all the nice looking grain and smoothness, very much like ARRI and Red do.

Don't really care about chroma noise. 
Easy fix in Davinci Resolve without losing texture.

Glad it helped.
Btw, uploaded a new version with fixed highlights and brighter lights and less highlight compression (not trying to recreate a necessarily cinematic but more commercial type of look).
Don't forget to download the original ProRes file.
 

I guess I was caught off guard and forgot how some people will reach for just about anything in an attempt to troll, and play gear detective. LOL
As they zoomed in on the shades, I spotted the tally in the exact location that it sits on the 4k pocket.
Me either, shrugs...  For a small company, Blackmagic shows a magical ability to bring the WORST out of some people during the build up to one of the camera releases.
 

@deezid: I liked the grade you did. It drew my focus to their eyes.  I liked the skin tones for all but the blonde, which seems to be baked into the shot or maybe its just the natural color of her skin that looks unnatural to me.  Anyways - thanks for doing this - it further showed me what the camera is capable of.

Colorgraded the Models-footage from vimeo done by @John Brawley in ACES colorspace (Rec709 Idt) just using curves and log tools.
Got rid of the harshness using blur and nodes qualifying brighter skintones with even more filtering. Used curves to compress highlights. Even added NR and grain. Looks way smoother now - download the ProRes 4K file to see for yourselves. 

Wonder what you guys think
Looks good to me at least lol
BTW, I think the Balloon clip looks very much shows the Blackmagic signature look.
Reminds me a lot of my old BMCC 2.5k, just with more detail and way less aliasing and moire. Stunning!

Colorgraded the Models-footage from vimeo done by @John Brawley in ACES colorspace (Rec709 Idt) just using curves and log tools.
Got rid of the harshness using blur and nodes qualifying brighter skintones with even more filtering. Used curves to compress highlights. Even added NR and grain. Looks way smoother now - download the ProRes 4K file to see for yourselves. 

Wonder what you guys think
Looks good to me at least lol
BTW, I think the Balloon clip looks very much shows the Blackmagic signature look.
Reminds me a lot of my old BMCC 2.5k, just with more detail and way less aliasing and moire. Stunning!

@Maverick530
@Maverick530 I attached a copy of the lut i ripped before they removed it from the site. You can also apply it as a 3x3 matrix: Bottom of page 7 in this document shows the matrix required: http://www.centron.sk/Storage/Document/Product/3453-2012-08-02_Alexa_LogC_Curve-Usage_in_VFX.pdf
Or a DCTL: last post on this thread: https://forum.blackmagicdesign.com/viewtopic.php?t=61073&p=348495
 
AlexaV3_EI0800_LogC2Film_EE_davinci3d.cube

Edge sharpness. 
First we should look at the imaging chain. Is there an OLPF ? The absence of one will mean a sharper edge but the increased chance of false colour moire. 
Sharpness settings in camera menus aren’t compare-able I would have thought camera to camera. 
Seems like if edge sharpness is what’s being examined then you’re really talking about “detail” and “coring”. 
These are both setting that are in video encoded products but are not in BMDs camera video processing (except for the broadcast cameras) 
These are post applied video processing of signals that tries to improve edge sharpness.  Some cameras allow the user to adjust these settings.  Some bake them in without any user adjustment.
JB
 

Note 9 looked better than whatever Canon shit he was using to film the intro.
Is it just me or has he gone back to Canon from the Panasonic GH5 and Sony stuff?
I've noticed a huge drop in VLOG image quality since the 6D Mk II came out and he reviewed it.

Just shoot a clear sky in V-log using the 8 bit codecs.
 
And you'll never do it again. Try using the codec instead and do colorgrading in Resove.
 
In terms of actual visible quality the GH5 codecs behave like this:
400Mbit/s Intra and 150Mbit/s IPB 10bit both look visually the same in most situations and grade extremely well, even in extreme low light with lot's of noise and usually don't show any banding artifacts. I actually managed to create banding using these codecs only once since I've bought the camera (gray wall underexposed).
200 Mbit/s 10bit 4:2:0 H265 codec for 6K anamorphic has some slight banding issues and shows some macro blocking.
150Mbit/s 8bit codec doesn't like gradients at all. Workaround is to use CineLike D and the Cinelike D to V-log conversion by @Sage
72Mbit/s 10bit H265 codec shows some slight banding, macro blocking and even some blur.
100Mbit/s 8bit codec doesn't work with gradients nor noise. Comparable to the GH4 H264 implemenation. Don't ever use it.
 
Some showcase of the terrible 150mbit/s 10 bit codec:
 

Just shoot a clear sky in V-log using the 8 bit codecs.
 
And you'll never do it again. Try using the codec instead and do colorgrading in Resove.
 
In terms of actual visible quality the GH5 codecs behave like this:
400Mbit/s Intra and 150Mbit/s IPB 10bit both look visually the same in most situations and grade extremely well, even in extreme low light with lot's of noise and usually don't show any banding artifacts. I actually managed to create banding using these codecs only once since I've bought the camera (gray wall underexposed).
200 Mbit/s 10bit 4:2:0 H265 codec for 6K anamorphic has some slight banding issues and shows some macro blocking.
150Mbit/s 8bit codec doesn't like gradients at all. Workaround is to use CineLike D and the Cinelike D to V-log conversion by @Sage
72Mbit/s 10bit H265 codec shows some slight banding, macro blocking and even some blur.
100Mbit/s 8bit codec doesn't work with gradients nor noise. Comparable to the GH4 H264 implemenation. Don't ever use it.
 
Some showcase of the terrible 150mbit/s 10 bit codec:
 

Despite the poor specs of the 150mbps LongGOP codec it does hold up very well in grading. Mainly I think due to it's 10bits which make the luma channel near immune to banding unless you apply insane curves or tonal shifts and bends. The main reason to avoid it is the stress it places on most editing rigs trying to decode it on teh fly for smooth playback. The 400mbps codec is better in this respect but still harder on the CPU and GPU than ProRes or DNxHD. Given that most people will expose and color balance near optimally and not treat it as RAW the inadequacies you describe are purely academic and do not translate into real world problems. Until other mainstream manufacturers adopt 10bit 4.2.2 internal codecs the GH5 is well ahead of the game at the moment and a joy to work with compared to ubiquitous 8 bit 4.2.0 codecs with often even more compression.

Still if they fixed the 'scan line' corruption with a 'y axis stretch' of 1% you would think they would be smart enough to also stretch the 'x axis 1%' too.

I don’t think you guys get it. 
From a TV drama point of view there is little appetite for RAW. No one wants it aside from a DP maybe.
It doesn’t matter if you think it’s better or the workflow can be worked around. 
DP’s don’t really get to make this choice alone you realise ?
And most productions want multiple cameras.
Lets imagine Mavo.  If I wanted to shoot Mavo on the show I’m on now I’d have to convince a rental company to get 8 bodies and kit them out.  Tell me a rental company that will do that and then get a couple of spares as backup.
in fact show me any rental company anywhere I can get 8 kinefinity anything cameras from... 
I’d have to convince a director of the creative reasons, and SHOW it was better. I’d have to convince a studio that hates varying anything from the templates of how they do things.  
It’s not going to happen.  You don’t understand how it works and the theorising over specs without actually referencing the pragmatic reality is just playground taunting.
These cameras are in fringe for many reasons. The pictures are only part of that story. (And yeah I’m talking about the C200 as much as Mavo)
JB

I may be nit-picking, but there might be a difference between what the customers want at home and what will make it sell on the shop floor.
There's a thing with hifi speakers about treble - manufacturers deliberately turn the treble up too high because on the shop floor it makes them sound 'detailed' and so they out-sell the other speakers in the line-up,  Of course, at home, in a quiet, much more absorbing environment, the speakers sound bad and will be fatiguing.  Tests show that more treble is preferable when doing a quick test, but when doing a longer test more balanced speakers win out.

Here it is:

Yes, v2.2 is an update for the central GHa conversions. I am thinking to redo the supporting PREs soon, but that would've delayed 2.2 for awhile. I wanted to get v2.2 out as soon as possible, as it is a "paradigm shift" (finally in that 'perfection' zone)

Yh, can't find it. 

Do you mean for v2.2?