Hopefully the lack of new features means they've really focused on stability and performance, which is where it has been really lacking the past few years.
I won't comment on the movie as a whole, but the surf shots in Point Break are nowhere near being the best ever. They barely even surf a wave over head high. Putting aside the terrible CGI face-swaps, even Blue Crush had much better surfing sequences. If we're talking about feature films, "Breath" is probably the one that delivers the best.
If you want to see really stunning surf cinematography check out "View From A Blue Moon" or Anything by Bali Strickland, Rick Rifiki or Chris Bryan.
One thing that is really confusing me: 4K 100/120p raw output.
Does this require the extension unit, or just the future firmware update? It's pretty hard to decipher which features rely on future updates and what relies on the extension unit. For example 6K raw out seems to need the extension unit. So does 10-bit 4K 120p output. But 4K 120p raw only says it requires the firmware update. So is the camera capable of certain types of raw output without the extension unit?
Agreed. Using a white-walled studio with a a big diffuse window means there's going to be soft light bouncing everywhere, and very little change in background, so many of the variables are removed. Put them outdoors at sunset, or in a living room with a single window with hard direct sunlight, or in a cluttered hotel suite, and the separation would probably be a lot greater.
I'm surprised you forgot to reference Peter Wier's "Gallipoli" - which featured Mel Gibson as a message runner tasked with stopping a doomed attack - his best friend a part of it - at Gallipoli. Seems a lot more relevant that Saving Private Ryan!
Yes, the Raven is 23.04mm wide, but when you crop it down to 16:9, like 98% of clients will expect to receive, it is closer to 19mm. That is why I mentioned "standard frame sizes" - They are more relevant to the project/delivery specs than Red's marketing material.