DBounce

Point taken... Yes I was being lazy. So here are some heavy handed grades to see how far this footage can be pushed before it crys like a little baby. And I can tell you it seems to hold up pretty dam good. Lots of room to get some crazy color grades and it keeps it's cool. This footage is definitely more robust in post than anything from a DSLR. I would love to get my hands on one to see how it handles in the field. 
 

I guess the problem is I don't spend my time shooting studio charts.

I guess I miss the point of this thread? Since the only thing confirmed is that the title is wrong... iPhone 7 / 7plus does NOT have 4k@60p. That much IS confirmed.

Seems most here are convinced that FF on the A7Rii is garbage. Yet I thought the difference in iq was marginal when compared to the aps-c mode. So much so that it was my preferred shooting mode 90% of the time. 

There is no such camera. So why would anyone compare the 1DXMkII to something that is imaginary? Why not just compare to the A12... specs should be killer.

It's not on your list. And it's not one I would have thought of using in the past for monitoring. That is, until I used them.
Which?
The Bose QC35
These headphones are noise cancelling. In the past I used Sony's and Sennheisers to monitor. However, in noisy environments I would often times have a hard time discerning if the noise I was hearing was getting in from the ear-cups or if it was in fact being picked up by the microphone. But with the QC35s this is no longer an issue. Because the only thing I hear is what the microphone hears. No single audio purchase improved the quality of my captured audio more than the QC35s. Now I know exactly what is being picked up by the microphone. There is no more guess work.

https://www.dropbox.com/sh/2e8ol7fwb0od20o/AACWr3GJ2EpKMThOs2NmjLnFa?dl=0
Downscaled from 6K Wide to 4K Wide, ProRes422HQ
Footage is in KineLOG
 

Just messing about with the in camera picture profiles and some 3rd party one that I loaded on the camera. Some can be pushed further than others. I tried to keep it all even, but in the non-flat profiles I had to dial it back. Just a quick and dirty grade using Magic Bullet Looks. Opinions welcomed.
 

There is no such camera. So why would anyone compare the 1DXMkII to something that is imaginary? Why not just compare to the A12... specs should be killer.

So we've all been waiting for months for this camera... its supposedly shipping and yet there is not one single image out there... what's going on ?

You need the wireless module canon wft-e8a.  It's expensive at $600, but I opted to purchase it as it is useful when monitoring on a gimbal. And yes it can be used to pull focus. There is some lag, but it's workable. 
As for focus tracking if you have a focus puller on a tablet all they need do is tap on a subject and the camera will work is magicoming and provide a prefect pull from subject a to b. If you are a single operator you will need to select an appropriate focus mode. Of which there are several for different situations. Each can be tweaked.

1/40 or 1/50 are your choices.  I generally opt for 1/40. Difference is small,  but I think 1/40 moves better. 
Yes,  but regardless of shutter angle, the gh4 does not look anywhere near as cinematic... so, what does it matter? 

It seems most are using grain to cover perceived imperfections in their footage. I'm seriously trying to get away from the old film look.  While I do have a place for it in my heart,  I just feel it's like when people use to add the record player sound to digital recordings.  

Many here worry about noise in there footage. But many of those same people then use plugins like Film Convert to add noise "grain" to their otherwise clean footage. So why worry about noise if you add noise in post in the form of film grain? I think the idea of taking otherwise clean digital footage and adding grain to simulate the "film" look is very 2012... Went to the movies yesterday to see "Don't Breath". They showed some BTSF of the director. In that footage you could see the Alexa that they shot the film on. And as I sat there watching the movie, I could not help but remark how clean the image looked. No grain at all. Motion cadence looked great. The overall image looked fantastic. I think the film look may work for nostalgic pieces, but other than that I believe it only serves to degrade the image quality.

Andrew, in my experience with the 1DXMkII rolling shutter had been a non-issue. 1080p is "Canon" 1080p. I don't think the issue is sharpness, it simply lacks resolution. Audio quality from the in camera preamps is very usable. And battery life is good.
The DPAF and 60p are well worth the price of admission. Granted I have had grips about the 1080p, as I know Canon could do better. Nonetheless, it's still the best... and only option for 4k @60p, in a DSLR form factor. I would wager this will not change when the GH5 is released. The camera saw extensive use during the Olympics, for both stills and video. It is a professional level piece of kit. Arguably the most appealing Canon camera available at present. The C300 mkii has heavy competition,  and frankly does not compete as favorably in its segment. The 5DMIV lacks the all important 60p option, and the crop is extreme. It's pity, as I had intended on adding one as a B-camera. If you do go with the 1DXMkII, it will serve you well for many years.  Comparing to my Sony A7Rii, I can tell you the 1DXMkII is the clear winner.  In my own my testing, while performing color grades on footage from both cameras with the same lens, the Canon's footage was able to be pushed to a much greater extent than the Sony, which became unusable when pushed to similar levels.  
C-Log - yes, it's would be nice to have.  But some might argue the need for log on an 8 bit  camera. I do think Canon should have thrown it in, but I can live without it in light of the other things this camera brings. 
DPAF - priceless. The best I have used by far. This single feature is reason enough to switch. Especially when you have this camera mounted to a gimbal. I cannot impress upon you enough how useful DPAF is. It's almost like cheating.
I've been editing my footage in Premiere Pro, as it now supports proxie files. Working with proxies actually takes away most of the pain of working with MJPEG. 
If you do get it, you will not look back.  The 4k is a bit different in feel to the 1DC. It seems to be of the more modern flavor that is becoming common in movies these days.  Cleaner, but not totally sterile. It seems a lot of new camera are favoring this look. Give it a try. In the end it's about telling the story. I know in my use the 1DXMkII proved to be a better tool for that job... because it worked, and did so without fuss. No need for a follow focus. Not even sure where my follow focus is, just haven't  needed it. And now I can use AF lenses. I mean I can really use them... and pull focus... and nail my shots. I'm not saying DPAF is perfect, but it's definitely usable in a professional setting. And frankly in many respects it does a better job than I can. The way it hold focus, even when working at f1.2 is crazy. 
 

Andrew, in my experience with the 1DXMkII rolling shutter had been a non-issue. 1080p is "Canon" 1080p. I don't think the issue is sharpness, it simply lacks resolution. Audio quality from the in camera preamps is very usable. And battery life is good.
The DPAF and 60p are well worth the price of admission. Granted I have had grips about the 1080p, as I know Canon could do better. Nonetheless, it's still the best... and only option for 4k @60p, in a DSLR form factor. I would wager this will not change when the GH5 is released. The camera saw extensive use during the Olympics, for both stills and video. It is a professional level piece of kit. Arguably the most appealing Canon camera available at present. The C300 mkii has heavy competition,  and frankly does not compete as favorably in its segment. The 5DMIV lacks the all important 60p option, and the crop is extreme. It's pity, as I had intended on adding one as a B-camera. If you do go with the 1DXMkII, it will serve you well for many years.  Comparing to my Sony A7Rii, I can tell you the 1DXMkII is the clear winner.  In my own my testing, while performing color grades on footage from both cameras with the same lens, the Canon's footage was able to be pushed to a much greater extent than the Sony, which became unusable when pushed to similar levels.  
C-Log - yes, it's would be nice to have.  But some might argue the need for log on an 8 bit  camera. I do think Canon should have thrown it in, but I can live without it in light of the other things this camera brings. 
DPAF - priceless. The best I have used by far. This single feature is reason enough to switch. Especially when you have this camera mounted to a gimbal. I cannot impress upon you enough how useful DPAF is. It's almost like cheating.
I've been editing my footage in Premiere Pro, as it now supports proxie files. Working with proxies actually takes away most of the pain of working with MJPEG. 
If you do get it, you will not look back.  The 4k is a bit different in feel to the 1DC. It seems to be of the more modern flavor that is becoming common in movies these days.  Cleaner, but not totally sterile. It seems a lot of new camera are favoring this look. Give it a try. In the end it's about telling the story. I know in my use the 1DXMkII proved to be a better tool for that job... because it worked, and did so without fuss. No need for a follow focus. Not even sure where my follow focus is, just haven't  needed it. And now I can use AF lenses. I mean I can really use them... and pull focus... and nail my shots. I'm not saying DPAF is perfect, but it's definitely usable in a professional setting. And frankly in many respects it does a better job than I can. The way it hold focus, even when working at f1.2 is crazy. 
 

Andrew, in my experience with the 1DXMkII rolling shutter had been a non-issue. 1080p is "Canon" 1080p. I don't think the issue is sharpness, it simply lacks resolution. Audio quality from the in camera preamps is very usable. And battery life is good.
The DPAF and 60p are well worth the price of admission. Granted I have had grips about the 1080p, as I know Canon could do better. Nonetheless, it's still the best... and only option for 4k @60p, in a DSLR form factor. I would wager this will not change when the GH5 is released. The camera saw extensive use during the Olympics, for both stills and video. It is a professional level piece of kit. Arguably the most appealing Canon camera available at present. The C300 mkii has heavy competition,  and frankly does not compete as favorably in its segment. The 5DMIV lacks the all important 60p option, and the crop is extreme. It's pity, as I had intended on adding one as a B-camera. If you do go with the 1DXMkII, it will serve you well for many years.  Comparing to my Sony A7Rii, I can tell you the 1DXMkII is the clear winner.  In my own my testing, while performing color grades on footage from both cameras with the same lens, the Canon's footage was able to be pushed to a much greater extent than the Sony, which became unusable when pushed to similar levels.  
C-Log - yes, it's would be nice to have.  But some might argue the need for log on an 8 bit  camera. I do think Canon should have thrown it in, but I can live without it in light of the other things this camera brings. 
DPAF - priceless. The best I have used by far. This single feature is reason enough to switch. Especially when you have this camera mounted to a gimbal. I cannot impress upon you enough how useful DPAF is. It's almost like cheating.
I've been editing my footage in Premiere Pro, as it now supports proxie files. Working with proxies actually takes away most of the pain of working with MJPEG. 
If you do get it, you will not look back.  The 4k is a bit different in feel to the 1DC. It seems to be of the more modern flavor that is becoming common in movies these days.  Cleaner, but not totally sterile. It seems a lot of new camera are favoring this look. Give it a try. In the end it's about telling the story. I know in my use the 1DXMkII proved to be a better tool for that job... because it worked, and did so without fuss. No need for a follow focus. Not even sure where my follow focus is, just haven't  needed it. And now I can use AF lenses. I mean I can really use them... and pull focus... and nail my shots. I'm not saying DPAF is perfect, but it's definitely usable in a professional setting. And frankly in many respects it does a better job than I can. The way it hold focus, even when working at f1.2 is crazy. 
 

Andrew, in my experience with the 1DXMkII rolling shutter had been a non-issue. 1080p is "Canon" 1080p. I don't think the issue is sharpness, it simply lacks resolution. Audio quality from the in camera preamps is very usable. And battery life is good.
The DPAF and 60p are well worth the price of admission. Granted I have had grips about the 1080p, as I know Canon could do better. Nonetheless, it's still the best... and only option for 4k @60p, in a DSLR form factor. I would wager this will not change when the GH5 is released. The camera saw extensive use during the Olympics, for both stills and video. It is a professional level piece of kit. Arguably the most appealing Canon camera available at present. The C300 mkii has heavy competition,  and frankly does not compete as favorably in its segment. The 5DMIV lacks the all important 60p option, and the crop is extreme. It's pity, as I had intended on adding one as a B-camera. If you do go with the 1DXMkII, it will serve you well for many years.  Comparing to my Sony A7Rii, I can tell you the 1DXMkII is the clear winner.  In my own my testing, while performing color grades on footage from both cameras with the same lens, the Canon's footage was able to be pushed to a much greater extent than the Sony, which became unusable when pushed to similar levels.  
C-Log - yes, it's would be nice to have.  But some might argue the need for log on an 8 bit  camera. I do think Canon should have thrown it in, but I can live without it in light of the other things this camera brings. 
DPAF - priceless. The best I have used by far. This single feature is reason enough to switch. Especially when you have this camera mounted to a gimbal. I cannot impress upon you enough how useful DPAF is. It's almost like cheating.
I've been editing my footage in Premiere Pro, as it now supports proxie files. Working with proxies actually takes away most of the pain of working with MJPEG. 
If you do get it, you will not look back.  The 4k is a bit different in feel to the 1DC. It seems to be of the more modern flavor that is becoming common in movies these days.  Cleaner, but not totally sterile. It seems a lot of new camera are favoring this look. Give it a try. In the end it's about telling the story. I know in my use the 1DXMkII proved to be a better tool for that job... because it worked, and did so without fuss. No need for a follow focus. Not even sure where my follow focus is, just haven't  needed it. And now I can use AF lenses. I mean I can really use them... and pull focus... and nail my shots. I'm not saying DPAF is perfect, but it's definitely usable in a professional setting. And frankly in many respects it does a better job than I can. The way it hold focus, even when working at f1.2 is crazy. 
 

Andrew, in my experience with the 1DXMkII rolling shutter had been a non-issue. 1080p is "Canon" 1080p. I don't think the issue is sharpness, it simply lacks resolution. Audio quality from the in camera preamps is very usable. And battery life is good.
The DPAF and 60p are well worth the price of admission. Granted I have had grips about the 1080p, as I know Canon could do better. Nonetheless, it's still the best... and only option for 4k @60p, in a DSLR form factor. I would wager this will not change when the GH5 is released. The camera saw extensive use during the Olympics, for both stills and video. It is a professional level piece of kit. Arguably the most appealing Canon camera available at present. The C300 mkii has heavy competition,  and frankly does not compete as favorably in its segment. The 5DMIV lacks the all important 60p option, and the crop is extreme. It's pity, as I had intended on adding one as a B-camera. If you do go with the 1DXMkII, it will serve you well for many years.  Comparing to my Sony A7Rii, I can tell you the 1DXMkII is the clear winner.  In my own my testing, while performing color grades on footage from both cameras with the same lens, the Canon's footage was able to be pushed to a much greater extent than the Sony, which became unusable when pushed to similar levels.  
C-Log - yes, it's would be nice to have.  But some might argue the need for log on an 8 bit  camera. I do think Canon should have thrown it in, but I can live without it in light of the other things this camera brings. 
DPAF - priceless. The best I have used by far. This single feature is reason enough to switch. Especially when you have this camera mounted to a gimbal. I cannot impress upon you enough how useful DPAF is. It's almost like cheating.
I've been editing my footage in Premiere Pro, as it now supports proxie files. Working with proxies actually takes away most of the pain of working with MJPEG. 
If you do get it, you will not look back.  The 4k is a bit different in feel to the 1DC. It seems to be of the more modern flavor that is becoming common in movies these days.  Cleaner, but not totally sterile. It seems a lot of new camera are favoring this look. Give it a try. In the end it's about telling the story. I know in my use the 1DXMkII proved to be a better tool for that job... because it worked, and did so without fuss. No need for a follow focus. Not even sure where my follow focus is, just haven't  needed it. And now I can use AF lenses. I mean I can really use them... and pull focus... and nail my shots. I'm not saying DPAF is perfect, but it's definitely usable in a professional setting. And frankly in many respects it does a better job than I can. The way it hold focus, even when working at f1.2 is crazy. 
 

To my eyes the colors coming from the 1DX Mkii look great.  I can push the footage more than enough when grading and it holds together.  I honestly do not see any reason to give up 60p and DPAF plus spend an extra $2K, for a imagined gain in color gamut, when the 1DX Mkii does not lack in this department. But that said each person has to decide what's important to them. I do know the difference of DPAF and 60p are readily apparent and can help tell the story. Tools that effect the way a story is portrayed trump slight differences in color science. And once that footage is compressed and put on YouTube, Vimeo, Netflix or played back on 99% of TVs any advantage of increased color gamut (if any) will be all but lost. However, 60p will still render as slow-motion, or give less motion blur... and DPAF will still keep your shots in focus. The reduced rolling shutter will also continue to be of value. These seem like more compelling features to me, but then again I'm more concerned with enhancing my ability to tell my story than a spec sheet.

We've all seen this old footage. There is more to am image than the senor alone.  We need to see footage from the Terra, not the Kinemax 6k.

Yeah, this sounds like hype. This is nothing more than wishful thinking until panasonic make an official announcement. Might as well claim it will do 8k 12bit 444 @ 240 fps and be priced at $1499. That's not happening either. 

Agreed, I really can't see this being 6k video. But I also doubt 4k@ 60 FPS. Maybe 1080p 10 bit. Still I hope all the hyped rumors are true. I would love to have a Red Dragon for $2k. I wouldn't count on it though.

We've all seen this old footage. There is more to am image than the senor alone.  We need to see footage from the Terra, not the Kinemax 6k.

Yeah, this sounds like hype. This is nothing more than wishful thinking until panasonic make an official announcement. Might as well claim it will do 8k 12bit 444 @ 240 fps and be priced at $1499. That's not happening either.