Grimor

Camera movements its a important point that people forget to mention.
Clever use of a slider or a crane gives you instant film karma.

Yeah if you study the greats in film making they use a lot of camera angles we really can't even afford to do. They are masters of isolation. Having views in films you are not accustomed to, I think, keeps you glued to the seat to see something you have never seen before in a sense. Sort of the unknown , and humans are in reality, a curious breed.
Plus lets face it, they have the best of the best on every high dollar film, using 35mm, Panavision, CinemaScope,70mm, etc from script writing, acting, acquisition, best DP, lighting equipment from hell, best focus pullers, and editing, not counting top notch audio, you name it, and a 50 piece Symphony Orchestra. Hard to go wrong with that. "We should be so lucky" as they say.
But I guess even with all that, more stuff probably bombs than makes 300 million bucks. So don't feel bad if your efforts, at times, does not come out so hot. 

I vote for @Aghori Tantrik Baba
 

Camera movements its a important point that people forget to mention.
Clever use of a slider or a crane gives you instant film karma.

I'm sure they will , the Arri became industry standard due to the look , work flow and ease of use , with Codex Vault you are a great work flow from set to edit , so a 2.5 K camera with less resolution than some of the cameras here on this forum produced cinematic images in the right cinematographers hands , so resolution and 4k are not essential , its the lenses lighting composition and story ...is it entertaining ! That makes it cinematic . anyone on this forum can produce wonderful cinematic images with a bit of care and thought

2M - this is not in real life. 35NAP family - 2-2, 2-3, 2-4, 2-3M. 2-3, 2-3M bigger and heavier than 2-2, 2-4. Optic scheme the same, image look similar. 2-2, 2-4 looks a little sharper, but if good aligned lenses, all will be good. minimum focus distance, if not modded - 8-10 m. If modded, starts from 35-40 cm, but I recommend to shoot from 1m. to close focus - little squeeze. Also present 35NAP 1-1, but I didn't come across.
 

f1.2 lenses (and faster) are already available for MFT and probably better corrected than half a ton of glass.

Camera G80 (gimbal,slider) , GH4 slowmotion , LX100 - Timelaps
 

Probably the best advice and the most missing thing in time.
I'll try to consider in the future, and i'll think less in gears, upgrades and "in post fixing"

For Glidecam only practice is needed.
A lot of practice, and nothing more.
For perfect balance you need a stand or anything that keep it in place by its handle. Then put a quick plate between camera and glidecam.
When it's perfectly balanced put marks on quick plate so whenever you put the camera on glidecam, you can repeat exacly the same mounting position.
Thats the way you can set it up in 5 minutes in every location.
Another important thing is the way you handle it.
You have to use booth hands. The main one in the handle and the other hand with just 2 fingers in central bar to avoid the spinning and making little corrections if needed.

I tend to think if you shoot a "360" degree shutter it pretty much takes away most of the video look. 
I used to call it "0 degree" shutter, but 360 is technically correct (so I've been told). Whatever the case, it's basically a 24 shutter speed matched with 24fps video. 
One needs to be mindful of the motion blur, but I really like motion blur because it takes away the video-ish-ness.  I shoot my documentaries this way, on m43, with longer focal lengths.  The footage doesn't  look like it was shot on video at all to my eye.  Not sure if you can say they look exactly like film, but it seems pretty close to me.
Also, I think MTM was a multicam  film production, like other sitcoms such as Cheers.  Gunsmoke was film too, I'd wager; single cam. Typical film production style. 
Price is Right was most definitely live to video tape. Studio video cameras all the way.
An interesting bit of trivia you probably know:  in the days of before video tape, electronic NTSC tv shows were recorded live to film via a primitive telecine; basically a film camera recording a tv screen. 
FWIW, the magic bullet suite is a 3rd party plugin from red giant software.  I think it costs about $800. 
It's not installed by default with premiere, so the OP might not have it on his/her particular system. 
But regardless, you can easily make a custom gradient and overlay it on your video in any NLE.
personally, in premiere, I'd recommend just masking a lumetri effect. 

Not easy to track a mask in every take, because they are mostly on glidecam.
What kind of gradding do you think fit best for an institutional cops/military video?

Thanks for the imput. I'll try to go this way.
 

A sinister grade LoL. I would turn down all sharpening and lower contrast by a fair amount, not a lot though, in camera, to smooth out the videoish look m4/3 cameras have baked in. Nobody is going to equate a MFT camera with a film look no matter what you do.
In reality they have too many MP to get that look. 4k is only like 8.3mp, heck 1080 is only like 2.2mp, 720 is only like 1mp.  And most people only have a LCD TV that shows 720 max. Heck old stuff like Gunsmoke, Mary Tyler Moore show, Price is Right all are in shot in 480! So most modern consumer cameras have Way too much resolution for video use. Sony A7s is an exception.
When I shot TV news with  $100,000.00 Sony ENG cameras they only had a max in camera resolution of 500 lines. Hence 480 output. Pretty crazy. But that was back in the time of Tube TV's and 3 tube, 2/3 Video Cameras.

I did it in lightroom with a gradual filter (lowered exposure and added warm). then some lut on the main photo. maybe you could try to export in tiff, grade in lightroom and make a new video in after effects.

 

Just updated and all internal noises are gone!!!

The 25 1.4 is absolutely my favourite lens for video. It has a special character and warmth. I have never noticed AF noise with the lens. With the IBIS on newer bodies it will be even better as the lack of stabilisation was the only thing making it more difficult to use with the GH4.
Super wide I just use the Rokinon 7.5 fisheye and defish to 1080.

IBIS is a great improvement. But not usefull for anamorphic shooter.
@Rudolf you are right about its like a warp stabilizer or youtube "auto stabilize" weird correction.
If panasonic people can make a mode with only vertical stabilization (like the one in panoramic photo)  would be great for our scopes.
 
 

Grimor, thank you very much for your input! Very good to know. The footage looks like warp stabilizer... I was tempted to buy GH5 because of IBIS. But now I will rethink because I'd use it only for video with anamorphics.
The GH4 with Lumix 35-100 F2.8 and Isco 36 seem to work well together. So I think the mesmerizer effect is only with IBIS...

I made a dirty test to show the issue. You can see the whoobling background when IBIS ON under heavy shake: (sorry for the flickering and those no profesional things)
 

I made a dirty test to show the issue. You can see the whoobling background when IBIS ON under heavy shake: (sorry for the flickering and those no profesional things)
 

Optical stabilization must be the same, but no as noticeable as sensor movements.
Moving sensor when anamorphic is fixed, is identical to moving anamorphic atachment when sensor has no IBIS.
Mesmerized effect.

Sensor stabilization makes my anamorphic image "under drugs":
Only if you can shoot on "vertical stabilization mode" like panoramic mode in some cameras could be usefull.

No. I was talking about this kind os stabilizer. Sorry.

I think it's not a good idea.
When everything is balanced, you must hold the gimbals handle with one hand and other hand for guide/turn the central bar (usually 2 fingers only).
Look at youtube videos of Devin Graham (devinsupertramp) who is a "Glidecam Pro", that began with HD4000 and 5D mk3