AMEN! I have nothing to add to what you have said. It is perfectly spot on.
I don't mean to sound disrespectful, but none of us need a camera shootout or three part documentary to understand that the DP, crew, actors and story matter a whole hell of a lot. And I challenge anyone to find a single post on Reduser, Cinematography.com, DVXUser, DVInfo, etc. that says a good camera is all you need to make a good film. Such a thought is so nonsensical, that I can't recall one instance of it being expressed.
What is nonsensical to say is that cameras spanning a range from the iPhone to the F65 are all reasonably similar.
What would have been very useful is to talk about the production and post production requirements of each camera. How do I work around not having timecode and HD-SDI for the iPhone, GH2 and 7D? How tightly can I get into spaces with the Red Epic vs the Alexa? How much storage and computer power do I need to post an F65 vs a C300? Those are the types of differences a production can use to make a decision. I have a friend who will be shooting a low budget feature in November. I also have a potential hookup w/ an F65. But the production and post requirements for that camera make Red's Scarlet a better choice.
Solely based on image, it's hard to argue that the F65 isn't the finest digital cinema camera in the world right now. Not saying the Reds aren't awesome, they certainly are! And there are a lot of reasons to choose a Red over any of its competitors. But Part 3 of the Zacuto Shootout only repeats what I've seen in other examples of F65 footage.