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The URSA didn't get on the list with BRAW, they did it with ProRes.
I was going to sell all of my m43 kit and get two Panasonic S1 cams. Upon further research, the S1 didn't cut it for me even when the V-Log upgrade. Just too many video modes missing that I've grown to love from the GH series.
So I've decided to keep my GH5S with the PanaLeica 12-60 f/2.8-4 and add in the S1H. I just bought the Panasonic 24-105 f/4 and I'll be picking up the S1H next week. The nice thing is, I already have a Ninja V external recorder, so I should be ProRes RAW ready in the near future. I hate shooting from a mixed system, (different batteries, different lens, different colors to match and whatnot) but I'm also not dropping cash for two S1H cams either! ? 
I also have 2 or 3 pieces of FD glass that I just bought L-mount adapters for, so that should scratch my bokeh itch for the near future. Now I just gotta get some more gigs to pay for all of this shit! 

I simply love your enthusiasm Emanuel -
and actually I feel pretty much the same. It is almost like Xmas each time a camera update gets released or resolve getting an update.
lovely tools ? 
Any plans for a 240fps 1080p ? 

I simply love your enthusiasm Emanuel -
and actually I feel pretty much the same. It is almost like Xmas each time a camera update gets released or resolve getting an update.
lovely tools ? 
Any plans for a 240fps 1080p ? 

Here's a more detailed list:
Support for Blackmagic Pocket Battery Grip
Support for new horizon meter tool
4K 2.40:1 (4096 x 1712) recording up to 60 fps in Blackmagic RAW (4K model)
2.6K (2688 x 1512) recording up to 120 fps in Blackmagic RAW (4K model)
2.8K 4:3 (2280 x 2160) recording up to 80 fps in Blackmagic RAW (4K model)
2x desqueeze preview when recording 2.8K 4:3
1.33x desqueeze preview when recording in 16:9 and 17:9 formats
Pinch to zoom up to 8x magnification
USB PTP control support
New 1:1 and 4:5 frame guide options
New ability to type in custom frame guide ratios
Improve auto focus performance
Language localizations

It's all about the pleasure to shoot... : ) I simply stop to shoot with my dozen of Panasonic camera units when started to put my hands on P4K -- how can I read here this is unnecessary?? It just puzzles me!

Raw is for amateurs that can't get the shot right in 8 bit.... ?

It seems like GH5 and P4K owners love to tinker with the adapters and metabones this or that. All trying to see how one lens works and gives you the best picture and results.  On one side I understand this because you want to get more from your camera.  I have the same mind set and we all do. But that's a big waste of time if you think about it and it limits what you can do. 
The P6K gives you a full frame look right out of the box compared to the P4K. 
The m43 sensor is the bottle reck with the Gh5 and P4K and owners of these cameras know it.  You can argue all day that it's not but APS-C is the sweet spot for sensors. You's go from APS-C to Full frame and not backwards.
The P6K will do better in low light. This happens when you move up to a bigger sensor. The P6K also has better processor and gives you upgrades across the board in what it can produce.  Yes the P6K and P4K can work perfect together and that's great. 
It sucks for P4K owners because they might have waited or bought the P6K if it was released together with the P4K. 
The Canon to m43 metabones adaptor is $649 -  How do you justify that when that closes the gap to the P6K?  Once you let people know the real cost of adapting lenses for the P4K they cost is much closer to the P6K.   
The P4K is still a great camera for great price but the m43 put a lot of people off including me.  
If I get the P6K and 3 EF Canon prime lenses, then I have invested in glass that I can use on the RED and ARRI systems or the C200.  
You say this but you claim to have pre-ordered the P6K.   Why did you do this if the P4K is the better buy and just as good?
Read my comments above and you will get educated.  The speed booster cost alone with getting away from the m43 sensor is worth the upgrade from the P4K.  This is easy to see unless you don't have the funds to afford the P6K. 
The Canon to m43 adaptor is $649, right?  The math says it's not the better buy and you have issues with speed boasters and m43.   
You guys should argue and justify your P4K purchase. I would but it's also why the P6K sucks for P4K owners.  Good luck unloading that P4K for close to what you paid. No one talks about the price being so low that resale value will be next to nothing.  ( This is if BM keep producing the P4K in numbers that keeps it form being back ordered). 
People jumped on the P4K for the price and knowing nothing would come out to match the cost to value. That's changed with the P6K.  
And no adding adaptors is not what 90% of people want to have to do.  The only reason to do it is the m43 is limited and this makes up for it's shortcomings. 

In case you are interesed on a gear combination like that I believe that Sony will try a camera like BM's with an E mount of course.
 
That's what I got from one of Sony ceo interviews .
 

Yep, but Sony doesn't license the E-mount to any other companies. As several others have commented, an original mount like the Kinefinity would have been pretty cool.

It was a hardware modification that took a tap straight from the A/D
The original development thread is here
http://www.dvinfo.net/forum/alternative-imaging-methods/20332-4-4-4-12-bit-uncompressed-dvx100.html
There is a degree of conspiracy theory about who the company sold out to and if the buying company then went about acquiring all the modded cameras that were out in the wild.
The strongest theory was that it was bought by a company that was about to start developing a cinema camera and needed to acquire the tech to stand up the patent they were filling for recording video in a RAW format.
The sort of company that would have re-branded it in ALL CAPITAL LETTERS and put vaguely military industrial styling on it.......
Allegedly.

Blackmagic has developed a blue sky rendering filter to Resolve the blue sky macroblocking issue.

Or you can choose not to believe the Metabones marketing hype and just use the adaptor you have. I'm sure Metabones will sell more speedboosters by saying that you need a new one for the Pocket4K. 
And to be fair, this has nothing to do with BMD. BMD is not going to say you will need a new Speed Booster and it's not their problem in the slightest anyway. 
Again, I used a Viltrox Adaptor on a Netflix Doc and no-one has had any complaints about the image.....and that's comparing it to the other C300MkII's using L series native glass we had on the shoot.
Comparing to FS5II is strange too. How much do you need to spend to record RAW or even a 10bit codec to the FS5?
You can 100% shoot RAW and 10bit with the pocket 4k just by adding a lens (Which you also need for the FS5),  variable ND filter and a few extra batteries. 
I think you are over reacting.

I much prefer the BM body and ergonomics over the GH5. I can't go back to a 3inch monitor or a non-BM OS. However I will take the GH5 battery life!

Grant Petty has nothing to do with the decisions made in PR in Knutsford. And to be fair to Blackmagic, said PR team were apologetic afterwards and in favour of reaching out. I believe it would be a very constructive relationship if they genuinely put some effort in.
JB's rudeness on here is legendary, but it's in the past as far as I'm concerned, we as a community moved on from him.
Hook contributed straight forward answers and good info.
There are far more viewers than contributors in this post.
How about some more constructive contributors to satisfy that audience of 1 million who have tuned in?
Those people who are posting good info is what this thread and indeed whole forum are about.
The bitching should always take a backseat.

I bloody love this camera - we are using it all the time to shoot elements for video, projection, visuals, shows, etc. It is great. For my use. I love to have latitude and no macro blocking for when grading.
I am not sitting around waiting for the next big thing (anymore). 10bit prores/raw is awesome too. With no external recorder!

I bloody love this camera - we are using it all the time to shoot elements for video, projection, visuals, shows, etc. It is great. For my use. I love to have latitude and no macro blocking for when grading.
I am not sitting around waiting for the next big thing (anymore). 10bit prores/raw is awesome too. With no external recorder!

I bloody love this camera - we are using it all the time to shoot elements for video, projection, visuals, shows, etc. It is great. For my use. I love to have latitude and no macro blocking for when grading.
I am not sitting around waiting for the next big thing (anymore). 10bit prores/raw is awesome too. With no external recorder!

I bloody love this camera - we are using it all the time to shoot elements for video, projection, visuals, shows, etc. It is great. For my use. I love to have latitude and no macro blocking for when grading.
I am not sitting around waiting for the next big thing (anymore). 10bit prores/raw is awesome too. With no external recorder!

Jesus @Emanuel is one of the biggest owners, boosters on here for the PK4. He probably knows about 50 times more about video than you do. And Hook is on here all the time. You are a silly bastard.

I bloody love this camera - we are using it all the time to shoot elements for video, projection, visuals, shows, etc. It is great. For my use. I love to have latitude and no macro blocking for when grading.
I am not sitting around waiting for the next big thing (anymore). 10bit prores/raw is awesome too. With no external recorder!

My T5 1TB got it for EUR 139 from cyberport.de, no tax applies because we have no Boris in our land! : D

There was no change in "highlights" to our log curves or otherwise. The previous manual dynamic range chart was incorrect, and was corrected.
There is also no inherent "highlight rolloff" in digital cameras from the sensor. They are all (mostly) linear capture devices. Same with Alexa, Red, etc. When they all clip in linear, they all clip suddenly/harshly. All of them.
 "Highlight rolloff" is really about total dynamic range, how you expose, and curves (which you can manipulate yourself).
Our log curves are optimized to store data in 10bit SDI and video files so the highlight roll off in our existing log curves is merely a function of optimising the dynamic range to fit in this data range with relation to the "native sensitivity" and desired ISO. The more dynamic range the sensor has the more highlights will roll off in the log curves, the same with Alexa/Red/etc. You want to use your own curves after in grading to create the roll off you want. Expose the sensor so middle grey is lower and leave more dynamic range in the highlights, and you can create a very nice gradual highlight rolloff in grading - with mostly any modern digital camera.
But it's pretty much all down to total dynamic range, exposure, and curves.

Snow is probably one of the toughest stress tests a LUT can be put through in terms of highlight detail retention. Let's see how we did ?
 

BMPCC 4K Color Grade in 15 Seconds using my BozBMDFilm_P4K LUT in Davinci Resolve - Ungraded Footage Courtesy of Les Visuals.
 
 
LUT Download Page: https://bulentozdemirfilms.wordpress.com/bozbmdfilm_p4k-to-rec709-lut/

This is not what noise looks like from the ADC. This is not natural and its not the finest details captured, its MORE. The information is made up in the debayer. I know it is.
People also seem to think cDNG has no processing before the file is stored in camera but cDNG is subject to calibration (which attempts to reduce noise and other issues) and other processing before those "RAW" pixels are stored as DNG also. Its okay to like it more too.
Doesn't mean its the same process or the same thing. An OLPF can look similar to Gaussian Blur too.
I get some people prefer cDNG, that's totally fine. But some people are acting like the image was faultless, which it certainly was not. And when there are incorrect statements made as fact, I will try to correct when I'm able to (IP and other concerns restricts my public involvement). The decisions made over a 2 year process developing Blackmagic RAW were not arbitrary or taken lightly either.