yiomo

Return or try to remap it using the date trick.

Is there a feature similar to canon's face only AF, so that the background does not come to focus when a person exits the frame?

Clicking is a common symptom of a dead drive.
I remember back in the day I ordered the latest and greatest HDD to my local IT store and it was the largest and fastest HDD they'd ever seen and it was a special order - way larger and hugely more expensive than the ones they stocked.  They were quite excited to know what kind of person would order such a thing and what I wanted it for and it was quite a buzz when I collected it.
When I brought it back in the next day, clicking and refusing to format there was mild shock in the store, but they confirmed that indeed it was dead and so they ordered a replacement.
When I brought the replacement one back in the day after I got it, clicking like the previous one had, the tone had changed completely and I think they might have suspected that I might be the cause.  I was also trying to ignore that thought myself.
Luckily the third one was all good.  Needless to say that when I plugged it in and it worked I was quite relieved!!

A clicking drive is always awful as far as I know.

There is a feature on the S1/S1H/S5 that you can determine which setting carry over from video to photo. This does exactly what you need it to do!
 

DOH!
 
Of course I missed it (forgot about it actually).
I had it set to auto mode in the movie menu and so that is why I get the shutter speed set to the selection (IE 1/50 for 50p).    I also can not change aperture when I use a lens that communicates electronically (like my Canon 17 TS-E).    Movie setting choice is page 7 of the (first) camera menu.    You can set PASM ias a movie mode different to the PASM mode dial....You have to set the camera to movie on the PASM dial first (the movie mode on page 7 is greyed out otherwise).   THEN you can change it (PASM in movie mode).    THEN you will get the same shutter speed in either stills or M mode on the PASM dial.

I debated for a long time whether I would get one or another S5.
Zero regrets, even with all the firmware updates to the S1.
Mostly it was the size (false reports everywhere about how massive it is) though the cost played a part but I bought used (like new) model and in the hands it is near perfect ergo-wise and not heavy at all.
And as a non-fan of flippy screens, the tilt that it has is perfect for me.
9/10 overall with just the single point removed as the AF is not on par with the likes of Fuji or Nikon, never mind Canon or Sony.
It’s a proper pro piece of kit with the bonus that I can now sell my wedding videos to Netflix 🤑🤩🤔

I believe the a7s has custom mode 1 and 2 on the mode wheel. Set one with the options for video and one for photo. Have you tried using this? I remember setting the modes on my RX1RM2 was a bit off a hassle. I had to turn the camera on and off after saving the modes for them to be recognizable.
The Canon R5 has different video modes, and you can also customize which mode the camera should record in when you click the "Record video" button. This makes it possible to shoot photos in your prefered photo mode when you click the photo button (For example aperture mode) and as soon as you click the video button the camera will jump to mode C3 which is set up for video.

Ah, I don't have one but assumed that because it has a stills/cine switch, it could store different settings. My bad.
XT3 (as above), I used the silent video mode and flipped all the time.
With my S5 and S1H, I simply have an indoor stills mode set to C1, an outdoor mode set to C2 and then 3 video modes, C3 1-3 (4k 25p, 4k 50p and 1080 100p).

If you're doing this commercially and making money from it (which is the only type of person who should buy an FX6, unless you're a rich playboy getting a toy, in which case price doesn't matter... just get the FX6!), then the price gap between an a7S mk2 + basic accessories vs an FX6 is under two grand. In the long run, seems like a slam dunk decision to go the extra cost for the FX6. 

The Fx6 seems the perfect camera for me, something to aim for in the future. For now I am most probably leaning towards the a7siii, although I dislike the form factor/ergonomics/etc. 

Internal audio is never going to match a mixpre. Practically once you mix it and apply noise reduction it’s all fine. The A73 auto focus is amazing with Sony lenses. One of the best in the market still. I’d also recommend the C200. You get 4K up to 60fps in a good 8 bit codec with wonderful canon color. It also has good AF, native EF mount, internal NDs, XLRs, SDI. You can record BRAW externally or prores RAW as well as Canon RAW lite internally. 

Or get the Sony FX6, the price is broadly similar to the C70

In my case, I didn't care for 4k when the first A7s was marketed as such, (which was of course a fat lie, as it required an external recorder) and for personal projects I don't see the need. Perhaps only for punching into a closer frame for talking heads. 
As one man everything, I do need a good AF. It doesn't have to be stellar. Just good and reliable so trying to find this fine line. 
In Greece the C70 will cost me 500 euros more than an A7siii + a 24-105, so I think I am torn between those two. This reviewer said good things about the c70 autofocus. Or perhaps save 2000 euros and get the A7iii, but not sure about it's video AF. 
Of course I loose the ergonomics and XLRs but as I said earlier, I think a 32bit float recorder might be better for my needs. Also I am not so sure about the preamps in the c70. This audio review has a lot of hiss when he is switching recorders. Mixpre-3 sound so much cleaner.
 
 

In my case, I didn't care for 4k when the first A7s was marketed as such, (which was of course a fat lie, as it required an external recorder) and for personal projects I don't see the need. Perhaps only for punching into a closer frame for talking heads. 
As one man everything, I do need a good AF. It doesn't have to be stellar. Just good and reliable so trying to find this fine line. 
In Greece the C70 will cost me 500 euros more than an A7siii + a 24-105, so I think I am torn between those two. This reviewer said good things about the c70 autofocus. Or perhaps save 2000 euros and get the A7iii, but not sure about it's video AF. 
Of course I loose the ergonomics and XLRs but as I said earlier, I think a 32bit float recorder might be better for my needs. Also I am not so sure about the preamps in the c70. This audio review has a lot of hiss when he is switching recorders. Mixpre-3 sound so much cleaner.
 
 

This too, but I believe the 32 bit will help people like me who have to juggle many responsibilities in one role. 

Having had and used both the Mki and Mkii C100, the latter is definitely a huge improvement in terms of usage. The DPAF is excellent and the EVF is actually usable! The only unfortunate hangover from the Mki is the codec. If you're planning to mainly use SOOC footage with minimal grading then yes, for the use case you've described it's almost a no-brainer. However, if you plan to grade to any extent you'll find the low bitrate 8bit files frustratingly thin.

I used to own a C100 Mk 1 and shot a bit with C300. Love them both! C100 ergonomics are better imo but codec is weak and EVF is terrible. Haven't used Mk2. But it should improve on low light, EVF, and codec....
Only thing I'd add is it's nearing the end of its lifecycle and price might go down.
Or up. Used C100 Mk1 with DPAF sell for more than the $1299 they were EOL'd at IIRC. I think it is a winner.

I’m not going to recommend you any specific brand or model of camera but say only this, - I think we have already reached ‘peak camera’ from an image point of view.
Yes, above 4k, we can go 6k and now 8k.
Yes, we are getting ever higher mega-pixel counts. Unless it’s Sony where you can have high or ‘low’.
Yes, we are getting ever better lower light capability, dual ISO etc, (but you can always pop on a faster lens).
But for me anyway, there’s a ton of kit out there that does 99.9% of anyone’s needs.
I recently bought a new camera. It is a current model and though there are even more recent, smaller, faster, better AF models out there, I primarily made my decision based on 2 factors.
A: Is it enough for my needs? Answer = more than enough. I could have gone back a generation...possibly even two (though not with this brand/model) which leads me to...
B: Is it ‘future proof’, ie, does it only have a limited lifespan before it’s superceded with an updated even ‘better’ model?
The answer to the latter is pretty much yes as in I think it will be a very long time before it would need replacing other than technology changes in such a way it becomes like say a film camera today compared with a digital. Or it breaks/wears out.
In a nutshell, what I am trying to say is find a set up that meets as many of your needs as possible (because there is always some form of compromise!) and then use use use it and ignore the noise. ‘The Noise’ being GAS.
That’s my take on it anyway and the bottom line has to be what you produce from it and continue to produce from it, not what anyone else thinks or says. Or tries to sell you.
The (other) bottom line is I could have gone a step or two backwards with kit but decided to draw my line in the sand at approx 12 month ago kit and work with that for at least the next 3 years and 9 months.

Do you think you'll be staying with your employment as a content creator for the foreseeable future, or instead soon going 100% freelancer? If the later, then spend the extra for an FX6 

Otherwise, with your EF lenses, perhaps get a Blackmagic 6K Pro for cheap? If it is just going to be for your personal / side projects. 

C100 mk2 is a great camera. Really good high ISO performance, nice downsampled HD, and very nice Canon color. Plus you get internal ND's and XLR inputs which are quite amazing to have. Also it has great battery life. It makes sense as you won't be able to utilize Sony's amazing auto focus as well using EF lenses. 

Honestly for me the two most important features on a camera are lowlight performance and color science and XLR inputs. I think you'll be making a great choice. 

I haven't been able to upgrade my A7s earlier as I planned, but now I am almost there. I need for some advice.
Currently I am employed as a content creator (with a salary so I cannot add equipment expenses/rental) and on the side I am freelancing, doing low budget web commercials and corporate videos. I have been filming for a while a personal project- documentary with my a7s, but there is still more to film and I have plans for more docs for broadcast and hopefully a short film soon. I know Netflix wants 4K but my last project which was sold on several networks was shot on good old 5dmkii. 
My budget is around €4000 but I haven't counted the need for lenses. I have canon EF 16-35, 24-105, 70-200, and a couple of primes as well a cheap sony zoom.
I have been trying to decide between the following: a7iii (yes an upgrade for me), a7siii/fx3 or to stretch my budget (go on credit) and go for the c70 or the fx6.
It seems that in order to have decent colours from Sony I'd need to get at least the a7siii, but still I prefer canon colours. Many people bash the c70 for the autofocus, but it seems to me to be working fine. So I almost decided for the c70, which is a stretch for me, but then I figured I'd need to sell all my lenses and get rf mount ones, which seem quite expensive or use an adapter which I don't know how it will affect the still not so great AF of the C70.
And then I had this insight. I don't really need the 4k. Just great colours, reliability, preferably audio inputs, and decent AF -something that dual pixel provides. So why not get a c100 mk ii for €2500?  It is way within reach and I have great glass to mount natively to it instead of spending more on new lenses. It would cost around €6000 to get both the C70 and the adapter!
What do you think about all this. Can you share some ideas? Please ask me if you need any clarification.
 
many thanks!
 
 

Balancing with natural light is fine but if the natural light changes then it can really trip you up, like on a day where the sun goes in and out of clouds.  This may or may not be a concern (some places have blue skies 300+ days a year, so... ) 
For this situation I'd suggest renting a sound blanket (or whatever works) so that you can block out the natural light if it's being troublesome.  This would mean you need a powerful artificial light, especially if you're bouncing it instead of using it directly, which is good advice.  It would suck to start the shoot and not have a powerful enough light.
If it leads to more work then you'll have some kind of commitment to buy something and you'll have more experience knowing what was required, both in terms of power as well as other factors, so you can choose a light that will work well for you and how you like to operate.

put a white board in the corner between ceiling and wall and bounce from that with a 200watts hmi, boucing back in 45 degrees. Styro board will do fantastically for bouncing. 

If you're balancing with natural sunlight, using Daylight LED's will be easiest since you likely won't need any gels.
I've shot a bit in hospitals and we always use an Aputure C300d in combination with two LED panels; 300d to bounce light off a wall/roof and give the whole room some bright ambience, one 1x1 LED panel with a soft-box as a key light, and the other 1x1 LED as either a rim light or background accent as required.
Make sure you consider what their theatre lamps are balanced at (not the ceiling lights, but the one on the boom arm that the surgeons can move around), and what want them to look like in the scene (ie: either daylight/white like all the other lights, or tungsten to highlight the area) that will help you decide if you want to use them as a practical or augment them with your own lights (something like a Dedo does the trick).
Are you a regular poster at DVX user or was it your first post there? They have a new members section which you have to post in first before you get full posting priveliges. It's designed to weed out spam bots or people who don't basic read instructions.