hyalinejim

At the risk of flogging a dead horse, 444 Log masters is the answer.

Many people can, and do. Myself included.

Also bear in mind that in option 2 above I mentioned editing the CDNGs directly in Resolve - no transcoding is required here. You could also edit them directly in Premiere but its debayering is shit.
Regarding the robustness of log masters, simply transcode to a high quality 444 codec and you're in business in terms of being able to push the grade later. You can even pull white balance wildly on it without degrading the image, if you should ever need to. This is why Andy600 made Cinelog C - it's the next best thing to the RAW files themselves.
Cinelog C master:

LUT applied:

 
LUT + Cool WB

 
LUT + Warm WB

 
Curves to show retention of highlight detail (here you would get better results directly from the DNG, but who is going this far in a grade?):

 
Curves to show retention of shadow detail:

 
Cinelog extracts as much info as possible from the DNG and packs it in a 13.5 stop container with a Cineon curve and Alexa Wide Gamut primaries. Or you can debayer into BMDFilm or Alexa colorspaces and gamma in Resolve if you wish. It's all starting to sound a bit complicated now! My point is that there are many workflows and options with pros and cons in the Magic Lantern world. But once you settle on one that works, you don't need to think twice about it.

At the risk of flogging a dead horse, 444 Log masters is the answer.

If you cant tell, I'll take your F65. Who wants that heavy, expensive old thing anyway. In trade, I'll take you out to Walmart and let ya pick out whatever camera ya want and then I'll buy ya dinner at Applebees.

I've never really been interested in Dual ISO because of the aliasing and moire.

Just chiming in to also stand up for 5Diii RAW. It can be very easy and fast to work with in post, once you master one of many possible workflows which are differently quick / slow and simple / laborious.
I use it professionally every day. 
Image quality downsides: there is very slight aliasing, its 1080p is not as clear as a downsampled 1080p, dynamic range is "only" 11.5 stops.

MLVFS... as easy as anything else, can't really see an issue here.

Indeed. Consider the choir preacher to.

Well, when you're making the usual corporate videos like I do from time to time, you need to get with the ridiculous.

I shoot live bands in whatever light is available to me and have done so with many cameras since film SLRs.
I can not change the location and I can not add light.
Each generation has gotten better and better but for me, the A7s is the camera I always wanted as it means I can use 5.6 or even f8 if I want to.    I just don't worry about ISO anymore.
I do use ISO 51200 and even higher from time to time (ISO 80,000 is fine for me often and sometimes 102400 is as well).     The bands, and odd newspaper have been happy to use some of my shots at 51200.
I use auto ISO and what I use depends on where I am aiming at and the light available.     I would prefer if it stayed at lower ISOs but sometimes, in some of the bars and pubs I shoot, there is just no choice. 
With each camera I have used, I have had my limits.      Original A7 was 12800 with the odd shot a bit higher, Pentax Kx was ISO 6400, sometimes ISO 8000,  My GX7 (I have only used for live music on the odd occasion), I don't like over  3200 (6400 in a pinch).     Earlier DSLRs were a bit lower.      Film and ISO 3200 was mostly very grainy but I was restricted most of the time to using fast lenses.
 
A few years ago I shot in a club/bar that was lit by a couple of shaded table lamps.     I was using an APSC DSLR at the time and ended up with very few usable shots.     I would have loved to have an A7s there.    Many of my current venues are just pub corners and one is an outdoor beer garden with all gigs at night.
I mainly shoot stills but I use the same lenses with the same  auto ISO settings for video and have been very happy so far.     

What. 
Im curious to see your raw footage without ETTR or Zone System. 
Everyone know that the sensor need the best exposition in RAW use, or else we get noisy low light revovery. 

Exactly the same but stretched. 

That's quite a provocative question, but I like the way you think! Theoretically, it should be possible to get the GH4 to more closely match the Alexa. This is what I would do.
1. Shoot in 10bit V-Log to an external recorder
2. Use LutCalc to generate a VLog to Alexa LUT, to get the Panasonic gamma and gamut into the Alexa range
3. Shoot a colour chart with a GH4 and Alexa (this is the hard part) with the same exposure. Then bring both into Resolve. Apply the VLog to Alexa LUT to the GH4 shot and adjust the hue and saturation curves so that each square on the aligns with those in the Alexa shot, as seen on the vectorscope.
Using this kind of method I've got my XC10 to match my 5D3 MLRAW almost perfectly, both shooting a colour calibrated version of C-Log. That's not entirely dissimilar from what you're talking about. OK, they're both Canons but actually the colours coming from each of them were actually quite different.
Maybe you can find a shot of a chart shot on an Alexa somewhere and exactly replicate the exposure and lighting on your GH4. Good luck and don't forget to post your results when you succeed!

That's quite a provocative question, but I like the way you think! Theoretically, it should be possible to get the GH4 to more closely match the Alexa. This is what I would do.
1. Shoot in 10bit V-Log to an external recorder
2. Use LutCalc to generate a VLog to Alexa LUT, to get the Panasonic gamma and gamut into the Alexa range
3. Shoot a colour chart with a GH4 and Alexa (this is the hard part) with the same exposure. Then bring both into Resolve. Apply the VLog to Alexa LUT to the GH4 shot and adjust the hue and saturation curves so that each square on the aligns with those in the Alexa shot, as seen on the vectorscope.
Using this kind of method I've got my XC10 to match my 5D3 MLRAW almost perfectly, both shooting a colour calibrated version of C-Log. That's not entirely dissimilar from what you're talking about. OK, they're both Canons but actually the colours coming from each of them were actually quite different.
Maybe you can find a shot of a chart shot on an Alexa somewhere and exactly replicate the exposure and lighting on your GH4. Good luck and don't forget to post your results when you succeed!

That's quite a provocative question, but I like the way you think! Theoretically, it should be possible to get the GH4 to more closely match the Alexa. This is what I would do.
1. Shoot in 10bit V-Log to an external recorder
2. Use LutCalc to generate a VLog to Alexa LUT, to get the Panasonic gamma and gamut into the Alexa range
3. Shoot a colour chart with a GH4 and Alexa (this is the hard part) with the same exposure. Then bring both into Resolve. Apply the VLog to Alexa LUT to the GH4 shot and adjust the hue and saturation curves so that each square on the aligns with those in the Alexa shot, as seen on the vectorscope.
Using this kind of method I've got my XC10 to match my 5D3 MLRAW almost perfectly, both shooting a colour calibrated version of C-Log. That's not entirely dissimilar from what you're talking about. OK, they're both Canons but actually the colours coming from each of them were actually quite different.
Maybe you can find a shot of a chart shot on an Alexa somewhere and exactly replicate the exposure and lighting on your GH4. Good luck and don't forget to post your results when you succeed!

5D MKIII Raw.

That's quite a provocative question, but I like the way you think! Theoretically, it should be possible to get the GH4 to more closely match the Alexa. This is what I would do.
1. Shoot in 10bit V-Log to an external recorder
2. Use LutCalc to generate a VLog to Alexa LUT, to get the Panasonic gamma and gamut into the Alexa range
3. Shoot a colour chart with a GH4 and Alexa (this is the hard part) with the same exposure. Then bring both into Resolve. Apply the VLog to Alexa LUT to the GH4 shot and adjust the hue and saturation curves so that each square on the aligns with those in the Alexa shot, as seen on the vectorscope.
Using this kind of method I've got my XC10 to match my 5D3 MLRAW almost perfectly, both shooting a colour calibrated version of C-Log. That's not entirely dissimilar from what you're talking about. OK, they're both Canons but actually the colours coming from each of them were actually quite different.
Maybe you can find a shot of a chart shot on an Alexa somewhere and exactly replicate the exposure and lighting on your GH4. Good luck and don't forget to post your results when you succeed!

That's quite a provocative question, but I like the way you think! Theoretically, it should be possible to get the GH4 to more closely match the Alexa. This is what I would do.
1. Shoot in 10bit V-Log to an external recorder
2. Use LutCalc to generate a VLog to Alexa LUT, to get the Panasonic gamma and gamut into the Alexa range
3. Shoot a colour chart with a GH4 and Alexa (this is the hard part) with the same exposure. Then bring both into Resolve. Apply the VLog to Alexa LUT to the GH4 shot and adjust the hue and saturation curves so that each square on the aligns with those in the Alexa shot, as seen on the vectorscope.
Using this kind of method I've got my XC10 to match my 5D3 MLRAW almost perfectly, both shooting a colour calibrated version of C-Log. That's not entirely dissimilar from what you're talking about. OK, they're both Canons but actually the colours coming from each of them were actually quite different.
Maybe you can find a shot of a chart shot on an Alexa somewhere and exactly replicate the exposure and lighting on your GH4. Good luck and don't forget to post your results when you succeed!

That's quite a provocative question, but I like the way you think! Theoretically, it should be possible to get the GH4 to more closely match the Alexa. This is what I would do.
1. Shoot in 10bit V-Log to an external recorder
2. Use LutCalc to generate a VLog to Alexa LUT, to get the Panasonic gamma and gamut into the Alexa range
3. Shoot a colour chart with a GH4 and Alexa (this is the hard part) with the same exposure. Then bring both into Resolve. Apply the VLog to Alexa LUT to the GH4 shot and adjust the hue and saturation curves so that each square on the aligns with those in the Alexa shot, as seen on the vectorscope.
Using this kind of method I've got my XC10 to match my 5D3 MLRAW almost perfectly, both shooting a colour calibrated version of C-Log. That's not entirely dissimilar from what you're talking about. OK, they're both Canons but actually the colours coming from each of them were actually quite different.
Maybe you can find a shot of a chart shot on an Alexa somewhere and exactly replicate the exposure and lighting on your GH4. Good luck and don't forget to post your results when you succeed!

I could be wrong here, but I think that noise problem with 10bit was due to a wrong black level or something and now it's fixed.

Both of these are an Iscorama pre-36 on a 5D2. Still going strong these days with the Isco for documentaries on ML5D3.
It requires a measured approach to shooting. Not good for when you need to change lenses quickly in order to get the shot.
 

Both of these are an Iscorama pre-36 on a 5D2. Still going strong these days with the Isco for documentaries on ML5D3.
It requires a measured approach to shooting. Not good for when you need to change lenses quickly in order to get the shot.
 

Both of these are an Iscorama pre-36 on a 5D2. Still going strong these days with the Isco for documentaries on ML5D3.
It requires a measured approach to shooting. Not good for when you need to change lenses quickly in order to get the shot.
 

To be honest, if Magic Lantern team can ever get a usable preview for 10 bit recording then I'd be very happy to stick with continuous 24p 2.8k 10bit on the 5D3 for a number of years yet. The downsample for HD or 2K DCP delivery would just tighten up the resolution nicely while still allowing for a little wiggle room with stabilisation or reframing.
At the moment the preview freezes when recording in the crop mode that allows resolutions above 1080.