Django

keep in mind lens preference is a personal subjective thing.. depends on what qualities you are looking for.. also results may vary depending on body. 
1.4G was a good match to the D750s FF sensor.. if you're on older crop, maybe another (DX/D/AIS) lens may provide same/better results..

I used to get excellent results with the current 50mm 1.4G on a D750 shooting flat before switching to Canon. shot weddings, docus. great look overall. all my other nikkor primes are vintage AIS though as i'm not a fan of the 1.8G series and having lens aperture control is so nice.. as for the original topic, there are much flatter picture profiles available for nikon bodies out there. nikon flat really isn't that flat but it's so easy to grade..

The A6500 uses the same body as the ($500) A6000. They keep boosting the specs but no change in body (hence perhaps the overheating, tiny body wasn't designed for so much power - as the A7RII)

The A6500 uses the same body as the ($500) A6000. They keep boosting the specs but no change in body (hence perhaps the overheating, tiny body wasn't designed for so much power - as the A7RII)

I believe Nikon's had some unforeseen delays with D750/D810 replacement due to the Japan earthquake causing Sony sensor shortage which has of course also delayed Sony's own A7/A9 production. 
I'm just speculating but it could be this A99 II was presented as a way to showcase something new in a low production run. 
It's been said the new sensor factory is up and running now but with back orders and such will only be fully operational by end of the quarter..

Grading is definitely a subtle art.. you could spend all day and in the end your footage looks like shit. That's why you got LUTs and Cine picture profiles. 
If you wanna remain with Canon for the colors then I'd strongly suggest as others have the C100 mark 2. I'm in love with this camera, the image, the video assist features, dual pixel AF, ND's & overall ergonomics/ease of use. The peace of mind it gives is so rewarding (i'm always nervous on how a shoot is going to turn out with DSLRs).
Btw, if Canon release a mk3 this year with 4K, super slo-mo and XC10 422 codec.. I'd upgrade in a heartbeat and be content for years to come.. Currently as is, i'm still undecided on what to do for my upcoming 4K needs..

Canon has great colors no doubt but isn't that what Log + grading is about? A7S2 is still a beast for offering FF full readout 4K, zebra, peaking, log & IBIS.. 5D3 image is soft as hell 1080p and judders like crazy as soon as you pan. I still use mine as B-cam to my C100 PDAF but would seriously consider ditching it for an A7S2 if stills weren't important to me..

Forum members, I just thought I'd point out that this guy is the founder of a questionable Polish militia "boot camp" facility which trains French civilians to semi/automatic firearms & combat warfare (which is illegal here) around a clouded political agenda that seems to cover up under anti-terrorist legitimacy. He is here asking questions as no French videographers (to whom he referred to me in another thread in french as "hipster faggots") seem to want to be associated with his borderline propaganda activities . I'm all about freedom of speech, but I just thought you guys should know who you're helping out here.. not exactly your ordinary fellow videographer..
As for the A7S2, it's color science & S-log. I often here it berated here and it isn't the easiest cam to work with and S-log does require advanced grading skills .. but in the right hands I've seen some really superb work done on the S2 and it sure packs a lot of punch in such a small package (and price compared to the FS5).. and this is coming from a Canon guy!

halleluja.. this should really help me match 5D3 footage with C100. thanks andrew, will purchase as soon as i get back from holidays..

As if the crop factor wasn't bad enough news, here comes rolling shutter results...
 

As if the crop factor wasn't bad enough news, here comes rolling shutter results...
 

Sony is protecting it's mirrorless line!

Sony is protecting it's mirrorless line!

Although this may sound kinda revolutionary on paper, DPreviews early hands-on insists this will allow only very small micro adjustments. They make it sound like it's more a marketing gimmick then actual useful tool. Guess we'll have to wait for more conclusive tests/ information..
Touch screen Dual Pixel AF for video though is the main ticket and I think will be a feature the competition will need to start copying to stay ahead the game..
 

I wouldn't write out Sony too fast.. the Japan earthquake that affected their sensor factory completely messed up their 2016 release schedule but A7 III series & A9 should be serious contenders.. 

Forum members, I just thought I'd point out that this guy is the founder of a questionable Polish militia "boot camp" facility which trains French civilians to semi/automatic firearms & combat warfare (which is illegal here) around a clouded political agenda that seems to cover up under anti-terrorist legitimacy. He is here asking questions as no French videographers (to whom he referred to me in another thread in french as "hipster faggots") seem to want to be associated with his borderline propaganda activities . I'm all about freedom of speech, but I just thought you guys should know who you're helping out here.. not exactly your ordinary fellow videographer..
As for the A7S2, it's color science & S-log. I often here it berated here and it isn't the easiest cam to work with and S-log does require advanced grading skills .. but in the right hands I've seen some really superb work done on the S2 and it sure packs a lot of punch in such a small package (and price compared to the FS5).. and this is coming from a Canon guy!

I've tried the XC10 briefly, it definitely has a cheapo feel to it imo. Nowhere near Cxxx / L glass build quality. I also believe it's not aimed at the same market. I kinda doubt ENG shooters use it with that form factor and no EVF. It does have some neat features, some only available on high-end C line gear (422 4K, the codec, C-log etc) but I was really disappointed with the hardware, specifically the slow fixed non-constant aperture lens paired to tiny sensor, unusable manual focus ring...  So for me it's kind of a flawed product, especially at such high price point. That being said i see how some shooters may enjoy it, especially as a B-cam for daylight action/drone shots. But I doubt Canon sold a lot, I know my local camera store has been trying to blow them out, unsuccesfuly. Small fixed lens cams are kind of a niche market anyways. All that being said XC15 might fair better if indeed they at the very least improve the lens and add DPAF.

there's been some speculation that the next D6xx would basically be D750, and that the next D7xx would have a more pro body (a la D700). I think it's very safe to assume the next FX cams will all have 4K as the D5/500 released this year implement it. Hopefully they add peaking and more robust codec options but somehow Nikon R&D seem slow to push forward in video department.

Nikon are slowly getting there... D5/D500 both released this year have 4K / Flat profile. D750 also introduced zebras. All that's really missing is peaking and stronger codec options.. the DR though is impressive for 8-bit DSLR..
But speaking of motion cadence, I really hated it on the D750. Lots of juddering on pans too (as with 5D3). Black Magic Raw/Prores, excellent motion. Strangely enough, I'm ok with my C100 's motion cadence even though it uses a shitty 24 mbps AVCHD codec. It has it's flaws but motion cadence i find is really good. Really don't know how they did it. So still kind of a mystery to me what science gives good/bad motion cadence.. 

there's been some speculation that the next D6xx would basically be D750, and that the next D7xx would have a more pro body (a la D700). I think it's very safe to assume the next FX cams will all have 4K as the D5/500 released this year implement it. Hopefully they add peaking and more robust codec options but somehow Nikon R&D seem slow to push forward in video department.

The more i think about these specs the less excited I am.. 1.7x crop would be pretty bad, especially at 3800 euros.. having to transcode a 500mbps outdated codec also sounds like a PITA... no log or focus assist.. no 4K output.. pixel-binned 1080p.. really DPAF is the only good news here. I'll reserve my judgement until final specs are released but it ain't looking pretty..

lol quite obviously. we are talking top bill FF DSLR versus a consumer pocket camera without even a viewfinder. I'd never consider a A6300 over my 5D3 or even a 6D. Too many compromises on usage but fact remains that sony gives access to full readout APS-C 4K, zebra/peaking & S-Log3 for $1K. Add a speedbooster and it's FF 4K! And of course native FF 4K with clean 4K HDMI output, EVF, SLOG, IBIS etc.. for $3K on the A7S2.  Sony offers all this, even though they also have a pricey FS cinema cam line. So my point is simply that Canon could include a few of these goodies on their 3.800 euro flagship 5D4. But no dice. Also, sorry for beating a dead horse here but 1.7x crop is just a real bummer. I buy a Full Frame for a Full Frame look/experience. It becomes even more important with 4K where you'd like the possibility of a jump-in crop in full HD timeline. Well now on the 5D4, my 35mm 1.4 L becomes a 60mm native in 4K.. and my widest 24mm L becomes a 40mm..  that just makes me cringe..

have a look here, full on 5D4 FAQ and claim it's his next purchase alongside kit we very well know he can't afford: 
http://www.canonrumors.com/forum/index.php?topic=30545.msg615042#msg615042
gotta love the first posters reaction: "Do you work for Canon?" lol
Reminds me a lot of this post where ES reveals to us 1DX II info given to him by his "secret Canon contact" who'd just lifted the NDA:
http://www.eoshd.com/comments/topic/19104-canon-1dx-ii-video-camera-perspective-mini-interview-on-the-missing-details/
Even Andrew had made a blog about it:
http://www.eoshd.com/2016/02/all-is-revealed-canon-1d-x-mark-ii-video-faq/
If you are reading this ES (and good chance he is) please stop spreading BS!

looks like you missed this thread he started today: http://www.canonrumors.com/forum/index.php?topic=30545.msg615042#msg615042
i love how it ends with: My next video rig is probably going to be the 5D IV + Zucoto LCD loup + Rode mic + new 24-105mm F4/L.
..right, just after you finish scamming half the forum there...
kid is still living in fantasy world spreading false knowledge.. i'd call him out but no time for it really.. 

lol quite obviously. we are talking top bill FF DSLR versus a consumer pocket camera without even a viewfinder. I'd never consider a A6300 over my 5D3 or even a 6D. Too many compromises on usage but fact remains that sony gives access to full readout APS-C 4K, zebra/peaking & S-Log3 for $1K. Add a speedbooster and it's FF 4K! And of course native FF 4K with clean 4K HDMI output, EVF, SLOG, IBIS etc.. for $3K on the A7S2.  Sony offers all this, even though they also have a pricey FS cinema cam line. So my point is simply that Canon could include a few of these goodies on their 3.800 euro flagship 5D4. But no dice. Also, sorry for beating a dead horse here but 1.7x crop is just a real bummer. I buy a Full Frame for a Full Frame look/experience. It becomes even more important with 4K where you'd like the possibility of a jump-in crop in full HD timeline. Well now on the 5D4, my 35mm 1.4 L becomes a 60mm native in 4K.. and my widest 24mm L becomes a 40mm..  that just makes me cringe..