fuzzynormal

Let me respectfully suggest you're in a "forest for the trees" situation.
If you want super cheap, and are truly strapped for cash, then maybe step back and consider older LUMIX cameras, speedbooster, and a old fast manual prime lens for low-light situations.   I've shot numerous documentaries and projects with a variety of LUMIX M4/3 cams.  As far as I'm concerned, the 60p on these cameras is fine.  I really have an affinity for my GX7, for example.  An effective S35 sensor area is adequate.
I mean, we're talking about $500 to get all three pieces of gear; even less if you buy used.  No, they're not the best low-light cameras @60p, but do-able and that price is ridiculous considering what you can accomplish.
If you don't like the results it's not like you've invested a lot of cash.  With those cameras, buy used and then sell used and you won't lose any money regardless.
Ultimately it'll come down to your abilities with whatever gear is in hand.  Certainly don't assume you are going to solve the majority of various production problems just because you own a camera that's 2 stops faster than another one.  I mean, low-light-full-frame cameras are fun and all, (I do like them too) but work is work, your budget is tight, and cameras are only a small fraction of the whole process.
All that said: NX1 and X-T20 tick boxes what you want, just at a higher price.

Affordable? Man, it's all affordable these days. Even the expensive stuff is affordable.  

Affordable? Man, it's all affordable these days. Even the expensive stuff is affordable.  

Certainly very common back in the day of indies shooting on videotape.  Does FotoKhem in Burbank do it?  Anyway, I think the cost was somewhere around $200 a minute... but this was 15 years ago.
The cool thing, for your inner hipster, is that you'll get a can(s) of a 35mm print to show off.  So, a "real" film, you know?

The "film look" is a combination of the entire craft.  I've even seen (and shot) 16mm film that doesn't necessarily have the "film look."  
Embrace the fact that one needs to comprehend numerous elements of motion picture image creation and you'll be on a path that might get you there someday.  It's not a single tool, it really is the knowledge and wisdom that makes it happen.
...the least of which, IMHO, is highlight roll off.
But, understanding color is a piece of the puzzle.  Knowing how to control color in post does help, but don't expect it to be the answer.  It's just a fraction. 

Light properly.

Not very.  The controls are very straightforward --but you will most likely crash before you come to terms with it.  I felt pretty confident after a day of practice with an old and used camera-less drone.  
Then, I flew my actual camera drone into a tree a few days later during a shoot.  Boom.  Basically, it takes some wisdom to learn how to interpret spatial dynamics from a distance.  More important than that is just learning how not to over-react to stuff when flying.
All that said, I basically gave up on aerials.  I don't find them particularly compelling anymore.  Understood that your clients just want it "because," but I really have a hard time rationalizing 'em these days in my own work considering that it's so prevalent elsewhere.

No knead bread is the easiest thing in the world.  Love it so much it's made me fat.

Not very.  The controls are very straightforward --but you will most likely crash before you come to terms with it.  I felt pretty confident after a day of practice with an old and used camera-less drone.  
Then, I flew my actual camera drone into a tree a few days later during a shoot.  Boom.  Basically, it takes some wisdom to learn how to interpret spatial dynamics from a distance.  More important than that is just learning how not to over-react to stuff when flying.
All that said, I basically gave up on aerials.  I don't find them particularly compelling anymore.  Understood that your clients just want it "because," but I really have a hard time rationalizing 'em these days in my own work considering that it's so prevalent elsewhere.

No knead bread is the easiest thing in the world.  Love it so much it's made me fat.

Not very.  The controls are very straightforward --but you will most likely crash before you come to terms with it.  I felt pretty confident after a day of practice with an old and used camera-less drone.  
Then, I flew my actual camera drone into a tree a few days later during a shoot.  Boom.  Basically, it takes some wisdom to learn how to interpret spatial dynamics from a distance.  More important than that is just learning how not to over-react to stuff when flying.
All that said, I basically gave up on aerials.  I don't find them particularly compelling anymore.  Understood that your clients just want it "because," but I really have a hard time rationalizing 'em these days in my own work considering that it's so prevalent elsewhere.

Nothing wrong with shooting an Alexa, but I do think that anyone in film production that truly believes technical superiority offers the best path to creative achievements has some goofy priorities.  I get why aspiring filmmaker folks want to do their best technically, but to prioritize it above the artistic craft is nuts.  It's there to support the thing you're trying to accomplish, not the thing itself.  There's no real way forward in being a filmmaker with that attitude.

Point taken here.
The thing I came to realize a long time ago is that not all camera enthusiasts are necessarily filmmakers.  But all filmmakers are usually camera enthusiasts.  In open forums like this, you know what happens...

The point has been missed a bit.... I'm not suggesting the iphone is a great tool for wedding videos... or that it is a cheap way to do it.
All I'm saying is that the composition, editing, sound etc have made this look really good and something we often lose focus of

Alexa ProRes (particularly in 4:3 mode with anamorphic lenses) is without a doubt a theatrical format. Many, many movies have been shot this way, and it's standard procedure for films that are under $3-5 million to go this route. Arriraw is expensive and extremely data-hungry. The Codex workflow, while bulletproof, requires a pricey on-set Vault system, and a skilled DIT to run it. ProRes can be handled with a laptop and a couple of hard drives. Boom. Direct to edit.

Nothing wrong with shooting an Alexa, but I do think that anyone in film production that truly believes technical superiority offers the best path to creative achievements has some goofy priorities.  I get why aspiring filmmaker folks want to do their best technically, but to prioritize it above the artistic craft is nuts.  It's there to support the thing you're trying to accomplish, not the thing itself.  There's no real way forward in being a filmmaker with that attitude.

Don't worry about it.
Someone is just misconstruing the adverse lighting/exposure situation for actual camera performance. 
This is the YouTube world we live in. 
A beautifully lit scene on a crappy 10 Stop camera can look better than an Alexa in a bad lighting situation... but try explaining why to a beginning enthusiast is always gonna be a challenge. 
 

Nothing wrong with shooting an Alexa, but I do think that anyone in film production that truly believes technical superiority offers the best path to creative achievements has some goofy priorities.  I get why aspiring filmmaker folks want to do their best technically, but to prioritize it above the artistic craft is nuts.  It's there to support the thing you're trying to accomplish, not the thing itself.  There's no real way forward in being a filmmaker with that attitude.

Nothing wrong with shooting an Alexa, but I do think that anyone in film production that truly believes technical superiority offers the best path to creative achievements has some goofy priorities.  I get why aspiring filmmaker folks want to do their best technically, but to prioritize it above the artistic craft is nuts.  It's there to support the thing you're trying to accomplish, not the thing itself.  There's no real way forward in being a filmmaker with that attitude.

Don't worry about it.
Someone is just misconstruing the adverse lighting/exposure situation for actual camera performance. 
This is the YouTube world we live in. 
A beautifully lit scene on a crappy 10 Stop camera can look better than an Alexa in a bad lighting situation... but try explaining why to a beginning enthusiast is always gonna be a challenge. 
 

Nothing wrong with shooting an Alexa, but I do think that anyone in film production that truly believes technical superiority offers the best path to creative achievements has some goofy priorities.  I get why aspiring filmmaker folks want to do their best technically, but to prioritize it above the artistic craft is nuts.  It's there to support the thing you're trying to accomplish, not the thing itself.  There's no real way forward in being a filmmaker with that attitude.

Nothing wrong with shooting an Alexa, but I do think that anyone in film production that truly believes technical superiority offers the best path to creative achievements has some goofy priorities.  I get why aspiring filmmaker folks want to do their best technically, but to prioritize it above the artistic craft is nuts.  It's there to support the thing you're trying to accomplish, not the thing itself.  There's no real way forward in being a filmmaker with that attitude.

Nothing wrong with shooting an Alexa, but I do think that anyone in film production that truly believes technical superiority offers the best path to creative achievements has some goofy priorities.  I get why aspiring filmmaker folks want to do their best technically, but to prioritize it above the artistic craft is nuts.  It's there to support the thing you're trying to accomplish, not the thing itself.  There's no real way forward in being a filmmaker with that attitude.

Nothing wrong with shooting an Alexa, but I do think that anyone in film production that truly believes technical superiority offers the best path to creative achievements has some goofy priorities.  I get why aspiring filmmaker folks want to do their best technically, but to prioritize it above the artistic craft is nuts.  It's there to support the thing you're trying to accomplish, not the thing itself.  There's no real way forward in being a filmmaker with that attitude.

Don't worry about it.
Someone is just misconstruing the adverse lighting/exposure situation for actual camera performance. 
This is the YouTube world we live in. 
A beautifully lit scene on a crappy 10 Stop camera can look better than an Alexa in a bad lighting situation... but try explaining why to a beginning enthusiast is always gonna be a challenge.