John is right grab a monitor/recorder with loop through for SDI out, and enforce the kit fee. Think of this way. Your camera is a depreciating asset at some point you will need to replace/upgrade it. If all you ever do is charge for your time then you will be cutting into your earnings, and be stuck digging into your personal income to cover costs. We experience this everyday when we purchase food or any other items. Businesses figure in these costs all the time. Vincent Laforet put it into great perspective in this article.
Another point that I still struggle with at times is letting clients beat me up on price. When we lower our prices and do things at sub common rates then we actually hurt the industry as whole by creating a standard that clients will always go back too even with other service provider (cam ops, videographer, cinematographers, etc).
Client: "Well this guy/girl didn't charge for that."
Cinematographer: "Well that's not standard for me, these are my rates."
Client: "Your just gouging me on the price! I won't be recommending you to anyone!"
This problem already exists and I think we all have to work to alleviate this within our industry. Professional quality gear and work isn't cheap and I don't think we should have to suffer through the "It will look great on your reel" crap that is prevalent. Best of luck with your decision and standing up for what you (and your gear) are worth!
Next time make sure you set the mirroring mode of the hdmi so that you have a clean out put for recording. The Mark III had it so the Mark IV should as well.
The signal from HDMI is not quite strong enough. HDMI cables are usually only rated out to roughly 30 feet (a little over 9 meters) companies sell these cables regardless though. You will need a cable with a signal booster built or one you can add on before you get to 9 meters or a shorter cable. I would suggest just using a shorter cable and cut down on clutter.
I don't think there is gonna be a super easy way to do it, but here is my attempt and it's pretty straight forward.
I was not super precise on masking out the guide lines but this should give you an idea. Also I think you will have to crop out the other on screen data. If you like this approach let me know and I will put together a short tutorial.
I would take Torben's words and apply them. Grab a frame (your favorite) whichever shot inspired you to achieve that look, and break it down. Look at Composition, Lighting, Color, and Movement. A style is far more than just a LUT and some color grading.
The cinematic look can be achieved with cameras that don't shoot Raw and with compressed codecs. The lighting is going to be the biggest hurdle to jump. I have seen things shot on Canon T2is and Red Epics played on the same movie screen and in the same night. They both looked great! You can even get rid of a "videoish" look by controlling those factors with lighting. Video look comes from heavily clipped highlights that don't roll off softly, and heavily saturated colors in my opinion.
I guess all I'm trying to say is don't box yourself in just because someone says that "this or that" makes a camera bad. An operator that understands their camera and how to overcome short comings of that camera will always trump an amazing camera in a sub-par ops hands. I mean Tangerine was shot on an iPhone and it looked amazing. I would say find a camera that you are comfortable with and learn it inside and out. Then focus on the lighting and composition side to better tell your story. Good luck with your project!