fuzzynormal

It's "Misty."  Jazz Classic.  So much of a standard song that Clint Eastwood made a movie around it.  The tune is by Erroll Gardner.  For my money the best rendition of the song is from Ella Fitzgerald.  Best sax rendition?   I'll go with Sonny Stitt.  Saginaw, MI represent!
Look at me, helpless like a kitten up a tree...
Anyone want an internet rabbit hole to go down?  "Misty" will take through the pinnacle of mid-century American music.

I just like Oly cams. 
Even though they don't get you excited on the spec sheet, when you use one it just makes a difference (for me).  It's not easily explainable.  I just always chalk it up to this:  it's why someone likes a certain car over another similar model in class.  There's always some collection of intangibles that add up to a sum greater than the parts.  Some machines just harmonize with ones tastes and desires.

Just realized my wife has an old Helios-44-2 from her Zenit-E 35mm camera.  The glass is a bit of a loose wobbly thing, but all I need for it is a M42-M43 adapter and I'll be good to go.  I think I'll put it on the GH1 I have buried in the closet and see how it goes.  Need to find something to film now.

I just like Oly cams. 
Even though they don't get you excited on the spec sheet, when you use one it just makes a difference (for me).  It's not easily explainable.  I just always chalk it up to this:  it's why someone likes a certain car over another similar model in class.  There's always some collection of intangibles that add up to a sum greater than the parts.  Some machines just harmonize with ones tastes and desires.

I suggest Cart-Horse-Films

I'll do it. 
Used to have a J9 years back, but sold it. 
Time to get back into some funky lenses. 

I just like Oly cams. 
Even though they don't get you excited on the spec sheet, when you use one it just makes a difference (for me).  It's not easily explainable.  I just always chalk it up to this:  it's why someone likes a certain car over another similar model in class.  There's always some collection of intangibles that add up to a sum greater than the parts.  Some machines just harmonize with ones tastes and desires.

I just like Oly cams. 
Even though they don't get you excited on the spec sheet, when you use one it just makes a difference (for me).  It's not easily explainable.  I just always chalk it up to this:  it's why someone likes a certain car over another similar model in class.  There's always some collection of intangibles that add up to a sum greater than the parts.  Some machines just harmonize with ones tastes and desires.

https://youtu.be/VujCOwa89ug

Xpro-2 is a fixed lens OVF with overlay guidelines and info if you want it. It’s a cool novelty. The thing I like about OVF is that is allows you to take in the whole scene in front of you as it’s a pretty wide view  
Whenlooking though the lens via EVF it’s kind of “tunnel vision,” which is good for some stuff too. 

I think people would be surprised if they ever went back in time and watched the projections of most movies on the film circuit.  The mangled prints that were presented in budget movie houses were ridiculous.  Equivalent to 480p would probably be an improvement.  Growing up in the Rust Belt and going to sad $1 movie shows was my ideal.  I loved it.
You really can't appreciate how terrible the IQ was.  And that was the movie house.  The analog recordings made at home were horrible!
BTW, 864x486 is what I still deliver as draft previews to my corporate clients.  They don't pixel peep. They just want the content they paid for.
Also, if you want something akin to a VHS dub recorded in SLP mode (what almost every 80's kid bootlegging films watched at home on their crappy VCR's and CRT's)  you'd need something like 480x270 at .2 Mbps...probably less, honestly.  
How about 320x180 at .1Mbps?  That would be a real challenge!

I think people would be surprised if they ever went back in time and watched the projections of most movies on the film circuit.  The mangled prints that were presented in budget movie houses were ridiculous.  Equivalent to 480p would probably be an improvement.  Growing up in the Rust Belt and going to sad $1 movie shows was my ideal.  I loved it.
You really can't appreciate how terrible the IQ was.  And that was the movie house.  The analog recordings made at home were horrible!
BTW, 864x486 is what I still deliver as draft previews to my corporate clients.  They don't pixel peep. They just want the content they paid for.
Also, if you want something akin to a VHS dub recorded in SLP mode (what almost every 80's kid bootlegging films watched at home on their crappy VCR's and CRT's)  you'd need something like 480x270 at .2 Mbps...probably less, honestly.  
How about 320x180 at .1Mbps?  That would be a real challenge!

Andy Kaufman
Jerry Lawler
Roddy Piper
Bob Heenan
Jimmy Heart
Rick Flair
Mick Foley

Not that it matters to anyone, but my brother’s and I launched into video production back in 1985 when my dad brought home a Sears VHS camcorder. How he did that on a blue collar paycheck I’ll never know.
What did we do with this awesome blessing?
Produced wrastlin’ videos. Hundreds of them. Story arcs, reoccurring character fueds, the whole bit.
My role was the interviewer “Mystical Marvin,” and I modeled the character after Mean Gene —with a little bit of Koko B. Ware and The Million Dollar Man for my occasional wrastlin’ appearances.
Good times.
So RIP, Harvey, owner, executive producer, and camera supplier of the LBWF!  Still talking about you all these years later. 

That dude’s a freaking genius.
 

Use it a TON when doing corporate because the clients like it.  
Otherwise, when I have the leeway, regular speed is default mode. 
It is nice to bust it out for sentimental dramatic moments in a doc. But you need to be judicious with it, just like drone shots. 

Yeah, I did this and the final movie was a mess and I didn't like it.  Not because of technical choices, but because I started shooting without a shot list, just a generic story line.  Sometimes you capture stuff that's compelling, other times it just never really gels.  Went into it hoping it might flow together somehow and I'd get lucky.  Nope.  I chalk it up to my wife and I not really being "into it" once boots were on the ground.  We were crew and cast, so it just went sideways from the start as we both don't really like being on camera.
So,
no dialog, no nat sound, only one crazy lens (pentax a110 f2.8 with an adapter that light leaked), started with music or soundscapes you've never worked with and then was shooting something to match the music, no scouting, found locations that looked cool and used them. Whew.
I can't even go watch the thing now 'kuz it's so cringy to me.  Learned a lot about myself and the wife though!

I always wondered if I would ever be able to laugh at a 9/11 joke. 

I always wondered if I would ever be able to laugh at a 9/11 joke. 

I always wondered if I would ever be able to laugh at a 9/11 joke. 

I’m really into listening to Bob Wills’ again. Can’t really explain why, just am. 

Ha!  You should have been around in the early 80's to get a glimpse of what that same sentiment meant to viewers back then.  First I recall hearing about how things were getting screwed up was when it came to "Hill Street Blues," I guess.  That was a popular TV show that embraced more chaotic camera movement.  But, man, talk about tame by today's standards.
Of course, a similar attitude was prevalent when French New Wave came about and it punched the industry in the mouth.  
I say no rules. Play with the thing. That's what creatives are supposed to do.  The tools of the craft allow for a heck of a lot of stretch, so pull and see what happens.

Ha!  You should have been around in the early 80's to get a glimpse of what that same sentiment meant to viewers back then.  First I recall hearing about how things were getting screwed up was when it came to "Hill Street Blues," I guess.  That was a popular TV show that embraced more chaotic camera movement.  But, man, talk about tame by today's standards.
Of course, a similar attitude was prevalent when French New Wave came about and it punched the industry in the mouth.  
I say no rules. Play with the thing. That's what creatives are supposed to do.  The tools of the craft allow for a heck of a lot of stretch, so pull and see what happens.

I’m really into listening to Bob Wills’ again. Can’t really explain why, just am. 

My advice is keep what you currently have. Buy a good video head tripod/monopod, a mic and lavalier mics, a cheap drone, and some video lights. A gimbal if you want to go all out.
That should cover all your bases at first. If you need to upgrade your cameras go from there. I think soon Canon will be forced to have Full Frame 4k in their morrorless bodies by competition so I would not buy a high end body from them right now. If you want to get a cheap video oriented body for your lenses as a stopgap I would go for the new 90D.
EDIT: Also make sure your computer and storage are good enough to edit and store everything!