Emanuel

Man, Jon I love your passion about filmmaking. I don't always agree with you, but I appreciate the depths you'll go to improve your craft.
With that being said, ETTR is a bad habit to rely on. Sure it can work, but in a lot of instances you're setting yourself up for more work in post and risking ruining shots if you can't pull back those highlights or you end up with weird skin tones because now the curve is messed up.
It all depends on the curve. sLog2 needs to be overexposed by about 1.7 to 2 stops, otherwise it is an unrecoverable, noisy mess. CineLikeD works best -2/3 to +2/3 depending on the shot.
You have lucked out in your tests because you've needed the +2/3 and it seems to coincide with ETTR. Plus from your test, we've already surmised that since you are relying on the lens' aperture stops and not an incremental change from a variable ND or a clickless aperture that you are actually not even truly using ETTR correctly.
Try it with an actor with a bright blue sky behind them and trees in the background in mid day sun. Or light an actor's face until 100% zebras appear and then back off with a variable nd, clickless aperture or the dimmer from the light. Those skin tones will be a pain in the ass to correct.
Why do you think Panasonic cameras have their zebras set to 80% and 100% out of the factory? The 80% is for skin tones.
These cameras are only capable of so much DR. I don't think it's worth the risk of losing shots with ETTR to get an extra half a stop.
I respect your pursuit of craft, you have way more patience and skill than I have, but you would probably be better served with a light meter than from the Leeming LUT. In most instances, the camera's light meter is sufficient enough. 
I was constantly worried about ETTR after I dumped my EOS-M for an NX500 and all of my footage suffered from banding and bad color. Part of that was my lack of skill, but part was due to my ETTR with every shot, in every scenario, without regard. I did the same with the G7 and I had the same results. Finally, after getting the GX85, I started using the in camera light meter instead and I had better results overall. But it really wasn't until I got the D5500 which won't even meter on older Nikkor lenses, let alone has zebras, so I had to go back to exposing by eye and without a doubt it was some of my favorite and best work. 
No doubt that zebras are a tool and they are great for reference but they are not a reliable measurement of light and exposure. If you want or need that then you should definitely get a light meter.
I don't mean to keep bringing this up to argue with you about, but if you Google ETTR and video, on the very first page, near the top, the infamous Ebrahim Saadawi's long post about it pops up. When I first started coming around this site, I thought he was an authority on video, I took some cues from his bloviated posts because I thought he knew his shit. We know how that turned out. 
Again I think ETTR can work in some instances and I would never not use it when needed. Hell, I use it most of the time now with ML Raw but even then, I will back exposure away if I feel the shot requires it. 

Feel free to add whatever piece of gear you feel like may be useful to you or other people or then your comment.
Here's to begin with:
 

Three years ago, Uwe Steinmueller... 
Had no idea, this time, the young Eskild Fors, some weeks ago.
Distinct stories of life, but both wrote their pages in our lives as two talented digital contributors, unfortunately lost nowadays. My modest homage.
https://www.google.com/search?q=Uwe+Steinmueller
https://www.google.com/search?q=Eskild+Fors

It's definitely crushed. But nevertheless, I do like your work. Would love to see the non-color-corrected footage. 

interesting screenshot. Doesn't look like that here (not on the TV, nor my calibrated REC709 screen, nor my iPad, nor my Galaxy S8 etc...).
Seems like your videoplayback levels are wrong (check your gpu settings, change to REC709 or 16-235) or try another browser.
It is definitely not crushed.
 
Interesting enough, it looks crushed after being uploaded here, lol...

This was one of the worst offenders:
 

Glad to see you picked up a GH5!

Both are fantastic, but since this is about cinematic grading, I do find something to gripe about in both. Here, the shadows are washed out. We can argue about excessive use of slomos, kitsch (but forget it, I do weddings and have to keep my mouth shut!) and other aspects forever, but you never get sth. like this through a quality control screening for a cinema release. It's very distracting and unnecessary. And you can always avoid criticism by claiming it was an artistic choice. There is art, and there is craft.

The choice of "crushed" shadows (not really crushed, check waveform, but strong compression and pulled down to 0-3 IRE range) was an artistic one to achieve a very vibrant, dark and colorful look.
I honestly would love to work with a Varicam LT instead, or a GH5 with the Varicam sensor and processing, lol...
A bigger camera would limit me in many situations, but would be a great option for a way bigger budget (with assistance, another operator etc...).

3 times better wouldn't be the case, some images would profit (way better color science, better DR, better lowlight, no noisereduction nor sharpening etc...) others would be worse (this camera is just big and heavy and would therefore limit my work I guess).
I didn't have any worries about doing extreme colorgrading on the internal 10 bit GH5 footage, grades like butter without introducing any artifacts. The codec is just great and miles better than my GH4/V-Log experience tbh.

Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film.
I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good.
Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).
 

Credit to Sony on that front. You can reheat frozen burritos with their cameras.

Right. No miracles in hands of many... Be free to mark my words LOL :-)
BTW, IBIS per se is worthy of any camera upgrade ; ) To begin with... :P
Let alone 10-bit or 4K/60p for under 2000 bucks... Without mention 400Mbps or new AF firmware to come up in a couple of months :X

C'mon Glenn... *Phew* You and we all know this is not true. Give a RED to a rookie and you'll see the damage. Your claim is totally BS to lightheartedly be posted in a forum among friends oh yeah, but don't hit the fan with, sorry mate :-) 

PRAISE BE!! They were forced to.... They had to put Dual Pixel AF on board, because even the $500 SL2 has that now.
No UHS II. No USB 3
USB 2? Let's party like it's 2004.
Exactly. Why bother putting this on, so great for video, when you are "not targeting video users"
It's so mediocre in this regard, but it's one of their biggest selling points in all the literature I've seen.
Weather sealed and swivel screen... See impossible!!
$2000 is a lot for this, when you can get a 5D Mark III used for less.
You're off topic.
The moire is from YouTube's downsampling for your browser / non 4K-screen, most likely. But at least moan about it in the right thread Kubrickhead.

Thank you for the information but let's keep it organized, OK? :-)
 

Apples to oranges ; )
Glenn, call it founding fathers of POV's responsibility... As you wish.
Point taken, anyways :-)

I don't know what caused the person who filmed that to fall on his head and damage his brain so much that he thought filming that was a good idea. Maybe the same insanity that Kathy Griffin had? Utterly insensitive and stupid. 

We have done comparative tests with Resolve between a desktop i7 6800 6 cores with a GTX 1070 8 GB Vram and a 15 inch 2.3 Kg gaming notebook 4 cores  i7 7700HQ with a GTX 1070 8 GB Vram both equipped with an M.2 SSD and the difference is not that much basically in order of a few fps. The new NVidia GTX 1070/80 for notebooks are not that much slower than the desktop counterpart just google to see various benchmark, it is not like the old Mobile versions.
I'm a lot on the road and having everything with me and being able to edit and grade quickly is very important, naturally at the desk with a great 4k monitor is better but no need to move hdd, cables, sync software settings etc.. Also being able to do changes in an efficient way at customer side is also quite valuable in the way I work.
Considering that a gaming notebook is not that much more expensive than a desktop counterpart for Windows / Resolve user is not a too bad option. The notebook has a 512 M.2 and I have added an internal 2TB SDD so no need of external enclosure etc.. once in the office I backup and archive on an external raid system.
Buying both a desktop and a powerful enough notebook is also quite expensive and without a good GPU Resolve is really bad in perf. Also if need to deliver something at customer side and you need to render 4k in resolve with less than 4 GB vram good luck..
Naturally if you are editing or grading multicam 4k or Raw or 8k then a powerful dual cpu and gpu workstation is another story but also price range. Also if you always edit grade in your studio then a powerful desktop is the best option. The good news that there are solution for every type of work today either desktop, notebook or egpu....

http://menexmachina.blogspot.com/2018/07/egpu-for-video-processing-on-laptop.html

Yeah I bought the Boomerang app for my smartphone, what you do is you throw your phone like a boomerang and it's supposed to 'untwist' the video. However I can't get my phone to 'boomerang back'. Think the app has a bug!

I returned the GH5 cause I Was in the 30 day return window. Won't hesitate to purchase again if AF magically becomes good. 
But a little bird tells me that I have better chance waiting for the A7SIII. 

At the moment my only projects are my travels anyway. Don't need something right now. 
In the future I will do a round the world trip so thats another story.
Spoke to a DJI VP the other day, told him why on earth would they not make a drone (wether a Phantom or Mavic who cares) with the Mavic form factor but with the Phantom 4 Pro 1inch sensor camera. I said even if the drone is twice as big as the Mavic, just the same form factor is what I want. Would buy in a heartbeat. 
He said they are not developing that but would do if demand was here. 
Am I the only one thinking the Phantom form factor makes no sense vs the Mavic?

Let's wait for your review. Worthy as usual : ) There are reviews and reviews. Your readers/viewers have already been used to the complete and rich content from yours. They really rock indeed :-)

False color lut now available for GH5:
https://luts.iwltbap.com/false-color-lut/
Benjamin did a great job, again!

I get the sacrifices for the greater good! The cliché 'the best camera is the one you have with you' is so true. You just gotta make the best with what you have. Anything else is as obvious as it is useless.