Jonesy Jones

Mr. Jones, the work you did with the 7D was simply astonishing, I am still trying to remember to watch the film but the trailer alone is amazing. So, in my opinion, you don’t need the P4K, you already have what you need. Hell, you could get by with a lot less. 
Yes, somewhere upthread, Sage has a link to the CineLikeD version. I assume it’s still active.

I do find it amusing as well that after weeks of debate about how many card slots a camera should have, they've gone "Tell you what, how about none."

Isnt travel video dead? I know I am no longer interested in seeying or making any travel video's anymore (unless its a job). Travel photography I can still enjoy, but I have not seen any good travel film in a long time, or at least the magic has been lost for me. Its all gymbal movement here, flashy transition there, every video looks exactly the same and every location has been shot 1000 times. 

No problem, I don’t mind off topic discussions. The information that can be gathered from impromptu questions are often invaluable.
Thanks for this! That app looks great. You are probably the most helpful member on this site!!!

I think it's clog3 that has a higher black point.  
I found the c200 noisier in the shadows than the UMP! At 800 ASA - was not expecting that.
 
Thanks - yes Canon is much more green.
I think yes still UMP has that magenta feel - which isn't bad - but yes also agree UMP has more gradients so much dimensions on the face and secondary highlights and all that - so the image feels more organic
yes they both do good things - the c200 is smoother - but yea lacks the three dimensional quality.

Yes good call!
Curious now to see if other camera companies start to adopt this technology.
Also it shows the power of the little guys.  Not Sony, Canon, Arri, Apple (with Pro Res RAW), or Red came to this concept first, right?  I think its a pretty unique process

And Nessie is a wrongly convicted murderer.

We had quite a long thread about this a while ago and the general consensus was that for most of us the list was of about as much immediate concern as a list of recommended footwear that you should put on for a meeting with the Loch Ness Monster would be.
The list is for Netflix's own content that they commission for Netflix Originals rather than for external content that they buy in so you can make it on whatever you want within reason and if it's good enough then they will buy it.
Especially if it's a documentary about Nessie's footwear preferences.

I don't have a strong opinion about this whole issue, but if I were a Blackmagic employee who made decisions on these things (which doesn't describe John Brawley, btw), someone would say "hey, shouldn't we give a review camera to Andrew Reid? The EOSHD guy?" So I'd look at the website and check the guy out. 16 pages of op eds, think pieces, comparisons, and advertisements for his products later, I'd find Andrew Reid's last actual review: part 1 of the GH5 review, with the promise of a part 2 that never materialized. No finished work shot with it, just some ungraded clips available for download. Posted August of last year. And many more pages until his next latest review. I would say "eh, this guy doesn't do much in the way of reviews, just camera news and coverage of the market," and pursue other media outlets. 
Like... I'm sorry. I'm not trying to be rude or bite the hand that feeds us here, but Andrew used to make comprehensive reviews in a timely fashion with one or two accompanying pieces of work shot with the camera to showcase its abilities. I miss that Andrew Reid. His stuff was super helpful, and the type of work displayed gave me a sense of both the camera's intended use and Andrew's perspective as a user. These days, all I hear about is the tech side, and I don't always feel like I understand where Andrew is coming from as a writer. Independent filmmaker? Working DP? Camera technician? A colorist who likes to shoot sometimes? No judgement, but it's hard to understand his perspective on the cameras without also knowing what he looks for in one. From the outside, it just feels vague and inconsistent.
So yeah, despite EOSHD's history of praise for Blackmagic, I can't blame them for inviting more prolific gear reviewers to receive review models. Sorry.

I just want to get that ”Your order has been shipped” email now!!! I can’t wait any longer!!

Ditto!
Although, I suppose those 3 features will equal to a 4th feature i.e. internal over-heating.

@Jonesy Jones Honestly, the footage speaks volumes... I'm happy to report, thus far I am loving what I see. The battery life was as expected. I owned the original pocket, and loved the output, so this is a big step up from that in many regards. Better on camera audio support is welcomed. I want to mount this to the Ronin S... something tells me the two will be a good match. This camera has  that something special. In all honesty, my girlfriend saw the footage from the new Canon Eos R and said, " I don't like it",  but after reviewing the footage from the P4K immediately proclaimed how good it looked. I think even if there are a couple small omissions, the price more than compensates for anything that didn't make the cut. I like the new pocket 4k. I think it will be a great travel, and gimbal camera. It's also affordable enough and unassuming enough not to have to worry about unwanted attention. 
Sorry for the long winded answer... But to the point... So far it looks like we are going to get what was promised. Now the only question is when? Oh and the elephant in the room... what does this mean for GH5S owners? Given it's low resolution stills, it limits the camera to video only... And in all honesty the Pk4 looks to have it's lunch in the video department. Also with a new full frame Panasonic around the corner... ?
One hell of a month!

Quite a nice hands on review on the usability of the camera:
https://www.redsharknews.com/production/item/5766-we-ve-tried-the-blackmagic-pocket-cinema-camera-4k-here-s-all-you-need-to-know
Raw DNG untouched 4000iso:

100% crop:

Yeah, but now you are just doing what would happen if you exposed at (let's say) 400 normally, instead of 100. Between ISO 100-800 no gain is applied by the sensor, only the curve is shifted. In raw this doesn't matter, because you CAN underexpose at ISO 100 and just apply the 400 curve without losing anything. However, due to the compression applied by prores (which is pretty good, don't get me wrong), you'll likely have less shadow detail/more noise when you pull up ISO 100 in post to match ISO 400 as opposed to just having shot at ISO 400 to begin with.

Posted before but it needs some kind of sticky!!
If you want a native 50mm - $2299 + TAX or £2350 in UK
WHAT?
The 28-70mm F2 which is useless in video mode... $3K!!
That is $5.3k gone on lenses, before you've even factored in the body.
Are the EOS R fans out there seriously considering investing $7.6K straight off the bat just to get shooting?
I am wondering why so few are talking about this... Surely, you want the native lenses. You don't want to be stuck with adapters. That's something Sony users do, not Canon users! You want the silent autofocus. Dual Pixel AF gets very noisy shooting video with EF lenses.
Whether you love the EOS R or not, don't care about video and only plan to shoot stills...these prices are eye-watering.
So what are people gonna do... stop at a 24-105? I don't think so.
EF lenses are apparently a must-have prerequisite for owning an EOS R! So is the adapter... but the adapter you want - variable ND drop in - is not even available yet.
Why does it take until February to get such a simple thing out of the factory?
And what if you are a Sony, Panasonic, Fuji or Nikon user considering a switch to the EOS R and you have no EF lenses? You will have a 44mm flange on your mirrorless camera and a wobbly adapter, plus a lot of money missing (gone on old Canon DSLR lenses with noisy AF motors).
The lack of affordable prime lenses is a massive mistake.
Meanwhile, this all gives Sony an advantage... i.e. people actually own native E mount lenses and so they can actually shoot with native glass on their cameras, whilst nearly everybody is shooting EF lenses on the R system!!

Been working on learning color correction with the new-ish tools in FCPx 10.4, so I'm using the P4k samples as grading practice. I'll admit I'm a total novice, but I hope I'm heading in the right direction. The red jersey in the MTB video was way hot, so I pulled it down a bit. The balloon was tough with the sun in one part of the shot. The bugs gave me the heebie-jeebies. Cool stuff, hopefully more to come. Thanks Blackmagic for the samples.
Chris
 

Thanks man, I thought so, but since I couldn't find it written so clearly, I wasn't sure. Could have been Twixtored or something haha.
Looks pretty sweet for windowed HD, the cameras I've used that do that for 120fps gave a mushy, ugly image. Not here though, whoop.
EDIT: To save searching for the link, you can download the first set of RAW DNGs here. They're from the 'Mountain Bike' video.
https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera/gallery

More footage:
Blackmagic Pocket Cinema Camera 4K : Mountain Bike
https://youtu.be/7U_O5YBret0
 
...and on Vimeo
https://vimeo.com/288090282

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

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

Yeah, I guess the original produced somewhat footage that I'd call 'flat with character'. That gave it a very organic and filmic look, which people took to heart and embraced even further in post.
This new one seems to have more bite, more contrast and seems to lend itself nicely for a natural clean look. Would be interesting to see something more in the blockbuster direction. How things look when you give it more of a mood and look. I'm sure it will handle that like a champ as well. This puppy is probably very well-rounded and versatile.

Speaking as someone who’s a long time user of the Olympus 4/3 (anyone remember that format??) and then micro 4/3 format.
I own many 4/3 and m4/3 lenses from Olympus, Panasonic and others (Veydra, SLR Magic, Voigtlander)
Generally speaking Olympus m4/3 lenses are better corrected optically. Panny tend to rely more heavily on in-camera / post correction.  
Olympus also OEM many lenses for others. You’d be surprised what major brands have lenses that are made by Olympus. Optics have always been their primary strength. (They are absolute leaders in other fields like medical where they have near monolopoly market share of endoscopes etc).
Olympus are a really interesting company, very innovative. They were the first to do live view in a stills camera. First to have an ultrasonic cleaning of the sensor. And of course their IBIS has always been the best along with weatherproofing.
In the past few years I have been consulting with Olympus on improving their product and features to appeal to more cinematographers. These things typically take time to filter though their product development cycle. 
The Pro primes are actually beautiful lenses. And they’re great for cinematography.  Hard stops on focus for example.  BMD asked me to shoot with the Olympus primes to show what could be done with inexpensive native 4/3 lenses and they do not disappoint. 
JB

1.9x crop is the number I've seen thrown around the most.

Vimeo link if you prefer: