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I find that for 99% of situations S-Log on the a7s is pointless. Particularly since most of us shooting with the a7s don't have the capabilities to post process a log profile effectively. The creative styles are very powerful tools - particularly with the a7s since the dr is a lot greater than the same creative styles on most of the other sony/nex cameras. you can actually pull down the highlights or pull up the shadows quite effectively if required, and get some of the apparently lost data back. My personal favourite is the 'Neutral' creative style. but with the sharpness and contrast dialed down to -3. saturation left untouched. granted there are some peaked reds, but since I was shooting at 16000iso for the majority, letting the camera do auto exposure (due to the fast paced workflow required), where 95% of the light was coming from neons and other nasty lights. Very little grading was applied to the footage.

Yes but how many of those flares are CG, using John Knolls Plugin or other, the one thing you dont see is the heavy tube vignette, I saw a few flares in transformers, but cant be sure they aint CG either, not so easy to add cg to source with flares so they probably shoot it without and add them later. I assume the flares are not the result of the taking lens....

If you can, try and save for the D750. It is definitely worth it.

If you are in Europe, these guys are great. Their prices are reasonable and they are very helpful. There are some nice low price Nikon lenses right here: http://wycameras.com/product-category/lenses/nikon-lenses/nikon-manual-focus/

Personally I'd want a faster 35mm than f2.8. I have the 35mm f2 AF-D, which I like a lot (about $300 though). It's not built as well as the AI lenses, but the 35mm f2 AI-S gets mixed reviews so I went with this one, which Bjorn Rorslett preferred (his site is an excellent resource for Nikkor glass: http://www.naturfotograf.com/index2.html). Any of the 50mm 1.8 AI-S should be very good. I stay away from the Series E stuff, though the 50mm and 135mm are probably OK. I have the non-pancake 50mm AI-S, which is lovely. THB if I was in your situation I'd probably consider just going for the GX7 with Panasonic 20mm f1.7.

http://www.ebay.co.uk/itm/Sigma-EX-30-mm-F-1-4-HSM-DC-Lens-Canon-EOS-Fit-/261643463917?pt=UK_Lenses_Filters_Lenses&hash=item3ceb2a6ced

I dont white balance as I have way of shooting that works for me I shoot day interiors lit to 3200k at 4000k as it gives a warmer looking skin tone and I shoot day exteriors at 6400k all the time cloudy sunny or over cast as I prefer the warmer tones I shoot night exteriors at 2500k as it makes a cooler blue tone I prefer .....and it kills sodium vapour street lights too so my whites are completely off technically but I like the look, It all gets messed with in the grade anyhow so it never looks like it came out the camera.

Because they want a small, easy to use camera with the best color science and overall quality for the price and no need to use potentially unreliable adapters for Canon glass. While we enjoyed having the extra features of the FS700, especially slomo, ultimately native Canon EF glass support and superior color science are more valuable in most cases.

  Yes I am sure the crew and post team on Skyfall found Alexa raw really hard!

By recommendation from Andy I purchased the Mitakon Turbo / Canon>MFT ( I have a G6 camera). I use the Mitakon with a C/Y>EF adapter for my Yashica ML lenses and it works just fine. When using the Mitakon with my Yashica lenses wide open though, - especially the 28mm lens, - the picture gets rather soft in the corners. I´m not an expert on the subject, but in my experience the wider vintage lenses you use, the softer the corners are wide open and this will be intensified when using a speedbooster, that being a Mitakon, RJ, or Metabones. Just got a used Metabones Speedbooster/C/Y>MFT, but have not got the time to compare it to the Mitakon. I have also tested the Mitakon with my Sigma 18-35mm Art lens, - excellent results. The Mitakon is a very good option IMO.

Heres a short clip from a documentary i'm working on. This was shot probably 50/50 full frame and crop mode. The opening slider shot was in full frame mode. I am not finding the rolling shutter to be an issue at all

I love this comment, by which i mean its just plain idiotic. Everything you've seen from the FS7 has been shot within the first 5 minutes someone has had the camera. Let's wait a few months before making such a wide declaration. Early A7s footage/GH4 footage also looked pretty crappy. Give people a few shoots with a camera - then make your judgements. Now to your "video" point. It has zero to do with frame interpolation. Its called over-sharpness. What really annoys me is people who shoot a digital sensor camera that isn't a RED, want a "cinematic" output, and yet use no softening filters (RED deliberately keeps their image as soft as they can get away with). None. An Alexa can look over-sharp shot poorly. 35mm film can too. When we shoot film (too rare!) we often have 3 layers of softening in front of the lens. 3 layers! When shooting a commercial or drama we have a range of Tiffen softeners ready to go for the Alexa or the F55, and we often will soften the highlights again in the grade. However - if you're shooting for broadcast, and you're matching $150k studio cameras which are horrifically sharp, being able to look 'video' is actually a plus! Sony and Canon and Panasonic understand this. You want a more pure 'filmic' camera that's value for money? I can't recommend the BMs enough. You need a camera that can shoot reportage, TV interview, a feature doc, a music video AND an indie feature? Better to start off hella sharp and adjust to taste. I tell people all the time: A Swiss Army knife is actually a pretty terrible hunting knife. Unless you NEED that flexibility.