drm

Upcoming 4/3 sensor from Fairchild:
https://www.fairchildimaging.com/products/scmos-sensors/mst4323

Think about putting it in and out of bags, I wouldn't want to leave any cables plugged into the camera while packing down, with or without clamps. Which means you also need to rebuild the kit when you get to the next location. So portability is affected.
There have been many reports of SSDs not mounting on the camera once connected. I've never had that issue with the internal cards. The fix is easy, just a quick restart, but the problem is easy to avoid in the first place.
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It's all about how you like to use the camera, but don't judge others for using it differently. In most cases, I want to keep my camera as small and cable free as possible, others like to rig it up until it's as big as their torso. I do have a T5, and the only time I used it was to test the workflow the day my camera arrived. While it was very easy to go from camera to editing, you need to backup the files anyway, and you need to clear the drive for a shoot the next day, so I found that advantage was lost in an instant. 
Now, I mostly use the T5 as a working project drive. After a shoot I instantly copy everything off my cards and format them in camera, so I know it's a fresh start every day. If I pick the camera up and see something on the card, I know it's not been backed up. I worry if I used the T5 to record, I would never know what's backed up and what's not. If anyone's interested, I use these very cheap C.fast 2.0 cards and they keep up very nicely with ProRes. I haven't tried RAW, but I'm sure they can at least handle 4:1.
https://www.mymemory.com/integral-128gb-ultimapro-x2-cfast-2-0-card-550mb-s.html

I agree. Most people with any product are not online talking about it, unless they are having problems with it  
I do a lot of live broadcasting from events and a good bit of corporate work. I have yet to see a P4K in the wild (other than mine). The P4Ks also still cause a bit of a stir. I have had several people come over to see them and want to geek out and talk about them while we have been broadcasting. One wedding videographer swore he was dumping his Canon gear to switch to P4Ks (C100Mkii's). I am sure that will die down when you can actually buy the things in stores
Speaking of color matching, I created LUTs that match the P4K film to GH5s natural profile. My editor prefers to start with the colors from that profile, so the LUT for the P4K makes them match almost perfectly. My clients all seem to love it, so I don't care what colors they use  

Two things:
1. I have about a dozen of the 256GB SD cards from a couple of different brands. The 256GB cards perform as good as, or better than, the 128GB cards, so there should not be an issue with your client purchasing the 256 cards instead of the 128 cards. According to testing in the GH5, the avg. write speed for the Sandisk Extreme Pro SD card is 40MB/s on the 256 and 38.8 on the 128. These cards are V30 cards.
2. I know that people on here have had good luck recording various formats on the P4K with the Sandisk Extreme Pro SD cards, but given the data rates in the camera specs, you will likely have to use the CFast cards or external SSDs to record at some of the highest resolution/bit rates.
I just made a few recordings on my P4K using the Sandisk Extreme Pro 128GB V30 card.
Cinema DNG Lossless 4K DCI -- the recording stopped after 3 seconds Cinema DNG 3:1 4K DCI -- the recording stopped after 6 seconds.  Cinema DNG 4:1 4K DCI -- the recording stopped after 21 seconds. Cinema DNG 4:1 UHD -- the recording stopped after 42 seconds ProRes 422 HQ 4K DCI -- the recording stopped after 16 seconds. **ProRes 422 4K DCI -- the recording lasted 26:27:13 and filled the entire card. So, you may be able to record ProRes 422 on your card too. According to the specs, even V90 cards should not be able to record the highest resolution/bit rates. We use the T5 1TB disks and have not had any trouble recording to them. Best of luck!

Two things:
1. I have about a dozen of the 256GB SD cards from a couple of different brands. The 256GB cards perform as good as, or better than, the 128GB cards, so there should not be an issue with your client purchasing the 256 cards instead of the 128 cards. According to testing in the GH5, the avg. write speed for the Sandisk Extreme Pro SD card is 40MB/s on the 256 and 38.8 on the 128. These cards are V30 cards.
2. I know that people on here have had good luck recording various formats on the P4K with the Sandisk Extreme Pro SD cards, but given the data rates in the camera specs, you will likely have to use the CFast cards or external SSDs to record at some of the highest resolution/bit rates.
I just made a few recordings on my P4K using the Sandisk Extreme Pro 128GB V30 card.
Cinema DNG Lossless 4K DCI -- the recording stopped after 3 seconds Cinema DNG 3:1 4K DCI -- the recording stopped after 6 seconds.  Cinema DNG 4:1 4K DCI -- the recording stopped after 21 seconds. Cinema DNG 4:1 UHD -- the recording stopped after 42 seconds ProRes 422 HQ 4K DCI -- the recording stopped after 16 seconds. **ProRes 422 4K DCI -- the recording lasted 26:27:13 and filled the entire card. So, you may be able to record ProRes 422 on your card too. According to the specs, even V90 cards should not be able to record the highest resolution/bit rates. We use the T5 1TB disks and have not had any trouble recording to them. Best of luck!

The Canon 6D Mark II caps out at 1080p / 60 on video. *Surely* Canon wouldn't release an enthusiast camera in 2019 that only recorded 1080p...would they?
Although, Canon recently released the M50 and it only does 4K @ 23.97, has terrible rolling shutter, a big crop, and AF doesn't work very well in 4K... I have a bunch of Canon glass and would love for them to introduce a good camera for video. With their recent track record, I can't say that I am optimistic
We already have the A7III, Z6, S1, and the others above the EOS R & RP in price and the Sony A6400 / 6500, & Fuji below them in price. It might make sense for Canon to introduce the R & RP cameras, with those features, at those prices in isolation, but there is some pretty stiff competition out there...
 

@jack86 My Wasabi LP-E6 batteries are 7.2V,  2600mAh = 18.7Wh. With that battery, I get from 30-45 mins of runtime. My Sony NP-F970 batteries are 7.4V, 6600mAh = 48.84Wh. So, if you are using a dummy battery with the Sony NP-F970, I would expect to get from 80 mins to 2 hours of runtime. 
I suggest that you do *not* use a dummy battery. Put a normal battery in the camera. From your external battery, run an adapter cable to the 2 pin power connector on the side of the BMPCC4K camera. This way, your camera will keep running while you swap batteries. When you remove your external power, the camera seamlessly switches to internal power. This will allow you to run all day.
This is actually one of my pet peeves about my GH5's and GH5S cameras. I run them with battery grips. If you remove the battery from the battery grip before the camera has switched to the internal battery, the camera will reboot. I have caused a camera to reboot from this numerous times on a shoot. Even worse, is you know that you will need to swap the handgrip battery soon, then forget to do it  
You can get Sony NP battery plates that output 12V. Then, you just need to get the cable to adapt to the BMPCC4K power input.

The Canon 6D Mark II caps out at 1080p / 60 on video. *Surely* Canon wouldn't release an enthusiast camera in 2019 that only recorded 1080p...would they?
Although, Canon recently released the M50 and it only does 4K @ 23.97, has terrible rolling shutter, a big crop, and AF doesn't work very well in 4K... I have a bunch of Canon glass and would love for them to introduce a good camera for video. With their recent track record, I can't say that I am optimistic
We already have the A7III, Z6, S1, and the others above the EOS R & RP in price and the Sony A6400 / 6500, & Fuji below them in price. It might make sense for Canon to introduce the R & RP cameras, with those features, at those prices in isolation, but there is some pretty stiff competition out there...
 

Why not just buy one of these.
https://www.aputure.com/products/dec-vari-nd-1

The Zhiyun-Tech Crane-2 also works very well with the GH5 & GH5s and is inexpensive (*not* the Crane v2). We have used one for hundreds of hours. With the recent firmware updates, it also interfaces with the camera well.
Although, I will say that I prefer the angled back of the Ronin-S and the Moza Air 2, if I were buying new ones. The angled back makes it easier to see the screen on a hybrid. Also, think carefully about your gimbal selection if you eventually plan to purchase a BMPCC4K.
 

LMAO.
 

The Zhiyun-Tech Crane-2 also works very well with the GH5 & GH5s and is inexpensive (*not* the Crane v2). We have used one for hundreds of hours. With the recent firmware updates, it also interfaces with the camera well.
Although, I will say that I prefer the angled back of the Ronin-S and the Moza Air 2, if I were buying new ones. The angled back makes it easier to see the screen on a hybrid. Also, think carefully about your gimbal selection if you eventually plan to purchase a BMPCC4K.
 

LOL...*that* is why my GH5 sucks in low light compared to the GH5s   I knew that only the GH5s had dual ISO, but it certainly didn't occur to me when I was writing that comment. There are a couple of other differences that sometimes trip me up, like timecode differences between the GH5 & GH5s. I have moved my GH5s cameras to A & B, and my GH5 is usually pulling duty as the C cam and as a cam for taking photos. For the last couple of shoots, I have even brought in one of the BMPCC4Ks and replaced the GH5, so the GH5 is only pulling duty for photos.
OH and I solved the BMPCC4K battery problems. I have a 158Wh v-mount battery on 15mm rods behind the camera. It runs pretty much all day now

LOL...*that* is why my GH5 sucks in low light compared to the GH5s   I knew that only the GH5s had dual ISO, but it certainly didn't occur to me when I was writing that comment. There are a couple of other differences that sometimes trip me up, like timecode differences between the GH5 & GH5s. I have moved my GH5s cameras to A & B, and my GH5 is usually pulling duty as the C cam and as a cam for taking photos. For the last couple of shoots, I have even brought in one of the BMPCC4Ks and replaced the GH5, so the GH5 is only pulling duty for photos.
OH and I solved the BMPCC4K battery problems. I have a 158Wh v-mount battery on 15mm rods behind the camera. It runs pretty much all day now

Just saw this video and thought it would be useful for those with Dual ISO cameras like BMPCC4K, GH5S, etc..
Includes how Dual ISO works, impacts on DR, and how to expose - really great content from John Hess.
 

I think that one of the things that people miss is just how capable the BMPCC4K is for the price. This camera opens up opportunities for content creators because of the features that it offers vs. the price point. With my setup (camera, cage, 1TB T5, extra batteries, etc.) I probably have around $2k in each rig.
Lots of people start out with inexpensive gear and move up. Your progression might be something like Sony A6300, then maybe Sony FF (A7 III) or other SLR hybrid camera. Once you have sufficient work (and $), you may transition to more traditional video cameras like C200, FS5, EVA1, etc. These bigger cameras are going to cost $5K -$10K each after you get them rigged out. You may even only have one (big) A cam and then a cheaper B cam due to budget constraints.
The BMPCC4K gives you the ability to have an A, B, and maybe even a C cam for roughly the same money as one of the traditional mid-tier cinema cameras, but gives you higher-end features like RAW recording and good dynamic range. I think that many people would be better served with a 2 or 3 cam setup of BMPCC4K's instead of 1 big A cam and a cheaper B cam. I run a 3 cam setup on almost every shoot. Having 3 matched cameras lets you have redundancy, makes matching footage easier, and has many other advantages.

In that video, it seemed like the ISOs didn't match very well between the GH5s and the BMPCC4K at the lower end. It seemed like up to around 6400 the BM was darker. Also, his brightness levels as he changed ISOs was all over the place.
In my casual testing, my GH5s cameras seem to be a fair bit less noisy at the same ISO settings than my P4Ks. I will have to revisit this on my cameras after seeing his video.
This most surprising thing that I have found after getting the P4Ks is that they don't fit my bags. I am having to completely rethink my bags and storage systems to fit the P4K cameras   The added width really does make a big difference in this regard.

I have the GH5, GH5s, & BMPCC4K cameras. We do lots of events, frequently in low light, and always in 4K. I love the GH5 & GH5s combo, but it gets *really* time consuming having to encode the video for Final Cut. I have terabytes of footage on a weekly basis to process. Being able to record ProRes in camera was one of the reasons that I purchased several of the BMPCC4K cameras.
However, there *is* a solution for this issue now for the GH5/GH5s. Just get an Atomos Ninja V for the GH5/GH5s. You then get a larger screen and you get Prores recording.
But, your GH5s setup costs now costs ~$3k-$3,500 each, the Prores 422 files are even larger than the 400mbps All-I files from the GH5s, and you are running a big rig (compared to the BM).
The BMPCC4K really is an amazing package deal, despite its issues. We haven't yet fully switched away from the GH5(s), but I imagine that we will do so soon.

I have the GH5, GH5s, & BMPCC4K cameras. We do lots of events, frequently in low light, and always in 4K. I love the GH5 & GH5s combo, but it gets *really* time consuming having to encode the video for Final Cut. I have terabytes of footage on a weekly basis to process. Being able to record ProRes in camera was one of the reasons that I purchased several of the BMPCC4K cameras.
However, there *is* a solution for this issue now for the GH5/GH5s. Just get an Atomos Ninja V for the GH5/GH5s. You then get a larger screen and you get Prores recording.
But, your GH5s setup costs now costs ~$3k-$3,500 each, the Prores 422 files are even larger than the 400mbps All-I files from the GH5s, and you are running a big rig (compared to the BM).
The BMPCC4K really is an amazing package deal, despite its issues. We haven't yet fully switched away from the GH5(s), but I imagine that we will do so soon.

In that video, it seemed like the ISOs didn't match very well between the GH5s and the BMPCC4K at the lower end. It seemed like up to around 6400 the BM was darker. Also, his brightness levels as he changed ISOs was all over the place.
In my casual testing, my GH5s cameras seem to be a fair bit less noisy at the same ISO settings than my P4Ks. I will have to revisit this on my cameras after seeing his video.
This most surprising thing that I have found after getting the P4Ks is that they don't fit my bags. I am having to completely rethink my bags and storage systems to fit the P4K cameras   The added width really does make a big difference in this regard.

Being astonished how it is possible to make so wildly uncontrolled and non-professional test about topic and some questions aroused from this thread - and still called yourself professional...
 

I don't think this has been posted yet from Tom Antos? Might want to look at it if you are using an external monitor with it. Some good tips.
 

If you get one of the new P4Ks, be aware that have been reports of the P4K's having "issues." I am hopeful that many of these items will get better with firmware updates. The P4K on my desk *literally* freaked out while I was typing this message.
I have 3 P4Ks and I still haven't decided how I feel about them. I have mine rigged up with Smallrig cages, Samsung T5 1TB drives, XLR mics, and external power (V-mount). I really like the image quality and I have even gotten used to the unusual ergonomics. But, I have experienced many glitches that make me hesitant to use the camera in production. 
Here are a few of the issues that I recall either having personally or seeing mentioned about the P4K:
Sometimes the Samsung T5 SSD isn't recognized by the camera. Rebooting the camera without the drive connected, then connecting the drive seems to help. I haven't personally seen this issue on any of my 3 P4Ks, but I do *not* disconnect the drive while the camera is powered on. The battery indicator can vary wildly. I have seen a fully charged battery fluctuate from 7.6V down to 6.6V over the span of a few seconds. Low voltage can cause the camera to turn itself off, even while recording. This appears to happen most often with the battery that came with the camera. The Wasabi Power batteries that I bought seem to work better. I typically see 45 minutes or less on a fully charged battery. My camera has gone from 7.6V to 6.7 (34%)-6.4 (13%), sitting on my desk (just turned on, not recording) while I typed this message. I had a very hard time getting phantom power to work on one of my cameras. Even though I had a mic plugged into the camera via the XLR mini port, the option "Audio > XLR +48V - Mic" wasn't even available in the Audio menu. The XLR Phantom Power option on screen 2 of the Audio menu was greyed out and would not work. I finally managed to get it to work by doing a Factory Reset a couple of times. The first time that I did the reset, the Phantom power worked, then the option disappeared when I switched the audio to internal mics for testing. After another reset, the phantom power seems to be working properly. On at least two occasions, the camera has completely freaked out with rear display showing menu options flashing on and off (from the live view) and jumping from screen to screen in the menu. The P4K on my desk *literally* freaked out while I was typing this message (with a fully charged battery). I had been viewing my Audio settings, then I turned the menu off, going back to the live view. The camera started showing ghost images of the Channel 1 Level and Channel 2 Level meters in the middle of the live view screen. It then glitched some more and ended up on the AWB screen. After I hit cancel, it hasn't done it since. My Metabones 0.71X doesn't autofocus the Sigma 18-35. This is, of course, a Metabones issue, but I thought you would want to know. Autofocus is available, but doesn't work very well. Autofocus is slow and I have had to refocus the camera several times when it didn't focus on the item where I tapped on the screen. I shoot a lot of live events, so I must have a camera that is completely reliable. I typically use Panasonic GH5 / GH5s and they are completely reliable. I can't recall a single issue while using those cameras, although my GH5s cameras do kill batteries while they are turned off. I have also had great luck with FS5s & LS300s.
I think that the P4K cameras have huge potential. Just be careful in the beginning, as you may have some early adopter issues.