Jn-

Big sensor, small body - has always marketed well to photographers....

Just confirmed that the Date change "hack" is still live with New firmware on R5. 

Ok, my trick works apparently. Tested by yourboylloyd on Magic Lantern Forum

Record as you wish.
When overheat occur. stop recording. Change the date.
Drop the power (using the screw story or dumb battery)
Put it back.
Timer is gone!
All camera parameters are saved. No need to open the camera, no need to lose your clip.
BOOOMMMMM
https://www.magiclantern.fm/forum/index.php?topic=24827.msg230515#msg230515

 

This is primary tested by one user, he put all his camera details as reference. Please wait to get backed and test with the Firmware 1.1 also.

1) I really don't see why the card format should have any impact there as the camera is not recording during the shut down. This time, this is just the date/stmap that is modified and not read at this specific boot.

2) Yes, at each time your camera is displaying the overheat logo, you need to increment to the next day, hours, month, year. But if your camera, during lunch break is able to cool down by itself anyways, you can put back any date. The idea is to trick the timer only when overheating flag is on. The camera at boot look at (current time - overheat warning time). if it's more than the predefined "fake recover time" you are good to go.

Will be close to ideal once the D-tap cord is widely available. A better option than the dummy battery, since you could charge a real battery as you run the camera.

Well to be fair he figured out that its a native DCI 4k sensor, which is a valid observation as its different to all other stills cameras.  But to say never shoot UHD is a bit of a stretch.  If you know you want UHD and you shoot DCI you've just given yourself a job in post.

My review is finally online ! I hope it will help people and answer a few questions ! Let me know what you think of it ! It took me so much time and yet I just have shaky footage to show...  I'll shoot something decent soon, a real project !
 

Yeah but a true native m4/3 lens is not the same animal as a adopted FF lens formula, optics wise. You are Only using the center on the m4/3 body using a FF lens. Even a poor lens on FF is not too bad looking on a PK4. Actually the poor lens probably has a better Cine look to it to be honest on the PK4. ?

In camera corrections do not fix edge softness and infact due to the correction warping of the image they often make it worse. This is simply a physical phenomenon of lens exit pupil position in relation to the sensor, a difference in sensor filter thickness and the larger sensor of the P4k. Also some lenses are very good at their widest setting and wide open - my OL12-40 2.8 is sharper at the edges and corners than my 12-35 2.8 and 12-60 2.8-4 even when these are stopped down to optimum apertures. I do however worry that these lenses when used on the P4k where they are not corrected for distortion and CA will not look great. I'll find out tomorrow when my camera arrives ( or Monday...)

The camera had been off at least 20 minutes before I tried to take it out - I'll report back the next time I use this battery (tomorrow)
I found the LUTs locally, for those without Resolve already, or who want to grab them without diving into folders, you can get them here
https://www.dropbox.com/sh/5b3aw8i1dkf8shj/AACnnkI2JfrCVUbMhyjGuSwia?dl=0
For anyone wondering, the Ninja Star works like a dream with this camera. When I press record on the P4K, the Star also starts recording. That's not happened for me with any other camera since I bought it. Apparently it's a known issue, but the product is too old for Atomos to update. Looks like BM did it for them.
I'm not sure what I was expecting, but recording on the P4K at 4096x2160 means the Star records a file that's 1920x1062. 

Mine has shipped today as well.
I think I ordered it about half an hour after @JordanWright ordered his.

Just got my order allocation at CVP

Your comment has lead me to think a bit more about slow-motion.  The below isn't directed at you, just inspired by you
I think the topic of slow-motion is an interesting one.  I agree that it is over-used and especially over-used in camera tests and on YouTube where people are failing over each other to try and make their footage more cinematic instead of making it more creative / useful / interesting / etc.
I have my camera setup with three modes - one is 25p, one is 50p, and one is 180p.  I don't think of them like that though, I think of them for the aesthetic that they will give to the footage they will create.
I shoot home videos, and my goal is to make a video file with the aesthetic of fond memories.  This means things can be slightly warmer, softer, nicer, more flattering, and less real than reality actually is.  Also, because the brain doesn't process memories in linear time (think of memories of loved ones, a toddler running around, someone giving someone a hug, etc..  you can easily slow these down in your minds eye, in fact, often we slow and almost stop memories, like they're not a continuous stream of perception but little bubbles of moments) so speed and slow motion in my work are far more flexible, and far more compatible than most other genres.
I think of 25p as reality.  "Here's what happened".  Shots like this are about content alone, where the emotion isn't going to dominate.  I can slow these down in post but it's not as good.
I think of 50p as flexible.  I can slow it down to half speed or play it back at normal speed.  Normal speed will look like video, which I'm fine with, and slow-motion is slow and slightly dreamy but doesn't look fake.  Hollywood uses 50p for the shots when emotions are at the forefront, there is action, and they have music instead of real-life sound (eg, someone is sad and they're running away from their troubles, someone is happy and things are great, etc).  It's kind of makes fast motion gentle but doesn't look like a special effect.
I think of 180p as a special effect.  It's very obvious as a special effect, and even with modern cameras you lose quality so should only use this on things where you want that effect - it's not a flexible mode.  For me this would be for very fast action and because a 3s shot in the edit will represent less than half a second of real-life it's about moments, rather than a sequence of events.  I think of this as almost like 'moving photographs'.  This is where we think of things like a kid running and making all the birds take off, and a photographer would get the shot with the kid running, smiling and the birds going everywhere, in this mode we can use the same moment but we can savour that 0.4 of a second over several seconds in the final edit, along with nice music.
I'll reiterate that most people over-use it, and we should be critical of it being over-used, but the criticism shouldn't be that it's not needed, the criticism should be that it's being applied where it is not aesthetically useful to do so.  While this isn't as dramatic as taking the opposite stance of 'always/never' thinking, it's actually more cutting because we're not criticising the use of a camera feature, we're criticising the offenders ability to know how to make art, which is ultimately the most significant criticism that can be made I think.

Ive never heard a good DP complain that the Red Epic, Red Helium, Arri Alexa, Sony F55 are not full frame. I've put the Metabones XL speedbooster on my pocket4K  and super happy with the look.
Andrew, it seems that the whole BMD Manchester incident still has a bitter taste in your mouth. You are looking for any excuse to hate this camera in the same way that most heavy forum users look for excuses to hate on any camera and use a cameras lack of features as excuses as to why they are on forums rather than out shooting nice images. Sorry, I know that view is going to make me unpopular on a forum but I think it's kinda on the mark. 
Is the Pocket4K for everyone? No. The camera isn't a white unicorn....it isn't the perfect camera for everyone. No camera is.
If you just want to shoot bare bones, in the hand video with no light, get an A7III. If you want to VLOG, get a camera with a flippy screen (although interestingly, I know a few vloggers that use Red Helium as a vlogging camera!). It really depends on what your priorities are. 
The Pocket4k is a solid little camera. Sure I wish the battery lasted longer than an hour and I wish the screen was easier to see in bright sun but having used Sony A7 series, Panasonic GH series and the Fuji X-T2 all as B cams, would I chose to shoot with one of those over the Pocket4K? No chance! I still need to add external monitors to those small hybrid cameras anyway and their battery life is barely any better ( apart from GH series) ........but the Pocket4k image creams them! 

It can easily be the 'gold standard at the price point. The images up to ISO4000 are fantastic and 6400 is usable.. I never need to go above ISO4000 for my paid work. For lazy hobbyists that just want to shoot in the dark, get a Sony A7III and shoot 8bit. It's all you need.
Lowlight performance of the Red Epic wan't as good as the A7S but I'd rate the picture of the Epic far above the A7S all day long.
I've shot with the Red Epic, The Ursa Mini Pro among other cameras that have massive holes in the top. The Epic even has a huge noisy fan in the front that also use to suck all sorts of crap into it, didn't stop me using it in all sorts of conditions.
Using the supplied BMD LP-E6, the battery icon flashes red and displays the voltage so you know it's time to change batteries. Using Wasabi, this doesn't happen and the meter is unreliable. I will try some genuine Canon batteries and report back but the BMD LP-E6 works fine after a few charges and discharges.
 
Mine hasn't done this at all. The OS is extremely robust...My Fuji X-T2 on the other hand hangs every now and again forcing you to pull the battery and I've heard the same about the X-T3.
It's not just RAW, the ProRes files also look fantastic on the Pocket4K. Absolutely no jaggies on fine hair but still plenty of detail. Very smooth image. As a Fuji shooter, I also love good colour science and the Pocket4K doesn't disappoint.
 
 
The X-T3 also has poor battery life and crashes.

An interesting read:  http://www.focuspulling.com/bmpcc4k-learning/
For example, "Bob insists that the Pocket 4K’s sensor is not the same manufacturing part as the one in the GH5S", Bob being Bob Caniglia of Blackmagic Design.
Also, on P4K ("Quattro Kappa" for Italians) memory cards and SSD, USB-C variants, audio XLR and 4 mics on the camera, bluetooth remote control, Extended Video, dual ISO, shutter angle vs. speed, window(ed) shooting, etc.

I'm using the .64 Speedbooster XL on my Pocket4K and it works great with full frame lenses.
There is a slight vignette on the wide end of my Sigma 18-35 1.8

Agree wholeheartedly.. so refreshingly unpretentious man and so modestly noble and politely humble in presentation, without different kinds of aggressive quasi friendly affectation.
Not to mention his so nicely passionate devoting examples of artistic and technical vivisection of movies in general, camera works, used lenses, lighting etc.

To be honest, their supposed PR "missteps" isn't even a legitimate concern for me. I don't get the complaints. The camera that should clearly cost at least 5,000. And they charge 300 for a software with lifetime upgrade that competitors are milking for several times more, or ridiculous monthly subscription. The camera's coming out in less than a month!
It's feels odd to me to say this about a camera company, but I've become a big fan and evangelical of Blackmagic and their ethos. Picking a fight with Blackmagic over PR "missteps" is like castigating one of the small handful in the room who gives a shit about democratizing cinema tools for filmmakers, all because they didn't say hi to everyone in the room. 

@Andrew Reid I see you have reset my reputation to zero. That really doesn't bother me. But it does speak again to your character. 

We have all been there Andrew, it happens some times, but eventually we learn to manage it a little bit better.....anyway, I don´t see the need for a lengthy apology, if you think you made a mistake, a short apology is more than enough.....most of us are happy to read your comments in any kind of subject, specially when is related to film environment,

Yeah but about the Only good thing about getting old is you can say shit and it doesn't matter. They either think you are crazy, or have Alzheimer's. Or if they think neither , who gives a shit. Fun times at times. So you have something down the road to look forward to. Ergo, it will get easier. ?

I think a lot of you (all of you?) come to this thread to learn more about the camera, so I'll save my lengthy apologies for a blog post.
It's not been my finest hour, but frustration will do that to a man.

Yep. To me the ineptness that they have shown is a troubling trend. Yeah they make pretty killer products at a really fair price. But what good is it all if no coordination to amount to crap  seems to be the outcome of it.
True specs wise in a lot of areas are scare as hens teeth. When the hell it is Really going to ship?  This thing could be the best thing since sliced bread, but we don't know when the delivery man is going to show up, or what the hell bread we are getting, let alone how it is going to be sliced. Strange goings on.

I inserted myself into the discussion last night when I probably shouldn’t have, but I do stand by my opinion that Andrew should have been invited to the Manchester event.
I, for one, never felt that John Brawley was to blame for this and feel that most people on this site have been very thankful for his contributions, not just about info on the upcoming camera but his openness about the inner workings of a Hollywood set and his methods of shooting.
But the disdain displayed to Andrew in this thread is mind boggling. I don’t always agree with him, but the man has wholeheartedly opened his craft and home to a countless amount of strangers for free. There is not one other site in the video community that is completely ad free and he rarely asks for a thank you. I can only imagine the cost it is to upkeep this site. I’d be a liar if I didn’t admit that I find him infuriating at times, but I would never question his devotion to his craft and his readers.
With that being said, I feel JB’s reply to the events was unnecessarily rude. Perhaps there was a breakdown in communication as Andrew has already stated but for every person that felt Andrew could have handled the snub differently, they should equally admit that JB could have handled his response differently as well.
BM was born on the backs of hobbyists and enthusiasts. We paid for the R&D of the Ursa Pro with every Pocket or Micro we bought. As much as we appreciate their inexpensive cinema cameras, they are only available because we decide to purchase them... it’s like a television show, it only exists at the behest of its viewers.
But in the end, they are both artists and artists are passionate, honest and sensitive people... they must be to put themselves and their work out into the world for scrutiny.