seanzzxx

So this camera is going on sale soon, and the first footage from what I suppose is a (near)-finished model has been released and  ... ho, boy:
 

The vent isn't flush with the plate.

The vents are raised off the base and sloping upwards towards the mount. So the tripod plate doesn't block them.
Hard to tell from the picture but it's true.

Just so readers can decide themselves how the cameras match together I'll give you a breakdown of the setups:
Shot 1 - invitation - Blackmagic Pocket 4K with Voigtlander 25mm f/0.95 (ordinarily shot at f/1.4-2.0);
Shot 2 - dress zipping - BMPCC 4K & V 25mm f/0.95;
Shot 3 - engagement ring macro - Canon C200 with Canon 100mm f/2.8L with a Rotolight;
Shot 4 - bride putting on ring -  - BMPCC 4K & V 25mm f/0.95 shot wide open;
Shot 5 - bride reflection - BMPCC 4K & V 25mm f/0.95;
Shot 6 - groom tie (close up) - Canon C200 with Canon 85mm f1.4L IS;
Shot 7 - bride and groom against vines - BMPCC 4K & V 25mm f/0.95;
Shot 8 - bride getting out of car - XT-3 & 18-55mm;
Shot 9 - dance shot - Fuji XT-3 with Fuji 18-55mm f/2.8-4.0 OIS (shot close to 18mm and wide open at f/2.8);
Shot 10 - silhouette - Canon C200 with Canon 35mm f/2.0 IS;
Shot 11 - bridesmaids - Blackmagic Pocket 4K with Voigtlander 25mm f/0.95;
Shot 12 - dance shot - All dance shots are as per shot 9;
Shot 13 - groom kissing bride in field - BMPCC 4K & V 25mm f/0.95;
Shot 14 - walking - XT-3 & 18-55mm;
Shot 15 - dance shot - see shot 9;
Shot 16 - groomsman doing Toyota - XT-3 & 18-55mm;
Shot 17 - silhouette - BMPCC 4K & V 25mm f/0.95 shot wide open;
Shot 18 - bride and groom close up - XT-3 & 18-55mm;
Shot 19 - aerial - DJI Phantom 4;
Shot 20 - bride and groom in field from low angle - BMPCC 4K & V 25mm f/0.95;
Shot 21 - bride and groom and veil - XT-3 & 18-55mm;
Shot 22 - bridal party confetti bang - C200 & 85mm f/1.4L IS wide open;
Shot 23 - bride and groom walking towards camera - XT-3 & 18-55mm;
Shot 24 - bride and groom leaving ceremony with confetti - XT-3 & 18-55mm;
Shot 25 - bride staring over groom's shoulder at camera - BMPCC 4K & V 25mm f/0.95;
Shot 26 - bride and groom walking through long grass - XT-3 & 18-55mm;
Shot 27 - bride and groom resting against vineyard post - XT-3 & 18-55mm;
Shot 28 - ditto
Shot 29 - ceremony kiss - Canon 5D mkIV with Canon 100-400mm f/4.5-5.6L IS II;
Shot 30 - veil shot - XT-3 & 18-55mm;
Shot 31 - dance shot - see shot 9;
Shot 32 - bride and groom walking between vines - C200 & 85mm f/1.4L IS wide open;
Shot 33 - bride and groom dancing on hill - BMPCC 4K & V 25mm f/0.95;
Shot 34 - dance shot - see shot 9;
Shot 35 - bride holding veil - BMPCC 4K & V 25mm f/0.95;
Shot 36 - bride doing gladiator - XT-3 & 18-55mm;
Shot 37 - bride glancing down at window - BMPCC 4K & V 25mm f/0.95;
Shot 38 - hand holding - C200 & 85mm f/1.4L IS wide open;
Shot 39 - groom swinging bride - XT-3 & 18-55mm;
Shot 40 - sparkler exit - XT-3 & 18-55mm shot at 2000 ISO;
Shot 41 - dip - XT-3 & 18-55mm; and
Shot 42 - final - XT-3 & 18-55mm.
Basically all of them had on Southall which is a Delut by James Miller (https://sellfy.com/p/KUuV/).

Yes the menus are fantastic, the general control layout - I did not realise this until today when I finally put it in my hand - is lovely. Much nicer than I expected. Even the polycarbonate plastic construction doesn't bother me. If anything it's good, because it makes for a very lightweight construction. This is a big camera by mirrorless standards but a TINY and light on by pro video standards, let alone cinema RAW proportions.
Yes there are baffling decisions going on but a lot of common sense too. I still do not like Blackmagic's launch strategy and initial shipping quantities, it is ridiculous to be tormented for months with a mix of teasing and social media hype - I almost went mad - but believe me it is worth the wait. Again like BTM says, far from perfect, or without quirks - but it is different to anything else I own and a worthy upgrade from the original - in fact it is SIGNIFICANTLY better than that first camera in every way. Something I did not realise until I actually turned up.
I am going to have so many words to eat from this thread, I'll probably choke to death.

Okay, I just figured this out: it's the HOOD. With the sunhood on I get significant vignetting (on the left especially). Without it it's, like you said, not worth mentioning.

For people getting their hopes up, this is slightly misleading. My experience has been the following:
The 18-35 will vignette even on a .71x ('ultra') speedbooster until about 20mm in DCI 4K (only barely and not worth mentioning in Ultra HD). It's sort of usable but the vignette is definitely there across the whole left and right side and it's relatively severe.
It will basically be unusable on full frame on my A7RII until 35mm, at which point you might as well use the lighter, better, brighter 35mm 1.4 ART.

As others noted, the camera accepts either 17^3 size cubes, or 33^3 size cubes. Yours is 16^3. I've converted your LUT to 17^3 using Lattice and this should work.

Custom_Made_17.cube

FYI, i would be careful with your LUT as you can see from the cube visualization there an odd gap at the bottom and the curves are not overly smooth (though I've seen much worse curves).

Historically (not that we've made cameras THAT long) we've always converted internally to YUV/YCbCr no matter the codec for SDI output etc. It's then convenient and easier on resources to do image statistics on just luma for zebras/false colour and that has not changed. RGB would be more ideal, yes. Personally I always set zebras to 95% for some slight headroom (even before I worked for the company and learnt how it worked) and after i joined and we added false colour, the "red" (highlight clipping) on false colour is actually at 95% for the same reason.

Not seen any problem with my Viltrox .71 and yes it will be unusable on full frame as it's an APS-C lens.

To load 33 point LUTs they have to be created in Resolve.
For all other creation methods it will only load 17 point ones.

I had the same problem with FilmConvert, for some reason only 17 cubed LUTs ended up working for me, not 32 or 64.

Lenses are not uniformly sharp across the entire focus range, often the closest focus suffers most. The differences are quite small most of the time, mind you.

Really? Don't shame folks on here, this guy did nothing too you. That's low bro. 

I think that amounts to roughly about 40-50 pages per camera actually owned on here though !
 

A Picture Profile is nothing like a LUT.
 
Nope, people will still make great home videos/ low budget films etc on the GH5 once the GH6 is out.
 
 OK, so the GH5s has TC input but you lose IBIS. Which camera are you comparing here?
Yep, needs an iditional add on making it a bigger, more expensive and heavier camera.
Again, bigger, heavier, more expensive
This is so much more than a codec and it's a massive advantage.
 
No but it suggests that the materials used are strong. 
 
Last time I checked, FCPX, Adobe Premiere and AE were not included with any Panasonic cameras. Has this changed?
Thats because you can't shoot raw on the GH5. I wasn't all that interested in this feature either when they announced it but having used it, it's actually really handy.
?‍♂️ Good grief.......obviously (or maybe not to some people)  the GH3 was not six years old when I had issues with it. It was less than a year old. 
 
You can use OIS lenses on the Pocket. You can put the pocket on many gimbals. I really don't know where you are getting your info from?
I'm not sure of your background, but I've shot on many cameras from BetacamSP (Manual Focus Only, no weather sealing) to the Red Weapon and Alexa (Again, MF only and no WR) and operated all the cameras without a crew. Just because you don't have AF doesn't mean you need a focus puller. Have you not seen operators pull focus off the barrel while looking through the EVF? It actually works!
Skate videos have been shot without AF for years.
 
Personally for my work and even just my creative standards, getting the shot but seeing some AF hunt is personally not acceptable to me. I'm pretty happy with how my eyes and focus ability are though and will trust them over AF.
 
Ive had the camera for two weeks now and used it without a crew. It's an easy camera to operate. I do wish the screen would tilt, it seems a shame to have such a nice big screen and not be able to use it all the time. At the same time, while most mirrorless cameras screens do tilt, I've always found them too small so like to rig a bigger monitor or EVF anyway. Even just the fact that the screen is so big on the Pocket means that using the touch screen is such a joy. Can't say the same about the touch screens I have used on mirrorless cameras. 
 
Ive always maintained that most people don't need RAW due to the large file sizes, hardware requirement etc. 10bit is enough for most people.
After thinking about Blackmagic RAW recently, I've now changed my mind. While large budget productions have much more control over varying conditions, solo shooters do not. A solo shooter has a lot to think about and it's more likely that a solo shooter is going to have to compromise on DR due to not having a gaffer on hand, or is going to forget to set the WB correctly for a shot due to lack of time and having so much to think about. If that shooter could now shoot RAW but in a flavour like BRAW which is easy for most modern computers to handle, can be shot to cheap SD cards and requires less  drive space than many 10bit codecs, then why wouldn't they want that? For run and gun shooters, BRAW makes a lot of sense where CDNG raw didn't. BRAW doesn't make a bad shooter great, but it can be used to fix mistakes easily......Good shooters, bad shooters.....we all make mistakes every now and again.
 
DBounce, this camera is obviously not for you and you have made that quite clear. I just don't understand why you feel the need to get on the Pocket4K thread and constantly argue about why the GH5 is better. I haven't felt the need to get on the GH5 thread and talk up the Pocket or shit can the GH5. Can we keep this thread about the Pocket4k, it's getting really tiring trawling through pages and pages of silly arguments.
I have made a new thread.....feel free to continue the argument there please. I'd like to converse here and share information with others that want/ have the camera.

Some threads are starting to read like somebody's personal SMS app. It's ridiculous.
Let's calm down, think before we post, if we haven't got anything new to add apart from 20 pages of chitchat!?! No? Let's not post!
I am fine with some chat but not EVERY PAGE. Deal?

Yeah that’s what I ineloquently meant as a big plus for the P4K. H.265 files are a nightmare for my setup. I can transcode my ML Raw files to CDNG, bring them into Resolve, color correct them and export them to ProRes 444 faster than I could transcode and downscale the NX500 h.265 4K files to 1080p ProRes LT.

The P4K will actually be better for small-budgeted crews in that regard because Prores runs much, much smoother than h.264 (because your computer doesn't have to do as much decompression in real-time). My old laptop tore through Ursa 4K Prores 444 files but stuttered with a7s II 4k footage.

Just FYI, Kamera Express is terrible with sending out pre-orders in the correct order. They basically just seem to pick a name at random from their list and ship it to them - I know people who ordered on the 9th of April who haven't gotten anything, and people who ordered in September(!) who did.

Thank you both for the civilized attitude, and the important info!

That's awesome, thanks for correcting me!

Cameranu has a 3-4 month expected waiting time for non-preordered cameras. Kamera Express has delivered like three cameras, so far.

That's awesome, thanks for correcting me!

So many false informations here... It’s not specificaly targeted at you but yes you can totally record custom baked in LUT and that’s an overlooked killer feature. Actually the biggest feature after raw. You can basically get any look straight of camera. I have a review coming showing the power of it !
And so was I worried about highlights handling and DR when I first watched the early footage online. But I can tell you : this camera has more DR than the « legendary » original BMPCC. Once again, I’ll show it in my review. So to sum up : saying that GH5 has a better output for SOOC footage is nonsense I think, granted extended video mode and video mode aren’t any good (you can achieve something pleasing with extended video LUT applied on RAW when you have complete control on WB, with PRORES, I find it to be more complicated...)
Anyway, people (me included !) shouldn’t jump at conclusions when they’ve never shot with the camera.