Nikkor

€4500 / $4500 price tag....

​Ebrahim, you clearly like the camera. I can't argue with your opinion that the difference in quality shows even on this YouTube clip, because it's an opinion. But I don't think you supported it with anything factual other than saying that the large sensor makes it possible to shoot wide shoots with less distortion. I don't believe that's accurate. As I understand, differences in distortion come from lens design. With the same design, whether you use a small frame with a wide lens or a large frame with longer lens, as long as you get the same field of view you're going to have the same level of distortion. So, frame size plays no part other than letting you go wider with the same lens. I may be wrong though, please point to a credible source if I am.

Do you really enjoy the canon pinkness? 

Do you really enjoy the canon pinkness? 

Magical.  It's the 40mm and 50mm lenses giving similar fov's to what we'd need a 16mm or 18mm to achieve on an normal alexa that give those expansive wides such a powerful look.  wide, but not with the distortion of a super wide.  That first shot looks like it's beinf projected on a curved screen.  it wraps around!
 
resolution looks amazing.  if anything i'd like to see some film grain overlay on that just to take the edge off.  almost too clean for the theme of the movie.

The interesting thing about BSI is the capacity to capture more rays, specially those from bright and/or wideangle lenses designed for film (simetrical wideangles from leica,but also retrofocus lenses that were great on film but bad on digital).

Finally we can get a glimpse of some footage shot on the Alexa 65 and it looks amazing, Lubezki and a 65mm digital cinema camera is like the perfect combo for a new oscar! 
Can't wait to watch this movie! The cinematography looks amazing, you can really see it's lubezki behind the camera (wide angle and a lot of steady cam reminded me of Children of men and Tree of Life)!
 

I admit, I'm infected with GAS (gear acquisition syndrome). It's time to let go of some of my gear... So I'm selling my SLR Anamorphot 1,33x. Bought it last year like new, I haven't used it since, it's been sitting on the shelve basically. It's the complete kit with 0.3 and 1.3 diopters included, in it's original box, in perfect condition.
Current price - new - is €1189 after rebate.
Asking price: €900
Send me a message if you're interested.
I'm based in The Netherlands, prefer to sell in Europe. Payment by bank transfer or PayPal.

(image from SLR website, I can show you the actual set if interested)
Since I haven't used it - except for taking a picture of my cat when I received the set... - I can't share any of my own works. Here is some work made with the SLR Anamorphot by others on the forum:
 

 

In 10 years you will notice awful colors and relate them to this period, among motion qualities,etc...

Dual iso on the new a7000. 15.5 stops.
http://www.sonyalpharumors.com/sr3-sony-a7000-is-the-first-e-mount-camera-with-15-5-stops-on-sensor-hdr/
Hmmm, I'm tempted, let's hope it works in 4k and in slog2

​Nice find. I've been waiting for that camera. Suddenly it seems even more interesting

Dual iso on the new a7000. 15.5 stops.
http://www.sonyalpharumors.com/sr3-sony-a7000-is-the-first-e-mount-camera-with-15-5-stops-on-sensor-hdr/
Hmmm, I'm tempted, let's hope it works in 4k and in slog2

​I do entire shoots with 5-axis.  I love it; works for me.  
I agree with your opinion that stabilization can look very artificial when the camera is moving.  It's a tool on my EM5II that works very well for grabbing static shots without a tripod (which I do often) and for mimicking a short slider shot...but you have to practice at it, much like using a glide-cam type rig.
For much of the corporate crap I do, I prefer a quiet lens.  For those shoots I'm trying to keep what I do as neutral and transparent as possible.  I don't want to call attention to my shooting and/or editing.  I put their stories at the forefront and the production style is conservative.
I also concur with your assertion, Implement the 5-axis technology in an intelligent pragmatic way and it's a wonderful thing.  
We all should keep in mind that a lot of shooters you see on the youtubes haven't a clue or are just messing around with testing, (5 minutes of walking though as park handheld?  Who would use that in an edit anyway?) so judging by their work is a mistake. 
And let's be honest, a lot of prosumer enthusiasts can also be talent-limited, assuming that IS or OIS is some sort of panacea that'll make their footage wonderful. Um, no.  If you stink as a shooter in general, your stabilized footage will do the same. (those Canadian guys from that camera store come to mind.  They're gear geeks and can tell you the ins and outs of a camera's functionality, yes, but they're not the best shooters and the footage always looks subpar to what a particular camera can do.)  
Finally, don't forget, if your camera has 5-axis stabilization, you can always turn it off too. 

Even with a 16stops camera, shitty light will always look shitty.

Even with a 16stops camera, shitty light will always look shitty.

Even with a 16stops camera, shitty light will always look shitty.

Even with a 16stops camera, shitty light will always look shitty.

Even with a 16stops camera, shitty light will always look shitty.

Even with a 16stops camera, shitty light will always look shitty.

Even with a 16stops camera, shitty light will always look shitty.

Even with a 16stops camera, shitty light will always look shitty.

Even with a 16stops camera, shitty light will always look shitty.

​
TBH I think both the rectilux and the fm deliver all that's needed in this market.  2x anamorphics are plentiful - kowa b+h and rectilux appears to be delivering good stuff on 25mm/35mm and 50mm on gh4 which equates to a 50mm/85mm and 135mm on 4perf s35.  
 
However I'd almost certainly need 25mm f0.95. 35mm f1.2 and 50mmf2 if I wanted to get anywhere near what a typical panavision set look like on s35 4 perf.  Even then, the b+h will never allow users to get that 35mm 2x + s35mm 4 perf 'wide combination' - the expansive anamorphic wide setup.
 
I'm currently developing a large 1.5x anamorphic lens with a spherical focusing section.  Main criteria is to deliver onto red weapon vista vision sensor with a 35mm taking lens.  this will match the fov and dof of a fast 2x anamorphic 35mm lens on 4 perf s35mm,  Being 1.5x it'll be more compact and way sharper than typical fast 2x anamorphs.   however the price point is gonna be rather high.
 
 

Did a test at home just to get a reference and thought I share the results.
Cameras: BMPCC, D16
Mics: Electro Voice 635A, Sennheiser MKE600, Zoom H1
The BMPCC needs lots of gain in post as expected, the D16 does not. 
 

Imo Global Shutter is the key. Then you can move the camera freely and it all looks good instead of weird. 
No need for IS or IBIS. 
I will never buy an A-cam without it again. Took me one day with the bmpc to make that decision