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It is not a bad idea to recommend going out and shooting more with the BMPCC4K, perhaps @boukmanmutt can fall in love again with the BMPCC4K? 

If so, then would it be such a crazy idea to own *two* cameras?? Could then pick up a compact GX850 for just a hundred bucks (or at least, sub $200) to handle the stills needs. (and a little bit of casual shooting too) And the lenses can easily be shared between both the P4K and the Panasonic. 

This thread is insane. All this over a chart without any actual tests.
I remember buying the a6300, a7s2 and a7r2 despite the internet overload about overheating, single card slots that no professional would ever use, 8-bit 4:2:0 video with blotchy zombie skin tones, crop on everything that's not 24p, only 4k30p and so on. I live in Florida and never had any issues despite using it on a gimbal all the time in the sun and shooting longer takes, it doesn't take much to swap batteries or turn the camera off when not in use, or not leav it sitting out in the sun all day. I took them to Africa on safari shooting thousands of frames and hours of video, also took them to Dubai, Egypt and Israel in August when it was upwards of 125f. Now we have a camera that shoots 8k raw, 4k120fps with amazing AF, class leading IBIS and can even shoot 45mp stills with bursts of 130 raw images or infinite jpegs if that's your thing, and its trash because you can't shoot an entire wedding in one take?
Wow.
Can't wait for the shitstorm with Sony's cripple hammer on the a7s3 and the pendulum to swing back to the R5/6 and how "I can work around the issues, its worth it for raw and 120p." This reads like a Sony Alpha rumors post.
LOL!

The REAL story is that the r6 is the camera to get. That alone beats the s1h for the PRICE. 
10 bit interal, 60p, Log, ibis and DPAF. End of story.  This overheating issue is a distraction as the people who are spending that much money on an R5 will know what they are getting into. If you are shooting 8k raw or 4k 120p for interviews, god help you. The r5 was never going to be the camera for you. But if you are just shooting clips and stock footage travelling it will be fine.
You can wait for the Sony but it will not beat the r6 on PRICE, nor will it touch the r6 in the IBIS department - which judging by the footage is immense and Olympus level. 
But I get that it is very easy to poo poo canon. Neumann is right, they should be celebrated for what we have been given. 
 

At least they readily admit the overheating unlike sony. 

While 20 mins overheating times in certain modes are a bummer and could be a problem for some people, I for one, am glad they took the “lets put the feature in” versus saying “heat limitations wouldn’t have allowed it” and released something less exciting or groundbreaking. They would haven been lambasted for it either way.
 It’s a lose-lose for them and they made the better decision here in my humble opinion.
Wether the headline is “R5 falls short: only offers 4K60p cropped” or “R5 has potential to overheat when recording 8K RAW(!) 4K120p(!), or oversampled 4K from 8K HQ mode(!). The later headline is forgivable!

The R5 will only overheat in 8K, 4K60p & 4K HQ. 
It shouldn't have any problems in regular 4K24p/30p.
Calling it unusable is a little extreme. What other hybrid camera can even approach these specs? 8K/4K120p FF no crop, DPAF2, RAW, 10-bit 4:2:2 internal.
Besides we've had 30mn recording limits for years due to EU laws. Hardly an issue for me personally..
That said, if Sony can do better, bring it on!

OK, analysis of this first video:  (thanks to Valvula Films for sharing this footage).
In a sense, this video isn't well suited to an objective jitter test as the focus is pulled during the pan so everything is blurred for most of the pan.  Regardless, the testing methodology was to create an overlay box and offset the underlying video, frame by frame, to the overlay box, and record the offset.  Like this:

I compared the pan that went to the chart vs the pan away from the chart and chose the one with the greater number of frames.
For each camera I chose a range of frames between when the test chart became too blurred, and when the movement became too small for single pixel measurements.
Where there wasn't a perfect whole-pixel offset I chose the closest one.  Where the offset to the left seemed identical to the one on the right I chose the one on the right.
Here are the results:

The first column is the offset of each frame, and the second is the movement between this frame and the last.  The pan was accelerating / decelerating so the speed went up/down.  
My impressions of this are:
The numbers don't show any jitter My impression of which frames were bang-on vs somewhere in-between didn't seem to indicate that there are any big nasties not shown in this data These are all high-end cameras so it is feasible that we didn't find any jitter because there isn't any to find I could have gone much more in-depth and tried to offset by fractions of a pixel (Resolve will do this) but on a 1080p image any jitter less than a single pixel is probably invisible What I learned:
High-end cameras probably don't have much jitter (not really surprising, but let's start from a known position) In a test like this, blurring things isn't a good idea, either from a focus pull or from motion blur, and the more frames something moves the more precise a test would be A better test would be to shoot where exposure time is very short, there are fine details to track - both from a lens focus perspective as well as simply having details only a few pixels wide

Love that video by Ed David - the commentary was hilarious!  Nice to see humility and honesty at the forefront.
So far, my thoughts are that there might be these components to motion cadence:
variation in timing between exposures (ie, every frame in 25p should be 40ms apart, but maybe there are variations above and below) - technical phrase for this is "jitter" rolling shutter, where if an object moves up and down within the frame it would appear to be going slower / faster than other objects Things that can impact that appear to be a laundry-list of factors, but seem to fall into one of three categories:
technical aspects that bake-in un-even movement into the files during capture technical aspects that can add un-even movement during playback perceptual factors that may make the baked-in issues and playback issues more or less visible upon viewing footage My issue appears to be that the playback issues are obscuring the issues added at capture.
As much as I'd love to do an exhaustive analysis of this stuff, realistically this is a selfish exercise for me, as I want to 1) learn what this is and how to see it, and 2) test my cameras and learn how to use them better.  If I work out that I can't see it, or it's too difficult to make my tech behave then I likely won't care about the other stuff because I can't see it 🙂 
First steps are to analyse what jitter might be included in various footage, and to have a play with my hardware.

If I had the money, this looks a nice camera and  much of the market it is aimed at will LOVE it.       The R5 is ridiculous to me (more a look what we can do type thing than something most people can actually use as things go).      Of course you CAN get the R5 and not/hardly use its headline features but that is a large tax to pay for that.
Next up, I expect Sony to both surprise and disappoint and I think Sony really needs an A7iv against the R6 (for actual sales) more than it needs a A7siii against the R5 (for status).

Sounds like this camera would turn them into an omelette if they did.
 

Well it’s all interesting...but that is as far as I am going to go right now. And until Spring 2021.
This year has been shit for work and if the remaining jobs go ahead, it’s still only max 25% turnover.
This is the biggest decision maker at this time but for now, XT3 is all I can afford and need.
The lack of both a dedicated stills/video switch is not so great for the hybrid wedding shooter and nor is the (lack of) ability to write video to the second card, both of which the XT4 can do.
So I am going to sit on my backside, watch with interest what Sony bring out, see if Panny bring the mythical GH6 into being and my prime interest, see if Fuji can bring an XH2 to market by April latest next year.
Plus the real world samples, tests and reviews of course.

My beef is with the pricing not the camera itself - I know you can avoid tax in lots of the U.S. by buying from a different state.
I don't understand why Canon has priced this at £4200 here in the UK when it is $3900 in the U.S (£3082). That is a huge difference. 
In comparison the Panasonic S1H is £3600 in the UK, $4000 in the U.S. (£3162). Still paying more here in the UK but not such a huge difference

Peter Mckinnon confirmed overheating issues on 4K 120 at 7:55
 
 
 

This is what I've gleaned on the issue over the years...
To test motion cadence effectively you need to mount the two cameras on a dual mount tripod bar and ensure you have ,if not the same lens, at least the same focal length one on each.
For a test subject, you need something that can move of its own accord so you will see motion within a static framing but also that has enough movement to exit the frame so you can pan to track it and see the effects on a moving framing.
The ideal subject for this when it comes to testing motion cadence is, by common consent, a unicorn.
The ideal speed for the unicorn to be moving is from a slow walk up to a gentle trot.
Most unicorns are lazy but skittish, so a few party poppers will enable you to encourage this range of movement.
On the camera itself, make sure that the power draw isn't effecting motion cadence by using a fully charged battery and that you have mojo set to 10 or boost if your camera has it.
Depending on the brand of camera that you are using, you should also ensure that you have fully topped up your Koolaid levels.
😉
On a more serious note, this is a decent thread with some informed discussion about it and also contains a link to a side by side video between real film, Alexa, Red and the Sony F65.
https://cml.news/g/cml-raw-log-hdr/topic/16427778?p=Created,,,20,1,0,0::recentpostdate%2Fsticky,,,20,2,0,16427778
 

Certainly some people are (youtubers, etc), but most people will buy the camera based on their needs. Not sure many professionals need at this moment a new camera. Most will need jobs, because over here all weddings, events, etc are postponed until 2021. But let be honest, 2021 will most likely still not be normal and many jobs may get cancelled all together or postponed even further. 

Could be another option for you.
Take the Pocket 4K this weekend and make a short film with it. Do ergonimics, workflow, operation etc. hinder you to achieve the shots you want, and if so, would another camera be better in these areas?
What kind of videos are you filming most of the time? Narrative, documentary, Fashion, Musicvideos, Family-Clips? 

Just finished a first pass on footage from a trip late 2018.
Over 18 days I shot 3024 clips totalling 5h37m, but somehow after I've gone and pulled my selects into a timeline I for a minute there I thought I still had 1984 clips totalling 2h35m!  Using the Source Tape view in The Cut page of Resolve it looks like I was half way through when I marked an in point but didn't mark an out point and then did an Append to End of Timeline and so I appended every clip from my in point to the end of my footage to my timeline.  Oops!
After fixing that little surprise, I now have 839 clips totalling 41m - much better!!  I was thinking how many of the really cool shots I was going to have to cut and getting quite sad about it!
I must say that I am really enjoying the new Cut page in Resolve.  Especially the Source Tape view (despite the above snafu) as you can just use the J-K-L keys across all of your footage without having to manually go to the next clip.  Combined with I and O and then P to append the range to the timeline I can edit with one hand and have a drink in the other 🙂 

Shoot more. Worry less. 

Remember, you've only used your current camera for 8 hours of shooting.....

"Shoot more. Worry less. " would be a good mantra for you.

well the fvd-16a has shipped apparently, but i did get another bill for the shipping, as that cost an extra $25. Have to email rapido to figure out the best way to send the money. I have also bought a 120cm camera slider rig. I sure do hope you guys aren't over slider shots yet, as there's alot more coming 😉   Also lashed out on a 77mm Tiffen Black Pro Mist 1/8. I would have liked a 58mm but couldn't find one at a reasonable price. So i have grabbed the last 77mm listed at what i think was reasonable. Maybe i have to look at getting a bunch of step up rings at least it will fit the  tokina atx-pro 28-70 and another lens i have here.

The Canon Cripple Hammer lives! 

Everyone is lining up to buy the camera purely based on specs. There are so many intangibles yet to be learned:
Rolling Shutter Dynamic Range Highlight Roll-off Detail in the shadows (Are the blacks crushed?) Flavor of CLOG How strong is the low pass filter (Maybe great for skin, but maybe not so good for when you need detail.)? ISO limitations before noise becomes a factor (Especially important when shooting at high frame rates like 120p) Record length limitations I really hope this camera is as good as it looks on paper. I want one if the quality of the footage is there! But what happened to the Canon cripple hammer? Is it gone or does it still exist.
 
 

I have a few cameras that reportedly vary with how well they handle motion cadence.  I say reportedly because it's not something I have learned to see, so I don't know what I'm looking for or what to pay attention to.
I'm planning to do some side-by-side tests to compare motion cadence - can you please tell me:
1) what to film that will highlight the good (and bad) motion cadence of the various cameras, and
2) what to look for in the results that will allow me to 'spot' the differences between good and bad.
Thanks.
I'm happy to share the results when I do the test.  I'll also be testing out if there's some way to improve the motion cadence of the bad cameras, and what things like the Motion Blur effect in Resolve does to motion cadence.

A peerless medium format lens for the size. The images are lucid and autofocus superb on the GFX 100.
New blog post
https://www.eoshd.com/news/fuji-gf-50mm-f3-5-review-on-the-fujifilm-gfx-100/

More spectacular footage from the Laowa probe lens..
and here's the BTS:
I watch James Hoffman because I'm interested in coffee, so this is a completely unexpected foray into camera tech and slow-motion loveliness, but if you like coffee then I can also recommend his channel.  He's a Barista World Champion, has a ridiculously nerdy interest in coffee, and is hilarious when he tries coffee products that taste terrible or reviews cheap and bad coffee equipment.
You're welcome!

Actually I made this a while back just to get an idea during lock down and my nearest camera shop that stocks anything like this is a near 5 hour round trip:
https://camerasize.com/compact/#800.408,772.408,795.786,814.815,ha,t
I can hold my XT3 in my hands and having fondled a Z6 last October already know how that compares in principal but the S1 at the shop was behind glass and the guy working there too busy so I could only look...but it's considerably larger and as I work with 3 cameras (albeit one being on a monopod), it would add to be quite something...something I moved to Fuji to get away from.
That's not a pop at the S1 by the way. I still like it and without Fuji would have been the strongest contender with the Z6.