SRV1981

It really does just look like every other camera out there.
The content is all dross.
Not a cinematic or emotional moment in any of it. Though of course that isn't the camera's fault is it?
It is brash eye candy only fit for tv ads.
I would expect the X-H2S's image to be very good but so is the EOS R5C, A7 IV, GH6, OM1, Fp, Fp-L, 1D C, NX1, XT-4, A7S III and so on.
If it makes full use of the film simulations with ability to simulate grain styles like the Alexa 35 and has 14 stops dynamic range in 6K then I'll change my mind.
Then it is progress!
Otherwise it is merely another good offer in a sea of good offers, if you get what I mean.

Oh and this :
 
 
 

My point was going to be how even an old old GH2 can look good, and we're four generations on now. 
And also how different the images can be even with the same camera. 
Although I suspect you googled (or already knew about the famous Upstream Color) and figured that out. 

Prores RAW gets rid of the noise reduction though and you can use it up to 120fps like the internal recordings. But I agree the S1 series cameras are equally as nice aside from the lack of high speed recording.
Yeah I have found always being ultra conservative in what you try to accomplish always pays off. Even if you make things as easy as possible for yourself you'll still likely run into problems.

I am really tempted to go with the Sony system right now. I keep juggling different options and it seems like the best one for me.

 

To be honest I am not that impressed by 12:30. Everything is evenly lit, there's no contrast. It isn't a great test of dynamic range. Plus Kate Bush has really overdosed on the botox.
7:30 is just pointless eye candy with some smoke.
Am I missing something?
It isn't exactly Blade Runner is it?

Cheated and googled if so! 😉

GH2 he prolly means

A simple curve in the highlights will do it, and if the curve requires too much contrast to be added to the highlights then you can augment it by desaturating the highlights a touch too, which is a great trick to blend over the areas where the channels are clipping at different points.
Digital sensors all clip very very harshly, it's what the camera/NLE/colourist does after that that creates the rolloff.

Yup, shooting exclusively in golden hour can make almost any camera and in the hands of almost any idiot look good! 
  
Wise words of advice that I should listen too as well! ha
(my own emphasis added)
 
Being able to create a video that looks/feels "effortless" is extra impressive! 
Funnily enough, creating a staged/artificial look that is impressively beautiful is often "easy" to do than to create an unassuming "normal" looking image that is also nice looking. 
I remember years ago, one of the first times I got blown away by seeing a DoP's talent at work was during this 48Hour Film Festival. 
It was getting to be late on Saturday, we were losing light, this couldn't be shot tomorrow! As by the time it was daylight again tomorrow we'd be late into the final hours of editing before the deadline that same day. 
We'd got the scenes in the car driving up in driveway. Got the scenes around the car when they'd stopped. Got wide shots and the scenes walking up to the door, just! As dusk was setting. 
Phew! Disaster adverted??
Wait... hang on, we still need the big confrontation outside at the doorway between those who answer the door and those who are at the house. 
Uh oh! But all the light is gone???

Nope, our DoP lit and framed it (with all the right camera movements) so well it was as if it was still daylight. 
Of course we still had all the interior scenes too, often with quite big windows too. 
No problem, we kept on shooting late into the night, getting all the shots done. 
When we saw it in the theatre (we were a finalist!) it all looked beautifully "natural". 
That's when it really really impressed me, when I saw the final result, and I realized likely EVERYONE (except me, and the rest of the crew/cast) in that movie theatre thought we'd shot the entire film during the day time. And these were just nice pretty "natural" pictures. When in reality it was all FAKED! Everything was totally artificial. That's when I realized how much talent there is in making a quietly unassuming "nonimage". 
Which is exactly what the story called for. The DoP did what was right for the director. He shouldn't be bringing attention to himself and his flashy lighting techniques. (although he certainly had very elaborate lighting setups!)

Agreed, I have an R6 and it can spit just as good IQ as any latest-gen Canon/Sony in 10-bit Clog3. 
At least give it a try before giving up and switching systems.
If you haven't even shot with it in Log yet and have no grading experience, then you really haven't given the camera a proper chance to prove it self yet.
What lenses do you have? Also having ND filters or even something as basic as choosing the right time of the day in relation to forecast/sunlight and avoiding harsh backlit shots etc can make or break footage looking video/filmic.
Let's analyse the (FX3) wine commercial you referenced:
notice how all shots are done before/after/during sunset (aka golden/magic hour) and on a cloudy overcast day.
good location, composition, shot diversity, camera movement, tight editing, synced music, adequate grading that fits the LA beach scenery, faux 8/16mm cuts etc. Plus you know good looking smiling stylised actors living it up with their favourite beverage. 
that's quite bit of work/experience to get there. every shot is prepared, calculated and staged, not just point & shoot random people at random time/location with an expensive camera.
pro video is hard work, having the right tools is just 101 prerequisite.

I saw the video example you are referring to. That’s all talent and styled grading. Your R6 can look great, just like that. Don’t think it’s just the camera, 

If you are struggling to get a good image out of a Canon R6, you sure will struggle to do the same on basically any other modern hybrid. You still have to be good at the same stuff, lighting, grading, composition, things like that. Soak that info like a sponge and stop reading the camera forum debates. It’s a waste of time. 

Honestly, I don’t understand why you even feel limited by the Canon R6. The image is beautiful and the camera is extremely convenient. Don’t fall into the trap of “more buy = more gooder vidyos”. The stuff I shoot on my Nikon Z6 looks much better than the Panasonic G7 I started with, but a big part of that is that I’ve gotten much more real world experience and practice than when I first started out. Yes the camera helped, but what helps even more and is NECESSARY to truly benefit from a camera upgrade is to have enough knowledge and experience to be able to bend and twist the tools to your use. And 1-2 years from now, if I am still using my Z6 my footage will look even better. It’s so easy to get into the trap of needing that next “thing” to get a cinematic image. It’s really all down to you. Can you light well?  I bought a large parabolic softbox thinking it would instantly improve my videos. Well I really underestimated the fact that I had to really PRACTICE with the softbox. It didn’t inherently make my videos better, it’s been me trying to figure out how to use it. I’m just now getting close to an “okay” result with my lighting setup. And there are people online that get better results than me, even though they are using even smaller parabolic softboxes that are technically less flattering. 
 
the point is, stop worrying about your gear not being good enough. Learn and practice as much as you can. Be patient. It’s taken me over a full year just to get decent color grading results from my log profile. Nothing wrong with the camera, it’s just i lacked experience and still have much to learn. 

Like I told you in my PM last night:
 
You seem a little all over the place with what camera system to chose. 
R5C/R6/C70/A7S3/FX3/FUJI.. There is no magic "cinematic" camera out there. 
Thing is all latest gen camera bodies will do a good job, but it's really the operator and color grading that will be the decisive factor for making things look filmic.. or not.
My advice to you is, again, to learn how to properly shoot/expose in LOG and learn how to grade with the help of some LUTs you enjoy. Nothing will look truly cinematic SOOC.
Also more important than camera body is probably lens choice. This can really go long ways to improving IQ. Consider that also when you're planning camera system switching or you might just end up chasing your tail.
Too many people focus on camera body and not enough on lens, lighting, filters and color grading / pp skills. 

It's partly because, on average, the people using the expensive cams are "better" at everything involved in making an image than those using the cheaper ones.
When I was starting out with still photography about 15 years ago I assumed that top of the line Canon cameras (1d, 5d) had image quality that was streets ahead of the bottom of the range (Rebels). While they were slightly better, of course, the real difference was due to the fact that I was looking at the work of professional users versus hobbyists.
Another good example is to compare Olan Collardy's marketing video for the GH6 versus the BTS vid, also shot on the GH6. One looks great and the other looks meh. Same camera, different users.

Might come down to talent honestly. 

Here is a pretty nice deep dive from an actual pro Fuji shooter. 6K Open gate + Sirui anamorphic test included:
 

If  you can find one talented persons work, which you like, then i would suggest in the background,, is a lot of blood, sweat and tears over a number of years to get to that look.
Canons do have nice colour. A lot of people like canon colours, then there are others who like sony, and the other brands. My point being is personally, i don't think you can go wrong with any of the latest makes of camera.  Its more about the finessing that you need to apply after the image / footage is taken to get a result you like.
Lots of people out there are happy to throw on a lut and call it a day.  If your not happy with colours sooc Then you, my friend have definitely fallen down a rabbits warren. 
There is no one perfect camera that does everything spectacularly.  If there was then there would only be one camera brand. You do your research  and pick the camera that does most of what you need it to do and then compromise in other areas.
 I would suggest before you throw any money around get the free version of resolve.
 With resolve and some free luts and whatever log files, canon has on your camera. Start exploring, learn resolve and throw all sorts of footage at it from your camera while your learning. exhaust every option you can pursue in finding a look you like before spending too much money.  It will be time well spent and helps to define the look your after.
There is a chance your look may even come back to a lens choice or filter perhaps. 
There's a bit of a learning curve to resolve, but that can be said of everything.  There are truckloads of tutorials available on  youtube for resolve. There are probably more than a few ways to skin a cat in resolve ( metaphorically speaking of course ). Like kye said there are basic steps to follow.
Once your comfortable you can probably tailor your workflow to suit your look for a minimum of effort. However you first need to expend some effort to realize the look your after.

As @Django said - you can't get colour like this without knowing how to properly expose and how to do at least basic colour work.
These people are probably using a strong look LUT (it has that feel), but the saving grace for you is that they don't seem to really be that good at colour matching, so that seems to skew it in the direction of their look being more towards the LUT and less away from it being manually done in Resolve.  A skilled colourist would probably be able to replicate this look in a few minutes by doing it manually.
C-Log3 on your R6 is definitely the way to go, especially because you already have it and it's essentially free.
When you're starting out in Resolve I suggest the following node tree to get you going:
Node one: use this for manual adjustments to the clip like White Balance / exposure / contrast Node two: use an OFX plugin (which comes with Resolve) called Colour Space Transform (CST) and set it to Input of Canon C-Log 3 / Canon colour and output of Cineon gamma and rec709 colour Node three: use the one of the LUTs in the Film Emulation folder that come with Resolve - these all have different looks but you'll probably find one that you like enough to get you started (there are some Fuji film stock emulations in there you might like) Apply that node tree to every clip and then on each clip you need to adjust the first node so that each shot looks good.  This process is called "grading under the LUT" and it's common to do things this way (pros do it this way) and unless you are manually exposing and lighting each shot (which you're not) then you'll need to adjust each shot separately to match.
On that first node I'd suggest starting out with by adjusting the Contrast / Pivot / Offset / Temp / Tint / Saturation controls.  These work as a set and should give you most of the control that you're looking for without being too complicated.  
The combination of the above technique (only using the controls I've mentioned) and your R6 in C-Log-3 is capable of creating world-class images, but will be limited to how well you are shooting the material.  If you're not getting good results from that, work on your shooting (proper exposure and WB) and work on your technique.
The internet is full of people selling you things, so they push the agenda that getting good results is complicated so that you'll buy the results from them instead of learning to do it yourself.  This is BS.  Getting good results is about mastering the fundamentals.  Remember that 10,000 hour rule?  Practice makes better....      Good luck.

I think OP needs to understand that to achieve those looks it's a lot more work than just what camera model is being used. 
Everything is actually broken down in that video: C70 shooting Clog2, 28-70F2, Aputure lights. Graded in Resolve (5 node tree). 
The C70 itself has a DGO sensor that gives you extra DR and clean shadows. R6 in contrast has pretty poor DR.
Clog2 is also the most flat profile, most ideal for grading. R6 has Clog3 which is pretty close.
The 28-70F2 is a jewel of a lens ($3,500). 
Lighting can go long ways, ND filters etc and finally the grading process which they say can take from 5 hours to 2 weeks depending on the project.
So yeah that's quite a bit of gear, work and skill to get there. Getting great cinematic image quality is a lot more than just having good color science or the right camera body. Every step of the way counts and you will certainly not achieve that look SOOC.
I love the R6 and you can get close to that look with the right tools (lens, lighting, grading) shooting Clog3. But you're definitely going to have to learn a few things. There is no magic "cinematic" mode like on iPhone13.

I would buy a BMPCC 4K and just learn how to edit and color. They have aa pretty great output. With Raw you can make it look like just about anything. It is not the easy way out, but if you want a great look you have to learn to figure out how to do it. 
All these people you admire didn't just go out buy a cheap camera and make magic overnight. It takes years to get a certain look that stands out from the crowd. Video is not easy.

Fuji has superior colour science to Panasonic, not even something to argue about here. You do not need 4:2:2 unless using a green screen but people like to repeat it because a YouTuber said so. You can do 4:2:2 externally if you use green screen extensively.  You have the best app-c mirrorless available for video, use it.
Influence your shooting environment , deny the gear acquisition syndrome.
 
Invest in a Meike cine lens if you must buy something 🙂, the 25mm is butter coupled with the x-t3.. If you like the video look, go with Panasonic
 

If you want to get great at shooting Photos start out by doing nothing but B&W. To get a great look in black and white you have to nail the exposure. And that teaches you to take your time, use a light meter and a white balance card. Great photos are rare just snapping a shot you have to take your time look at different angles and think, think a lot. Maybe even come back at a different time, different day.
Once you get a good eye for it apply the same for video. Shoot a lot of short stuff and stich it all together and try to make some sense of it in editing. Then try to match each sequence color wise, exposure wise. Doing all of it over and over is the only way to learn anything, your camera and the editing tools.
Slow things down and think that is the secret to all of it.

I’m a school teacher and really want to get into photos be video but don’t want to get into complex editing. Fast turn around etc is important.  
 
I have the R6. I’m curious how I’d go about getting a similar look on FCP and R6. 
 
also for photo this was amazing and why I love the Fuji colors 
 

Sorry I don't know any specific R6 blogs/videos. This forum is one of the best places though! Been shooting Canon professionally for years. The advice I just gave you is the best I can think of. Well one more important thing, try setting your AWB settings to "priority white". Because by default R6 goes to a (imo) unpleasing yellow cast in mixed lighting.
I think R6 surpasses Fuji colours but that's purely subjective. Color science is a very personal thing. 
Fuji does have some of the best white balance and that can make a substantial difference in overall color science. So again check your AWB setting!
What bothers you with R6 colours exactly, can you be more specific?