IronFilm

I will do this and try as hard as I possibly can to see no difference..  I'd take being 'motion cadence blind' and under 25 any day!!

Can't?
Perhaps pick up the BMD Micro Cinema Camera for now on the cheap, which can do FHD 60fps

Does your office have a C300mk1 or mk2?

Am hoping for a URSA Micro Pro! ;-) 

Someone could have asked a while ago why would any one ever buy a phone from a computer company?!

Someone could have asked a while ago why would any one ever buy a phone from a computer company?!

Here is another, he is good, thanks, worth watching:
 
 

After watching that Steve Yedlin video again, if I had £10K to spend and wanted a pain free way to get a cinematic look, I'd buy an Alexa for £8K off eBay and give the rest to him to set it up and teach me his workflow  

I think where we may end up with this is concluding that the only way to truly differentiate the motion cadence between two cameras is by shooting unicorns in full gallop.
So it doesn't matter whether you go there for fuel or chicken you're going to end up with gas either way.
Smart marketing.

Tascam HS-P82 perhaps?

It is easy enough to justify the current equipment you own and use, but it is totally different trying to make an argument for someone else to buy it!

I mean, the Tascam HS-P82 is pretty nice and decent for its time, but you'd have to be bonkers to pay that price for it now in 2018:

https://www.bhphotovideo.com/c/product/657379-REG/Tascam_HS_P82_HS_P82_8_Channel_Field_Audio.html
https://www.ebay.com/itm/Tascam-HS-P82-8-Channel-Field-Audio-Recorder-040/401489772557?hash=item5d7aa7c00d:g:DKEAAOSwhfdaexT0

Even secondhand, hell no, not paying a price that high for it!

Which is my point, there seems to be no "secret gems" when it comes to audio recorders for film shoots, they're either outdated or/and overpriced. 
 
 
 

For sure, in the studio world I reckon more "hidden gems" exist, but that is a massively bigger world than the production sound world for film which is a smaller niche and less space for a gem to hide away in. 

Additionally none of those rack units need to care about power requirements, weight, or size!

Three factors which are extremely important when out in the field, and have been getting much better over the years as time progresses forward. 
Hopefully! I feel/hope my trajectory is going in the right direction if I work at it. 

Am thinking though I might apply for a job at the local rental house. Could be beneficial in a number of ways, and I'd really enjoy it. 

hahaha ;-) And would this hypothetical person also be bringing along a handful of raw recording NX cameras as well? 

Not sure if I should be offended or pleased with the complement? 

Back onto the topic of Cedar DNS2 again, wellll....  I get sent some odd messages sometimes, I got this just now sent on Facebook:

 
Sigh.....

Ballsy to buy from a brand new user!

Someone could have asked a while ago why would any one ever buy a phone from a computer company?!

Out of likes. One of your better statements. Heck, maybe your best.

Someone could have asked a while ago why would any one ever buy a phone from a computer company?!

24bit depth or bust!

Oh wait... sorry, are we not talking about audio?! 

I'm going to go out on a limb  and suggest  the reason  footage from professional level cameras looks more cinematic than most footage from amateur cameras is more to do with the professionals behind the "professional" cameras.
There's a reason lights comes before camera. Capturing what the eye sees  is not what cinematography is about. It's about creating art.

I got my monitor mount on my Sony PMW-F3 that way from Zacuto. 

Firstly, the short video clip you posted looks good, @jonpais
The sticker for me is what is meant by "cinematic," since it is a word bandied about so often.
Firstly, I don't think it is specifically dynamic range of a camera per se that is the main concern. (As someone pointed out, some of the more popular film stocks had limited dynamic range).
I would say that - in terms of brightness and darkness - cinematic in part to me means "controlled lighting" or maybe something more like "well managed lighting."
But that is just one part of the recipe for cinematic for me.
And "well managed lighting" could be everything from using a cheap foam board reflector to using fill lights to shooting in open shade to shooting at the right time of day to using a camera with more stops of DR.
So in essence, I think we might be barking up the wrong tree if we look at it as just "how many stops of DR are needed."
Getting back to the nice sample footage you posted. As someone pointed out above, not a whole lot of DR in those shots.
What would have made it look more cinematic???
Maybe some of these MIGHT make it look more cinematic (maybe or maybe not - I am not implying at all that you SHOULD do these things, just saying that some people might feel your footage is more cinematic if you were to do these things, although others might not):
- gelling your key light
- shallower depth of field
- epic sounding background music
- using a diffusion filter
- more base makeup on the talent
- stronger grading of the footage
- adding film grain
- adding audio from the environment.
~~~~~~~
Man, I ramble on a lot. I guess it boils down to - in terms of dynamic range - managing your lighting, which you did well in the clips you posted.

Meanwhile Nikon still has their Nikon D850 out of stock, EIGHT MONTHS later after release!
https://nikonrumors.com/2018/04/02/nikon-d850-filmmakers-kit-now-in-stock-in-the-us.aspx/

And this is why Canikon can be pretty complacent about Panasonic/Sony for now. 

Nikon has filed a patent for a mirrorless mount:

https://nikonrumors.com/2018/04/04/the-latest-nikon-patents-13.aspx/

 

These are interesting too:
 

 

Back onto the topic of Cedar DNS2 again, wellll....  I get sent some odd messages sometimes, I got this just now sent on Facebook:

 
Sigh.....

wish I could be of more help, but if changing gamut is not entirely obvious, maybe the F3 is different.  on the F35 and other sony cinealta cams, just head to gamut in the menu.  
congrats on the fsi and video io.  I wish more of the image making community would take the time/money to get the most crucial part right.  I don't know how all the bloggers, YouTubers, forum members etc... can give advice about a cameras image vs anothers that's worth 2 cents.   their assessment is actually just an interpretation of their very @^$#*imaging pipeline.  

if a director/producer told me to shoot with any one of a Pocket/Micro/GH5/GH5S then I wouldn't mind in the slightest, I feel they're all "equal but different" to each other. 

I reckon your color grader and lighting technique goes further in determining "cinematic" than picking a GH5S or a Pocket. 

But a perfect comparison/analogy, but I like it!

Exactly, don't mix up the 4.6K sensor (which is in the URSA Mini 4.6K and URSA Mini Pro) with the 4K sensor! (note that BMD doesn't even bother to offer the 4K sensor in the URSA Mini Pro, as BMD has realised it is time to drop that 4K sensor from their line up)

As those two sensors are living on two different planets. 

I forgot to add "psychology of the viewer" to the list too. When these sorts of tests are done blind the results are often startling to the viewer. All of the camera fan/hater stuff goes out the window and people's minds open and change. Geoff Boyle has done some great tests this way on CML and very accomplished DPs often are surprised by what they like/dislike when they don't know what the tools are that were used to produce the image and have to judge the image alone without any of the tool allegiances/preferences we all carry around.

Hey, folks with Sony cameras! Post to sony community for support 4:3 anamorphic mode.
If the Sony listen to customers we have to speak up.
http://community.sony.com/t5/Join-the-Inspiration/idb-p/ideas
http://community.sony.com/t5/Join-the-Inspiration/Sony-needs-4-3-aspect-ratio-for-2x-Anamorphic/idi-p/661841
https://community.sony.com/t5/Alpha-SLT-DSLR-Cameras/Sony-A7SII-4-3-Anamorphic-mode/m-p/561366/highlight/true#M8027