This 18-wheeler / semi ran through my (2 AM) scene while I was fiddling about with exposure settings to see if I got more noise from long exposure or high ISO. This one was obviously a long exposure.

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The full frame 6D mark 1 is running in the same price range as the 80D, but with the APS-C 80D you get faster and better autofocus, more autofocus points, better live view focus options, speed and accuracy, a newer processor, and a few other advancements like a headphone jack (video need), a brighter viewfinder and 100% viewfinder coverage. The lone advantage for the 6D is the full frame sensor. The 6D mark II is the feature-matching camera to the 80D and will cost about twice as much.

Working on the assumption that this was an authentic video and request, I must note that my wife has a phrase for people like this : obliviots. These are the same people who park their shopping cart directly in the middle of the aisle and walk VERY slowly back to their cars down the middle of the traffic line. They also text all through movies and whisper through funeral services..... Grrrrrrrrr.

A lot of good replies already, but there is a way to do the same 'tricks' mentioned for metering the scene in manual mode, but doing so in aperture priority mode. Metering lock. Unless you have changed the factory default assignment for the button, you can compose the shot with the sun just outside the metering point and press the * (metering lock) button on the back of your camera. That freezes the shutter speed, after which you quickly recompose and fire the shot. It takes a little trial and error to get the right "spot" to lock the exposure, but it's more convenient than having to switch modes, set aperture and then dial in the time.

My first guess is you remember effects on the clouds on a day with direct sun on you and on said clouds, but that you were recently shooting on a truly cloudy day and had only diffused, reflected light that would not show the effects seen in direct sun. Beyond that, if you were using any version of a 'live view' it's likely the display is compensating for the reduction of light. Several students of mine tried to shoot the effects of a partial eclipse recently and their phones or cameras compensated for the reduced light and showed what seemed to to be a full sun shot even during the 60% eclipse...... they had longer exposure times, but virtually identical exposure to the full sun "before" pictures.

A little late to the thread, but... We can hope this dog is vertical and nothing dripping, I suppose.

Just a glass with ice, held over the lawn. One of my 'surprised myself' shots from years back.

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No one in the group was able to get a picture, but he last time I visited the Grand Canyon the Bright Angel trail was locked down for 20 minutes as a SAR (complete with chopper) came to air lift a woman whose 80+ foot fall/tumble left her hung up in the trees/brush. She apparently had slipped off backwards while shooting a selfie.....

So many fewer jet contrails in the 1890's......

I have to agree with the previous replies. You might want to dial in the time of the exposure first, possibly by taking a stopwatch to the next show and timing a few jumps at a particular spot. After determining, say, a 0.8 second average on the jumps, you might go for 1.0-1.2 seconds and then dial in the ISO / aperture / ND filter combo that times out correctly. That gives you maximum 'density' of the blur, not wasting any exposure too far in front or behind the jump.

Because some folks have mentioned coaching, and because I coach as a profession, I'll post the optimistic answer. Over only six months, between photographer A and B, the one that works to improve their 'deficits' the most will end up with the better results. A technically proficient person can learn a bit about composition and impact, and the artistic can learn the technical. Still, I'd say the photographer with the natural eye for composition has a higher potential in the long run, as composition always trumps proper exposure.

Depending on the version of the lens, you could have gotten a collector's item, but yours seems to be the most common version. I bought the exact set-up you have (not the collector's lens) for 35 bucks at a pawn shop and sold the (UV light treated, to remove the yellow haze) radioactive lens lens for 65 in one day over at Amazon.

As far as the quality, the Takumar's were just fine, but as the thoriated radioactive ones age, they tend to develop a severe yellow cast. I prefer my Olympus Zuiko 50mm fully manual for my reverse lens macro images.

Others have hinted at this, but EV manipulation will result in an underexposed image in camera. With the EV compensation at -2 or -3 stops, your ability to adjust the exposure in post then becomes 'centered' around an underexposed image, meaning in a high contrast scene, you most likely have buried your shadows and the ability to recover them without excessive noise. With ND filters, the only initial camera or file adjustment becomes the shutter speed, meaning you still get a 'correct' exposure and more latitude in post.