tonysss

Yup, same experience. I wanted nothing more than to love the BMCCii.. cough.. I mean BMPCC4K. 
And there was a lot to love like handling, controls, screen, braw, window mode, slowmo, I can make this list really really long.
But there was one single thing where it imo lacked compared to my Micro: Image.

I spent several days shooting side by sides. Then hours in Final Cut and Resolve tweaking and grading. 
The image from the newer camera is nice, no doubt. But the old sensor was just so much better in my eyes. I could spend an hour grading pocket footage to get it good looking. And then on the corresponding Micro clip I just threw on one of my custom presets or even just slap on Filmconvert and it was spot on immediately. It kinda reminded me of the A7sii. Everything was perfect on paper, handling it was fine, footage looked great on the back display but then.. meh..
I packed up the bmpcc4k and shipped it it out to its new owner yesterday. The extra cash went into some more parts for my Micro.
Will make a few different setups that I can flip between depending on the shooting scenario. 
 

I'm still surprised by my sigma 18-35, it's the most versatile of all ? close up or wide view.. no problem
(BMMCC)
 

I'm still surprised by my sigma 18-35, it's the most versatile of all ? close up or wide view.. no problem
(BMMCC)
 

I'm still surprised by my sigma 18-35, it's the most versatile of all ? close up or wide view.. no problem
(BMMCC)
 

I'm still surprised by my sigma 18-35, it's the most versatile of all ? close up or wide view.. no problem
(BMMCC)
 

I'm still surprised by my sigma 18-35, it's the most versatile of all ? close up or wide view.. no problem
(BMMCC)
 

And especially the first video showcases all the reasons I'm neither using Braw nor BMD's film colorspace V4.
Harsh roll-off and sharpening - whatever filtering algorithm is causing it. Looks similar to midtone detail in Resolve.
Not that a GH5s would be even worse with it's over the top small radius unsharp masking and temporal noise reduction...
At least on the Pocket 4K there are cDNG and proper colorspace conversions to ACES or iPP2 with gamut mapping and limiting which fix almost every issue.
Only a good OLPF is missing atm.

thank you for the link to this person https://vimeo.com/stevenleone 
he does a great job at orig BMPCC !

While I hear what you're saying...what you are asking for is a MFT 'broadcast camera'. Cinema cameras have never really cared for internal ND's, 4 channels of audio or great quality audio for that matter. 
I said it when the Pocket4k came out, but if Blackmagic released a Pocket4K Pro with internal ND's , a tilt-able screen, and a form factor more like a small FS5 or Or Canon XC line camera, they would see like hotcakes.......and maybe the should just call it the Blackmagic Pocket4k Pro. Don't use the words 'Cinema' or 'Broadcast' in the name at all. 
I really don't agree with this. A Cinema Camera is made very differently to a camera you would use to shoot weddings. The Arri Alexa SXT for example, has most of the camera setting controls and LCD screen for checking settings, on the opposite side of the camera to where the DP or Operator is as the 1st AC generally changes these parameters.
A cinema cameras main focus is image quality. For example, the reason they generally don't have built in ND's is because a good quality ND filter set used in cinema, costs more than the Pocket4k or any other VDSLR alone. 
I see what you are saying, and while yes, you can use some cinema cameras like a Red (due to it's small form factor), to shoot weddings, I think people are really expecting one camera to do everything from shooting weddings to shooting feature films and to appeal to everybody which is just not going to happen any time soon, especially at the low end price point and with a form factor of a small VDSLR.
While sure, you can shoot a feature film for cinema screening on pretty much any modern day video camera (the Ursa Mini Pro has internal ND's as does the FS5 and both of those cameras would look fine on the big screen), we should stop using the term 'cinema camera' when what we are looking for is a small camera that is suitable for self shooting and has all the bells and whistles of a modern DSLR. In the same way as many people who pick up a DSLR call themselves 'DP's' when really, they have never had to plan lighting set-up's, direct a team of gaffers etc. We use these terms because they sound cool but it just causes confusion. Sure, its might be cool to say to the client that the camera you are using to shoot their wedding is what they shot 'XYZ blockbuster feature film' on, but is it the right tool for the job?
 
 
 
This!
I have now told three friends with Pocket4K's to buy a monopod after they switched from VDSLR's with IBIS to the Pocket4K.
These friends had never used monopods before and all three came back to me after a day of shooting saying how amazed they were with how easy it was to shoot with and that they far preferred the subtle look of motion when using the monopod compared to when they shot with VDSL's that had IBIS. Monopods are great for quick shots and super versatile.
Get one with the three feet at the end like the Surui 204 series. 

Yea exactly. Seems so simple. 
I don't think this would cut into their EVA-1 sales because people who are buying that camera want super35mm, 5.7k raw, etc. But a 10-bit 422 GH5s-sensor with full V-Log in a XC-15 or C100/FS5 style would be amazing. Throw a speedbooster on there and you've got a wider FOV than super35mm or stick with MFT and use lightweight lenses. $4-5k. 
It also is weird that nobody is making MFT or APS-C video cameras in the style of the Sony NEX-VG30 or Sony NEX-VG900 - everything under $5k is fixed lens camcorders. I guess if you made a video camera for $3-5k, they'd lost A7s and GH5 sales? If there was an MFT video camera, I'd much more likely hang on to my GH5 and also buy the GH6 as a b-cam, especially with that 10-25mm f1.7 coming out.
But I'm getting tired of having different lenses and lens mount for my A-Cam (EVA-1, EF Mount) and my other smaller b-cams and photography cams (GH5, S1) - so something has got to give soon... 
 

I have also BMMCC, and I repeat myself several times, There is no difference between look and color between RAW and Prores! 

I have also BMMCC, and I repeat myself several times, There is no difference between look and color between RAW and Prores! 

I have experience as Rob Ellis (https://www.youtube.com/watch?v=K8edgNMjj6M) BMMCC (orig.BMPCC fairchild sensor) colors and looks are amazing for my eyes. Just a simple adjustment of contrast and saturation and it's there! not DNG, just simply ProRes

I see that it has done a lot of work, cut is amazing. But filmed it was what ? Fuji? A7III ? GH5 ? A7SII ? BMPC4C ? I still see the same image I don't like ..sorry. 
I am still waiting for something from the BMPCC 4K camera that will fascinate me in the picture ... and yet it doesn't come but it should be on time. 
On the contrary, I find more and more amazing stuff from old BMPCC and BMMCC. (Of course, a lot of waste ). 
I like your RX100 videos the most! the little beast RX100 is also interesting ... 
If I traveled like you, I'd rather have a RX100 in my pocket if BMPCC4K + Sigma 18-35 ?
 

Definitely considering a Micro. 

For me right now though the Ursa Mini 4.6k seems like a great deal. Just saw one for $2500 on ebay. Quite expensive compared to a BMPCC but crazy cheap for what kind of cameras it can compete with. 

We have an Ursa Mini Pro at work and just shot a big project with both that cam and the Pocket4k both maxed out and, yes, in certain scenes the DR advantage can be seen, but for the most part they look very similar. So much so, that to most, no one could tell the difference. I guess it depends on what you're shooting.
I have both the OG pocket and the Micro. Not sure I should keep both, but I too love the image. Even when we were shooting a lot of projects with the FS7 I thought the Micro blew it out of the water. Just a beautiful image.

I'm always so happy to see people just go with camera and shoot beautiful scenes like weekend painters did once upon a time... BM cameras are so good in that because of its forgiveness about mistakes... So. one more, maybe now for the @Kye if there's some curiosity how Pocket 4k look combine with Voigt 17.5
 

exactly , GH5, Fuji, A7III, BMPCC4K all has - the same look , old fairchild sensor was different ?
 (see. https://youtu.be/boBbUPUTyPA ) ...
 
 

I'm way late to the party, but just ordered the GH5! 
I have no illusions that it'll be some supremely groundbreaking image, but I do think it'll be the funnest and easiest camera I've ever used to just pick up and shoot stuff with.

One of the most beautiful and skillful cinematography I saw in last 10 years belongs to "Lore" by Cate Shortland director and Adam Arkapaw as dop... they used exclusively s16 in it. I'd dare to recommend that movie to everybody who yet didn't see it - at least just to take one breath relaxation/inspiration from hard battle of sensor's size/capability fascination.
https://www.imdb.com/title/tt1996310/

Because old guys can make shit happen even with old stuff. It is not cameras, it is skill. You act like they just F ing invented video cameras last week. ENG cameras, even old ass ENG cameras All shoot 12 or 14bit 4.4.4. Even a old Sony F3 can do that with the upgrade in it. That is pure color.
You keep talking 12 bit Raw. It is not even out yet in the Z6, Z7. bRaw Is 12 bit already And they are 10 bit in regular old ProRes. You can't do 10 bit or even Log without a Recorder on the Nikons. BMD cameras just have Way better CS than any Nikon has out of the box for video. They make Cine cameras, not Hybrids. 
And Nobody in their right mind is going to use a Z6 as a B cam to a C200 unless it is some broke ass people, get real. That is Hillbilly shit. You might as well just whip out your Smartphone, or run down and get a EOS T2i for 150 bucks from a Pawn Shop that would match better.

This is what a OG BMPCC Can, and does look like. Now granted it is wasn't done by just Bob down the street. But you can see what it is capable of. And it isn't all crushed Blacks and noise. Bottom picture was their rig. Mercer sent me the link to the film.
From their Facebook page.
"Our main camera throughout the shoot has been a BMPCC, with a range of C-Mount and M43 lenses (and one enormous M42 - the Pentacon 300).
That camera has been powered by an Anker Pro 2 (with a modified cable, to fit the tiny input on the BMPCC). The Anker is mounted to the rig via a 90 degree metal plate from B&Q, some 15mm plumbers clamps, and some velcro tape.
We've had a bog-standard manfrotto tripod throughout, a cheap rails/plate set from India (Cine City on Ebay I think..?) and a cheap camtree cage.
On the front we've got a Fotga mattebox (with barn doors and a swing-out front - invaluable), a set of Tiffen NDs (kindly donated), and a Hoya 82mm Polariser screwed in to a filter tray and left in one of the slots for the duration of the shoot."
 
 
 

Yeah if you think just crushing the blacks and adding noise mimics a OG BMPCC, and think clean as a whistle is a Cine look to strive for, well... Better off with a C100 if you want a clean look. You don't have to buy any add on extra stuff for them. Just Grab and Go. Shoot for hours with one battery, and one cheap ass SD card. Really don't even need to grade it if you get the exposure right in camera.
But I guess everyone has a different idea what good or bad is, so maybe you really like that look. And yeah I guess at times even a Arri crushes the blacks, especially night shots. But no camera for as cheap as a OG is, can produce a better looking output If you want a Cine look. Now it is not going to produce a clean look like the PK4, C100 can, and probably most of the time you want that clean look, especially in this day and age. So the OG is not going to be a good choice for that.
So I guess the PK4 is a good compromise for both a modern look, and the ability to sort of look like the older one with skill. But that is the key, skill for any of the cameras. But some are just a lot easier to Look like you have skill lol. The new Fuji XT-3 comes to mind, the old C100, etc. The OG was not a point and shoot by a long shot. There is a lot more bad looking footage from them on the web than great looking footage.

So you didn't understand....
We (old BMPCC user) don't miss this nasty look you created  ?  If you own a old pocket (Fairchild sensor) , you'll understand.