Emanuel

you are an open mind man. I think you are very good to work with in a team, which is a critical factor for a successful dp career. 
 

I still feel the main advantage to L mount is the ability to adapt almost anything to it, like you can with MFT, E-mount, Z-mount, etc. If I got an L mount camera the first thing I'd do is buy adapters so I can use my tiny rangefinder lenses, or my Minolta Rokkor lenses, or my Nikon F-mount lenses. I almost never buy native lenses, although I would if I used autofocus.

Exactly. I use L mount and don’t own a single native lens. I shoot mostly cinematic video though so no need for autofocus most times. The new Kipon L mount to EF speedbooster gives you autofocus though if you need it and lets you use some of the canon pancake lenses with a slim profile. That or a small nifty 50 and you’re golden. Personally, I can’t wait to try my Konica Hexanon 40mm f/1.8 pancake on the S9, it’s tiny even with the adapter/focal reducer.
 

There is absolutely a difference of looks between the formats, but it doesn't mean lens equivalency is false.
Lens equivalency says that "all else being equal, a 28/2.8 will look the same on FF as a 14/1.4 on MFT" but the thing is, actually making a 28mm F2.8 lens and a 14mm F1.4 lens would end up with subtle differences in how you would do that.
The "look" is really a combination of the subtle differences in lens design.  The MF look is probably just as much an artefact of history and would incorporate the lens design quirks of the time.  A modern MF camera with optically pristine lenses wouldn't have as much of the look as an MF film camera with vintage MF glass.  A FF camera with a super-fast lens that has the same design flaws as the common MF lenses would have a lot of the MF look.
Lenses aren't perfect, and much of the "look" is due to the imperfections.  Reducing the discussion down to FOV and DOF is throwing the baby out with the bathwater.

Why?

I gotta chime in here and say that there most definitely is at least a large format look. You have control of both the lens and the film/sensor planes independently. You can apply any number of adjustments to the axis -- and achieve images that a tilt-shift lens + fixed sensor (ignoring IBIS as not applicable in way I am describing) cannot. And I'm sorry, but M43 cannot achieve as shallow depth of field (at comparable fov) that my 4x5 cameras can. These formats have all been developed for a reason and equating them all in this way is bogus.

Because it's not a plain subject. Trust me, this is not as simple as a bloody number. And mainstream technology means too little or people shooting in B&W would have switched to colour when that was introduced by then.
 
It's worldwide. Geolocalization means too little if any for that. We are in 2024 now.
 
To not respond you in a weird manner under your request : ) I think you're just missing the whole point of it why you've heard people to tell you so. Far to be a dumb idea. It's just not what your interpretation made from :- )
 
Of course. Once you're going after a standard, start from there ;- )

This depends on the size of the 8k screen and how far you're sitting from it.  If you're 3 meters away from a 27" screen, almost no human is going to see the difference in 4k and 8k regardless of the screen resolution.  If you're 10cm from the same screen, you'll probably be able to see some difference between 6k and 8k on an 8k screen, but...  it's not that important.
Many cinemas are still projecting 2K on their enormous screens.  Do people watching from 10+ meters away notice the difference between it and 4K?  Would they even notice the difference side-by-side?  Maybe.
Anyway, there are declining returns in increasing display resolution - going from SD to full HD was huge.  Going from HD to 4K was a lot less huge (and lots of people are still using full HD TV's all over the world).  Going from 4K to 8K is going to be pretty slow due to the fairly small perceptible gains at a standard viewing distance.

when I started videography, I naively thought that a hybrid vDSLR would cover everything in the photo and video worlds. One camera to rule them all. With time passing by, I accumulated all kinds of formats, especially in the photo world, 4x5, 6x9, 6x7, 645, 135, m43/43, apsh/apsc, 1 inch, super8. and also the video cams. later I realize all of the popular formats and cameras have their unique niches. It is very difficult to replace them with one format and one camera. I just keep them all.  
For example, in the current era that bokur is the king, super 16mm still is very suitable for documentary and in depth news reports. A famous scene of the Citizen Kane is that the young Kane played behind on the snow field outside of the house, their parents talked to the banker in the front in the living room, and his future was determined. Actually this is very suitable for S16. s35, vv, 65/mf will bokeh the background, which is an addition to the story. This is often the case in news and documentary, you want the background layer to have more information more layers to make the whole scene dense and impactful.  
 

A concept very known and used in music aesthetics BTW, cinema is far to be mere technology. It's actually more perception instead. Just made with tools and they are not the same nor produce the same outcome ;- )
- EAG
 
PS: Jumped to another page, so please don't decontextualise the meaning of it... well expressed my last post from the previous page (pardon my marketing now! haha).

As already stated here before, not only them.
BMCC6K (FF) is another one, as for instance.
Add 2x/1.8x/1.6x anamorphics (offered by a tempting no-brainer affordable piece of glass, designed & assembled, i.e., made by SIRUI, for example) on one of their open gate recording modes and you'll have distinct aspect ratios or even the possibility of reframing @ post.
This is a whole different world. Apples to oranges going along a capture device without it. Almost as near as BMD's UI layout versus all those ridiculous and non intuitive menus of the Japanese mirrorless cameras.

Yes, I remember. What's funny is that the results are so clear that they decided to never do it again. And that was exactly 12 years ago.

Need to go a little back in time to realise what all this means and why geek and filmmaker in the same line is not an easy marriage...
 

Nope. 
https://www.eoshd.com/news/zacuto-revenge-shootout-part-2-results-revealed-francis-ford-coppola-and-audience-majority-give-win-to-gh2/ 

As already stated here before, not only them.
BMCC6K (FF) is another one, as for instance.
Add 2x/1.8x/1.6x anamorphics (offered by a tempting no-brainer affordable piece of glass, designed & assembled, i.e., made by SIRUI, for example) on one of their open gate recording modes and you'll have distinct aspect ratios or even the possibility of reframing @ post.
This is a whole different world. Apples to oranges going along a capture device without it. Almost as near as BMD's UI layout versus all those ridiculous and non intuitive menus of the Japanese mirrorless cameras.

I think the point is exactly this one. Without mention, the larger the more light you can play with.
Look is made by light, after all.
Low light performance as reference, not the same as no lighting, OK? But room for.
- EAG

In the current digital age we live all in, it's practically inevitable to not think of that question of Truffaut about why not establishing shots on North by Northwest (1959)... and Hitchcock's answer:
"Planting the camera in the countryside to shoot a passing train would merely give us the viewpoint of a cow watching a train go by."

LOL : ) Who reads you here for a while... more than a decade now, can only send a good laugh but you know something? Don't kill the messenger later on when I've proposed this and most part of you love the game:
 

Looking forward to seeing both, Gh6 and Bmmcc put to action by you. @TomTheDP I've been using my og Bmpcc for six days in a row last week just for relaxation and fun. So much fun, had it coupled with a 25mm Tevidon and some other times with a 0.7 speedboosted Pentax M 28mm F2 non Hollywood version. Colours are magical. During daytime beyond diffraction limit.:)

This is the secret sauce, not the brand or whatever marketing sells for ; )
In a word or in a single line, art (because cinema is an art form) is a combo, no less.
- EAG

This is the secret sauce, not the brand or whatever marketing sells for ; )
In a word or in a single line, art (because cinema is an art form) is a combo, no less.
- EAG

I love a 0.71 speedboosted Canon FD 28mm F2.8 lens on a full mft sensor. Maybe I should sell all my stuff and keep the 28, the 50mm F1.4 and the 100mm F2.8. Maybe the Vivitar 90 F2.5 as well.:) It really is about lens and sensor combinations. In theory equivalence is helpful and by that simple translation it yields same results. It yedlins same results, so to say.:)
In practice the specific combinations still paint light differently. I remember listening to the DP of "Moonlight" at a beautiful festival in Poland when he expressed his exitement of using the then new Alexa LF with a 50mm instead of using a 35mm on the S35 sensor with an equivalent, larger Fstop. Both perspectives combined allow an understanding of my lens choices. And restrictions by money.😊

If Panasonic or anyone from the L-mount would put out any F2.8 pancakes, then we would be talking! 28, 50, 80mm! The true Pocket FF.😊 @Emanuel

What it is funny to me is the hype about this release when for same price we can buy a true cinema camera (BMD FF) these days... Apples to oranges.
- EAG

Not recommended, but possible.
Epic rig....