Thanks, Gabriel! That's an interesting thought on whether the different depths make it easier to scan details in an image. I'd love to hear more if anyone knows about that.
It was shot partially in 3D on set and partially converted in post (i.e for stuff shot on film, and for some VFX). According to the article, they converted up to 77 minutes worth of footage. Interestingly, Avatar also had a bit converted in post (i.e the eyeball shot at the beginning) because the 3D-rig is too big for that kind of macro close-up.
To be fair, with regards to the highlight rolloff, I think some of those issues will depend on the picture style used.
You are correct in that the 5D has no "crop". What the article says is that if you are trying to achieve the equivalent viewing angle of a 35mm EF lens on a 7D (which would be roughly the same viewing angle as a 50-55mm EF lens on a 5D), you would need a 20-25mm EF lens on a BMD CC. In other words, i'm not talking about the viewing angle of a 35mm lens on a Canon 5D, i'm speaking to the viewing angle of a 35mm lens on a 7D. I think some folks are missing the part where I'm referring to "viewing angle". In other words, viewing angle of 50-55mm EF lens on a 5D = (roughly) viewing angle of 35mm EF lens on 7D = 20-25mm EF lens viewing angle on a BMD CC.
Marco, you are absolutely correct! Which is why I threw in the all important "-ish" ;) I think folks use Super16 as a shorthand to describe the sensor because they are comparing it to other larger sensor formats like APS-C, or Super 35mm, giving folks a rough sense of how large the sensor is. I threw that image in just for relative scale, but you are right, the sensor should be somewhere in between the Super16 rectangle and the Micro 4/3"(since Super16 is 12.5mm x 7.4mm, compared to the BmD CC's 15.6mm x 8.8mm). Great article, btw!
Looks like if you buy 2.0 in the next couple of months you'll get a free 3.0 upgrade, so they'll probably be around the same price.