Patrick B.

Camera maxes out at 1600 ISO.  I've only shot a couple test clips so far, but the noise seemed lower than I expected and very fine and pleasing in RAW format.  Haven't tried noise reduction yet.
@BenEricson "glossy" is actually the perfect description for most of the modern 4k cameras.  I like how the older Blackmagic cameras with the Fairchild sensors have a characterful imperfection to them.  To me they look a little more vintage vs modern.

Will do! The seller told me he got a couple hours on the larger batteries. 
They actually designed the micro HDMI port in a clever way. It’s recessed at a diagonal angle in the bottom corner with support walls on either side of the inlet that seem to be custom fit to the cable connector so that the plug is secured and is prevented from getting stressed at the actual connection. Pretty cool. 

Damn, that's sweet! Glad to hear you got your micro. Enjoy!

Incidentally, similar servo testers are available individually or in dual packs so if you wanted to use one on one handle to control focus and another on a handle on the other side for aperture etc then they would be ideal.
Ditto if you just wanted to use a single one on a gimbal to control focus.

So I keep meaning to do something more elaborate for the BMMCC but never have the time but I had an hour free this afternoon to knock this together for anyone who wants something cheap and easy to base a DIY controller on.

Basically, its a 6 channel servo tester that costs £15 from Amazon ( https://www.amazon.co.uk/LewanSoul-Channel-Digital-Over-Current-Protection/dp/B073XZH264/r ) and a £5 solder less VGA breakout from Amazon ( https://www.amazon.co.uk/sourcing-map-Breakout-Connector-Solderless/dp/B07MQX1BBP )
(Yes, I've soldered the ground but thats only because mine must have been made on a Friday afternoon and they put in one side of the connector wrong )
With this, you can use the rotary pots to control four parameters on the camera so you could use it to have physical control of focus, aperture, ISO and WB etc.
I've shown the solder less breakout as it makes things really easy for anyone to connect up (it has a shell to enclose it obviously) but you can just solder to a connector if you want to.
Obviously you will want to use longer cables than these test ones !
The connections from the breakout to the servo board are 
BMCC PIN 1 > SERVO BOARD - BMCC PIN 14 > SERVO BOARD + BMCC PIN 3 > SERVO BOARD SERVO 0 S BMCC PIN 8 > SERVO BOARD SERVO 1 S BMCC PIN 12 > SERVO BOARD SERVO 2 S BMCC PIN 13> SERVO BOARD SERVO 3 S You then assign the functions that will be controlled by the pots on the servo board in the remote menu of the camera by setting the functions to be controlled by PWM1-4 respectively. (servo pot 0 is PWM1, pot 1 is PWM2 etc).
So if you want to build your own DIY physical controller thats all you need to know to get it going and then its up to you how you case it etc.
Because the BMMCC only has 4 ports you can control through then you have got two spare controllers which if you wanted to get fancy you could connect actual servos to for controlling manual focus lenses, zoom control etc.
 

Just read the thread, what a rollercoaster one.

Just waiting for the revelation that the real patent holder for internal RAW is Ebrahim Saadawi.

Just got my Micro rig and powering via SmallHD Focus works perfectly with the DC coupler dummy battery.

Now that's an interesting thought.  It wasn't that long ago that Apple was selling RED kits on their own online store too.

I've only ever shot with 3:1 and its been so good that I never even attempted lossless. 

A re-post of my findings from another thread but I have found these Sony cards to be a currently available card that works with both my Pocket and Micro.

It is the UZ designation that is important to ensure that you have the right one.
Here is a link to the exact one that I have 
https://www.amazon.co.uk/gp/product/B00YOKOJOU/ref=ppx_yo_dt_b_asin_title_o05_s00?ie=UTF8&th=1

Blackmagic Micro Cinema Camera Super Guide and Why it Still Matters Today
The Blackmagic Micro Cinema Camera was released in 2012. At the rate that cameras are being announced these days, that’s a century ago in the consumer/prosumer world. The camera was released with very little fanfare as it didn’t have a monitor and was marketed as a great companion to drones, head cams, dash cams, sport cams, etc. Some people rigged it up, but for the most part it wasn’t exactly the most popular camera at the time. Though I keep speaking in past tense, this camera is still available to buy today - though with the Pocket 4k and 6k on the market - it’s very unlikely anybody is buying them. As we enter the most competitive market ever for the low/mid tier videographer and filmmaker, I am here to tell why this small unassuming - and rather ancient by todays standards - camera is special and why it could fit well with some of you.
 
This guide is meant to be a fun way to explore a hidden gem, not to cause a spec war, fanboy war, or any kind of mean spirited debate. It is just an opinion of one person, but something that I have been thinking about doing for awhile. Lets get into.
 
Brief History
The Blackmagic Micro Cinema Camera shares the same sensor as it’s older cousin, the Blackmagic Pocket Cinema Camera. A camera that truly revolutionized the filmmaking world, by giving filmmakers that didn’t have the cash to buy expensive cinema gear a camera that had an amazing cinematic and filmic quality to it. Something that wasn’t found in DSLRs at the time with not only the film look, but also specs. The camera could record internal RAW at a price point that was and still is unheard of. But the camera suffered from many issues. The screen was garbage, there was a lot FPN issues, and most notably the battery life was straight up horrible. Batteries would last around 20 minutes and often times much less.
The Blackmagic Micro Cinema Camera shares the same sensor as the original pocket. Its’ a sensor created by Fairchild Imaging, with a sensor called the CIS1910F. Fairchild are a company based out of San Jose, CA. They have created several sensors for Blackmagic, but I believe the new sensors of the Pocket 4k/6k are now Sony sensors. The sensor is important in this guide, because thats where the special sauce lies.
 
Blackmagic Micro Differences to Pocket
The Blackmagic at first glance seems like a stripped down original Blackmagic pocket. The thing is, it actually cleaned up quite a bit inside the hood. The micro received a new more modern processor, allowing it to clean up some FPN issues and improved rolling shutter. Though not a low light beast, it handles things generally better all the way around compared to the Pocket. When using a monitor, accessing the menus though tedious with its button placement, is much more responsive - where the pocket was a lag fest.
Here is where we get to the good stuff. The micro cinema camera on paper and at first glance seems like a bit of a letdown. No monitor? No cold shoe? No handle? Canon Batteries? But, thats because of how Blackmagic marketed it. They didn’t market it like how Red or Zcam do it, which is a modular camera with a build your own adventure way to build it. They didn't even really offer accessories for it. But that is how it needs to be looked at. You get a brain and you need to add accessories, there is no way around it. But building around it is not as daunting as most people make it seem and once you take the step, you really unlock something special.
 
Whats the Point of This and What Makes this Camera Special?
I am going to use some overused/misused terminology here to explain how the footage looks and what makes it special. In a current era where modern sensors show every single pore and are mostly made by Sony (with insane modern feats) - there is an organic look about the early Blackmagic cameras (BMMCC, BMPCC, BMCC) that is special and has a very film like look to it, which is what Blackmagic set out to achieve and emulate. This is going back to Fairchild and what they were able to achieve. The look that is ever so popular with almost every young filmmaker and over used on almost every filmmakers youtube titles - which is a ”cinematic or film look”.
Yeah, I know, you want to argue its lighting and lenses and actual cinematography skills that achieves that. You are right. But there are still more tangible attributes besides that which can affect the way a video looks. Color science, DR, a soft look, and motion cadence are 4 keys to getting that look. If you can nail all of those, you get a rather easy filmic/cinematic look out the box. And the Blackmagic micro has all of those and is really the last Blackmagic camera to ever use one of those organic sensors that Fairchild brewed up. It’s also the last and only Blackmagic camera that you are able to buy today that has one of those most special sensors every created for its cheap price and accessibility. . It is a hidden gem and footage from the camera are often confused for cameras way out of its league. It’s a look that modern mirrorless cameras don’t often have, at least not without heavy film grain, pro mist filters, vintage glass, added motion blur, etc. What makes this camera special is not on the spec sheet, because 1080p isn’t going to making you excited. It’s not on the paper that will make you go “wow”. It’s simply with the footage. You can throw all the specs you want. The footage of this camera and the fact that it’s still available today new and very cheap used, is the reason for this entire guide.
 
Keys To Rigging
You need a cage and an external monitor. There is no way around this. If you don’t purchase or have those, there is no point exploring further. Remember, like I briefly mentioned above - don’t think drone cam or sports cam - think modular RAW capable cinema cam. Smallrig and 8sinn both make cages for it, I have the smallrig and don’t see why you would need anything else. Take your pick with monitor, that is a personal choice, but I prefer something with Sony style NPF batteries.
If you only shoot RAW with this camera (which is what I do) - then you can basically set your settings and forget them. I would leave your ISO at 800 and manage your light with your lens aperture and variable ND Filter. There is no need to go into any menus, other than to possibly reformat your memory card. If you do that, you avoid the headache which is the awkward placement on the menu buttons.
If you shoot pro-res and you want to constantly change settings (ISO, WB, etc) then you will need to either get used to the buttons or buy a second hand “One Little Remote”. Which is a little add on module that can help you change your cameras settings without menu diving.
For battery, you can use canon batteries for about an hour/hour half before it dies. Or choose the best option, which is to buy the NPF bridge (https://www.starvingartist101.com) which allows you to simply attach NPF style batteries to the camera. With this option you can get around 4 hours of battery life on 1 charge or even longer if you opt for the larger style NPF batteries.
A monitor most people already have. And if you shoot RAW, which is kind of what makes this camera special and what I recommend using, then you don’t need to menu dive or you can simply use the one little remote. And if you use NPF batteries you now have a cinema camera that doesn’t require v-mount batteries and can shoot RAW video for about 4 hours. All in an insanely small package with amazing footage. I think thats what gets lost with this camera is that people complain about having to rig it up - but a lot of the add ons are either pretty cheap or you already have. The NPF bridge is around 30 bucks. Cage from smallrig is around $80. The monitor you prob already have. You really don’t need the one little remote if you shoot RAW or get used to the menus.
 
Memory Cards
If there is one legit complaint, its that newer sandisks memory cards do not work with this camera. Here is the scoop:
“Please note that we have discovered an issue with the newer revision of the Sandisk Extreme Pro UHS-I SDXC 95 MB/s cards that begin with the product prefix SDSDXXG.
These cards do not work with the following products:
1. Pocket Cinema Camera
2. Micro Cinema Camera
3. Video Assist
4. Video Assist 4K
We believe that these new cards have the V30 rating on them.
Currently, only Sandisk Extreme Pro UHS-I SDXC 95 MB/s cards that begin with the product prefix SDSDXP are compatible.”
 
Though that sucks, good news is that if you have a sandisk pre 2018, it should work. Also there are non sandisk cards that do work. I have tested this one for example: https://www.amazon.com/gp/product/B00X1406EC/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1 and it works fine and with RAW. It is still something that you should be aware of. I got lucky and all my sandisks work.
 
Speedbooster
There is a dedicated speedbooster for this camera in Nikon or Canon variant. Its called Nikon G to BMPCC or Canon EF to BMPCC. There is a “T” version that has minor improvements, especially to the felt material inside. There are other speedboosters for micro four thirds that will work as well. Viltrox speedboosters also work. The difference is that the specific BMPCC version gives you a 0.58x vs x0.71 or higher crop factor.
 
Resolution
Let us now address the elephant in the room. This camera does not shoot 4k. If you want a camera that shoots 4k, this is not it, simple as that. But, if you are a person that cares more about the image quality than the resolution, you won’t be disappointed. But lets say you really do want 4k, well, there is another hidden gem that takes this camera one step further. Inside Davinci Resolve is a feature called “superscale” which upscales footage beautifully. And scaled micro cinema footage to UHD/4K looks fantastic. See Rob Ellis' beautiful video on this:
Also even if you need 4k for certain projects, this camera should still be in your arsenal. It’s cheap enough where you can have it along side something like a pocket 4k/6k. Again, the footage speaks for itself.
 
IR Cut and Moire
I highly recommend using an IR Cut filter with this camera as there is some IR pollution that can affect your image if you dont use one. You can find some for as cheap as 20-30 bucks. There are also some moire filters, like the RAWLITE OLPF, that does IR CUT and reduces moire at the same time. You install this over the sensor and you dont have to worry about using filters, but it's costly. I don’t have too much of an issue with moire - so for most a simple IR Cut filter could be enough.
 
Where to Buy
You can still buy these new today. But you can score amazing kits on ebay, craigslist, etc. You can often find one with a one little remote, cage, and even memory cards for under $700. Some will even include a monitor. You can legit get a full kit for $1,000 - including every thing you need to shoot and rig it up.
 
Conclusion (TL;DR)
I made this post because I am a junky of sorts. I buy all the new cameras, fall into the hype traps, and have severe GAS. Every camera I have used lately has left me with a “meh” feeling. Except the micro. Specs can be great, some have amazing autofucus or great color. Some have shit color and shit bitrates. Some are great but the lens system and adapting to it are a pain. And some are plain beautiful but are really expensive. The micro has a rare balance of amazing filmic quality, a lens mount that most of us on here are well aware of at this point, fantastic battery life of around 4 hours with NPF batteries, compact size, legit RAW (not BRAW) to internal SD cards instead of expensive cfast or having an SSD hanging from your camera and its cheap. Ridiculously cheap if you buy used. It also has that old blackmagic special look so many of us fell in love with back in the day and in my opinion is lacking today. It is a hidden treasure in the filmmaking world that is still available new at many retailers. I created this to share and possibly open eyes to what is an amazing camera this is and probably the last of its breed.  As we enter the resolution wars with sharper, high res videos, we will slowly be leaving behind that soft organic look. If you like shooting older cameras with vintage glass to get that "look" then you can think of this camera the same way. You do it for the look, not for the specs. 
 
Bonus: Footage!!!
Here is some great content that I believe shows off this camera and what is capable of doing
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
(All the footage from his reel at the start of this video are from the micro)
 

Although they also just added custom LUTs with the new firmware which was the only other feature I really wanted that it was missing. Hmmmm

Patrick - you really shouldn't let the usability turn you away - the only must have is an external monitor - if you have that already, there is no reason to not buy one for how cheap they area. If you need more info or have questions, just send me a PM and I can help assist. 

Not to get too off topic but you mentioned the blackmagic micro cinema camera.   Everytime I use it I think I should just throw all my other cameras (z6, xt3, etc) in the trash.  For me too it has the best look to it by far.  But, you really have to work to use that camera with all of it's quirks.  Folks say you can soften modern cameras in post, but I've never seen good examples of that to match something like the bmmcc.
I wish BM or another co. would just package that same sensor into a newer body with all the ergonomics and battery life of a modern cam.

Here are my early impressions of the pocket 6k
 
- My camera came with scuffs and scratches all over the body. It looked like it has been used for months. Went on FB and saw several people complaining and posting pictures of very bad scratches and even dents all over the body. Check out the official Facebook group to see more info on this. 
 
- Vmount or some other solution is needed. I fall into the prefer pocket full of batteries category, as I like to keep it compact. But I am not even sure I made it 15 minutes before it died with an official canon batter (newest version). It was really bad. I need to do more tests on this. I was shooting 6k braw for what it’s worth  
 
- Motion cadence and overall look still doesn’t really do it for me. It looks fantastic, but it doesn’t have the magic older blackmagic sensors had. Maybe it’s the resolution bump and it’s just the way it is with these modern sensors. So far, nothing in the consumer/prosumer price range beats my blackmagic micro cinema camera as far as motion cadence and nailing the filmic look with ease. I feel cameras now days nail the specs on paper, but they lack feel/organic quality/smooth motion cadence, etc. Often people get up and arms when the word “cinematic” is brought up. Yes you can make cinematic footage with the pocket 6 or prob any camera for that matter. Yes lighting impacts it and proper grade does as well. And yes it’s a term that is overused and misused. But I think their is definitely an organic feel missing from these often sterile modern sensors. Sure you can throw a pro-mist filter on it, some vintage glass, and massage it to look great. The sensor kind of reminds me of my old Red Raven. Which isn’t really a bad thing (or great). Just has a slightly similar look and feel to it. 
- Having a dedicated ef Mount is wonderful. Much better not dealing with an adapter.
TL;DR Overall, it’s a great camera and just like the pocket 4k - it’s great when rigged up. Battery life seems much worse than the 4k when using canon batteries - but I need to do more testing. Overall look and feel is sharp and impressive, but lacks an organic quality which can be attributed by slightly video-esque motion cadence, modern sensor, and higher resolution. 

I'm editing CRM on a mid-2014 MBP (16GB ram, i7). I don't know about multi-cam, but I can edit the CRM files natively within FCPX without any LUTS applied. As soon as I apply any LUTS, or colour correction, the whole thing falls apart. It's not a massive issue though, just create proxy files and you should have no problem.

Think of all the great movies everyone can make with those extras Ks! 
Two things for sure - The battery life will still suck and the OG pocket will still have a nicer looking image.
 

Alright guys....[sigh]....it's possible that I have found a chink in the S1's VLog armor: (a gaping hole maybe)
I noticed some extremely severe blue light clipping that goes on in VLog at any white balance and at any ISO. Something extremely nasty is going on with LED light tests. I have seen this in Sony SLog as well, but this is incredibly bad. I'm calling it "Blue Hole Sun"!
Can anybody identify what in the Hell is going here?...Andrew?...Anybody?
 

The market for weeding videos hasn't really matured yet.  Hedge trimming might work, but weeding get's a bit repetitive watching after even just a few minutes ?. 

Bring it on! 15 hours work per week is my dream!
Humans are not supposed to work 10-12 hours per day (+ an hour or two go and come back). 
Here, all the TV jobs are 10-12 hours, and in some productions it is even more. Most (almost all) of them do not even pay overtime.
Everyone points out the negatives, but constructing machines to do the repetitive shitty jobs is a huge opportunity for the networked humanity to achieve great things (like explore other systems and colonize space e.t.c).
Do we really need people working at McDonalds and Walmart? Is this what Aristotle, DaVinci, Nietzsche, Sagan dreamed of humanity?
I say, bring in the robots, until they revolt, and kill all of us, of course...

I ordered mine from B&H not long after Panasonic announced this. I got into a strong but polite debate with a B&H representative. I told him about the Panasonic deal, he disagreed with me and said I was wrong. after 20min it was politely escalated with a B&H manager. They literally were NOT aware that Panny was doing this for free. B&H was adamant that I MUST pay the full price. I was adamant that it was FREE. I linked them to several articles including their own B&H Q&A section of their web site.
They told me they must call me back. The next day, they did! The apologized for giving me a hard time. Due to my insistence and escalation, B&H contacted Panasonic and verified that I was telling the truth. They put me on the waiting list and then got my code last week. It seems that I was the customer that informed B&H that they needed to do this. Panasonic had not even informed them yet about the free deal.
I have to say that this was NOT B&H's fault, I dont think. They were caught completely off guard by my text chat and phone call to them.  It was Panasonic that should have communicated this free deal to their largest dealer in the US in a better way. 
 
CT  

I was only told specifically about the S1 getting 4k raw over HDMI. I was not told anything about that S1H. You can be certain that it will have everything the S1 has plus even more. I can only assume it will go beyond 4k and do the full sensor width at about 6k. (it will at least do 4k raw in super35)
I think we will find out both at IBC next month.  

The million dollar question - how’s the rolling shutter seem? No worse than an A7SII or A7RIII? 
 
I shoot a lot of documentary on a pretty purpose built A7SII(more recently I throw my A7RIII in for the better slog2 / sgamut3 color science and the APSC punch) rig running off V-mount batteries and recording ProRes to a Shogun. Directors I work with love my old Leica M and MS Optics lenses and the only camera I can provide the full image circle of this glass is a full frame offering like what I’m using. They’d rather take the 8bit 4:2:0 with the fun lenses over cropping them on an S35 cam with better color depth, or springing the cash for a Sony Venice. 
 
Seems to make major sense to move to the S1 or maybe S1H if it has IBIS. Especially considering I own 2 GH5 and a GH5S as my other package. 
 
 
Also side note re: Netflix and the requirements: a lot of the time they aren’t checking the exact specs of what’s being shot unless it’s an in-house show. We did the Demi Lovato doc with probably 25% Alexa and 75% externally recorded A7SII on my lenses. YouTube funded the project and the specs clearly excluded a camera like the A7S, but it’s what worked for the project and nobody ultimately objected or really even knew the specifics of what I had in my rig beyond the editor. Mileage may vary for sure but there seems to be a bit of leeway with the requirements if you’re not working directly on an something like an in-house Netflix gig. 

You are sort of right. In Lumix Sync App It's possible to select 10-bit but if you connect to your S1 when it's in slow motion/VFR mode you can't seem to change frame rates from within the app which is a bit odd? Other than that it seems to be fairly similar to the Image App. EDIT: Seems to be no possibility to view fullscreen in landscape mode, that is a bit annoying as they had the same issue in the beginning with the Image App.
I've only tested it once so no expert, but I've attached a few screenshots.
Panasonic has actually been quite good in improving their app if you make your voice heard, I'm not sure if they actually read e-mails but if you make a forum post or post in the comment section on their facebook pages (on what you are feeling is left out and why it would benefit their app) they seem to have some coordinator that takes notes and routes them to the correct people within their organisation (which is good!). 
My biggest wish right now from Panasonic is that they seriously would take into consideration to add manual exposure in the VFR mode, it's really bugging me because other than that it's a really good camera. I would actually pay extra to get that limitation removed ?
  
   
  
 
The last screenshots is how it looks when you connect to your camera when it's in VFR mode. All frame rate options disappears.