Mark Romero 2

If you are determined to get one of the FULL FRAME cameras you listed in your first post, then the only real viable option is the a7R II, since it will have significantly better autofocus than the other cameras you listed and at least has internal 4K. However, the full frame 4K is pixel binned, so you will need to shoot in super 35 mode anyway for the best 4K image. 
You most likely will want to shoot in 4K, so the older a7 and a7 II cameras (that only shoot in 1080p) would probably best be avoided. (Sony 1080p is generally pretty bad with lots of aliasing and moire, unless you get an a7 S, which only has 12MP for stills).
However...
Since FS5 is aps-c (super 35), and since it seems like you are on a tight budget, it probably makes more sense to get a sony aps-c camera so you can share lenses between them (instead of having aps-c glass for the fs5 and full frame glass for the a7 camera).
I would suggest looking at a used a6500 or a6600 if you want IBIS, or something like an a6400 / a6600 for HLG profile (the a6500 doesn't have HLG, but has 8-bit slog 2 and slog 3).
4K on Sony cameras is nice and detailed, although the issues are overheating (more so on the a6300 / a6500) and a dim screen, and again, only 8-bit for SLOG.
 
 

I shoot nearly exclusively hand held, on a gimbal, or on a monopod; I hardly ever use a tripod. The flip out screen is so useful it was the sole reason I did not seriously consider the S1 when it came out; I had gotten too used to the GH5's flip out screen. I have the Ronin S gimbal and for low shots it is a lifesaver, handheld is even better and even on a monopod when you are crammed into a corner somewhere and have to raise the camera above the crowd the flip out screen is great then too.
I never use an external monitor for any of my cameras except the C200 when it is locked down on a tripod; all I use are the tools on the S5's screen to pull focus, check exposure, WB, etc. and while not ideal, it gets the job done for me.
When the camera is on a gimbal the flip out screen is so light it doesn't affect it at all. I just balance it like normal with the screen not flipped out, then flip it out as needed during the shoot; it probably helps though that the Ronin S can carry far more weight than the S5.
 
 

It's kind of funny, isn't it??? I mean, if you were a Wedding shooter, the 12MP Nikon D700 was THE Wedding Photography camera for several years, and a D300 12MP aps-c crop sensor camera would be a back up cam. 
Personally 24MP is kind of the sweet spot since it allows me to crop in when I need to. Since I shoot 90% buildings, I can step back a bit to avoid keystoning and then zoom in post.

It's kind of funny, isn't it??? I mean, if you were a Wedding shooter, the 12MP Nikon D700 was THE Wedding Photography camera for several years, and a D300 12MP aps-c crop sensor camera would be a back up cam. 
Personally 24MP is kind of the sweet spot since it allows me to crop in when I need to. Since I shoot 90% buildings, I can step back a bit to avoid keystoning and then zoom in post.

If you are determined to get one of the FULL FRAME cameras you listed in your first post, then the only real viable option is the a7R II, since it will have significantly better autofocus than the other cameras you listed and at least has internal 4K. However, the full frame 4K is pixel binned, so you will need to shoot in super 35 mode anyway for the best 4K image. 
You most likely will want to shoot in 4K, so the older a7 and a7 II cameras (that only shoot in 1080p) would probably best be avoided. (Sony 1080p is generally pretty bad with lots of aliasing and moire, unless you get an a7 S, which only has 12MP for stills).
However...
Since FS5 is aps-c (super 35), and since it seems like you are on a tight budget, it probably makes more sense to get a sony aps-c camera so you can share lenses between them (instead of having aps-c glass for the fs5 and full frame glass for the a7 camera).
I would suggest looking at a used a6500 or a6600 if you want IBIS, or something like an a6400 / a6600 for HLG profile (the a6500 doesn't have HLG, but has 8-bit slog 2 and slog 3).
4K on Sony cameras is nice and detailed, although the issues are overheating (more so on the a6300 / a6500) and a dim screen, and again, only 8-bit for SLOG.
 
 

One of the things that 24p gives me is a certain surrealist aesthetic.  What I mean is that 24p isn't quite real, it's more like an impression of reality rather than an accurate representation of reality itself.  Things that make video more realistic like 60fps, rec709 accurate colours, HDR, super high resolution, 3D, etc seem to make it less 'cinematic'.
Of course, this is an aesthetic choice - if you want to make videos that seem very real then those things are great.  Games or POV videos should be more realistic, so those things are benefits in that case.
I shoot travel and events of my family and friends, so my videos are like a vignette of memory, and in alignment with that the aesthetic I want is fuzzy and impressionistic like memory.  I also like the idea of giving the same larger-than-life aesthetic that feature films have when viewed in the cinema.  I find that 24p is one of the things that helps generate that aesthetic.

I've also found that most of the times Resolve went a bit funny (ie, something wasn't doing what I expected) then I just save and restart Resolve and re-open the project and it goes back to working fine.  It may not fix your issue, but it's worth a try if you hit an issue while you're in an edit.

IBIS on R5 smooth with panning in my experience at 24mm. Anything wider and IBIS corrections become noticeable.
I spent the extra money for R5:
The 14-bit 45MP stills are just awesome Custom Modes Oversampled 4K in S35 mode (hopefully we get some wider RF lenses soon; RF 14-28 f/2 please canon; btw sigmas fast 14mm f/1.8 or 20mm f/1.4 lens with RF ND adapter in s35 mode 👌) Record button in photo mode can trigger custom mode (R6 goes into a weird full auto mode; very dumb) 8K can actually be pretty useful in certain scenarios 4KLQ > 1080 from R6 4K120p while not oversampled looks fantastic in my opinion (I can't ever go back to 2K120p I'm spoiled) I would love a RP sized RF camera that shoots FF 4K 24p in CLOG and more affordable f/1.8 primes as a hand-off camera, B, C camera.

Shoot what you're happy with.  If I listened to every opinion on YouTube or forum, I'd be a confused mess.  I've had suggestions even here to shoot 1080p, and 8K and 4K and 6K and then there's the thoughts on 8 bit vs 10 bit vs 12 bit and 60fps and 24fps and 25fps and 30fps.  You can find a YouTube video suggesting each and everyone if you look.  
Its like upscaling 1080p to 4K, what's the point, when you can shoot 4K.  If you want the motion blur of 24p, film it.  If not, film something else.  I'll use motion blur to correct where I couldn't use the right shutter speed.  I won't use it to pretend I'm shooting something I wasn't, unless a client asks me to.

Sony's on fire. Love how they're putting random hot trash out on the curb while nobody can get a PS5. 
 

To be honest, I think this is already depreciate per se straight out of the box... : D

Guess I celebrated too soon....I needed that Fusion Render Clip feature yesterday...so I right clicked the clip > render in place....nothing happened. Went and watched the YouTube video just to be sure..went back in DR > Render in Place...nothing. It will probably work by the time its out of beta but at least for now I'm still watching endless Fusion caching progress bars.
Fortunately I never use that, I just put the clips on the timeline and color grade from there. Speaking of bugs...another nasty one is if you use Resolve while Photoshop, Lightroom, or other GPU accelerated apps are open...Resolve will crash every time and to the point that it takes Windows with it. The only way to get the display back is to reboot.

You can use Color Space Transform to convert your footage to REC2020 color space and ST.2084 and grade it by hand after that. You will need to connect it to your OLED TV using Decklink card in order to view it properly on the screen. 

Ok, ya'll convinced me to pull the trigger. I have an Resolve activation card and speed editor on the way... whenever B&H gets them in stock, anyway. Looks like 2021 will, among other huge video related changes for me, will be the year of Resolve. I don't imaging I'll entirely ditch Adobe, but it's more than time to learn a new NLE/workflow.

Yeah, unless you absolutely need one I don't understand using an external recorder. It just adds more bulk / effort. 

Yess.....thanks Mark, I hadn't found that one yet, that's exactly what I meant. I'm sure I wasn't the only one, but I emailed that feature request directly to the development team back in Resolve 16 one day when I got fed up with Fusion constantly caching....and they did it properly meaning you can go back to the Fusion comp later if you need to make a change, fortunately its not a one way trip.
I have that problem with multi-cam edits, certain things you can't do to a multi-cam sequence such as change the crop factor so you first have to flatten the clip but it loses the color grade and you can't switch camera angles after that, so my workaround is to copy the clip to a new layer first, flatten it then edit the copy. If I need to go back later I delete the clip and copy the underlying multi-cam clip again to the top layer; who knows....maybe they improved that in DR17 as well, I need to watch the full DR new features video or read the new features list one day.

I don't know if it is a 10-bit vs 8-bit thing, or an S-LOG vs V-LOG thing, or a Sony vs Panasonic thing, or it's a color-science thing, but I just don't get the same sort of weird colors in V-LOG on the S1 that I got in S-LOG 2 on the a6500.
I know a couple of the more notorious people on youtube have recommended workarounds for 8-bit Sony; dunna did it said just crank the saturation all the way up. Caleb (dslr video shooter) said to use the 709 matrix gamut instead of s-gamut

DR's history is actually quite fascinating and it is nothing short of incredible that the software coders have been able to modernize it to where it is today. It is no surprise that some features that you take for granted in every other software application took DR 17 revisions to add, there's still some weird quirks like not being able to take a screen grab from anywhere except the Color page but each version just gets better.
I really think Adobe going to the subscription model was the best thing they could have done for Blackmagic Design. All of the new revenue from new users looking for anything that's not subscription based had to have helped them hire more coders and make it more user friendly. I always feel like I've only scratched the surface of what DR can do, especially when it comes to Fusion. 
If they would just improve the performance of Fusion or at least let you right click > convert to video clip after all of the Fusion edits are done so that its not in a constant state of caching for simple things like Text+ titles it really would be the perfect NLE. I have more Fusion related performance and stability problems than anything video clip related.

This is my first post and thread here but lurking from long time. After months of this pandemic issue, today I had the opportunity to start again filming. A small thing, a short story for a local press but it's anyway something that gave me serenity. A moment where there's only you and the story to film. A feeling almost forgotten, devoured by this uncertain moment, by fears.
How do you feel now when you can press the REC button for a paid job? 

So firstly, this is shot with an S1 instead of an S5, but since the sensor and codecs are the same (I have the V-LOG upgrade on my S1), I think it gives a pretty good representation of what sort of dynamic range you can expect from an S5. Please note that the sun streaming in the windows was REALLY strong as was the sunlight bouncing off the bay.
 Anyway, I have questionable grading skills and poor gimbal technique, but Panasonic V-Log with the new DaVinci Wide Gamut makes it pretty easy to get a lot of DR out of the footage. (Internal 4K 30p 10-ibt 4:2:2 slowed to 23.976fps on the timeline, and exported as 1080p)
PS: If anyone knows why I have so much rolling shutter on my drone footage, please let me know... I think the shutter speed might be too high since I misplaced the ND filter for my drone camera (Phantom 3 advanced shooting in 2.7K at 30fps slowed to 23.976fps on the timeline).
 

I personally believe that one of the reasons / the main reason that the S5 doesn't have all-i is because it just can't handle it... maybe the processor is different, maybe it is just a heat dissipation issue. I mean, the S1H has a fan and weighs, like, 27 pounds for a reason.
Sure, the GH5 has All-I but the sensor is half the size of a full frame sensor, and with the S5, Panasonic has somehow managed to fit a full frame sensor in to a body that is slightly SMALLER than a GH5.

Anyone on here using S1 and S5 together as A and B cam? Pics below had identical camera settings and grade (the tighter shot is the S5 with the Lumix 85mm 1.8 and the wider shot the S1 with the lumix pro 24-70 2.8 at 70mm). Both are shot in Vlog and running latest firmware.
S5 is bluer and a tad brighter overall. I know lens makes a bit of difference but am quite surprised to see such differences considering it is supposedly the same sensor. One can make them match fairly easily in post at least but curious to hear if other people on this forum have noticed as I find very little online.
 

The top two I would like to see are an XH2 and a GH6.
I could go with either or neither.
Neither especially if this year doesn’t happen for business and my best forecast is for 50% at most and worst case scenario, zero business.
I expect we will see an A7iv and it shall be the son of god. For Sony fans...but it probably will be the most capable hybrid camera bar none when it appears.

Would love some external BRAW with the S1 for the perfect Davinci workflow! Any rumours when the update is to be expected?

Just bought an A7iii. Not because I really want it or rate it. I had a last opportunity to discount VAT (IVA here), the camera with a 50 1.8 cost 2100€ but with a 400€ cashback from Sony. Then discounting the VAT it comes in around 1350€. Why the A7iii? Because I have a new client and they only use Sony so hopefully it means more work (I've been told that if I had had a Sony I would have had several shoots in October and November). I just informed them of the purchase and they've just confirmed the first shoot of the year, so seems a good choice. Seriously thought about the A7Siii but I don't think this year is the time to splash out.
To finance this I have sold my GX85, Sigma 18-35 1.8 and a Sigma 50-150 2.8. I'm also selling a Canon 18-135, 2 Voigtlanders and 2 Edlekrone sliders. This will give me enough to purchase a Tamron 28-75 2.8 or a Sigma 24-70 2.8 for the Sony. I might well sell my 10-25 1.7 Lumix as well if I like the Sony enough.
I will keep my GH5 and GH5S with the 12-35 2.8 and 35-100 2.8, XLR adapter etc for streaming and long form recordings. Lenses are easy enough to rent cheaply in Madrid if I need one.
So for me it's about rationalising my gear choices. If the Sony works out well for me I'd consider a A7iv depending on needs, specs and price.
P.S. What I really wanted to buy was the Panasonic S5 but I couldn't justify it rationally!