One quick note on parallax.
A difference in framing is not the only thing it involves. Perspective is different too.
So though you can use a parallax mark in a viewfinder to get the framing right, the only way you can get perspective right too is by putting the viewing lens where the taking lens will be (or vice versa, put the taking lens where the viewing lens was).
Not trivial, since framing too will be different than expected, due to the different perspective.
Indeed...but not an important issue in my circumstances. I simply frame with the parallax bar as the top of the frame, and quickly tilt the camera downward to see what will be in the bottom of the frame, then back up. I do not frame the shot how I want it, and then attempt to move the viewing lens to where the taking lens was. In the situations I mentioned (hand held shooting), it works fine, and the parallax bar is never that far down anyhow. Mind you, this situation comes up rarely. If I am doing anything that requires the utmost precision, and a lot of parallax adjustment, I am on a tripod with the Paramender anyhow.
If any of the features of my C series cameras are ever a problem for a certain shoot,
I do not use that system to shoot that shoot. Simple. That is why I got the RZ...to do things the C cannot. I would not give either of them up, though due to its raw versatility, I would choose the SLR first if I was shopping and could only choose one for the time being...though it would not be a Hassy, unless I was loaded.
Hassies are superior in several ways, and should be looked at by the OP...as should Bronicas, Mamiya Cs, etc. I simply do not feel that any of the disadvantages of a TLR are really a noteworthy issue in most studio situations...or that there is really much major difference in operation between the two, or between any reflex camera and the next one.
The only ways I ever feel handicapped by a TLR are when 1. I want/need to use exchangeable magazines, or 2. I want a lower profile ("shorter") camera, for handling reasons, or 3. I am using my C-220, and have to cock the shutter manually each time I shoot (not an issue with the C-33, so the C-220 is just a backup), or 4. I need to change aperture quickly and often, and I am using an older silver-shuttered lens, with the annoying tiny pointed aperture selector (not a problem on black-shuttered lenses).
EVERY ONE of these situations does not come up in the studio for me, with people or anything else. Studios are great equalizers for cameras, IMO. Everything is controlled and time is not nearly as much of the essence as it is outside of the studio.