Que Thompson wrote: I really hope BRAW comes for the Pocket, I'm shooting everything in ProRes LT right now and the files are still HUGE.
According to BMD, BRAW will come to the Pocket. But, even after that day arrives, there's some things you should know.
4K/UHD is 4x the data rate of 2K/HD. So, to get the same lower data rate as 2K/HD, you have to add 4x the compression to the 4K/UHD. All compression has consequences. My advice is, BRAW or no BRAW, one lovely feature of the 4K Pocket you might look at taking advantage of is instead of shooting in 4K/UHD you can record ProRes HQ from the full sensor in 2K/HD. Doing so will give you plenty of latitude for color grading, without the hassle of large (and usually unnecessary) 4K data rates.
If your clients & budgets can't fund the storage that 4K requires, you can do what most of the professional industry still does today and work at 2K. A majority of Hollywood movies and TV dramas, are still mastered in 2K (yes, I know, most Netflix originals are an exception but that has more to do with marketing + fear of lawsuits than it does any visible improvement to image quality). Resolve (and many other finishing applications) can do an optical quality upscale after mastering, so at the distances we all sit from our giant televisions, even the latest monstrously large 4K TV, you (and your audience) will never be able to see the difference between well mastered 2K content versus 4K content.
But hey, don't take it from me. Take it from Steve Yedlin, the DP for Star Wars: The Last Jedi
http://yedlin.net/ResDemo/