Jim Giberti

Check out the RX10 II. It gets knocked by some people but after picking one up for a 2nd slo mo camera, I've been really impressed with it as an all in one tool. We primarily shoot Canon and BM cameras and have never been a fan of Sony clors but love their tech, so I got one with low expectations and thought I might just use it as the 2nd slo mo cam and then shelve it.
I'm glad I didn't. Instead I spent a couple of days tweaking to create a solid PP and after a lot of testing I've ended up with a very solid s-log gamma/cinema color setup that gets consistently great results at 1 to 1 1/2 stop over, converted w/ Filmconvert, FJ Asst.
Here's the positives that you probably already know:
Maybe the best 1080 120p around
Great 24p 4k when exposed and colored right.
Almost ridiclulous 24 - 200 mm 2.8 glass 
Very customizable interface.
Same great evf as the 7RII
I got this for $900 open box from B&H and while I won't use it on commercial work, It's almost silly how cheap it is for what you can do with it.
I did some close up model tests with it in the studio Friday and asked two peole in my shop what it was shot on, C300, BMCC or a Sony. Neither thought the skin tone and depth could have been sony and they were blown away, as was I, that it was shot on the RX.
I looked at a ton of footage online and assumed it just wasn't going to be more than a specialty thing, but, not surprisingly it turned out that 99% of the people putting up footage really aren't very good at working with the codec, log footage and grading. 
FWIW, we start shooting on two docs tomorrow but I've choosen not to put this in either kit because I haven't tried to intercut the foootage yet and because it's only been a few days of testing. But I'll be surprised, given how fast I've progressed the look this week, that I won't pair it with a new A7S II as a small two camera setup.
I could share some tests privately.

Check out the RX10 II. It gets knocked by some people but after picking one up for a 2nd slo mo camera, I've been really impressed with it as an all in one tool. We primarily shoot Canon and BM cameras and have never been a fan of Sony clors but love their tech, so I got one with low expectations and thought I might just use it as the 2nd slo mo cam and then shelve it.
I'm glad I didn't. Instead I spent a couple of days tweaking to create a solid PP and after a lot of testing I've ended up with a very solid s-log gamma/cinema color setup that gets consistently great results at 1 to 1 1/2 stop over, converted w/ Filmconvert, FJ Asst.
Here's the positives that you probably already know:
Maybe the best 1080 120p around
Great 24p 4k when exposed and colored right.
Almost ridiclulous 24 - 200 mm 2.8 glass 
Very customizable interface.
Same great evf as the 7RII
I got this for $900 open box from B&H and while I won't use it on commercial work, It's almost silly how cheap it is for what you can do with it.
I did some close up model tests with it in the studio Friday and asked two peole in my shop what it was shot on, C300, BMCC or a Sony. Neither thought the skin tone and depth could have been sony and they were blown away, as was I, that it was shot on the RX.
I looked at a ton of footage online and assumed it just wasn't going to be more than a specialty thing, but, not surprisingly it turned out that 99% of the people putting up footage really aren't very good at working with the codec, log footage and grading. 
FWIW, we start shooting on two docs tomorrow but I've choosen not to put this in either kit because I haven't tried to intercut the foootage yet and because it's only been a few days of testing. But I'll be surprised, given how fast I've progressed the look this week, that I won't pair it with a new A7S II as a small two camera setup.
I could share some tests privately.

Regarding why it makes sense to do business or not do business with a company, I/my company has been doing biz with B&H since we started over 20 years ago.
I'm as agnostic regarding businesses as I am regarding a higher power. That said, while I/we certainly do a good deal of business with other companies for various reasons - I've done  far more with B&H than with any other entity for our film and audio post studios as well as film and audio prodution. It would be fair to say I've spent a reasonable house mortgage with them over these years.
I've never been treated with anything but respect and never experienced anything but great service. I've never had a single issue with their policies, products or staff. They're probably the best stocked and informed company in the world, all things considered.
I say this as a pretty dogmatic non-dogmatic person, who believes that the world is a better place when we respect each others differences (as long as they do no harm) and as someone who regularly needs an item for a deadline a day or so before it arrives. I've learned to work with B&H's occasionally "unorthodox" (I know) schedule because of the quality of the business relationship we've had over the years.
It's hard, in any field, to say you've never had a bad experience with someone or some business when operating at demanding levels over many instances. I can say that about B&H. 

Regarding why it makes sense to do business or not do business with a company, I/my company has been doing biz with B&H since we started over 20 years ago.
I'm as agnostic regarding businesses as I am regarding a higher power. That said, while I/we certainly do a good deal of business with other companies for various reasons - I've done  far more with B&H than with any other entity for our film and audio post studios as well as film and audio prodution. It would be fair to say I've spent a reasonable house mortgage with them over these years.
I've never been treated with anything but respect and never experienced anything but great service. I've never had a single issue with their policies, products or staff. They're probably the best stocked and informed company in the world, all things considered.
I say this as a pretty dogmatic non-dogmatic person, who believes that the world is a better place when we respect each others differences (as long as they do no harm) and as someone who regularly needs an item for a deadline a day or so before it arrives. I've learned to work with B&H's occasionally "unorthodox" (I know) schedule because of the quality of the business relationship we've had over the years.
It's hard, in any field, to say you've never had a bad experience with someone or some business when operating at demanding levels over many instances. I can say that about B&H. 

Regarding why it makes sense to do business or not do business with a company, I/my company has been doing biz with B&H since we started over 20 years ago.
I'm as agnostic regarding businesses as I am regarding a higher power. That said, while I/we certainly do a good deal of business with other companies for various reasons - I've done  far more with B&H than with any other entity for our film and audio post studios as well as film and audio prodution. It would be fair to say I've spent a reasonable house mortgage with them over these years.
I've never been treated with anything but respect and never experienced anything but great service. I've never had a single issue with their policies, products or staff. They're probably the best stocked and informed company in the world, all things considered.
I say this as a pretty dogmatic non-dogmatic person, who believes that the world is a better place when we respect each others differences (as long as they do no harm) and as someone who regularly needs an item for a deadline a day or so before it arrives. I've learned to work with B&H's occasionally "unorthodox" (I know) schedule because of the quality of the business relationship we've had over the years.
It's hard, in any field, to say you've never had a bad experience with someone or some business when operating at demanding levels over many instances. I can say that about B&H. 

If you've shot with the Pocket (we use a couple) then you've got it rigged for your uses (we have one in a cage and rails and one moves around.) Both have MBSBs and we pull maunal focus. That's how you use these cameras. They have shi*&y little buttons and a horrible screen and no variable frame rate beyond 30.
So if you love the look and codecs - which is why we all love using them - then you work with the limitations.
So logically, especially after refining their camera/feature chops wih the new Ursa Mini, EVF and Video Assist, if they built a Pocket II with a VA level screen, a bit more mature interface and (of course ideally) a super 16 crop version of the new 4.6 sensor - you've got the camera of the year for this market.
It doesn't have to be fieature rich for people who already shoot wih their cameras...like  you would with film cameras. They just need to mature it with the tech and functionality they've come along with. I think we'll see something like this at NAB.  

This has all been conveyed to BM directy and indirectly many times. What they do or don't do.....
I'm not sure what you mean by "again" regarding Sony. They're very diffferent cameras and companies in about every way, and if IQ is your concern then there isn't any way Sony is going to be stealing any thunder from them.
If affordable, feature packed cameras are your desire then Sony will release another three or four of those before I finish typing this.

Just for accuracy, the crop on the BMPCC SB is 1.67 which is that much closer to APS-C.
It's been misunderstood using vertical vs rectangular sensor measurements and Brian's admittendly inaccruate stats on the original SB page. But the calculaion is as follows:
BMPCC SB affect on any given focal length is x .58, multiply that number by the sensor crop, which in the case of the BMPCC is 2.88 to a full 35mm sensor.
So, for instance a 50mm lens on the BMMCC with BMPCC SB is 50mm x .58 = 28mm x 2.88 = 83.52.
This is why the Sigma 18-35mm is such a great one lens solution for these two cameras with the SB ad MB dumb adapter. With the MB SB It gives you a relative 30 - 58mm f/1 lens and then with the dumb adapter a (rounding off) 52mm - 100mm f1.8