Liam

Yup that's the one... but I think the 810 and 750 are pretty similar for video. 

Think that was the d810, if I'm thinking of the same one

It's a valid point, but as I've re-iterated throughout the thread, I'm looking for a cinema camera, and more on the high-end, which rules out both the GH4/GH5, given neither system is built specifically for cinema.
If I wasn't so picky about motion candence, such systems would come under consideration, but the fact I am so picky about it, limits me to a handful of cameras in this price-range, if that. It's frustrating - I wish I could look past it, but I've shot with so many CMOS cameras down the years that it's just become too big of a spec to continually skip on. I really would argue it's the key characteristic that defines the 'cinematic' universe viewers are so accustomed too, all be it a subconscious characteristic to everyone but filmmakers of course. Lighting, locations, production design, actors, writing etc. all vary from film to film, to different degrees of quality, but rarely ever does motion vary - it's the most common characteristic that remains the same in cinema, and as such, is the one we associate most within the cinematic universe/images - just most don't realise so. 

Having a blast with your files, Luke!
 

Apology to everyone including John Brawley - 
The Ursa Mini 4.6k from reviews is looking amazing .  They seemed to fix the various problems.
I'm going to do a skintone test on thursday with the sony f65 and red epic mx and canon c300 ii.
 

Speedboost it!

Speedboost it!

Saw La La Land and had huge problems with it. Emma Stone has two incredible scenes but I felt that the musical numbers were overdone, not well choreographed, and poorly edited. Unlike you spink I had major issues with the ending, not how it ended, but the filmmaking and editing used to convey the scene.

Personally loved Arrival, High-Rise, Hacksaw Ridge, Kubo and the Two Strings, "Hail, Caesar!" , The Nice Guys, 10 Cloverfield Lane, and Fantastic Beasts and Where to Find Them.

Still want to catch: Don’t Think Twice, Sing Street, The Lobster, Hunt for the Wilderpeople, Loving, Silence, Manchester by the Sea, Moonlight, Hell or High Water, Fences, Paterson, Zootopia, The Boy and the Beast, Captain Fantastic, Green Room, Fences, The Little Prince, A Monster Calls.

I was just looking at cheap shoulder rigs. sometimes the cheap ones like rest on your stomach partially.. looks a little awkwards, but supposedly those can work well. but I was mostly for the specific 16mm style cat-on-the-shoulder look. Not sure the audience will really see much of a difference between that and regular handheld though

He can't! It's great.

I think I'm gonna try doing more handheld this year or camera movement in general! Gonna try to do more with the strap for sure. I've seen those pistol grips that might be worth a shot too? Probably gonna get a cheap shoulder rig or something at some point. I see no point in buying a gimbal at the moment when my camera doesn't do autofocus great anyways.

Saw La La Land. Good, not great.
The stand out movie for me this year was Sing Street.
Doubt it will receive the praise it deserves though.

Anyone see "Moonlight" yet?  I met Barry Jenkins the director once a long time ago and he was pretty chill, oozing with insight and creativity.  My cousin did the film school thing with him at FSU.
And I liked "The Nice Guys" for all it's endearing shabbiness.

Following another viewing session of footage from both the D16 and Scarlet X this past week or so, I'm now definitely leaning more towards the latter. I've actually not been overly impressed with what I've seen from the Scarlet X, or more so for a system in such a price-range, though this probably hasn't been helped by mistaking it for Scarlet W footage at first, which is in another league entirely.
It's difficult not to fall in love with the D16 image, the more footage you view, and the longer you ponder on it. That CCD sensor .. Yes, it's not 4K, and yes, it's not a low-light camera either, but a fair argument can be made with the latter that such an inconvenience forces you into more considerate lighting, which can only benefit you down the road. It's also worth noting how easy the transition from the pocket camera to a D16 MTF will be, kit wise. Can you record ProRes externally via an Atomos Ninja with the D16? 
I'm by no means set on a decision, and won't be until purchase time, which is a fair few months away yet, but it's interesting just how far I've swayed from my original image appetite, which I guess speaks volumes for the D16. 

I use mostly open-source (free) software, and GIMP is my main image editor.  I don't use LUTs, so I cannot give details, but I do know that GIMP supports LUTs through the G'MIC plug-in.  I have heard of another GIMP LUT plug-in, but I can't remember its name.
 
There is also an open-source LUT converter called LUT_TO_LUT.
 
I use open-source Darktable as my image "developer," and I am fairly sure that it also accepts LUTs

"I don't like movies because of the plot line."

Sure I'll pay 15 grand for an 8-bit "cinema" camera. Maybe it'll even have peaking!

I do really enjoy it but interested how Andrew's compares - I would use the better. You can see a few examples here: 
 

haven't seen any. do you have/enjoy James Miller's?

My first effort with Pro Color using the A7S ii and Zeiss 55mm f1.8 - despite errors with exposure on my part, I decided not to touch what came out of the camera when editing. I am delighted with the outcome and will move on to testing under different lighting conditions over the next week or so.
 

Does anyone have any side by side comparisons of Andrews CLog to James Millers? I would happily grab Andrews and do the comparison on my 1DX mark ii if there is not.

Using just overlay will leave dark and bright areas clipped without grain. I made a simple filmgrain network in Fusion 8.
I tried to emulate the 35mm v2 HolyGrain scan as my source grain. I think it's close enough.
Use the blend slider on the composit nodes to adjust to the material and desired effect.
BlackGrain and WhiteGrain adds grain back at the darkest and lightest part of the image. It will look bad if overdone so adjust carefully to add just a little grain, this will ensure that nothing is clipped at ether end, it will be monochromatic BW as grain at the extreme don't really inherit any color information.

The levels nodes can be used to adjust how the black and white grain clips if desired. But I think that looks digital really fast.
FilmGrain.comp

And another :
 

That looks absolutely great!
Me too. And I'm convinced that the only lasting skills you can acquire - composition, narration, editing - can be developed without needing expensive kit. I'm particularly interested at the moment in how smartphones are being used by TV stations for news and documentary work. Not just "citizen" images of breaking events but fully structured pieces. 
I forgot to put this in my quick list, by the way :
Oh, and there's a lot to be learned from looking at the videos on Instagram. Like just how much of a story you can tell in 15 seconds or so...

A sub-forum for low/zero budget filmmaking as a whole would be nice with the cheapest options in every filmmaking area, and this type of stuff too. I often feel a little dorky asking for the dirt cheap gear here, when it's such a broad range of people, and I don't want to clutter the forum. I'll have to google those. Tangerine was surprisingly good