Jn-

Thanks Karim
And Dan, yes webrunner is right. It's a cultish following around the Pocket camera.
For example, I understand that Facebook targets each post to a subset of my followers on the EOSHD Facebook Page, depending on the subject. It's automatic, I don't have any control over it. But a lot of pitchforks came out for me today on Facebook which confused me because EOSHD supporters, followers and friends don't usually behave like that.... I know why this time was different, because Facebook had targeted a Blackmagic article at the Blackmagic hardcore fanatics and they didn't like what I had to say.
As for typical BM roll out, yes it is. Trade shows have less meaning to everybody outside the bubble. Most customers don't want to be teased for half a year or even more before they can get the damn camera in their hands. Blackmagic should stop syncing their announcements to NAB and instead put the announcement out a week before they start shipping.
The irony is, here I am feeling upset about being passed over for a camera in my hands... with a hardcore of Blackmagic users saying "what a crybaby EOSHD is" when at the last few camera launches, those very same people were moaning about not having a camera in their hands, because it's late or whatever.
At the end of the day, I reflect on the course this thread just took and I regret it. I stand by my hurt over the camera and snub, but I regret what's happened. Take what you read from everyone on forums with a pinch of salt including even yourself whilst saying it! And including me. I am not myself on the internet sometimes, nobody is. The internet is a weird simulation which is causing issues in real society across the globe all the time. It's not real life, it's a machine-assisted facsimile of it. John Brawley and I would not have behaved the same in real life. The internet is an argument generator and a distorted mirror and I might indeed have to shortly go to the pub and have a stiff drink.

They simply underestimate the thousands of sales they've made from this location. Fact. This is truly disgusting to see. Time for a change.

Honestly? I don’t know why you bother. But let me explain... some of your videos have inspired me to be better than I naturally am. Your GH1 video in the Buddhist monastery is one of the nicest videos floating around since the dslr revolution. Your BMCC video at the abandoned amusement park is one of my favorite videos from that camera. Even your simple but fun video of the FZ1000 led me to eventually buy its successor, the FZ2500 (even though you disliked that upgrade) so why eff around with this nonsense when you can be out creating? If you were making money from this site... I’d get it, but why hang out with a bunch of know it alls (myself included) and armchair professionals when you could be working on a feature film and using your money to finance that? Just my opinion. I’d miss the site but I’d understand your reasoning.

3 - The sensor was oversized multi-aspect ratio, so the vignetting with Micro Four Thirds lenses would have moved around visibly at the edge of the frame when the sensor moves.
It's 2018. What's Canon's excuse for no IBIS on anything at all? At least with Panasonic you get the option.
Smartphone sensors have it. Manufactured by Sony and Samsung. It's not a Canon exclusive technology.
It is just very well implemented on the Canon side. That's what's so frustrating. In many ways Canon is a leader. So when they do the silly crippling to protect the C-line, it's all the more enfuriating.
If Canon's colour science was rubbish, the lens range was baloney, C-LOG was C-for-crap, DPAF wasn't bulletproof, the ergonomics were all over the place and the 1D C's image never existed, I would not be bothered enough to care so much.
They get so much right where others stumble, but then employ anti-customer strategies. Ultra-cynical product crippling and segmentation, It is supposed to win profit but in fact does the opposite, and long term is even more damaging for customer loyalty.
You mean Canon's? Depends on the image. 1D C is still right up there. 1D X II not bad no C-LOG hurts it. As for 5D Mk IV / EOS R image, whatever is gained through Canon's usual organic niceness (no over-sharpening and leading skin tones / colour) is a net negative when you crop 1.8x into the full frame look and add a very heavy rolling shutter.
C-mount lenses on the M50 is the most character I have managed to get from any Canon camera not named 1D C.

The sensor assembly IMX294CJK has IR cut filter built-in.

Surely you'd have enough room in the Tardis or the boot of the De Lorean if you are time traveling though?
Sorry.

It's not going to be a Pocket camera once it's rigged up with a battery. I do wish Blackmagic could work on their power economy issues.
However such great codecs and raw have a cost.
I'd rather have 40 minutes of battery and some spares, rather than no option at all for ProRes and raw on a new, exciting camera to compete with the establishment.

LP-E6 canon battery is almost the same size as Panasonic batteries, but not sure if it has the same juice.  

Blackmagic cameras use FGPA which is a less optimized board compared to an ASIC and requires more power.  It has an advantage of shorter production cycles especially in lower volume cameras because you can easily make last-minute adjustments if you want to add more features.  ASICs is very locked in as they are expensive to manufacture.
They use solid state peltier cooling to handle the heat distribution and that uses a lot of power.  I don't know if other cameras use that but it does make a difference.
I don't think type of compression plays a big part in heat, it's mainly the sensor.
 
 
Blackmagic is not very experienced in building DSLR form-factor cameras yet, in what is only their second attempt they produced a camera at half the price of the GH5s that will likely be a serious rival in image quality.  I think Blackmagic made the right compromises to get it at the price it is.

Everything you need to know about the camera that I'm almost positive is true.
The camera has no OLPF and it's the same as every other Blackmagic camera with a weaker IR cut filter.  I'm pretty sure that color accuracy is diminished when you use the stronger ones found in prosumer cameras and canon cinema series, so they use weaker ones and therefore require IR cut or IRND when using ND filters.  All Blackmagic cameras do have IR cut filters on the glass over the sensor. Moire will be visible because of no OLPF but based on every other Blackmagic 4K and higher recording camera it shouldn't be a real issue in 99% of circumstances. The screen is the same as the one found on the Ursa Mini 4.6K, 4K, and VideoAssist 4K. There are 4 video recording modes.  BMD Film, Video, Extended dynamic range video, and Hybrid Log Gamma. There are likely no limits to codecs on different recording media.  As long as your SD, SSD, or Cfast can handle the data rate it should work. Otherwise the frames will drop instantly and recording will stop. The audio preamps are the same as the VideoAssist 4K and Ursa Mini PRO so they are tested and reviews can be found online.   The Battery life is 1 hour continuous recording, but depending on other features (phantom power, USB-C SSD, etc.) the battery life will drop accordingly.  You will experience roughly 10-15 mins shorter battery life based on the power consumption of a Samsung T5 SSD. Speedbooster XL or Ultra is required for the full coverage of the sensor.  Ultra allows APS-C lenses (some might slightly vignette) and XL is designed for full-frame only.  You can likely use the Pocket speedbooster to decrease the crop factor further during windowed mode (120fps, etc.) The camera can do up to 100 fps no window. OS is similar to Ursa Mini models so much improved over BMCC and BMPCC. The sensor has 2 ISO modes.  400 and 3200.  The 400 mode is active from 200-800 and the 3200 mode will be active from 1600-25600.  So likely your raw adjustments will be around one of these two operating modes.  Any ISO changes will likely only stretch as far as the mode allows.  If you shoot in 200 ISO, you can't push it to say 12,800.  If they allow you to change ISO which they probably will. Size of the camera is similar to a 5D mark III but a little bit wider. Weight of the body is supposedly 750g body only. Camera shoots raw in lossless, 3:1 and 4:1 compression ratios.  The 4:1 is the smallest in size but artifacts slightly more than the 3:1 when pushed to extreme levels.  All of the raw modes are very good. It features the new GEN 4 color science which currently is only found in the Ursa Broadcast cameras. Gen 1 - BMCC, Pocket, Micro Cinema, Production Camera 4K, URSA 4K
Gen 3 - URSA Mini 4K/4.6K/Pro
Gen 4 - URSA Mini Broadcast and Pocket Cinema 4K
Other cameras might recieve an updated soon.

Jon, speaking of our recent discussion on ergonomics topic, hope we future BMPCC 4K users do not end there on a gimbal:

:-)

With the T5 at ~3.40W peak power consumption, the runtime of BMPCC4K when recording would be ~45 minutes.  

You could look at it that way, or you could see it as putting the post processing control in the hands of the user. I think people are so excited because the tech isn't making a lot of creative decisions for them, you can chose exactly how each frame is going to look.
As long as what you shoot is in focus and is somewhere around the right exposure, all the rest can be fixed, adjusted, twisted and pushed to the limits. Try doing that with most other commonly used codecs and you run into a lot of problems. 
I think if using ProRes was the cheaper, easier route, many more cameras would offer it as an option. Especially considering a lot of people encode all their footage from whatever their camera shoots into ProRes before editing. Or invest in external recorders to get the ProRes files in real time. That process is either time consuming, or expensive - around the same price as this camera in fact. This simply cuts out the BS and gives you what you want and more in the first place. 
AS usual though, that may not be the best thing for everyone in every situation... blah blah blah

I don't consider removing features like Canon LOG a committed spec bump for video users. The 1DX II is the kid at school who could have been president if only he did his homework.
So two things going on here... the market for professional photo journalists and sports shooters... And the market for consumer electronics and televisions.
In the photo journalist market Canon and Nikon rule and it is very hard to break the deadlock, props for Sony to try with the A9 but it's a first effort in a VERY long haul, especially to break the stranglehold of the Canonikon lenses.
The consumer electronics market, the 1DX and D5 are nowhere, they don't often appear in shops or even on Amazon, and that is where 4K is most important for Sony and Panasonic, because it doesn't just sell cameras, it sells TVs and other AV equipment as well.
Canon don't make TVs so they don't think they need to be a part of the market.
Where this will hurt them is with the pro video and rental market, and with us enthusiasts... They are dropping the ball. The C300 II wasn't as successful vs the FS7 and FS7 II, as Canon would have hoped for, and it has already had a big price drop or two. The C300 is old, past it, people are selling them in large quantities... how do I know that? Because the used price has fallen so much (increased supply vs falling demand). The C200 II is the real replacement for the C300 but the reception has been lukewarm and the codec isn't competitive vs Sony. Perhaps they will drop the C300 II price further or quickly bring out a Mk III instead and drop the C200 down a peg.
The reason the C-EOS camcorders are going to struggle due to poor video on Canon DSLR range is complex but all to do with the eco-system of EOS bodies, EF lenses, halo effect, marketing, brand perception, upgrade paths, up-selling, enthusiasts turning pro, all sorts of factors.
Canon need to get a grip and fast.

Jimmy hasn't used a GH5, if he had he'd see that it had an image that is better than the Sonys, 10bit codec, much better colour, at least 12 stops dynamic range in V-LOG-L, far less compression, less macro blocking, clean shadows and it does have HFR 1080p all the way up to 180fps.

I suppose not, but they are calling it AVC-Ultra, which is not the same codec used in the GH5. I'd highly doubt it's the GH5 codec for two reasons:
1. The codec in the GH5 was brand new, not the same one shared with the larger varicams. 
2. The Lumix team and Varicam teams HATE each other, and rarely share anything between the two lines.

So this looks awesome. Any chance of a lower specced version at $4k?

Our A7S II just overheated and shut down when filming a live event (tripod and AC power), after recording continuously for ~1.5 hrs (sub 30 min segments). Ambient temp was around 74F. A C100/C200/C300 or FS5/FS7 (even a GH4/GH5) would have worked better in this situation. From our available cameras, it was the best size, file size, low light and look. Now that I know it overheats it won't get used this way again.

Thanks @Jn- and @Orangenz. I see that I'm getting slow rewraps because I'm doing them on slow USB 2.0 drives. Internal SATA and SSDs are much quicker.
 

Jesus Stop that shit. I am 70 years old. I almost had a heart attack, the hell with your underware!!
Truth be known they are probably still selling the heck out of them yet. Still nothing that can touch them in raw new or used for well, I was going to say twice the money, but there is this sort of New thing called a ML 5D mkIII that Canon nerfed the living hell out of.

Big thanks for this! I'm just getting to grips with the 10bit files. It took After Effects 1min 30s to import a folder of 10bit HD MOVs versus 15 seconds for the rewrapped MXFs.

Hi Timoteo,
I have the GH5 and the Speed Booster XL and have used several different lenses with this setup. The GH5 has not seen so much action yet, but that's because it's just in my posession. 
I have however shot with the GH3 for 4 years and during the first year I have used  Samyang / Rokinon (same lenses, different name) extensively. I've owned the 16mm f2.0 /35mm f1.4 / 85mm f1.4. Mind you, I had the 'photo' versions, not the cine versions.
Here is a short film I did with those lenses. I was very happy with them and I still have the 85mm f1.4. It's golden for video and I like the long focus throws of the lenses and how they look and feel. I think the only difference between the photo and cine versions is the housing and the focus and aperture rings. You can't go wrong with either I think.

The only reason for selling the 16mm and the 35mm is because I mainly shoot weddings now, and I needed a zoom lens for that which became the Sigma 18-35 f1.8. I still use the 85mm often and it's teriffic!
https://vimeo.com/79220862
 

Just edit the text into something like "post deleted"
GH5 10 bit fix.pdf

Had there been space left for other people to make it into the frame? I recently saw a doc on Brian De Palma, he said he always shot complicated action sequences with at least two, sometimes three cameras. But of course: he can repeat the shot, you can't. What I particularly like about wedding videos shot with many cameras is that people behave so naturally. And the real-time feeling only a seamless multicam edit can provide, like the best live-TV ceremonies. If you fluently cut from a medium shot to a close up of the rings. Or the kiss. It's so emotional. With one or even two cameras you are so limited. Total failure. Sad.

I would surely think Canon has a Patent on the DPAF thingy?
Well I guess for 150 years film seemed to work for weddings LoL. I know I shot a lot of them with a Hassy and 3 lenses. I am sure the new digital ones can look better. But you end up with 1,000 shots, not the say 100 to 120 I used to shoot a wedding with. I don't have a clue what you could even shoot 1,000 shots of??

If you want to ban someone for pointing out real log is different to your flat profile (which is really good and useful, btw)... Then ban away.... I thought you liked honesty though?