PannySVHS

In fact the full 16-minute short is available too. Not a single word of dialogue in the whole film, but lots of scrumptious footage. Still the best stuff I've seen from the Micro.
 

LOL, every time I comment about camera sizes there's always someone who replies and says that in comparison to the size of the universe that the thing we were talking about is much smaller and therefore must be tiny and any size discussion must be meaningless, but that "everything is relative" approach doesn't really work when you apply it to the real world, where things are judged according to size, both in good and bad ways. 
It's about context, and this is a thread about the BMMCC, which is literally a cinema camera you can mount on a helmet:

The P4K is huge for a consumer camera, just like the GH5 and A7S3 and Canon 5D are as well.  
Try putting a P4K on your helmet, or try putting a bunch of them into a vehicle and see how far you get.  BTW, the BMMCC gets radically more battery life than a P4K as well.
Colour science is definitely a thing, and in case you don't know, the Alexa revolutionised the look of digital by making it look like film, which was a huge driving force in the widespread adoption of digital in Hollywood and other high-end cinema markets.  At the time this was the absolute bleeding edge of film emulation, but we've gotten a lot better at that look now and this has become the dominant look of all medium-high budget TV and movies.  Yes, I have seen that look from other cameras, but I have never seen that look from any camera apart from the OG BMPCC or BMMCC unless there was a professional colourist involved.
If you're happy with a large camera that shoots Sony-looking images then that's fine, and is a matter of taste, but this thread is about tiny cinema cameras that have an image that is remarkably like an Alexa, which the P4K is most definitely not.

the p4k isnt much bigger or smaller / heavier or lighter than most other dslr's that can do video. whats more it doesn't overheat  either. It is what it is. Some may not like the form factor. Personally coming from digital camera, and before that the very sexy t90 i dont mind the shape. If you have an original p4k you can do cdng as well.
Not sure what you mean by the raw is crippled If you referring to braw as crippled, Well there are many who would disagree.. braw might not be true raw, but it does  gets us round the patent issue with you know who. 
I also think the whole looking like an alexa footage thing, is over rated.  unless your a business or movie producer and can write it off on tax. What normal person could afford an alexa and another cinema camera of any type ? ( Of Couse  that perspective comes from a pensioner lucky to have one cinema camera )  😉

I'd suggest that you wouldn't need to get a LUT.  I've graded a small amount of Alexa footage and my impression was that the OG BMPCC / BMMCC was just as easy to grade and get good result from as Alexa footage.  It's really hard to describe how effortlessly the footage responds to grading, it makes GH5 footage feel like there's something wrong with it in comparison.  It's also hard for people to imagine that the Alexa images aren't instantly magical, unless you've worked with them before, but poorly shot Alexa footage looks basically just like poorly shot footage from almost any other camera.
If you want a match that would survive a forensic investigation then there are some LUTs from Juan Melara that translate the P4K or P6K to Alexa colours, which look like they do a great job and Juan is obviously a very talented colourist so I don't doubt that he would have done a meticulous job.
But to re-iterate the benefits of the OG BMPCC / BMMCC, you can get an Alexa-like image just converting the colour space to 709, but it takes a serious colourist to get Alexa-like image from the P4K/P6K.
I'd be tempted by the P4K / P6K because those LUTs are available from Juan, but the form factor is just absolutely ridiculous, the RAW is crippled, and they're quite expensive too.  I'd shoot 1080p Prores HQ because it is downsampled form the whole sensor and would avoid aliasing issues of the OG cameras.  You really need a 2.5k sensor to get true 2K, so that's potentially the only weakness of these cameras.
But, if size matters, at all, in your work then there's no comparison:

300EU is a steal.  Had you done the background research, you wouldn't have waited one minute, let alone one day.
It may seem like that's a lot for an older camera, but you're buying the image.  Used Alexas are still $10K because you're buying the image, so spending 3% of that on a camera that can be perfectly intercut with an Alexa.
The P4K is a great camera, but it's not the same as the OG BMPCC / BMMCC.  When you grade the OG BMPCC / BMMCC for two minutes you get something that looks like film, when you grade the P4K for two minutes you get something that looks like the Sony a7s3.  
It is possible to grade the P4K to match the OG BMPCC / BMMCC, but if you have that level of skill then you may as well buy almost any camera and grade it to look like whatever you want, because both tasks are about the same level of difficulty.

Its a really great little lens, particularly for non-IBIS MFT cameras like the Pocket (particularly the original version for keeping everything small).
The lesser spotted 35-100mm companion that they produce is also worth picking up for the same reasons.

Based on my experience with moving from a G3 -> G5 -> G6 -> G80 -> G9 (with GF5, GX80 and GX800 as extras), I think Panasonic's 1080p quality went a bit downhill with the G80 - it has more aliasing in 1080p than the G6, and in the GX80 it's on the soft side. The LX100 suffers badly from aliasing in 1080p as well.
Of the above list, the G6 is my favourite 1080p-max camera - but the G9 blows all of the above out of the water on 1080p quality (it's GH5 quality level).
If you want a really discreet, cheap, micro 4/3 cam with 4k and decent 1080p, try a GX800/850/GX880 with a stabilised pancake lens like the 12-32mm. 4k is limited to 5 minutes, 1080p to 20 minutes, no 'creative movie' mode (except by using 4k photo mode, which is 30p only), IBIS or viewfinder, but it's a really small, light, camera and doesn't suffer from the on-board audio IBIS noise problem which the GX80 and G80 have.

I've seen those charts and I simply wouldn't read too much into them as they usually have the stock settings on their tested cameras. Unfortunately, the stock settings aren't the best settings for detail, rendering those charts useless unless the compared cameras have decent stock settings. In the case of the GX80 (at least in 4k), the stock settings sucked.
That sounds like a good combo. I've got a similar situation in that I have an E-M1 ii, a GM1, an E-P7, and a GH2. My idea has always been to have a two-camera setup- one portable, one for all-weather and anything important. In my case, the GH2 is for a live streaming setup and the E-P7 is for pure fun. My GM1 is simply the most portable camera that can handle my M43 lenses.

I love my GX85. The colours are great once graded. Love the palette and grading is pretty easy for this little beauty. It is very tactile and ergonomic body, great pleasure to use with many great features, such as 4K photo for 4to3 and 1to1 ration filming with 4Kish resolution. 2xDigizoom even giving good results, despite obvious aliasing. Shot some awesome photos with it with two C-mount beauties, Fujinon 12mm and Angie 75mm both super16 lenses. I would love this body with GH5(2) features.:) Would be my to go camera forever.

I like your sample video!!! I am envious: I have been feeling a bit lethargic lately. There is this art and garden center that is literally five minutes down the road from me with beautiful fall colors that I have been meaning to shoot the last three years and... I just can't be bothered. Instead, I spend too much time on youtube looking at reviews of camera gear that I know I am never going to buy...
I like the colors, and I like the overall look, but I think that we are just headed for a world where everything has to be 4K sharp or nobody under 60 is going to appreciate it. 

Thanks! Getting going is always the hard part. And shooting something is always better than shooting nothing. Upgrade obsession is a hollow pursuit. I get sucked in too, though lately I find myself bored by videos that are trying to sell some expensive thing that is going to possibly make an incremental improvement to my kit. I hope you make it down to your art and garden center. I think you'll be happy that you went.

Its more or less Dogme 95 without the tapes.
Maybe time to update the manifesto and create Dogme 21

A few clips with the G85, trying to answer the question, "can I walk with it?". So, several longer walking shots:
I was expecting a resounding "No", but the answer is "sort of". If I had a top handle and had used a wider lens or my focal reducer (or a Power OIS lens), I might have gotten away with it.
Not wild about the color straight out of camera, but we can't have everything. This is a pretty fun camera to use. I owned an Olympus EM10iii for a while and I much prefer this. From time to time, I film protests. I think this camera would be a good fit for that.

The GX85 continues to be a great. I had it for over 2 years and I took videos and photos that I'll cherish forever. I only sold it because I mistakenly thought something Sony and FF would do better and they were from a technical point of view, but it was much bulkier and not as fun to shoot with. I've taken a tonne of shots with the 14mm f/2.5 too- loved that combo for over a year and a half. In 2019, when I decided I'd never leave M43 again, I've been looking for that lens. Sometimes, you can find it for about 100 Euros.
Can't wait to see the results you get with the combo!

Funny to see your post about this. I just picked up a G85 (same sensor as the GX85) for the very same reason. I shoot on Canon Cinema and occasionally RED for work but wanted something small and with a high stealth factor that had a good implementation of IBIS for tripod-free shooting. In this case, image quality was secondary. I haven't been shooting casually or for fun much lately and I am hoping that this camera will help bring me back to it.
I've paired mine with a Viltrox speedbooster and the inexpensive Sigma 17-50 f2.8. The camera seems to be detecting the focal lengths from this third-party lens and adjusting the IBIS perfectly. I have no plans to accessorize beyond this setup because that would be self-defeating!
I hope you share some of your work here.

Just bought a GX85.
It's purpose is to serve double-duty, as an inoffensive little camera that I can stealthily take anywhere, and as a 2nd / backup cam for travels.
Travel is one of my great pleasures, and if COVID has taught me anything, it's that I need to get better at travel near home.  This has resulted in my Go Shoot project, which essentially involves trying to have small, low-zero cost adventures close to home, and to film them as little videos to try things and make memories.  The key thing for this kind of thing is having a small unassuming camera that doesn't attract attention.  I've been using my GF3, due to its tiny size, but its lack of tilting screen or stabilisation are rather inconvenient and it 17Mbps 1080p is a little lacklustre to say the least.
These projects are about story first and image second, and are finished on a 1080p timeline.  This means that if I take the 100Mbps 4K image and crop 2x then it becomes a 1080p at 25Mbps image, which is still acceptable (and still better than the GF3!) so that means that the GX85 and 14mm f2.5 combo would be tiny, but with the 2.2x crop factor in 4K and cropping in post, would be 31-62mm equivalent, and the f2.5 combined with the downscaling in post should mean it'd have reasonable low-light ability too.
GX85 with 14mm f2.5 for a tiny setup:

If I want to work quickly and have a more doc-style of shooting, I can pair it with the 12-35/2.8 and get 26-154mm.  In extreme low-light (like caves), I can take the Voigtlander 17.5/0.95 and get 39-78mm.  If I want to go vintage, I can use the Cosmicar 12.5/1.9 for a 28-56mm range.  Lots of cool options available.
Once we get back to travel, which is likely to happen later here in Australia than elsewhere in the world it seems, I'll also use it for a 2nd / backup camera to my GH5.  I find that often I will be on a balcony or terrace in golden hour (either dawn or dusk) looking at a spectacular view and wanting to record three things simultaneously:
Time-lapse of the whole scene as the light changes - super wide-angle and deep DoF
This will be my action camera, which by taking 8MP (in 16:9) Jpegs, which are around 3Mb each, gives about 600Mbps when put onto a timeline at 25fps.  Not bad! Time-lapse of part of the scene - variable focal length required
This will be what the GX85 will do, and can use any of the MFT lenses I have. Video of interesting things happening, probably with a wide-angle lens
This is what the GH5 will be being used for.  People walking, boats sailing, flags waving, etc etc.   The GX85, by being able to share any of the lenses I have for the GH5, also makes a great backup camera in the instance that the GH5 is out of action.
Is anyone else using a GX85?  or small camera to fly under the radar?

I thought I wasn't going to do this, but I'm not 100% sold on the color out of the S1 and am thinking of getting something else to replace it. It's great, but feels better suited for corporate gigs than what I do.
The P6K footage I work with impresses me a lot. The lack of skew, smaller files, and option for a speed booster on the P4K (and the price) makes it more attractive to me personally though.
Anyone own both and shot with them side by side? The magenta tint on the S1, lack of grain in HEVC, etc. don't quite do it for me. I'm VERY biased toward the specific colors and texturing coming from Alexa. Even Red is too sharp and clean for me and I want the closest thing that's cheap. Am I just expecting too much at this price point?

Still, i just won an auction for a tasty bmmcc with a oplf/ir-cut filter, cage, npf battery adapter and hdmi support. Guess it will be raw camera porn, which means me lookin at this beauty rather than having the camera look at @webrunner5
The people from slashcam already tested prores via filmic app. It still has all the sharpening and processing, a bit more resolution due to using a hair more of the sensor. So the same image like the ifon12. 

Would love too see your findings and images. I love the tweaking and nerdy pleasures. That's what Eoshd is all about for me, much more than spec list after spec list. Very fond of the famous Oly jpeg color engine. An HD 100mbit 420 8bit codec without noise reduction from the mft 16 or 20MP sensor is all I would need. Instead I had to go with a Lumix S1 for my portable video needs. My GX85 is still with me most of the time.

I mistakenly wrote "color creator" mode when I should have written "color profile" mode. Saturation can essentially be individually adjusted for 12 colors of the rainbow.  This could allow for film simulations or creating looks that emphasize certain colors (and not others). I'm not aware of any other camera that can do that in-camera. Maybe I'm mistaken?
 

I got the Olympus E-P7 a little over a month ago (a fantastic bundle with the venerable 75mm f/1.8). The camera is a little bit of a mixed bag, not have any PDAF. However, it does have some things going for it:
only 330g (that's the main feature) with two dials, otherwise roughly the same as the E-M10 iv minus the viewfinder. Decent for one-handed operation. 4k in all modes (world camera), 8-bit 420 (I think, but don't really care), something the PEN-F lacked PEN-F style color creator mode, meaning one can control the saturation of 12 different colors for interesting out-of-camera results. In fact, due to the PEN-F coming out in 2016?, there are many settings out there to mimic film stuff or just creating interesting looks. Downside of the color creator mode is that you need to work from P mode. Yes, you can use the AEL button to lock things down. Using a manual lens, it's essentially manual mode. Does anyone have any questions about it or interesting in seeing some footage with various color-creator settings?
 

BMMCC @kye
I have not found footage from the Sigma yet that i can i say i liked. I coupled my Lumix S1 with a 10mm Tevidon in Hd pixel mode. That could be my Bmpcc. Just need the right adapter without wiggling. Got a Bmmcc coming its way, proving gas is dumb and never ending.:)
Back to topic.:) A fully rigged Amira is a heavy beast already despite the fact that they call it a perfectly balanced shoulder camera. Alexa is not bargain on your shoulder for sure.

BMMCC @kye
I have not found footage from the Sigma yet that i can i say i liked. I coupled my Lumix S1 with a 10mm Tevidon in Hd pixel mode. That could be my Bmpcc. Just need the right adapter without wiggling. Got a Bmmcc coming its way, proving gas is dumb and never ending.:)
Back to topic.:) A fully rigged Amira is a heavy beast already despite the fact that they call it a perfectly balanced shoulder camera. Alexa is not bargain on your shoulder for sure.

Yes, the FP is one of the closest contenders, along with the OG BMPCC, and GH5.  How I wish I could pick and choose aspects from each into a single perfect package!

I'm not really sure what you're saying, but I can't imagine a universe where "cinematic" means anything like "it looks like someone filmed this with a phone".
If, one day, someone makes a phone that does look cinematic, then it will be described as "it looks like the images from larger, better, nicer cameras".
I think people have forgotten what cinematic images actually look like.