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I think that if you can possibly manage it, it's best to provide the simplification yourself rather than through external means.   This gives you flexibility in the odd example you need it, and doesn't lock you in over time.
The basic principle I recommend is to separate R&D activities from production.  Specifically, would recommend doing a test on the various ways you can do something, or tackle some problem, and the options for your workflow, evaluate the experience and results, then pick one and then treat it like that's your limitation.
I'm about to do one of those cycles again, where I've had a bunch of new information and now need to consolidate it into a workflow that I can just use and get on with it.
Similarly, I also recommend doing that with the shooting modes, as has happened here:
I find that simple answers come when you understand a topic fully.  If your answers to simple questions aren't simple answers then you don't understand things well enough.  I call it "the simplicity on the other side of complexity" because you have to work through the complexity to get to the simplicity.
In terms of my shooting modes I shoot 8-bit 4K IPB 709 because that's the best mode the GX85 has, and camera size is more important to me than the codec or colour space.  If I could choose any mode I wanted I'd be shooting 10-bit (or 12-bit!) 3K ALL-I HLG 200Mbps h264, this is because:
10-bit or 12-bit gives lots of room in post for stretching things around etc and it just "feels nice" 3K because I only edit on a 1080p timeline but having 3K would downscale some of the compression artefacts in post rather than have all the downscaling happening in-camera (and if I zoom in post it gives a bit more extension - mind you you can zoom to about 150% invisibly if you add appropriate levels of sharpening) ALL-I because I want the editing experience to be like butter HLG because I want a LOG profile that is (mostly) supported be colour management so I can easily change exposure and WB in post photometrically without strange tints appearing, and not just a straight LOG profile because I want the shadows and saturation to be stronger in the SOOC files so there is a stronger signal to compression noise ratio 200Mbps h264 because ALL-I files need about double the bitrate compared to IPB, and also I'd prefer h264 because it's easier on the hardware at the moment but h265 would be fine too (remembering that 3K has about half the total pixels at 4K) The philosophy here is basically that capturing the best content comes first, and the best editing experience comes next, then followed by the easiest colour grading experience, then the best image quality after that.  This is because the quality of the final edit is impacted by these factors in that order of importance.

...and is that a Nagra IV open-reel tape recorder the sound op is using?

I did a similar 1080p to 4k comparison with 10-bit 50p HEVC files from my OM-1 very recently (as a check after I'd updated the FW to the latest 1.6 version). 1080p is nominally 40Mbps and 4k is 150Mbps.
With the 1080p upscaled to 4k (using the FFMPEG zscale 'spline36' filter), at normal viewing distance on a 55" native 4k OLED TV I could tell them apart (as I know what to look for) but it's not easy. A normal viewer wouldn't notice. I've done the same comparisons in the past with files from my G9 with the same result.
As a consequence of this, most often I record in 1080p 10-bit and save 75% of the storage space, unless there is a reason to want maximum resolution/quality e.g. it's an 'unrepeatable' major trip or event, to allow for re-framing or extraction of 4k stills. For the last one (which is handy for wildlife), I often record at 4k 24/25/30p 10-bit as that is sharper on the OM-1 than 4k 50/60p, but use 1/100 shutter speed to reduce motion blur while being reasonably usable as video footage as well.

AFAIK, the GPU in the 'Ice Lake' CPUs has hardware decoding for up to 10-bit 4:2:0 HEVC i.e. 'Main 10' profile, assuming you have a Retina MacBook Air - https://en.wikipedia.org/wiki/MacBook_Air_(Intel-based)#Retina_(2018–2020)
Any higher HEVC profile e.g. 10-bit 4:2:2 has to use software decoding on those machines.
Not surprised.
I often upload stuff to YouTube as 4k 50p using HEVC at 15-30 Mbps (using 'constant quality factor' encoding). I used to use higher bitrates, but decided it wasn't worth the extra storage space/upload time. HEVC is generally a very efficient (quality versus bitrate) compression codec.

Below is an approximate comparison of transfer curve for various Log and Sony's three versions of HLG.
From the Bolex PDF above:

The three versions of HLG that Sony cameras support (from https://xtremestuff.net/sony-and-hybrid-log-gamma-hlg/ ) - HLG3 (upper curve) is the closest to the Rec. 2100 standard :

A chart of various Log formats from https://www.dpreview.com/forums/post/64243940 (note the 3 EV spread in the high EV limit between the various curves). The highest DR curves look to be C-Log2, S-Log3 and V-Log - but of course they do that by being flatter in the important mid-range area i.e. fewer levels per EV, increasing the chance of banding if pushed too far in post. Note this chart is -10 to +10 EV vs. IRE 0 to 110%, the other two are -8 to +8 EV vs. 10-bit digital code values.

Definitely - it's why I like the way Olympus/OMDS IBIS operates on the OM-1 & E-M1 iii. When I use proDAD Mercalli for stabilisation in post I usually choose the 'Glide Cam' option, which gives a floatier feel with lower warping artefacts (and less cropping) than the default 'Universal Cam' setting.

I agree (having owned 10 of their hybrid cameras and 2 camcorders in the last 15 years).
Panasonic has a long heritage in professional video (going back over 60 years) and it shows. I think the GH5 became a very popular camera for video because it was a good all-round, reliable, video tool in most situations, rather than excelling in any particular area at the expense of others or having a specific SOOC 'look'. 
For a bit of fun, this is 9 year old, basically SOOC, FHD 50p video from a Panasonic LX7 'enthusiast compact' with a small 10MP 1/1.7" sensor. There's some obvious aliasing/jaggies and I think the reds/oranges in particular are exaggerated. But for a camera launched in 2012 that fitted in the palm of one hand and weighed 270g I think it is reasonably decent (and could be improved in post). SOOC video from a G6, GX85 or G80 would leave it in the dust though, having much less aliasing and better balanced colours.
 

I agree (having owned 10 of their hybrid cameras and 2 camcorders in the last 15 years).
Panasonic has a long heritage in professional video (going back over 60 years) and it shows. I think the GH5 became a very popular camera for video because it was a good all-round, reliable, video tool in most situations, rather than excelling in any particular area at the expense of others or having a specific SOOC 'look'. 
For a bit of fun, this is 9 year old, basically SOOC, FHD 50p video from a Panasonic LX7 'enthusiast compact' with a small 10MP 1/1.7" sensor. There's some obvious aliasing/jaggies and I think the reds/oranges in particular are exaggerated. But for a camera launched in 2012 that fitted in the palm of one hand and weighed 270g I think it is reasonably decent (and could be improved in post). SOOC video from a G6, GX85 or G80 would leave it in the dust though, having much less aliasing and better balanced colours.
 

Sigma have announced that they are releasing a range of RF mount lenses, indicating that Canon have softened their “no 3rd party lenses” stance.
I say softened rather than abandoned as, whilst these lenses are fully licensed by them, they do not include any full frame lenses.
At least for now.
The initial offerings are the two f2.8 zooms and four f1.4 primes from Sigma’s Contemporary range that have been available in other mounts for a few years now.

The 18-50mm is the first one that will be available but it is not until July and the others will follow in the Autumn.
No word on prices but they are usually similar in different mounts so you can take that as a rough guide, although maybe there will be an additional cost on top for the official licensing from Canon.
Good news for owners of crop RF cameras to have different options and also for people using the KOMODO (or maybe we should call it the NIKOMODO now).
Full details here 
https://www.sigma-global.com/en/contents/sigma_rfmount_lenses/

Yeah I heard the original question, and I think that while the posts diving into complex grading are fascinating and useful to those of us who do post, I know that getting good color SOOC is a separate question.
One big point about your question is that it doesn't break down by manufacturer. Not all REDs look the same, not all Sonys look the same, etc. I think the Sony FX6 looks fine, but I dislike the FS7. Also, most cameras have different profiles. Sometimes, there is greater  difference between profiles on the same camera, than between normal/natural/standard/default/whatever profiles on many different cameras. And even within a profile, you'll have totally different results based on how many controls you leave on auto (such as WB) and your lens.
SOOC and minimal grading are completely different. SOOC excludes log profiles, for one thing.
There is budget as well. Best SOOC ever? Alexa 35, probably. Under $10k? C500mkII gets my vote. Under $2k? Nikon Z6 is solid. Are you including lenses in your budget? I like the color out of my Canon L 24-105 better than that of my Canon 50 1.8 (tested on Sony A7rII). Though I have also used terrible lenses for specific scenes, specifically to make them less appealing.
If you want a specific answer or even a specific discussion, ask a more specific question because your original question is extremely open ended--which is fine to start with! But it's probably more useful and interesting to narrow the parameters a bit.

My feeling is that H quality would be better than the lowest available bitrate in the camera (20mbps H.264 8bit) as it's 12mbps H.265 AND 10bit. I think the compression is about the same but with more color information. I haven't really tried the M quality- the compression seems massive in that though. It would probably depend on the scene. The quality of the H Proxy really looks quite acceptable. The L quality was a huge step down though. I'll need to try the M setting tomorrow.
Concerning the EOIS at the wide lenses and vlogging style videos, it seems rather unnatural (as the video above indicated). Sure, it the background looks stable, but the subject seems to bounce around everywhere like a pinball. I think it's probably better as a traditional gimbal replacement where the camera's a little further from the subject and the operator is carefully walking. I have the Panasonic 70-300mm lens and it has great Dual IS 2. I haven't really noticed an improvement to already one of the most stable setups on the market. In face, I'd say the EOIS interferes with the OIS of the lens. Again, I need more testing.

For my own stuff, I prefer it to be as 'faithful as possible' to the original scene, within the limits of the tools I've got and the amount of time I'm prepared to spend fiddling with it. I don't care what someone else wants to categorise that as, but I suspect it would come under your 'video' category.
Personally the parts of the production process I find most interesting are being out-and-about recording the content, the basic editing (the clip choice, 'flow' and the cutting) and getting the best out of the ambient sound. Adjusting the image doesn't usually get much more advanced for me than brightness, contrast, saturation and sharpness, unless there's a clip that's particularly 'off' what I think it should look like in the lighting conditions at the time.
But I'm perfectly happy respecting and enjoying other peoples artistic choices, including abstract art (which is inherently non-realistic). But nobody likes every piece of art they view...

...and another one (I quite like his style, plus he's a Panasonic micro43 and Sony user as well):
 

...and if they had picked one up and shot with it, they might like or dislike it for reasons unrelated to the video it can produce (like where the buttons are, how the menus work, battery life, monitoring options etc.).

For general video, I prefer a small amount of 'float' in the stabilisation - it looks more natural.
For handheld or monopod long telephoto video, I need all the stability I can get, so it's Panasonic 'IS Boost' or Oly/OMDS '+1' level stabilisation in that situation for me.

To be fair, I vaguely remember the OP stating at some point that he/she likes to have discussions about gear. And let's be honest, this forum is primarily a gear forum. Perhaps the OP should mention that this discussion isn't necessarily about a decision he's currently planning on making and instead it's about learning and gathering information.
With that said, @kye has a fair point. These cameras are only tools for creative endeavors. These cameras will not make the film or  color grade your film or make your film good. At the end of the day, story is king.
I would suggest to the OP that they take some time and go back and look what people were creating when the DSLR revolution began. Look at t2i and GH2 videos to see what was possible with limited resolution, DR and resources.

One of the reasons that people are getting frustrated is that you're "asking basic questions," but then basically ignoring a lot of the answers.  It's like you keep asking what saw makes the best cabinets.  When people tell you that you need more than a saw, you start asking people to compare brands of saws.  
Which cameras has the best color and in-camera noise reduction?  All of them.  Also, none of them.  Go to NAB and ask 100 people on the floor.  Every one of them will be completely correct.  Every one of them will be completely incorrect.  How do you know?  Ask almost any of the others.
It is also a bit frustrating that you are asking questions that seem like you are trying to choose which camera to buy and after you receive a bunch of answers, you shift your focus and start asking again.
If you want somebody to yell at you about which camera has the best colors, go to YouTube.  There are dozens of people shouting about how the camera that they bought is the best camera ever.  Then just try to ignore the other videos from all the people saying it's the worst camera ever.  Heck, there are already dozens of videos just about the Pyxis talking about how it's the best camera released in years or the most ho-hum camera announcement so far this year.  Bonus: almost none of the people with those videos has even seen a Pyxis in person, much less actually shot with one.

Not at all surprised - doing that is far more complex and creative than the simple documentary stuff I normally produce.

I'm not familiar with the GH5v2 but Panasonic was (at that time) updating cameras with all the user-feedback, and your description was certainly things that the community was wanting.
I definitely agree that one of the main challenges is taking a clip that was shot in LOG and has 10-14 stops of DR in it, and somehow stuffing that into Rec709 which has just over 5 stops of DR.  This obviously manifests in having to crush or severely compress various areas of the luminance range, but it also means that the source material can have colours that are dramatically more saturated than Rec709 can contain and you'll need to work out how to contain those too.
Once you have enough DR to shoot the scenes you need to shoot, having more is actually a liability rather than a feature.
I co-produced a 5-min short with my sister a long time ago, and we estimated that all up it had 10,000 person-hours in it.
But enough of this blasphemous film-making talk - we should go back to talking about camera colour profiles like film-making doesn't exist!

I want one!

But how much of that is due to relatively small differences in brightness, contrast and saturation (all of which can be adjusted in post and usually in-camera by tweaking the picture profiles)?
We are all used to colours changing due to natural lighting variation, and most people are drawn to bright, colourful, vibrant scenes - which is why the 'standard' profile on cameras is often relatively high in contrast and saturation to produce 'punchy' looking stills and video.
When comparing cameras (if I'm thinking about buying one), I'm much more concerned about unnatural image distortions, like aliasing, moire (especially the false-colour variety), compression artefacts (e.g. banding and blockiness) and noise - because those can be distracting and not as easily dealt with later.

Below is an approximate comparison of transfer curve for various Log and Sony's three versions of HLG.
From the Bolex PDF above:

The three versions of HLG that Sony cameras support (from https://xtremestuff.net/sony-and-hybrid-log-gamma-hlg/ ) - HLG3 (upper curve) is the closest to the Rec. 2100 standard :

A chart of various Log formats from https://www.dpreview.com/forums/post/64243940 (note the 3 EV spread in the high EV limit between the various curves). The highest DR curves look to be C-Log2, S-Log3 and V-Log - but of course they do that by being flatter in the important mid-range area i.e. fewer levels per EV, increasing the chance of banding if pushed too far in post. Note this chart is -10 to +10 EV vs. IRE 0 to 110%, the other two are -8 to +8 EV vs. 10-bit digital code values.

I had a faulty GX80 showing me a message a few seconds after power on: "Please Turn Camera Off and Then On Again". I knew it was the ibis failing because only one part of the sensor was static and the other part was very wobbly. So I dismantled my camera following this tutorial until I reached the 10th step. Once I had the ibis+sensor out of the camera, I only had to remove 3 screws and to separate the 2 flex of the sensor. Then, I realized one of the tree electromagnets had no continuity, and added some drop of tin to join the broken copper wire. And it's fixed and working again. I am so happy!
I include an image of the point that was failing

They are not even dreaming of the same game, nor the craft, the passion or the work connected to a 3min narrative or a short experimental visual etude.

If you stare at them for hours and hours then you start to notice differences and they start to look normal.
That's how all the YT "cinematic" content now looks nothing like cinema.
I just watched Kill Bill 1 again, and yeah, it might as well be a different universe...


When the people who can create any image they like with virtually unlimited budget create images like these - contrasty and punchy and not sharp in the slightest, then the people who are pixel peeing the 6K cameras aren't even playing the same game.