The answer to your question, Joe, is an emphatic, "NO". They are not taking mirrorless seriously enough at all. This camera would be full-frame if they knew what Sony was doing to them in sales this past year. Sony's A7S makes Canon look like a joke. If the A7S didn't have such bad rolling shutter problems and shot raw video, I would already own two.
aaaand I am an idiot. This IS 10 bit. Let the celebration begin.
However, as in the cameras I favor, a more important item on my checklist is true 10 bit color rendering and extreme contrast ratios.
Here's a test I did that ACTUALLY accomplished a night look during the day: https://scontent-a-lga.xx.fbcdn.net/hphotos-frc3/t31.0-8/1262561_5730325...
I'm sorry but a tutorial showing me how to do something where they actually don't manage to do it effectively is pretty embarrassing.
The mark of a great modern director is that his/her vfx shots are imperceptible from reality. IMO, Cuarón and Fincher always have very naturalistic vfx. Jean Pierre Jeunet and Gondry have always been great with this.
I've noticed that directors who always get great vfx often come from the commercial world.
This is a really helpful article, though the thumbnail on the front page had me thinking that it's an article about the importance of color charts. Color chart usage is something that I find is even more conspicuously missing from the mind of most DP's.
I think the proper use (and use in general) of color charts is a glaring omission from many DP's toolsets. I also think you guys desperately need to do an article on this subject (perhaps have Art Adams as a guest contributor) covering the proper use of color charts, image calibration, and camera matching. For example, the color chart in the test (made by X-rite) is utterly useless for a Rec709 target delivery since that particular chart is made with photo printing in mind. Those colors are derived from an ink-based delivery format. They have 0 use in film and TV unless you are printing a frame grab somewhere.
The proper color chart to use for this application would have probably come from DSC Labs (the Chroma Du Monde is probably the best one).
I have learned most of what I know from Art Adams' articles in the series, Stunning Good Looks at http://provideocoalition.com/aadams as well as Corey Robson's website (http://www.coreyrobson.com/); and I think that others should be aware of just how important it is to calibrate the color and exposure with the delivery format in mind. Getting the image to translate properly into post is one of the most important things to consider when you are shooting something. I find that most amateur DP's forget about this and prefer to "get it in camera".
I always get strange reactions from people when I insist on shooting a color chart before every setup. As a colorist, the importance has been highlighted for me time and again. In the grade, you can do a lot more to the image if you have a reliable, consistent starting point. This attention to color science allows you to not only match cameras, but to actually make the image appear as it appears to the eye before you get heavy on the color treatments.