OK so I own a Blackmagic Pocket and love it. I use it all the time on the work I do.
That having been said, BM's offerings are really fun to watch but not for the faint of heart. The firmware is rocky and feels unfinished and there are a lot of workarounds. These are not all in one consumer devices - the sound on the Pocket, for example, is absolutely atrocious, and most BM cameras require several hundred (or thousand) dollars' worth of accessories to take full advantage of what you're buying. And that's before you get to editing the footage, which in Prores HQ is so huge that you need serious horsepower and drive space to even work with it, and the images come out ultraflat so you have to know color correction. RAW is even more intensive.
So these are GREAT cameras for low budget filmmakers who know what they're doing and know how to tease great images from them and have the money and patience to work with them. If I were kickstartering a feature I might consider buying an Ursa instead of renting an Alexa package. For hobbyists though, a solid DSLR and a good lens is a better choice than even the Pocket, which is...ornery. IMO.
The best comparison for me with the Pocket is it's like working with an old 16mm film camera. You get what you get and hope it comes out ok, and if you know what you're doing you can make something really amazing with it. It really is like shooting on film.
As for the Ursa, it looks fabulous, but I'm interested in seeing some reviews and handson experiences. The CFast cards it uses for data are expensive as hell (up to 2K for a decently sized one that can handle the 4k RAW output) and the camera itself weighs 16lbs without the lens, which means it's definitely a two-plus operator camera. The lack of a viewfinder loupe might trouble veteran cinematographers who are used to working with one, and the 10" screen is nice but who knows if that'll be useful in the field?
Of the new devices the broadcast one looks the most disruptive. A new web series looking to do things like talk shows, etc could really benefit from low cost broadcast-quality cameras like this designed for live TV. But again, it depends on how bare bones the camera is when it ships. You can't buy three of these and expect to make stuff out of the box, you need lenses, tripods, headsets, control rooms and gear. So we'll see, but it's really exciting to see these product come out and challenge the status quo of overpriced hardware, licenses and rental fees, and camera companies who cater only to David Fincher and not to everyone else.