noone

Not exactly what you are after I think but I think you might have fun playing around with a Pentax Q for video.        Interchangeable lens camera with a tiny sensor so even a legacy 50mm lens is almost a super tele.
I wish I had tried mine for video before it died.

To be fair, they are only saying it is a massive improvement over other Canon's.
At the end, they do say this-
 
"How does the 5D Mark IV stack up against some of its other peers? Its performance is much better than any other offering from Canon, but it's still not quite as ISO-invariant as the Nikon D810 or D750 (refer back to widget above as you click links). You're unlikely to notice these differences from ISO 400 upward, but below ISO 400, the 5D Mark IV, while competitive, does fall slightly behind in performance".
I m not an apologist for DPR and think it is not so much what they have said as what they have NOT said.

To be fair, they are only saying it is a massive improvement over other Canon's.
At the end, they do say this-
 
"How does the 5D Mark IV stack up against some of its other peers? Its performance is much better than any other offering from Canon, but it's still not quite as ISO-invariant as the Nikon D810 or D750 (refer back to widget above as you click links). You're unlikely to notice these differences from ISO 400 upward, but below ISO 400, the 5D Mark IV, while competitive, does fall slightly behind in performance".
I m not an apologist for DPR and think it is not so much what they have said as what they have NOT said.

"Full frame" is a photographic standard so it measures 3:2 in terms of aspect ratio.
So surely it is more correct to say "4K on the 5D Mark IV is a 1.74x crop of full frame"
"Full frame" is not a 16:9 box.
OK we can measure only horizontally and that is 1.64x crop
But what about UHD 3840px? That would change the crop again and most people deliver in 16:9
So effectively the 5D Mark IV crop factor is more often than not 1.74x.
Anyway no matter what I think.... I hope we can we get a clearer consensus on how the crop factor calculations break down -
Reading the thread so far and various contributor math -
DCI 4K measured diagonally from the 3:2 photographic area it is 1.74x crop
DCI 4K measured diagonally from the 16:9 video area of full frame is 1.64x crop
DCI 4K (4096 pixels wide) is a horizontal crop factor of 1.64x

So what is the UHD 4K crop if your delivery needs to be in the usual aspect ratio and not the 17:9 of DCI 4K?
Back around 1.74x measured horizontally?
And what is the industry standard way of measuring video crop factors - the ones stated by manufacturers themselves - is it horizontally or diagonally? And do they take into account the full sensor 3:2 or 4:3 aspect ratio if measuring diagonally or just the 16:9 portion?
And as for the lenses -
EF-S mount lenses WILL NOT work on the 5D Mark IV as the rear glass intrudes too far into the mount... Although I hear on some lenses like the 10-22mm you can pop off the plastic shield at the back and it might work - no mirror hit?
And so Tokina 11-16mm F2.8 is best wide for 4K and you would need to swap lenses when you go back into FF stills mode

Winning arguments is a waste of time unless prosecuting a lawsuit. Learning new things and helping others is time better spent.
MF vs. FF can be tested with the same camera and lens (changing lens settings and post cropping), which will typically show that the sensor size isn't where any effect is coming from. Now the point shifts to lenses- cool, that could be helpful to understand for those thinking about getting an MF body to take advantage of lenses. However Brian Caldwell stated that the current top 35mm lenses are as good or better than MF lenses. Posting equivalence-matched MF-cameras+lenses to FF could be helpful in showing the strengths of the MF lenses vs. FF lenses. Even more useful would be showing the MF lenses can more cost effectively produce images than very expensive FF lenses (Otus etc.). This same argument is valid when comparing FF to m43: FF lenses are effectively cheaper to get super shallow DOF.

Instead of reputation points, I am replacing the forum system with e-penis points from now on.

The problem is you're just an "arm chair" you fill in the blank......... I've shot countless projects on all cameras and the A7s is no different, people worried about this or that and don't even work anywhere remotely close to any kind of industry..... Canon colors are fine, just like Sony, just like Red, just like etc. I truly wish this forum concentrated more on peoples work instead He Say / She Say bullshit posts........

​Mine is on its way to me with FedEx now!     Hopefully before the end of the week.

Hopefully I will have mine next late next week.
Really looking forward to this.

Obviously the best option would be an A7s, I'd seriously suggest stretching to that if you can. 

Otherwise, go for a Sony A5100 (I got mine for a mere US$310 like new from Amazon some months back. Go for the A6000 though instead if overheating could be a serious concern you wish to avoid) plus a focal reducer (another hundred bucks) plus a Nikkor 50mm f/1.2 (which would be a few hundred dollars second hand). Won't be as good as an A7s of course, but is the next best thing on a budget!
 
A5100 is the A6000 but with XAVCs added in as a bonus, and at a cheaper price too!
http://www.eoshd.com/2014/04/surprise-sony-alpha-a6000-video-mode-huge-improvement/

And the A6000 is the D5200, but with a mirrorless mount and more features. Which allows you to double the light with use of a focal reducer!
http://www.eoshd.com/2013/02/nikon-d5200-vs-canon-5d-mark-iii/
 

I'd be surprised if it has "HIGH SPEED" auto focus.

as far as I know, metabones doesn't offer AF,  and this isn't a speedbooster.
I'm very interested in this if it works.  

Well, yea, he did. Off camera, on camera, out take... What's the difference, he said it, he apologised. It shows the mindset of the man.
I'm about as hard to offend as possible, I'm not offended by Clarkson. I don't even dislike the guy (other than being a chelsea fan)... I laughed out loud when he said he was "off to the job centre" yesterday.
I just don't believe that huge stars should be given different rights to anyone else. If the producer had punched Clarkson, do you think he would be working today?
This diatribe is hiding an ugly point behind an indie/creativity mask.... That big stars should be able to do whatever they want, without consequence... Because they bring in money and entertain. It's the opposite of the indie mindset.

Last February I made the first EOSHD video quality charts 2014. This was an at-a-glance chart of image quality delivered by every camera I can possibly think. This year I've decided only to include the cameras I've direct experience of shooting with in my own filmmaking projects, with only a few exceptions such as the Sony F35 and Canon C300. I've also removed cameras that have been superseded by very similar ones (such as the GH2 by the G6, sharing the same sensor).
Here are the results...
Read the full article

It's heartbreaking seeing no one suggesting to avoid the picture profiles altogether.
PP - OFF!
go neutral creative style, dial down contrast to -3 and sharpening to -3 and set wb correctly.  then notch the 4 way wb adjustment away from green and towards magenta slightly.
shooting using the camera exposure meters and all will be good.  your editor will love the images.  s-log aint worth the time and effort in its current implementation on the a7s IMO
 

I've searched for official docs and specs for correctly processing the A7S's custom Slog2+SGamut implementation (not the same as the Sony Pro versions). While the Pro LUTs get close, colors aren't quite right, especially skin tones. Slog2+SGamut with the LUTs found so far can provide very cool looks. If one is looking for something accurate for skin tones, I haven't found LUTs which can do this. It's puzzling that Sony hasn't released tech specs for the A7S's custom Slog2+SGamut or official LUTs (as they do with the Pro cameras).
I found the best all-around stock PP is PP6. Example here (stock PP6, auto ISO, auto WB, auto AF- event style shoot with many different skin tones and multiple colored lights): https://www.youtube.com/watch?v=aq8m2FaVL1U . You can bump saturation a little in-camera and along with carefully set WB, get good out-of-camera footage. Indoors, PP4 isn't too shabby after dialing down saturation. I'm putting together a tutorial for matching A7S to 5D3 RAW with an emphasis on accurate skin tones. Currently testing the results on models/actors- so far so good. Will publish the results when done.

​16-50 OSS does not work on A7s, so as the 18-55mm

Both the little E mount power zoom 16-50 OSS APSC kit lens and the APSC E mount 50 1.8 OSS are cheap and ok for video use in APSC mode on an A7s and both stabilized.
A bit low res for stills on the a7s.       More useful for stills on the higher res A7 cameras.

About 11 usable stops for 1Dc seems consistent with Adam Wilts review from March 2013. When he stretches it in post he gets to 13 stops. Doesn't really matter.
The point here is that Canon Log is a beautifully designed picture profile specifically for 8bit after carefully evaluating both technical as well as psycho visual aspects with many screenings before experiences DPs.
There is a DR craze going on with the false notion that a camera is supposed to capture everything from the darkest shadow to the brightest highlight. Welcome to amateur hour.
Just as the photographer/cinematographer carefully selects his/her framing, he/she also carefully select what light to include. Blown out highlights should be beautifully rendered. Light falling into shadow creates drama.
It should be obvious that both the Canon 1Dc as well as the A7s should be able to create satisfactory images. The error will fall on the operator. The 1Dc captures the image internally to CF-cards with no fuss, which is nice.

Thanks everyone for responses!
​No, absolutely not. 1080p will be fine for now.
​I would say that functionality is the best thing about A7. From what I see, it was really created as a camera for serious video shooters. Maybe Sony didn't quite deliver the video quality we expected from that sensor, but overall, its OK. Could be better, though.
In my country there aren't any extra deals like in the USA. I will be looking for a used one, because new is out of my budget.
​To be honest, everyone - especially on EOSHD - is saying that Canon DSLRs (apart from 5DM3 and 1D C) are obsolete and almost dead in terms of video. I really don't want to take that road, especially considering that I mostly do stills nowadays and stills on Canon APS-C aren't something great right know (sensor is old). Nikon and Sony are way ahead in this area. 
70D would be worth considering if it would cost around ~700$, but for 1149$ I would rather go full frame with A7.
One great thing about Canon is Magic Latern, as you mentioned. Although I'm wondering if is it really stable and can be used on serious jobs?
​In stills area I know what I'm doing and what type of photography I'm pursuing. Here are some examples:



All done with a camera that now costs ~300$, so I really can push my gear as hard as I can  
With film, we'll see. I want to shoot a short story this year, but also try to get into commercials, web series etc.
​I would totally buy A5100 if it had EVF! However, if A6000 would have XAVC-S... there is a rumor that we'll see A6100 next year, with XAVC-S.
One thing that I particullary like about A6000 is AF. I played with A6000 twice in the shop and wow, this AF is really great. EVF is ok, slightly better than in my A35. One thing that worries me is 1/160 x-sync. It is always better to have 1/200 or 1/250 (A7). 
Talking about "try before you buy" - it is hard. You can check some things in shop, but only few of them. I mean, the camera shows you true inner-self in real life situations, on set etc. When I was playing with A6000 I cannot even record anything to SD, because shop clerks told me that it is prohibited in their shop.
RX10 and FZ1000? I would rather stay with interchangeable lens camera.
 

not sure it will look all that great without a lens though  :)

​I like people who ask good questions
[Goes off to check...]
Yes it's a good fit actually. Only the tiniest little bit of corner shading at 1.3x in 4K. The 1.85:1 crop gets rid of most of it. Easily fixable in post for the shots where it shows up (i.e. on a plain wall or sky). There's no hard vignetting. Any shading is pretty much gone by 24mm.
Looks great!

From my cold dead hands

My biggest moment was bringing my A7s to Germany to visit my father in law. He had been stricken by Lassa fever in Sierra Leone eight years ago, rushed to Germany, was in a coma for 6 months, and ended up in a wheel chair for eight years. But then my wife and I got word he started walking in September. So we rushed out from Brooklyn to visit him in Germany. I took my A7s to shoot photos and film this amazing development. But I had to be mindful as he's a proud man (a physician and African Chief). I needed something that would be discrete and unobtrusive. With the silent shutter, ability to shoot from the hip and with no lights or flash, the A7s caught some of the most beautiful moments that I couldn't with another camera. Then when I showed him the technology and what it could do he was completely blown away - and of course got up and walked for the camera. 

My biggest moment was this summer when I got my first job as a DP on a childrens feature. It is the second biggest cinema opening of an Icelandic film in Iceland ever hehe(the kids love these guys and this was their 4th movie)
Shot with C300 and C100 with Atomos Shogun and Ninja. Canon Cine Primes.
Shot this summer, premiered 31. october
 
Sorry, no english subtitles.