BTM_Pix

There is a curious paradox that you're experiencing there regarding acceptance of more overt activity that you would think would put people more on their guard but its often the exact opposite.
Its a phenomenon that I experience a lot when shooting flavour stuff outside stadiums of spectators before kick off. My preferred way of doing it is using small mirrorless cameras as I can't stand people who ham it up when they see a chance to get in a newspaper and I much prefer candid shots. It has to be said though that people are far more on their guard if they see you pointing a small camera in their general direction as they think you are up to something furtive. This is also very much the case with security services who are now unfortunately part and parcel of major sporting events because of terrorism. 
So whilst we all want to strip everything down and not make a song and dance of our presence, it actually often pays to be less discrete as people just accept you must be doing something legit and authorised if you're wielding big stuff.
Its counter intuitive to say the least but its definitely a thing.
See also 'furry mic syndrome' where wielding a large Rycote encased microphone on a boompole is like some sort of magic wand that grants de facto filming permission in most public places

Sadly the director on the feature film I worked on recently believed the exact OPPOSITE, and constantly wanted me to "hide" my boom pole and blimp. 

Have you activated the webcam on my macbook???
I do have a D500 and it is literally in my hand as I'm reading this as I'm unpacking everything at my hotel for this tournament. (52 kilos of equipment, 1 kilo of clothes  )
I don't have much in the way of short glass with me in Nikon mount so with that 2x crop I could do you a few shots of the moon.
I think I have an old manual 24m in the bag so I could sort something out for that.
On the upside, this promises to not exactly be a thrill a minute three weeks (and I've got a lot of gear with me for various reasons) so I am able to give you comparisons against :
Fuji X-T2
JVC LS-300
Panasonic GX-80
EOS-M RAW *not 4K obviously and I'm presently starting at menus on it like a labrador trying to work out a card trick
I've got enough adapters to use the same lens on all of the cameras and if Nikon are at the tournament then I can loan some short stuff off them.
So, take your pick of subject from windmills, clogs, cheese or interesting coffee shops.
 
EDIT >>>
I've found it. Its a 28mm

Maybe buy this and see if you can do a transplant?
http://www.ebay.co.uk/itm/Sony-16-50mm-f-3-5-5-6-PZ-Power-Zoom-E-Mount-Lens-SELP1650-/192245832173?epid=136951969&hash=item2cc2be99ed:g:290AAOSwvc1ZZiio
>>>>> EDIT >>>>>>
OK, maybe not that exact one as it seems to have an electronic fault which is precisely what you don't need ! But what I mean is the dirt cheapest functioning e-mount you can get to act as the host for the optics.

It only takes this guy five minutes to build one.
What could possibly go wrong
 

There is a curious paradox that you're experiencing there regarding acceptance of more overt activity that you would think would put people more on their guard but its often the exact opposite.
Its a phenomenon that I experience a lot when shooting flavour stuff outside stadiums of spectators before kick off. My preferred way of doing it is using small mirrorless cameras as I can't stand people who ham it up when they see a chance to get in a newspaper and I much prefer candid shots. It has to be said though that people are far more on their guard if they see you pointing a small camera in their general direction as they think you are up to something furtive. This is also very much the case with security services who are now unfortunately part and parcel of major sporting events because of terrorism. 
So whilst we all want to strip everything down and not make a song and dance of our presence, it actually often pays to be less discrete as people just accept you must be doing something legit and authorised if you're wielding big stuff.
Its counter intuitive to say the least but its definitely a thing.
See also 'furry mic syndrome' where wielding a large Rycote encased microphone on a boompole is like some sort of magic wand that grants de facto filming permission in most public places

I was watching that test trying to think of a scenario where you would have to track focus of someone walking to camera, disappearing off the bottom of the frame quickly, reappearing just as quickly from the bottom of the frame and then turning and walking away.
I am now convinced beyond any doubt that the Sony A6500 would be my go to camera to shoot weightlifting.

This is me with all the abysmal kit lenses that I've bought over the years with the intention of using them as a DIY rebate scheme by selling them off.
 

The Metabones one.
Though now having actually bought one, I would maybe look at trying the Kipon Baveyes version and saving a few quid as I'm not sure the AF performance difference is as significant as I was expecting it to be with the Metabones.

I'm a hybrid shooter, doing mainly travel videos of family, in recent years I've shot with the GX1, GH3, RX100 iv and A7R2.
I took a long look through all my work around a month ago to try and decide what cameras I most enjoyed shooting with and which produced my best work. I concluded that m4/3 was my sweet spot. Some of my favourite pics came from the GX1, some of my favourite video from the GH3. I found that I really missed shooting with a GX1 style body. With such a small camera, I'd be more likely to carry the camera with me. With m4/3 (as opposed to the RX100) I'd be more likely to make an effort on the photo side.
After reading Andrew's GX85 + Nocticron article and BTM_Pix's hack (tks so much guys!) I decided to pick up a GX85 a few weeks back. On the first day, I remembered why I loved Pannys UI (and disliked Sony's...) it was like coming home.
In Hong Kong you can buy a brand new GX85 for around US$420 body only. I have a feeling this will be my new "sweet spot"

I was watching that test trying to think of a scenario where you would have to track focus of someone walking to camera, disappearing off the bottom of the frame quickly, reappearing just as quickly from the bottom of the frame and then turning and walking away.
I am now convinced beyond any doubt that the Sony A6500 would be my go to camera to shoot weightlifting.

My experience with the specific Metabones that you are after for M43 cameras is mixed.
The work I'm doing on my hardware focus controller for Panasonic cameras has involved me creating a calibration procedure and the number of focus points for a native M43 lens is on average around 200 depending on the lens. On an EF lens via the Metabones its less than half that. And often much less than half that. This doesn't mean that it doesn't focus necessarily just that its very coarse in its points and the camera is returning some errors from it when trying to drive it too quickly between points. 
Now, all that might not seem to necessarily matter in terms of normal operation because I'm doing something completely different with it but it does tally with what I'm seeing from it when I am using it in normal operation where it is being a bit skittish. And this is using it with a variety of lenses from Canon including some short and long L lenses as well as more lower end ones like the nifty fifty and EF-S lenses but also the Sigma 18-35 1.8. 
Optically its fine, the aperture control is fine and the AF is generally OK but I would definitely advise that you try one out with the specific lenses that you will be using it with and see if it is right for you. Unfortunately, thats tricky depending on where you are as even in London I found nowhere that I could demo one.
 

Maybe go to the Heineken museum. Though, in all honesty, if you get the chance, drink Hertog Jan, Grolsch, Amstel etc instead. xD
APS-C would allow easy adaptation of DX lenses as well and stuff like the Tokina 11-16mm and Sigma 18-35mm f/1.8 would be native to it as well. Like you said, a focal reducer in between and you're set to still get fullframe coverage out of your F-mount lenses. Like, I don't want to waste a fullframe sensor and only use a S35 crop out of it... in meanwhile paying the premium. I don't mind rigging up my camera with cage, rods, follow focus, etc and throw it on some sticks with one of the 'Bourne' lenses on there, I've got the Nikkor ED 17-35, 28-70 & 80-200mm f/2.8 D lenses, but they are big 'n bulky and I'm speedboosting those now anyways. Seriously needs the appropriate occassion to throw 'em on.
For me it's just about the up from 4/3" sensor performance to APS-C, which gets you quite a bit better dynamic range, lowlight high-ISO performance and richer colors. I notice the lack of performance from the somewhat tiny 4/3" sensor, but APS-C I'd be more than happy with. For me, no need for fullframe, but it's nice to have a option to use a focal reducer. And otherwise I just love compact mirrorless cameras with sensor stabilization that also have compact lenses. A 35mm f/1.8 DX lens goes a long way. If they bring a smart adapter, they can immediately benefit from a native line-up to the sensor size. Sony hasn't been developping any consumer level APS-C lenses for like 3 years now (they've only released a few big 'n expensive cine/ENG-style zooms), it's like the entry level to get into their fullframe system... but for the people without the fullframe money quite yet. They're seducted to buy the tiny A6x00 camera and throw on fullframe lenses they can later throw on their A7-line-up camera. For me it would be nice if Nikon would develop an even more compact (than DX) mirrorless APS-C line-up (after all flange distance is shorter)... like Canon is doing with EOS-M. Actually, they might just ask Samsung if they can copy their line-up. That 16-50mm f/2-2.8 S lens and those primes look like the exact sorta thing you want in your mirrorless APS-C line-up! Of course, they could pull a Sony and do just that. An APS-C camera for the fullframe wannabees and a fullframe one/fullframe ones that they'd really be pushing. Just... to me, it makes more sense to make a D5600 mirrorless than it is a D810. But maybe that's just me.

I've got an X-T20 with me as well so I'll use that.
Let me get the first couple of matches out of the way tomorrow and Monday and I'll see what I can do.
And tulips of course. 

If smartphone film making does take over, I wonder how long it will be before people start posting about the iPhone 12S or whatever it'll be being a bit too clinical and adapting the lenses from iPhone 5s because its got more mojo 
Or hipsters going all Lomo with old Soviet mobile phones 
 

Have you activated the webcam on my macbook???
I do have a D500 and it is literally in my hand as I'm reading this as I'm unpacking everything at my hotel for this tournament. (52 kilos of equipment, 1 kilo of clothes  )
I don't have much in the way of short glass with me in Nikon mount so with that 2x crop I could do you a few shots of the moon.
I think I have an old manual 24m in the bag so I could sort something out for that.
On the upside, this promises to not exactly be a thrill a minute three weeks (and I've got a lot of gear with me for various reasons) so I am able to give you comparisons against :
Fuji X-T2
JVC LS-300
Panasonic GX-80
EOS-M RAW *not 4K obviously and I'm presently starting at menus on it like a labrador trying to work out a card trick
I've got enough adapters to use the same lens on all of the cameras and if Nikon are at the tournament then I can loan some short stuff off them.
So, take your pick of subject from windmills, clogs, cheese or interesting coffee shops.
 
EDIT >>>
I've found it. Its a 28mm

If smartphone film making does take over, I wonder how long it will be before people start posting about the iPhone 12S or whatever it'll be being a bit too clinical and adapting the lenses from iPhone 5s because its got more mojo 
Or hipsters going all Lomo with old Soviet mobile phones 
 

I particularly like how you've managed to connect an HDMI plug to what looks like some super 8 there.
Its one way of getting the film look I suppose
If you want something a bit more flexible (in both senses of the word) I was looking at the coiled HDMI cables from Atomos for the Ninja Inferno and having palpitations at how much they wanted for them but found an off brand one at a much better price
https://www.amazon.co.uk/Definition-Female-Adapter-Digital-Reflex-Stretched/dp/B0713XMLPN/ref=sr_1_1?s=electronics&ie=UTF8&qid=1500136856&sr=1-1&keywords=High+Definition+HDMI+Male+to+HDMI%2FMicro%2FMini+HDMI+Male+and+HDMI+Male+to+HDMI+Female+Spring+Cable+Adapter+use+for+Canon%2FNikon+Digital+Single+Lens+Reflex-Stretched+length+50cm+to+2m+(HDMI+Male+to+micro+HDMI+Male)
 

If smartphone film making does take over, I wonder how long it will be before people start posting about the iPhone 12S or whatever it'll be being a bit too clinical and adapting the lenses from iPhone 5s because its got more mojo 
Or hipsters going all Lomo with old Soviet mobile phones 
 

The best thing about the MBSB is that it gives you the opportunity to mount big pro Canon L lenses on a small M43 camera.
The worst thing about the MBSB is that it gives you the opportunity to mount big pro Canon L lenses on a small M43 camera.
Invariably they completely unbalance it and the AF on the MBSB just doesn't cut it as far as I'm concerned.
Is there a compelling enough Canon lens in my collection that I would simply have to have on my GX80 for example?
Not really.
The Sigma 18-35 is probably the one thats it worth having for but there are enough native lenses that I'm more than happy with and if the AF isn't up to snuff and you are manual focus anyway then Veydras, Voigtlanders etc are a bit more compelling anyway.
What its good for is acting as a universal reducer for my Nikon, Contax Zeiss and M42 lenses via the additional cheap converters to EF and its also good on the JVC LS300 for putting longer lenses on where its a bit more appropriate use case.
I was expecting the AF on the MBSB to be significantly better than the cheaper alternatives. It might well be but its still very lumpy as far as I'm concerned so I'd go with the cheaper adapter and put the extra money towards native stuff.

GX85 wedding (with EOSHD Canon colour LUT)
Although I now have a GH5 and only use the GX85 as a B cam at weddings here is an example of a wedding shot entirely with a GX85. It's a remarkable camera with the worst sound ever! I used the EOSHD Canon LUT at 50-70%. It works well enough but I don't like the hassle of using LUTs on these type of videos.

I think there'd be a pretty big market for it.
For people with LX100 or GX80 you're getting edit ready ProRes and an audio recorder. That takes both of those cameras to another level, particularly the GX80.
For everyone else, the edit ready ProRes would be very attractive even just based on how many threads pop-up on here recently for workflows/computer requirement headaches to handle 4K. Having ProRes from the get go takes care of a lot of that pain. Well, until you have to buy all of those hard drives !
The drop in CFAST prices since the original Ninja Star appeared also means the timing is better for it now as well.
As far as I'm concerned, BM have the right spec with the wrong screen size with their VAs as 4K on 5" would be better for compact cameras and Atomos have the right spec on the Ninja Assassin but the wrong screen size too as maybe it shouldn't have one at all like the Ninja Star.
So for me at least, whichever of them does 4K on a 5" screen or 4K on a no screen will win.

The solution to that problem for Panasonic cameras is that the Tascam mic has a slate tone it outputs when you press record on it which can be used to automatically put the camera into record.
I just haven't released it yet .....

I think that's the best all round option as well to be honest. 

Damn man, you're really going for it with these cams.
I don't own the Tascam mic, but how can you ensure that another sound, say someone clapping, wont stop the camera from recording? Also, I know it depends on your usage, but wouldn't you say the DR10X is a better option? That way you could get a wired lav and still have the recorder on camera for the slate tone or plug in a shotgun for camera mounted audio. It just seems more versatile to me, so wondering why you'd go with the DR10SG.