Which of these cloud setups is best?

Can you elaborate? Does this mean they are similar, but that the sweet spot differs?

I didn't look close enough. One has more surface area, right?

More surface coverage is usually better but you'll have to take a measurement to compare. Rock is right in that the gap matters - especially for a cloud, I've found. At a certain point, you'll be going beyond an RFZ panel if you don't plan to move your head much.

RFZ is for waves which, above a certain frequency in a small room, will travel 'through' the air as opposed to just resonating in place. So, if you're not at those angles, it's not really RFZ anymore unless you have another use for that. At least, that's how I understand it.

A gap equal to the panel thickness (10cm in your case) is recommended because it does not allow a "hole" or dip in the low frequency extension of the panel performance. If you do gap greater than 10cm you can extend the panel LF performance but at the expense of higher freqs so it is a trade-off. You can see that there may be a reason to have a larger than 1x gap but you'll need to experiment and measure to find out exactly where your target frequency is. To keep things simple, just stick with a 1x gap.

The distance between your ears/speaker and the ceiling (not the panel) is what you're interested in, that's what determines the mode. As in front to back wall, 38% (or 62%) is the recommended "starting point for least mode influence. With measurements, you may find other points that can work for you too. Obviously, there are limitations due to your set up so if you can't get to 38%, acoustic measurements may help you tweak your setup.

Wooden frames are great for sharp, neat looking panels and providing a structure to anchor hanging hardware at the expense of loosing absorption on the sides. If you can cut holes or slots in the wood, you can get some absorption on the sides.

BTW, I have made frameless panels using "hardware cloth" on the bottom to support and provide suspension tie points. A stiff suspension wire is skewered up through the panel. A "hook" is bent into the bottom end of the wire which hook onto the "hardware cloth". The wire pushed to emerge from the top is attached to hardware on the ceiling. The thing I don't like is that cosmetically, they are not sharp and crisp as you can see from the picture...oh well.

I have to admit that my overall set up here is focused on a rehearsal/jamming space and only secondarily for recording and mixing. The other side of the room is for TV for the rest of the family and a support post in the middle of the whole room conveniently screws up the possibility of a more practical layout...oh well, even though you can't always have every thing the way you would like it, you can usually make at least some improvements. I can say that I admire and envy all the people here that are so motivated and able to follow all the recommendations Ethan has laid out for us and that many of us who have learned, try to help pass on. 
 

I admit, the mechanical aspect of all this acoustic treatment stuff does require a certain skill set. I think motivation is a huge factor and we do see some amazing executions from some of the list members here...and the rest of us do the best we can.

I think REW measurements can either confirm you're in the ballpark or point out glaring peaks of nulls that you might want to attack. Sometimes it's a matter of minor tweaks in speaker or listening position.