kye

We have standards for tonnes of things, why not gimbals?    Specifically, how well they stabilise?
As far as I can tell, a gimbal is a physical device that receives vibrations from the handle and through the three motors forms a low-pass filter such that only large slow motions are able to make it through to the camera.  This should be easily test-able via a test rig of some kind.  I would expect a graph showing dB of attenuation across a range of frequencies over the three axis's of motion.
That way we'd be able to say things like:
"gimbal X has better attenuation than gimbal Y up to vibrations of strength Z, but above that X runs out of steam and Y is better, therefore for fine work X > Y but for difficult environments Y > X"
or
"gimbal A has much better attenuation of higher frequencies than B or C or D, therefore if you plan on mounting it to a vehicle (which has a vibration frequency distribution shown in the graph below) you're better off with A".
Instead, what we get is "I'm going to watch youtube videos where people compare two different gimbals by running with each in turn, therefore seeing how well each performs IN STABILISING A COMPLETELY DIFFERENT SET OF VIBRATIONS".  Hardly the best way to compare devices costing hundreds or thousands of dollars.

Ok, figured it out.
Here's how to key out the edges and apply any Resolve adjustments to just the non-edges.  This will allow NR without blurring edges (or any other adjustments you want to make).
In the Colour panel create two nodes Add the EdgeDetect OFX plugin to one of them to make it the "key" node (Node 1 below) Connect the video signal like this:
Make the adjustments you want to in Node 2 (eg, chroma NR) Adjust the settings in Node 1 to refine the mask that gets applied in Node 2 (I recommend adjusting Brightness to maximum to get a strong mask) The above setup excludes edges from being processed in the node, but it seems like you can also exclude other areas as well by adjusting the masks in Node 2 like qualifiers or power windows too, so you could (for instance) use the above to de-noise non-edge shadow areas by having the Qualifier in Node 2 exclude brighter areas of the frame.
Enjoy!
I wish I had worked this out before so I could do heavy NR processing without heavily blurring the video!!

Ok, figured it out.
Here's how to key out the edges and apply any Resolve adjustments to just the non-edges.  This will allow NR without blurring edges (or any other adjustments you want to make).
In the Colour panel create two nodes Add the EdgeDetect OFX plugin to one of them to make it the "key" node (Node 1 below) Connect the video signal like this:
Make the adjustments you want to in Node 2 (eg, chroma NR) Adjust the settings in Node 1 to refine the mask that gets applied in Node 2 (I recommend adjusting Brightness to maximum to get a strong mask) The above setup excludes edges from being processed in the node, but it seems like you can also exclude other areas as well by adjusting the masks in Node 2 like qualifiers or power windows too, so you could (for instance) use the above to de-noise non-edge shadow areas by having the Qualifier in Node 2 exclude brighter areas of the frame.
Enjoy!
I wish I had worked this out before so I could do heavy NR processing without heavily blurring the video!!

Yes, but is it 'better' than the A7iii though as that is the only true measure of 'better' isn't it?
Lets cross over to the chairman for the official announcement.

Because it probably does.

I went to that website.
Now I'm going to be fat and want to buy a new matte box
Grrrr....

And while people talk about cameras and more cameras, they stop recording and doing work, while others with cameras from 5 years ago, do amazing jobs.

Ok, figured it out.
Here's how to key out the edges and apply any Resolve adjustments to just the non-edges.  This will allow NR without blurring edges (or any other adjustments you want to make).
In the Colour panel create two nodes Add the EdgeDetect OFX plugin to one of them to make it the "key" node (Node 1 below) Connect the video signal like this:
Make the adjustments you want to in Node 2 (eg, chroma NR) Adjust the settings in Node 1 to refine the mask that gets applied in Node 2 (I recommend adjusting Brightness to maximum to get a strong mask) The above setup excludes edges from being processed in the node, but it seems like you can also exclude other areas as well by adjusting the masks in Node 2 like qualifiers or power windows too, so you could (for instance) use the above to de-noise non-edge shadow areas by having the Qualifier in Node 2 exclude brighter areas of the frame.
Enjoy!
I wish I had worked this out before so I could do heavy NR processing without heavily blurring the video!!

Ok, figured it out.
Here's how to key out the edges and apply any Resolve adjustments to just the non-edges.  This will allow NR without blurring edges (or any other adjustments you want to make).
In the Colour panel create two nodes Add the EdgeDetect OFX plugin to one of them to make it the "key" node (Node 1 below) Connect the video signal like this:
Make the adjustments you want to in Node 2 (eg, chroma NR) Adjust the settings in Node 1 to refine the mask that gets applied in Node 2 (I recommend adjusting Brightness to maximum to get a strong mask) The above setup excludes edges from being processed in the node, but it seems like you can also exclude other areas as well by adjusting the masks in Node 2 like qualifiers or power windows too, so you could (for instance) use the above to de-noise non-edge shadow areas by having the Qualifier in Node 2 exclude brighter areas of the frame.
Enjoy!
I wish I had worked this out before so I could do heavy NR processing without heavily blurring the video!!

Yes, and that also says something about state/need of readers/listeners of a good story

Hang on a minute - I never agreed to that!!  
Show me evidence in writing!!  **jumps up and down demanding evidence in true EOSHD style**
 

Thanks!
The ISO noise in the RAW files is a COMPLETELY different beast from the ISO noise when using the same ISOs in Canon stock video mode.  This noise is filmic and soft and, perhaps most importantly, has a fine texture.  That same noise once scaled and compressed in the Canon stock mode is just horrible.
In the above video I did do NR and added some noise before export (on the recommendation from @kidzrevil) but even without that treatment the noise isn't a bad thing.  One thing you might want to do though is to remove the chroma noise (colour noise) which doesn't have that nice feel.

Make it 40... to me this camera doesn’t even exist. 
Eventually we’ll have footage from John Brawley or Frank Glencairn or Noam Kroll and the footage will look amazing. More people will love it but a few will find something wrong with it...
Eventually card info will be released, and more people will complain.
Eventually AF tests will show up comparing this camera to the PDAF of the a6500 and more people will complain.
Eventually low light tests will show up comparing this camera with the GH5s or the a7sii and more people will complain.
At the end, when it’s released, a bunch of people will complain because they hate that they have to use an IR Cut filter and they will complain that they only get 45-60 minutes of battery life and that they wish it had IBIS...
And eventually the usual suspects will be the only people that have the camera and the footage will be absolutely gorgeous.
The End.

As for frame drops in that test shots, why don't we take into consideration that, that unit was pre-production model, it might not have been fully ready (both software and hardware)?  

I shoot exclusively hand-held and rely on OIS to help me stabilise shots.
The way I think about it is that OIS and IBIS 'absorb' a small amount of movement, with good OIS and IBIS absorbing a greater range of movement, but if you move more than they can handle then the movement shows in the footage.
The way to improve this is to use some kind of camera stabiliser or mount.  You can start at the small end by using a camera strap, adding a handle to your camera, all the way up through using something like a Gorillapod (a small bendy tripod used as a kind of handle) to full rigs like shoulder-mounts or steadicams.  
I mention the Gorillapod as it's what I use and I find it to be quite effective up to about 100mm or so in combination with OIS.  Happy to give you more detail about how I use it if you're interested.

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!