kye

Oh WOW, just WOW,  what a tremendous fvck up by the post house. And it took a whole MONTH to resolve that?? They should be ashamed to call themselves a "post house". 
Unfortunately not only do most people not appreciate what goes into the sound department during the shoot, but they don't understand that it needs to also be properly handled in post as well. Just like what is shot in camera isn't magically the same as the final resulting video, but it needs to be carefully and skillfully edited together, and have a good color grade done, and VFX etc etc

Likewise  post sound is composed of a tonne of different distinct roles such as:
Dialogue Editor
ADR Recordist
Foley Artist
SFX Editor
Composer
Sound Designer
Re-recording Mixer
Etc etc
Expecting your guy who cuts the visuals to also do the sound post is like expecting on set that your 1st AC would also be a great boom op. Likewise to expect your composer to be a great dialogue editor is like expecting your steadicam op would also be the best choice as a drone pilot. Sometimes people have skills in both areas, but it is totally wrong to assume that. 
 
Every year I greatly enjoy doing the 48HOUR film contest (during which you must make from scratch a complete short film in only 48hrs, from conception, to script, to filming, to editing, to submission by the deadline). 48HOURS is extremely popular across the country, with hundreds and hundreds of teams entering just in my city along, let alone the rest of the country:

https://www.48hours.co.nz
At the start of the competition each year (when the 48hours starts ticking down) each team gets given randomly an assigned genre along with certain requirement elements (props/sounds/actions/cast/lines/etc. You can see this year's here: https://www.48hours.co.nz/news/genre-elements-and-ultra-2018/) which must be in the final submitted film (there are also a bunch of other requirements which are the same for all teams, such as what fps / resolution / max length / etc that the film must be). 

Naturally such a format means you tend to have smaller teams with an extremely fast turn around (under forty eight hours!), thus of course a lot of compromises have to be made. 

However, I was bitterly disappointed in how the audio turned out last year on the team I was on. Because while we had a professional editor who does this full time as a job, he comes from a background of editing picture for reality tv (I heard some horror stories for sound from him!), thus his expectations/workflow/standards/mindset for sound is radically different from what you'd want for a narrative short film. 

This means when I got to experience our film for the first time (as I missed seeing it at the heats due to work) at the Auckland Finals (one of only a dozen films chosen) I got quite the shock (although those who had heard it in the heats did give me a heads up beforehand). I wondered if our editor had painted on ears? I dunno. Even so, at least it was good enough we made the Finals, and even into the Grand Finals of the entire country wide competition.
So even if you have a great sound recordist on set, your final sound in the film will be far worse than what it can be if you don't take the same care with it as you do with the visuals. 

Thankfully they did teak the audio a little before putting it online, thus the audio wasn't quite as awful as I experienced in the cinema, this was our film from 48HOURS 2017:
 
 
This year I thought I'd be missing out on 48HOURS for the first time, as I had to choose between those dates or being able to work on a feature film. Obviously I took on the feature and the paid work. 

However at around midnight on Thursday night I discovered Friday/Saturday/Sunday's shoots was cancelled! (due to rain) Thus I was in the strange position of having a weekend free for once, what to do? Then I remembered, of course, 48HOURS! So at the very last minute I looked around for a team to join as their sound recordist (I'd had heaps and heaps ask me in the weeks coming up to the competition, which I all sadly had to turn down due to the clash with the feature film I'm working on), and on Friday morning (the event starts on Friday! At 7pm) I got confirmed onto a team. 

I was hopeful this year would go differently, as I'd joined quite a good team, in fact they were the countrywide winners of the entire competition last year with their film "Under the Bridge":
However after principle photography wrapped on Saturday night I realised from discussions with others on the team that the guy they had coming in to do post sound tomorrow morning after picture lock was someone primarily with a music/composing background and thus I was immediately starting to develop deep concerns about this year's dialogue editing as well.
As a sound recordist your primary job on set is to "protect the dialogue", everything else in your job is secondary to capturing the best dialogue you can under the circumstances. So in a way I decided I better on carrying on protecting the dialogue another step further as it passes through post. Not ideal, as my practical experience as a dialogue editor is right next to zero (but I have been reading through a textbook on dialogue editing: "Dialogue Editing for Motion Pictures: A Guide to the Invisible Art", dabbling a teeny teeny bit in a DAW: REAPER,  and hanging out in various sound post forums. All of this significantly motivated by my bad experience last year, I didn't want to leave sound post at risk in someone else's hands again. But I'd been too busy and 48HOURS came around surprisingly earlier than usual this year, and so I hadn't got around to mastering dialogue editing at all in time). 
So I proposed that I (together with Josh our picture editor, who kinda had some spare time after picture lock, as he wasn't handling the grade at all, rather they had a specialist color grader coming in just for that do it in DaVinci Resolve with a BMD grading panel) focused specifically on doing the dialogue edit, while their post sound guy focused in on doing his composing together with the overall sound design and final sound mix.
Really needed Josh's assistance though, as I have no experience with Premiere (what little video editing I do very occasionally do, is done in Vegas) and his computer was the only free computer there anyway to do editing on. But by guiding him along (read: "micro managing" :-P ) with identifying where the issues are and pointing him to how and where solutions existed (seriously, if not for me, I bet he'd never have even glanced once at my sound report file! Even though I gave him the heads up a sound report existed every time I offloaded files to him during Saturday's shooting).

However in the end I only managed to do one very very quick and rough first pass through the dialogue of the film (ah well, better than nothing!), as in the end I got dragged away by the director herself as she instructed me to do foley and SFX that was needed (WHICH NEVER GOT USED!! Even though Josh & myself not once, not twice, but three times ran upstairs the files to him for the sound design / mix, but he claims he never got them?! I to this day do not know what was going on....  In the end I saw him recording with a handheld mic in his noisy room the extra sounds he wanted, and I just bit my tongue... as I knew my objections would just be overruled by him, the producer, and director. Plus we were running very short on time by then so anything I said that I knew wouldn't happen would just be wasting time and thus be bad for the team overall. Thus my best course of action would be to walk out of the room to keep my thoughts to myself. Although it sure feels good to let them out now....). Oh and btw, although I did the foley and SFX (which never got used....), there was no need for me to do any ADR! ;-) Because I'm awesome. (and modest)

And that is the end of my tale about how sound post is important, don't neglect it!

</rant>

Addendum, I did some BTS videos during the weekend:


Also from my SECOND team that I was on that weekend (this was done after principle photography wrapped on Saturday evening for my main team, and then I returned to their base on Sunday morning before picture lock), I must be just a little insane to chose to do such a thing, and I barely slept that night:
 
 
 
 

Some TV shows shoot prores XQ, so file size is not the issue, it's just that they don't like raw.  Lossless raw might even be smaller than Prores XQ but the workflow is more expensive.

There is definitely some strange colour splotchiness going on, but my question is what the signal path of the image has been to get it from the camera to my monitor.  I agree with @Cinegain that it could be from some wayward processing.
 
The ISO performance on that image is terrible!!!  And it's a daylight landscape too!  

The guy who shot it was a member of the Blackmagic facebook group.  He removed it hastily after Blackmagic requested it be taken down but others reposted.  If it's truly 422 then I see no reason why the clip is only 12fps and contains so many dropped frames.

Higher end productions like TV shows are shot usually 4:4:4 1080p.  So I could assume 1080p 4:2:2 will likely be used when shots are needed with this camera.  For Netflix I assume if this camera is used, maybe we'll see more 4K DCI Raw at 3:1 for VFX work although 4:2:2 Prores HQ I think fits within Netflix recording spec for 4K capture.
High Capacity recording is nothing these days as hard drives are getting cheaper and cheaper.  Really only reason against raw is the speed of the workflow as RAW is not much different from prores file sizes.

Agreed.
I was referring to a situation where you are putting a noisy restaurant or nightclub ambience over the top.  Many years ago when I was helping out student films I was asked to 'fix' dialog tracks with hiss in them and the only way I found to hide the hiss and make them usable was to use a mixture of background noise over the top and a fairly aggressive noise gate on the offending channel.
My point in listing it first was that if self-noise on a piece of equipment is high then the rest of its attributes are basically irrelevant.. it could be very very low distortion, have huge bandwidth, large headroom, if it's digital it can be 24/192, etc etc etc, but if it puts unacceptable amounts of hiss into the dialog of a quiet scene then it's game over.

Agreed also with your original point that I got, I was just further expanding upon it :-)
 

I'm not going to bother analysing the 'stolen clip'. It's completely pointless and all based on assumption. We know the camera was a pre-prod model so why is anyone bothering being so critical of it. 
I'm sure BM will release some footage soon that we can then judge properly.... Until then, everyone's getting worked up over nothing. 

As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing.
You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is.

And yes, it does look rather like a calculator doesn't it?
The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are.
Here is the finished spec and features :
Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps  Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories :
Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders.  The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever.

I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then.
So, I have been a bit less lazy than first imagined
By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??

Indeed, and also strange so many remain convinced without seeing any footage from the production camera. 
For myself I will wait until the real reviews are out. With official footage. 
This camera seems interesting... let’s see if it lives up to the hype. 

There is definitely some strange colour splotchiness going on, but my question is what the signal path of the image has been to get it from the camera to my monitor.  I agree with @Cinegain that it could be from some wayward processing.
 
The ISO performance on that image is terrible!!!  And it's a daylight landscape too!  

Worth bumping this thread considering the Resolve 15 release. When you try and leave Adobe they will try and charge you for an extra half year or offer you "free three months" to stay on. Just keep on reminding them about your history with them and insistence that you can't afford it and eventually they move onto the next step in the prepared script and waive the fee. Be firm but polite. Currently Premiere just crashes on brand new machines so it just does not cut it for dependable editing. 

Yeah I wanted to shrink it as much as I could. I used velcro to mount it on the camera, which also removes some of the vibration transfer from the body. Of course not as good as the native mount. I also modified a cable to reduce the profile of the 3.5" head, but you can find short cables from ebay.  

That's very impressive!  Well done!!

Here's the mic with the foam cover on top of the 700D and Sigma 18-35:

With the flash bracket underneath allowing the mic to be mounted on the side:

Underneath of the same setup - notice that the flash bracket is one of the smaller ones (15cm long) and it's in its shortest configuration:

If you put the whole thing on your palm then you can operate the focus (and maybe the zoom) with your left hand and hold the grip in your right:

or, if you extend it, then you can get to the zoom by going in-between the mic and the camera:

I've used larger brackets in the past to have multiple cameras when I wanted more than one focal length to enable jump-cuts.  This is the only pic I could find, but I'm pretty sure that I actually used it with the mic in the middle like above.  The more angle you put on the bracket the nicer it is to hold, but the more likely the mic or other camera will get in shot if you're using a wider lens.

 
 
 
 
 
On a sound-quality-related note, I have played around with many audio setups too, and found a few interesting things.
In terms of quality:
The primary thing is self-noise (hiss) which you want to be low, the secondary thing is isolation where you pick up less background sounds, and the third is having a safety-track if something peaks, then last is 'sound quality' When YouTubers (and I assume non-audio people) talk about sound quality they are talking about hiss and then about EQ Talking about EQ is silly because you can adjust it in post in every video editing software known to man - at one point I was wondering about buying an expensive stereo mic for ambience, but I did some tests with the built-in mics on my cameras and they sounded just fine (with some EQ in post!) so I saved myself some money and carrying around a separate microphone, and now when I want some ambience I just unplug my shotgun mic and hit record and use the in-built mics I've got the Beachtek unit mentioned and battery life was just awful - 5 hours with freshly-charged rechargeables.  Forget the price of alkalines - it's approaching $1 per hour of use.  I ended up buying the Rode VMP+ which has 19 hours of battery life and means I don't need a mic pre-amp at all, plus it charges via USB.  If you sleep more than 5 hours a night you can literally just turn it on when you wake up and off when you put it back on charge at night!  That makes it much less likely to stuff up a shot by forgetting to turn the mic on.
All of the above relates to on-camera shot-gun style sound setups, and for my home videos.  I haven't messed with lavs or boom mics, so I'll leave that to Ironfilm in the other thread

The problem in the UK isn't caused by the real Police but by the private security companies.
The Police (by and large) know the actual law about theses things and if they don't they can at least be reasoned with in regard to you asking them specifically about which laws you are breaking.
The private security companies think they know the law and also, bizarrely enough, think they have the right to enforce them, both the real law and the ones they think should be law.
The really stupid thing here - which should be blindingly obvious to both the real Police and the pretend ones - is that because of their overt paranoia about photographers then anyone who is genuinely up to no good will of course never be carrying a camera and a tripod because they run the risk of being pulled.
One thing that you do have to be careful of is that, increasingly, what you think is public land in the UK actually isn't, often due to council's selling off areas for development to private companies. It might be a public space and have no deterrent to access but its not actually publicly owned so in that instance the private security companies are well within their rights to ask you to leave. 

Not everyone is as lucky as you...
The US: https://petapixel.com/2016/02/25/ive-stopped-20-times-police-camera-tripod/
The UK: https://petapixel.com/2016/07/16/video-photographer-tests-rights-streets-london/
https://petapixel.com/2011/07/20/six-photographers-test-their-right-to-shoot-in-london/
Australia: https://petapixel.com/2015/11/30/top-australian-photographer-fighting-for-rights-after-near-arrest-on-public-land/
Terrorism video warning about photography in public: https://petapixel.com/2012/08/09/terrorism-prevention-video-asks-public-to-report-photographers-to-police/
And if those are too tame, then this one is just great..  https://petapixel.com/2015/04/21/woman-pointing-smartphone-camera-at-police-has-it-snatched-and-smashed/
That was just a few quick searches of one photography website.
The moral of the story is don't attract attention.

I kept wondering what is about you that don't draw as Much attending with a boom Mic and Large Sound Equipment (or camera equipment in this case) as everyone else. 
Sir, you look like Einstein testing for things nobody is quite sure of, in the city. They probably won't suspect that you are part of a film crew. I won't be surprised if some bystanders stand next to you for Yoga lessons and lessons on Eastern Mysticism.
You have almost 2 careers running parallel. The Sound Yogi ?

Maybe it was posted from a RED Hydrogen and none of us can see it in its holographic glory on our regular antique phones?

The Pocket 4k does have four microphones apparently. 

Deep down, I think we all knew this..

From the demo footage that was leaked, the audio did sound very good.

If one lens seems to work fine and others don't then perhaps it could be a bad connection between the lens and the adapter?  I'd suggest cleaning the lens contacts on the offending lenses, on the adapter and on the camera as well.  
It's quick and easy and worst case is the problem persists but now your lenses are a bit cleaner and you've ruled out a possible source of the issue 

@mercer I quoted this from your audio recorders thread as my reply would have been a bit OT there.
I also own the Rode Video Micro and found that you can buy some cheap eBay foam covers that fit quite well and are a lot smaller.  I bought a number of them to get the right sizing (the diameter of the Rode VM is on the larger size for the foam covers) but if you buy one that's a bit too big a cable tie or even a twisty-tie would secure it.  The one I ended up using was for a long shotgun mic and I trimmed it down to length.
I haven't tested them for wind resistance, but it'll be better than nothing and the size difference is huge!  Another 'trick' is instead of using them on the hot-shoe (which makes it look tall) you can buy dual flash brackets (eg http://www.ebay.com.au/itm/Dual-Flash-Bracket-Holder-For-1-4-Screw-Studio-Tripod-Light-Stand-Camera-GA-/182389726343?hash=item2a77465c87) and get a tripod to cold-shoe adapter which allows you to mount the mic next to the camera instead of on top, which hides the size a little bit.  I found angling the bracket can make it quite ergonomic too.  
Happy to take some pics of the setup if this is useful.

The reassuring thing about the Pocket 4K is that BM are already taking it around to most of the Pro Sales and Rental houses here in Australia and letting people (rental managers, sales people, and industry professionals) play with it. We are still four months away from its scheduled release and the camera is doing the rounds. While they do state that it's a 'preproduction model' so not allowing anyone record footage with it, in terms of issues, these should be greatly minimised as they are getting feedback a long time before release.

When this camera arrives there will be no more rain Jon.
There'll only be sunshine and nice things for everyone.