fuzzynormal

Ha!  I ain't gonna lie.  
I bought a GX7 back in the day because it was silver and looked like a rangefinder.  The specs matched most other cams in that range, so what it looked like was the thumb on the scale for me.  Funnily enough, that damn thing had the best out-of-the-box-IQ of any LUMIX camera I owned before or since.
Then I lost it.  [Sad face]

Maybe it's just me and my background as a doc guy, but you're being incredibly particular there as the two shots are pretty similar.  Your shadows are only slightly more defined from one to the next.
If you're looking to be a wildly accomplished and precise gaffer and you are OCD by nature, I suppose you could be this discriminating, but even then?  Debatable.  In fact, it might be a liability on set, depending on the production you're doing. 
Personally, if I had crew fretting about lighting issues and THIS was the thing they were worried about, I'd be, like, yeah, I'm not going to be able to work with anyone that precious ... I don't know ... ain't too many narratives I've ever done wherein I'd be upset about this technical result if t was the look I wanted.
I'd be much more worried about the storytelling, the acting.  Heck, even the craft services table (seriously, gotta keep the crew happy) than this lighting difference.

Nah. Not at all. But that’s not always what cinematography is about, right?
It’s also about knowing how to shoot when the light is right. Or adjusting to use the available light in a smart way. —or just Being there to take advantage in creative ways with what the situation allows. Pointing the camera in the right direction. 
 
knowing what to avoid as much as knowing what to get. 
 
I just think all those things go farther than worrying about which Canon camera you’re using or which Panasonic camera you’re using; concentrating on an extra 1 stop of DR with gear without knowing how to get the most out of the 10 you already have… etc, etc.  the same old debate we’ve all had hundreds of times.
All that said, having an awesome camera that can cover your ass and recover a bad ill-advised shot is fun too…

Maybe it's just me and my background as a doc guy, but you're being incredibly particular there as the two shots are pretty similar.  Your shadows are only slightly more defined from one to the next.
If you're looking to be a wildly accomplished and precise gaffer and you are OCD by nature, I suppose you could be this discriminating, but even then?  Debatable.  In fact, it might be a liability on set, depending on the production you're doing. 
Personally, if I had crew fretting about lighting issues and THIS was the thing they were worried about, I'd be, like, yeah, I'm not going to be able to work with anyone that precious ... I don't know ... ain't too many narratives I've ever done wherein I'd be upset about this technical result if t was the look I wanted.
I'd be much more worried about the storytelling, the acting.  Heck, even the craft services table (seriously, gotta keep the crew happy) than this lighting difference.

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!
 

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!
 

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!
 

Thanks for the warning.
Like I said, because of nonsense like this I'm ready to let modern culture turn the page on me.  I'm willing and able to be a footnote.

There's a time and a place for everything, right? 
For instance, my family just got word that my 20 year old nephew has Hodgkin's--Anyone telling my family they can't "discern" things, for whatever reason, would be rather unwelcome.
Please, let's all try to be kind, empathetic, and aware.

There's a time and a place for everything, right? 
For instance, my family just got word that my 20 year old nephew has Hodgkin's--Anyone telling my family they can't "discern" things, for whatever reason, would be rather unwelcome.
Please, let's all try to be kind, empathetic, and aware.

Oh, I don't actually know.  If your post-production workflow looks better to your eye, then stick with it.  There's no right or wrong answer here.
Although I would say that if your final rendered movie files look okay, and if it's doing some macro blocking only during editing playback, then I personally wouldn't bother with transcoding; 422 data storage demands increase for instance. 
Again, if that doesn't matter to you, then no worries.

Does the M1 handle AVCHD footage decently as well?  If so, shouldn't you skip the transcoding?

Sorry if I missed it, but what editing system are you using?  I had 5DtoRGB for the longest time, but gave it up when I left FCP7 all those years ago.
Proxy editing kind of makes 5DtoRGB sort of unnecessary in my post workflow.

I really enjoy this series, it's one of the genuinely good/interesting things on YouTube, but I especially liked this episode on the Digital Bolex. I always wanted to get my hands on one but never did. 
It's a shame that it ended up the way it did, because it genuinely was a pretty revolutionary way to create a camera. I don't know that we'll ever see a camera built with the same spirit and vision as the Bolex, and that's too bad. 
 

Modern culture is in a bit of a vortex with this, I think.  It's not just cameras.  Society has to figure out if it can evolve beyond this somehow --or if the majority of us are perfectly fine with being sophisticatedly exploited by our corporate overlords.
I still visit forums because that's my comfort zone.  It's a form of interaction built upon years of usenet and also the communal gee-whiz-ness of personal computers from back in the day.  But, hell, I was born in the 60's, man.  I lived in a different world. 
Your earlier metaphor is apt.  Some of us like a novel, but most people prefer a photo pamphlet. 

To use that word and not take advantage of the pun, I guess he wasn't kidding when he said he didn't know much about lighting.

Yes.  Study how photons do their thing.  Even look at renaissance art. Seeing light, which you're starting to do, is the only way to get a handle on it.
I just hired a shooter to do a gig and talked to him about everything required on the shoot, including turning off the practical lights and utilizing natural light entering through the windows and controlling the subject's location to maximize the look to his advantage.  In one ear and out the other.  He left the florescents on.
Footage looks like shit.
Actually, keeping light "small" is important to me.  I like filming and lighting with maximum dimness, or at least having the light go through room in an interesting way.   I also like taking the camera sensor and lens f-stops to the edge of their capabilities so the room can be darker.  All this allows for more interesting light falloff and controls the ambient if you're running anfd gunning.

Another tip: if you can find a spot with space, it gives you some flexible filming options. 
Here's a bunch of shots from a very unsophisticated talking head video I made last year.  Shot it in 3 hours.  We only had 1 location for 9 people.  Had to make the setting change visually from interview to interview to interview just to break things up.
Did some adjustments to the back ground light and camera angle between sit-downs.  Quick and easy.  The two lights being used on the interview subject never really changed.  A small softbox front key and a backlight was it, ambient through window blinds was my fill.  Just shuffled the variables and tried to get different looks. 
Ultimately, it doesn't take a lot to do a lot.  And, as said, I always, always, always start with killing the room lights.  See what you get, then continue.
Finally, here's my biggest dumb tip of all if you want to shoot something faster than you actually should:  Rotate 360 and try to find the light that allows the subject to be a few stops above the background.  Aim to achieve that visual separation.  Hold out the back of your fist at arms length, squint really hard, and get a sense if that's happening. 
For instance, if you're holding your fist in front of a window, it's going to be a silhouette, rotate yourself 180 and your fist is most likely going to be the opposite, right?  Rotate another 30 degrees and you might actually start to see some interesting 'light-moulding' starting to happen.
Anyway, it's pretty easy to start seeing light in your work spaces once you know what you're looking for.  It doesn't have to be some esoteric maths formula (even though it can be).  Just a smidgen of wisdom and practice can get you through.
 

Yes.  Study how photons do their thing.  Even look at renaissance art. Seeing light, which you're starting to do, is the only way to get a handle on it.
I just hired a shooter to do a gig and talked to him about everything required on the shoot, including turning off the practical lights and utilizing natural light entering through the windows and controlling the subject's location to maximize the look to his advantage.  In one ear and out the other.  He left the florescents on.
Footage looks like shit.
Actually, keeping light "small" is important to me.  I like filming and lighting with maximum dimness, or at least having the light go through room in an interesting way.   I also like taking the camera sensor and lens f-stops to the edge of their capabilities so the room can be darker.  All this allows for more interesting light falloff and controls the ambient if you're running anfd gunning.

You're absolutely correct.  I'd add you're definitely better positioned as a specialist to maintain a successful career than I am as a one-man-band-guy.