BenEricson

I'm not particularly fond of this shot, but in that lighting condition this is basically a silhouette shot. Why would you need shadow detail at that level of exposure? If black was pulled down more it would pop a lot more. 
The shot looks like it could be exposed another two or three stops lower. There doesn't need to be shadow detail when you're shooting directly into the sun. This is exposing wrong for that type of shot. 
I attached a still I shot with the OG pocket last week. If you're shooting a light source like that, black can be black.

I'm not particularly fond of this shot, but in that lighting condition this is basically a silhouette shot. Why would you need shadow detail at that level of exposure? If black was pulled down more it would pop a lot more. 
The shot looks like it could be exposed another two or three stops lower. There doesn't need to be shadow detail when you're shooting directly into the sun. This is exposing wrong for that type of shot. 
I attached a still I shot with the OG pocket last week. If you're shooting a light source like that, black can be black.

Old Pocket.

Yikes, it has started LoL.

I'm not particularly fond of this shot, but in that lighting condition this is basically a silhouette shot. Why would you need shadow detail at that level of exposure? If black was pulled down more it would pop a lot more. 
The shot looks like it could be exposed another two or three stops lower. There doesn't need to be shadow detail when you're shooting directly into the sun. This is exposing wrong for that type of shot. 
I attached a still I shot with the OG pocket last week. If you're shooting a light source like that, black can be black.

Trees skin tones

Looks nice, but nothing the original pocket couldn't do? Especially only seeing this a 1080p version. 
The highlights seem to be clipping harder/differently than the original pocket. Looks more like the GH5 than the BMPCC to me.

It could be the grade, but there seems to be a color shift at higher ISOs and yes, other than that Raw texture, especially in the tree bark, it does seem to look more like the GH5 in its highlights. But for the first video out in the wild, not too shabby at all.

https://www.youtube.com/watch?v=oAbB4dQOz4I
Mark Wyatt talks about using the Blackmagic Pocket Cinema Camera 4K. ‘Nature’ is Mark’s test of the camera’s 4K performance in the extreme lighting conditions of rainforests and ravines.
“The camera tests I wanted to do were in the forests and waterfalls on the outer West Coast of Canada. I was really interested in seeing how the new sensor would handle these harsh lighting conditions. By increasing the ISO to an impressive 1250 and 2500, it allowed me to capture the dark moss-lined walls and unique emerald color, yet also hold onto the highlight detail of the top of the waterfall and sky. I feel most cameras would likely struggle with this scene.”
“I had the Blackmagic Pocket Cinema Camera 4K for only a few days, but overall I was really impressed by it. The weight of the camera is very liberating, especially when you are used to using larger camera systems. The screen is big and bright enough to use in daylight, which I found great for judging focus and exposure. And, the colors too on the screen, were also nicely represented. In fact, I would argue it is Blackmagic’s best screen yet.”
Blackmagic Pocket Cinema Camera 4K
RAW 
ISO400, 1250 and 2500 
Sigma 18-35mm, Rokinon Cine 50mm EF lenses
Metabones Speedbooster to Micro Four Thirds

Andrew Reid...VERY important!!
Don't forget that DJI says that this 1inch-type "Hasselblab"  (made in Sweden by Sony) sensor put's out 14.....[snicker].....stops....[giggle]....of....[heheehe]....dynamic....[HAHAHA!]......range!!....[LMAO!!!!!!!!!]
I'm sorry, I couldn't type that with with a straight face.
OMG...the ONLY customers that would EVER believe that are ones that don't even know what "dynamic range" even is!!
CT ? 
 
P.S....Guys, I'm sorry but "Hasselblad" is nothing more than a Chinese camera "FASHION BRAND". It's just a big joke now.

Lol. 

Let me see...
You've only ever made two posts on here.
Both about DJI products and both with links to their official online shop.
Give me a minute to work out what might be going on here...

Are you going to attach it to a pistol grip and use it like a normal camera?

Hah. It's so dishonest.

I suspect the same thing.
Still sounds interesting though, if this pans out and they really step their game up. Fuji, Olympus and Nikon can be the most disruptive since the others cap capabilities to protect their respective cine lines. None have shown any inclination to push the envelope thus far, but things could be changing. First up is Nikon.
Chris

I shot with a set of 3 C100's exclusively with a past employer. When I left and the company was looking to offload them, I begged to buy one because I'd grown so fond of them. There is not a better get-out-of-your-way camera  with a high quality image at a low datarate than the C100. If you don't absolutely need 4k, I wouldn't hesitate to pick one up at their current used prices.

The lens isn't worth $40,000 I can tell you that much.

Colors kind of remind me of the frames posted above. The F3 produces a really good image. Really underrated. 

I think the PMW F3 is a far better camera for nearly the same money. Heck Adorama had a F3 for like 775 bucks.
https://www.adorama.com/us 1018391.html?gclid=CjwKCAjwkYDbBRB6EiwAR0T_-gfda0onpd5_BqiNOttXZz3lzZ9EwQZSYaHldHxvZDtz_FSGxsciNBoCelsQAvD_BwET
They have a Panasonic AF100 for 625 bucks, and a Bunch of FS100's.
But yeah Like I have said, really good 1080p, even 720p is still good enough for 95% or more of video needs.

I haven't tried the FS5, but have spent some time with the fs7.  They are nice cameras for sure, just don't seem that came out of the camera special touch that the FS100 did.  Maybe the 1080P helped with it to a certain extent, 4k can be a bit harder to get right without feeling like plastic. 

I’m sure it can look great, but that example looked really bad, every characteristic of why I hated the fs700 image. 
Sense 8 was shot with the F55, not FS5. Id like to John still shoot a series as beautiful with the FS5
”Camera: Sony F-55
Lens: Zeiss Ultra Prime lenses, and Fujinon 19-90 zoom lenses”
https://www.google.com/amp/s/www.indiewire.com/2017/08/emmy-2017-camera-nominated-cinematographers-1201868305/amp/

Now we all shoot at 800 asa. actually, I have heard some younger people get upset if they can't shoot at 1600 asa.  Pretty amazing to me.
Since most modern cameras can do this easily, and that gives you enough natural light in most locations, you just come in and shoot.  The style these days is use what already exists, and augment the lighting, and use grip to subtract light.
Subtracting light.  Before ASA 800, when many of us were shooting at around 200 ASA, you would add light.
Now we show up, use a window light - maybe put one light outside of it, and then 4-7 pieces of gripwear to cut it. 
Toppers, cutters, siders, eggcrates.   
But a recent job I did for a liquor commercial, we were shooting with the digital bolex as a b camera.  The bolex is a beautiful organic image, with a ccd sensor for beautiful motion and the ability to use 16mm glass, which is beautiful and lightweight.  We lit for this camera's low native iso, and the A camera, the alexa, we set at 200 ASA as well. 
At 200 ASA, I was back to where I started 10 years ago, and it was thrilling again.  
Light didn't spill all over the place - it faded into the darkness, had lots of falloff - and everything was deliberate. We Could liGHT up spaces deep in the bar with red color, and push light into areas we wanted, and hide the rest.  It was easier to do, since there were less stands to place on the ground and less rigging to do.
Grip takes up a lot of space and stands.   Lights -  not as much.
And we ended up making the bar more interesting than what it was - we transformed it. 
(I'll post videos and stills once the spots are released.
It was putting on a different brain from an earlier era - cause we had to move a different way. 
And we painted with 1k tungsten lights in a jem ball again and got that tungsten warmth again.  That color of a tungsten fresnel - it has a golden warmth to it.  Coming back to it, it reminded me of how unmatched by LEDs which have more green and yellow in them than that pure lovely orange glow are these chinese balls.
To rediscover those old tungsten fresnel units, that was also important to me.  These old lights you can now get as every grip house throws them out, as the world has moved onto led lighting like skypanels, these old lights are a thing of beauty.

It's not enough anymore to say the C300 "creates great images" because, at this point, you can use a $500 G7 to create great images. Are there things about the C300's image that are better? Of course, but when it comes to the standard of image quality, virtually every camera maker has gotten to the level where you can get results only dreamed about 10 years ago AND on a budget!
We truly are fortunate / spoiled, given we're even able to have this conversation! 

^ The fact that a camera so small can produce an image so nice is pretty outstanding. Very filmic. Also found this video looking for bmmcc stuff. Looks like he shoots a color chart does some stuff in resolve. He also uses the RAWLite internal Moire/IR cut filter.
 
Has anyone used any of the internal IR Cut/Moire filters? I just picked up the pocket camera again and want to try to one of those.
Looking at pistol grip rigs. This is kind of goofy, but the weight on the bottom is probably nice. It's very difficult to find a heavy pistol grip. Someone should make a pistol grip battery handle. Maybe something that just takes a couple Canon batteries. 

Hi guys !
Just wanted to share a short piece I shot with my BMMCC during a sunny afternoon in Paris !