It’s my view that the entire reason one might desire a ‘retro’ styled camera is simply to get rid of the additional stuff that digital introduced.
All any competent shooter needs is a focus ring on the lens, an aperture ring on the lens, a shutter speed control on the camera and, courtesy the digital revolution, a simple, non-menu method of selecting ISO and auto ISO.
Rob if you were shooting today you'd have to show the image to the AD and you can chose your way of doing it.
I've never had a client demand to see tethering at real time and if I like I could go back to shooting to card and downloading, (which isn't as slow as you think) but today half the trick isn't just the shot, it's proactively managing the room and the ability to listen to the client, crew, talent and respond, holding to all the creative briefs and objectives.
What I would actually like is a rack of screens, like 10 Ipads, that showed first frame to last and then rotated across as you worked. That way the clients could see the body of work, rather than just one image in 27" detail. That one image look always makes the digital tech constantly go back and forth.
I actually find most clients are trusting and don't get too deep into the minutia of every detail, as they are looking at the broad strokes, which really is the way to do it, so tethering isn't that bad, other than having to be hooked to a cord.
But honestly if you work professionally, nobody has buy a modern camera that is dumbed down. For the price a d800 will do everything this camera does and more, but for more money and more analog my phase backs and contax is a dumbed down as it gets and they still work fine and at this point I guess are also retro.
We also run multiple video monitors on set, usually one large and two or three small lcds, mounted on stands. I find early on everybody looks, but as the day and session continue the good creatives that know what they're doing (which is most today) watch the set, which is how it was done in the film days.