fuzzynormal

I like smaller sensor cameras for the super-zoom capability they typically offer.  Also camcorders with built-in ND filers are nice.

Depends on the doc.  I use hybrid cams and removable lenses for my docs.

I like smaller sensor cameras for the super-zoom capability they typically offer.  Also camcorders with built-in ND filers are nice.

Seems like you have a process that works and you're content with it.  Very cool.
I'm in the same boat.  Since I'm low low low budget, I shoot what I can with what I can and align as best as possible in post.    I just spent a month and a half filming with a shitty 500mm lens simply because that's all I could afford.  It's not great, but it's not a deal breaker either.  So, off into the field I went and I used it.
And also, combining multiple cam footage with different lenses is not that hard unless, as a filmmaker, you're incredibly intent on having an extremely tight cohesiveness to the IQ --and are desperately striving for seeking out that extra 5% of IQ.
Your test prove that consolidating various footage is viable, and my anecdotal experience follows.
I know a lot of us here really want to find the perfect recipe for all of the above, throw in some secret sauce to make it all work, and that'll make us sit back in the editing seat and go "golly, doesn't that look wonderful!"
However, since consumer IQ tech is pretty damn good now, as a documentarian my goal isn't about the tech, more often it's simply get the shot that tells the story, then tell that story.
These days, when it comes to IQ, I worry much much more about the floor than the cieling.

Well, I'm assistant editing with ARRI footage.  [name drop!]  
Seriously though, filming our own thing this month with a XPRO2, EM10III, iPhone, and a GH5.  I even used the old Canon 5DII the other day.  All over the map.  I guess you can throw in GoPro and DJI while we're at it.  7 camera manufactures, one project.  Also, all the different lenses we've been using are ridiculous.

Unless you're shooting in a log profile or doing lots of color grading 8-bit is fine. I film the majority of my event work in 8-bit because 10-bit just isn't necessary when I don't need to do a ton of corrections. I film in the natural color profile on my Lumix cameras, set my custom white balance, and I'm good to go.
10-bit is great to have for narrative, commercial, and even corporate/interviews where you're going for a certain "look." It is also very good for green screen work. Since getting the Lumix S5 and full v-log I've filmed more in 10 bit. I really like it, but it's just not necessary for a lot of stuff.

You can't tell me that most of us here have the technical skill to make an Academy Award Winning film like Nomadland.  It's brain-dead simple if you have an inkling of video production craft.
Storytelling maybe not so much, but that film could've been shot on a 5DII and no one would care or notice.

The workflow is so simple now. MLV App is straightforward for correction and "CST" and you can export to ProRes so you can edit in any program you want. Or you can use MLVFs and open up the files right in Resolve as if they were any other video file from any other camera.
Btw, I loved your B&W short film. I watched it on Christmas morning and it brought a smile to my face. I've been meaning to comment on it, but now I'm so far removed, I'd like to watch it again. The mouse was a whacko, cool idea that was done so well and made me think of the old Bass and Rankin Christmas cartoons.

Yeah, I can't explain my attraction to Olympus, but there it is.

It's kind of like the old-school difference between "broadcaster" and "filmmaker".  Aspects of both crafts can often be interchangeable and muddied, but there's a philosophical difference between the two.
'Broadcasting' the States has most often been about making quick, often shitty, content.  News, game shows, talk shows, soap operas --just constant stuff stuff stuff.
A lot of that is now being built on independent folks, rather than organized broadcasting business entities, but it's still the same low-effort-with-the-narrrative content.
Decent filmmmakiing is considered and slow.  There's typically a serious effort to infuse some story telling art into it.  
Churning out content... eh, there's some of that, but not so much.
 

The gig economy is the future economy.  As a freelancer my whole life I ironically find it kinda sad, actually.  It's yet another corporate race to the bottom.

I've literally bought Oly and a few Panasonic cams because they looked cooler than other manufacturers. 
I then beat them all to shit until they looked ugly as sin, but still...

The gig economy is the future economy.  As a freelancer my whole life I ironically find it kinda sad, actually.  It's yet another corporate race to the bottom.

It's intentional for me as well as I'm most often doing docs or corporate personality profiles. 
So, rationalizing it as bringing the viewer intimately into their world.  As you mention, using that bit of focal compression as a way of isolating the person unto themselves.
OTOH, my wife and I did a narrative short last year and we ended up using 18mm on M43 mostly.  So, 36mm FF equiv.  Felt like the right choice as the main characters were a couple.
To the topic's OP: as you see, none of these decisions are reliant on specific camera brand purchases.

I like to use longer focal lengths.  Not necessarily tight shots.  A person filmed head to toe with a longer lens just looks better, imo.

FWIW, aside from the pro stuff, I'm pretty close to being camera body agnostic now that we're into the 2020's.
My preference is to use a 40-50mm prime lens on M43.  Or 85 on FF.  It just looks more cinematic to my eye.  Anything in the "portrait" regions of focal length.  Not a fan of wide angle filming unless it's very considered shots.   I don't like a lot of different focal lengths in my videos.
DOF I prefer modest, but not ridiculously shallow.  bleh.   f4 on FF and F2'ish on m43.
I also use a tripod when I can.
Just those choices alone makes the stuff I shoot look wildly different than most 'content' online.
I've been sticking with that for awhile now.  I like it.  I shoot natural light mostly.  Learned to take advantage of the situation rather than putting up my own lighting.  For instance, I almost always shoot now by turning off the lights in a room and using window light; repositioning my camera/subjects to get the best lighting angles in those situations.
It's always funny when I turn off the lights, the client turns them back on thinking a mistake has been made "Don't you need lights?"  Nope. "The natural light from the window looks wonderful, let's give that a try."  And I turn the overheads off again.
Even a horrible office room can look decent with natural light and a little repositioning.

FWIW, aside from the pro stuff, I'm pretty close to being camera body agnostic now that we're into the 2020's.
My preference is to use a 40-50mm prime lens on M43.  Or 85 on FF.  It just looks more cinematic to my eye.  Anything in the "portrait" regions of focal length.  Not a fan of wide angle filming unless it's very considered shots.   I don't like a lot of different focal lengths in my videos.
DOF I prefer modest, but not ridiculously shallow.  bleh.   f4 on FF and F2'ish on m43.
I also use a tripod when I can.
Just those choices alone makes the stuff I shoot look wildly different than most 'content' online.
I've been sticking with that for awhile now.  I like it.  I shoot natural light mostly.  Learned to take advantage of the situation rather than putting up my own lighting.  For instance, I almost always shoot now by turning off the lights in a room and using window light; repositioning my camera/subjects to get the best lighting angles in those situations.
It's always funny when I turn off the lights, the client turns them back on thinking a mistake has been made "Don't you need lights?"  Nope. "The natural light from the window looks wonderful, let's give that a try."  And I turn the overheads off again.
Even a horrible office room can look decent with natural light and a little repositioning.

FWIW, aside from the pro stuff, I'm pretty close to being camera body agnostic now that we're into the 2020's.
My preference is to use a 40-50mm prime lens on M43.  Or 85 on FF.  It just looks more cinematic to my eye.  Anything in the "portrait" regions of focal length.  Not a fan of wide angle filming unless it's very considered shots.   I don't like a lot of different focal lengths in my videos.
DOF I prefer modest, but not ridiculously shallow.  bleh.   f4 on FF and F2'ish on m43.
I also use a tripod when I can.
Just those choices alone makes the stuff I shoot look wildly different than most 'content' online.
I've been sticking with that for awhile now.  I like it.  I shoot natural light mostly.  Learned to take advantage of the situation rather than putting up my own lighting.  For instance, I almost always shoot now by turning off the lights in a room and using window light; repositioning my camera/subjects to get the best lighting angles in those situations.
It's always funny when I turn off the lights, the client turns them back on thinking a mistake has been made "Don't you need lights?"  Nope. "The natural light from the window looks wonderful, let's give that a try."  And I turn the overheads off again.
Even a horrible office room can look decent with natural light and a little repositioning.

Massive data rate file that was uploaded in 4K, so that helps.  Seems to have maintained a lot of the detail.  I uploaded an .mp4 file.
We used the Universe plugin from Red Giant for the dust and the jumpy gate weave.  "Misfire" was the effect setting.  I think maybe those film damage effects subtly popping up as things go along helps with the look.  Black dust and very subtle splotching are there, but not too obvious.  We didn't want it to look like a reel that had been on the road for months,  suffering all that accumulating spooling damage, but what you would potentially see as the first pristine print at a premiere, you know?
The 'tight' gate weave keeps the frame hopping left to right just a little also, which I think looks cool. 
BTW, the plugin is too flaky.  Can't recommend Maxtor stuff based of this particular effect.  The effect is nice and this one did the job, but it wasn't reliable.  Crashed my system a lot.
Also used FilmConvertNitrate for the B&W stock film look and underlying film grain. "IL FN P4" for those of you that have that plugin.  

Yeah, we really thought about doing that old fashioned "Continental" accent, but the director wanted more of a modern delivery once she saw what we were getting during rehearsal.
Thanks for the positive feedabck on the dolly moves.  Not a lot of folks mention that.  Kinda wish I'd gone even more aggressive with it in hindsight, but that's all part of the fun.

Here's a gift from and to EOSHD.  It's been a journey these past 10 years.  Me and mine have bopped in and out of here over the years.
We would like to share our old-fashioned American Christmas film.  It takes place on Christmas Eve, so I guess today's an appropriate time to share it!  This film wouldn't have been made without EOSHD and everyone's wisdom helping us grow technically, especially with advice regarding M43 cams.
If you like classic Hollywood movies, let us know what you think about our attempt at making a 1930's style film.
Happy Christmas!
 

Here's a gift from and to EOSHD.  It's been a journey these past 10 years.  Me and mine have bopped in and out of here over the years.
We would like to share our old-fashioned American Christmas film.  It takes place on Christmas Eve, so I guess today's an appropriate time to share it!  This film wouldn't have been made without EOSHD and everyone's wisdom helping us grow technically, especially with advice regarding M43 cams.
If you like classic Hollywood movies, let us know what you think about our attempt at making a 1930's style film.
Happy Christmas!
 

Here's a gift from and to EOSHD.  It's been a journey these past 10 years.  Me and mine have bopped in and out of here over the years.
We would like to share our old-fashioned American Christmas film.  It takes place on Christmas Eve, so I guess today's an appropriate time to share it!  This film wouldn't have been made without EOSHD and everyone's wisdom helping us grow technically, especially with advice regarding M43 cams.
If you like classic Hollywood movies, let us know what you think about our attempt at making a 1930's style film.
Happy Christmas!