Mark Romero 2

"Mike Russell" 😉
Or "Justin Frame"
 

Your NTG2 isn't exactly a quiet microphone. 
Plus usually it is a person's technique more than their gear which makes the result unbearably noisy. 

For an example of awful technique, I experienced that first hand yesterday! Was cycling around town, and got interviewed by an agency crew out doing voxpops for their client's campaign. 

Was a very small "crew" of 3:
The person doing the interviewing
A person handholding a Sony a7 series camera (with a rodelink on it, I assume the interviewer was wearing the transmitter)
A 3rd person, who was holding a Zoom H6 *(and NOTHING ELSE! Yes, just the H6 by itself! wtf)

So was interviewed by them, and I couldn't but help ask him "would you like me to hold that for you?" Because he was holding it soooooo faaaaaaaar AWAY If you're not going to swing a boom, or use a stick mic, at least hold the H6 in closer!
I really had to restrain myself yesterday
Like when he was saying "it's very directional, works great!" BUT IT IS A HANDHELD ZOOM!! With an XY capsule on it!!!! arrrggghhh
Not to mention, HOW. FAR. AWAY. he was standing from me

It wasn't even like he was trying to reach out with his arm to get closer or anything, he was just holding the Zoom H6 by his side

For half a second I was tempted to take pity on them, go back home to grab a length of XLR cable and a shotgun or a reporter's mic so they could use that today instead. But meh, I was running behind on some deliveries yesterday so had to go do those asap
It wasn't like we were standing next to a water fountain while interviewing me or anything like that

Oh hang on
THAT WAS EXACTLY WHAT WE WERE DOING
(next to the waterfountain/waterfall in the park behind the Cathedral downtown)

I'd say: forget about green screen. Not only is proper lighting - and postproduction - for grey screen complex/difficult, but the Sony isn't really the right camera for that task because of its 8bit 4:2:0 codec. (Greenscreen work is one of the reasons for using raw cameras...) 

For a good and inexpensive mic, I'd first go for a lavalier, especially if you speak to students. The Audio Technica ATR3350 is a really good low-cost solution. - And I wouldn't use an on-camera mic 10 feet away...

I can now shoot without having to worry about ghosting, smearing in V-Log.
NR has to be set to -1 though. TNR seems to be entirely off though and motion cadence is great now.

Yeah, almost forgot about the 1:2 macro.
It's a very durable lens, too. Don't ask me how I know
I got the S1 and 24-105 f/4 as a kit to save money, and I was 95% sure I would turn around and sell the 24-105, but I just couldn't do it. Again, not the sexiest lens, but it is just so versatile.

The a7 III is a good camera, I am sure. I much prefer the 10-bit vlog 150Mbs codec out of the S1 compared to the 8-bit 100Mbs SLOG 2 codec out of my a6500 (which although  different size sensor, has the same codec). In particular, if I am using the various curves in resolve like hue vs hue, hue vs sat, hue vs luminence, I can get much better results from the S1 footage. 
Plus the noise is much better controlled in the shadows (although this probably has a lot to do with the S1 being a full frame sensor vs the a6500 aps-c frame sensor). With the a6500, I really was having to keep the exposure up around +1.5 stops or so to keep the noise at bay in the shadows. With the S1, I don't find I have to overexpose much (if at all, really).
And the IBIS on the S1 is pretty spectacular. 

As @thebrothersthre3 pointed out, shooting the S1 in 6K and then down-resing in post to 4K or 1080p will give you less noise, hence giving you more dynamic range (since with the 4K image of the S1, you might have to crush the shadows a bit to get rid of the noise, although i find the noise pattern of the S1 to be minor and more film like than my Sony or Nikon cameras).

As @thebrothersthre3 pointed out, shooting the S1 in 6K and then down-resing in post to 4K or 1080p will give you less noise, hence giving you more dynamic range (since with the 4K image of the S1, you might have to crush the shadows a bit to get rid of the noise, although i find the noise pattern of the S1 to be minor and more film like than my Sony or Nikon cameras).

Cinema 5d measured the S1H having more dynamic range in 6k. Overall they seem to be the same sensor and same performance. The S1 is limited to 150mbps Long gop while the S1H can do 400mbps all-i. I personally never noticed a difference between 150 and 400 on the GH5 but can’t comment on the S1 vs S1H. If you want to get the S1H for the 6k keep in mind you can’t monitor externally when shooting 6k.

IMHO Panasonic invested too much on the EVF and LCD. They should have left that high quality of both solely for the S1H. And priced the S1 at $2000 to compete with the A7iii (which has way superior autofocus and much faster shooting rate). Also the S1 should have had Dual SD card slots, instead of one SD and one XQD.
Pricing it at $2000 would have ensured it sold way more than it did.

The Panasonic lenses are expensive because they are extremely well built and feature-full. Even the 24-105 F4 is a beast with everything you mentioned and semi-macro ability.
Imagine if it had PDAF...it would have sold much, much better.

What a gem this camera is.
I always get distracted by what else is coming out - GFX 100, SL2, X-T4, and the list goes on.
But when I look at my footage shot in Asia and Berlin on the GH2, I realised how effective locked down shots are with manual focus. Back when we had to use a tripod... Even the slightest shake is a distraction. There was no racking or AF during a shot either, that just ruined things. This was before follow focuses were common on mirrorless cameras... and the AF, well, it was useful for AF-S to lock off a subject and then you'd record and keep it there.
I continue to come back to the S1 because it is the spiritual successor to the GH2. It's not expensive (well, compared to an S1H or cine camera) so it's aimed at the same people. It's relatively small, smaller than an C200 or FS5 for example which are the smallest popular cine cameras. It has a very good battery and huge EVF. The IBIS is tip top. The image in V-LOG, 10bit 150Mbit astounding, yet the file sizes remain much smaller than 400Mbit ALL-I. The 4K 10bit image quality difference to the S1H hardly exists. The ability to load a LUT onto the live-view display and shoot with your favourite one - what other mirrorless camera does that for £1500?! It is amazing in low light, it's full frame, and you can leave the tripod at home.
I would take either over the X-T4 as it stands, good though that is.
Now the GFX 100 is marvellous... but it's £8k even used! The SL2 would be wonderful if it actually shot 4K without the battery error, so that ruins that. The Sony A7 III is fine, but the image just doesn't hold a candle to the S1.
So putting autofocus to one side and just shooting nice stuff the classic way... there is no better tool than the S1.
If you want to use manual lenses with IBIS and shoot 4K 10bit LOG, the S1 is the best camera out there, especially for the price. Although the Sigma Fp doesn't have the same amount of features or an EVF, or yet a LOG profile, I rate that highly as well.
Will do a round up of all the current cameras soon on EOSHD.

Keep in mind you're using a 3rd party lens and adapter. That always complicates things.
 

I'll never be able to afford any of their mics, but at least I can buy a t shirt with their name on it.

https://telefunken.com/
the microphones are some of the best ever build https://www.telefunken-elektroakustik.com/
 

Would bring this Ikonoskop back also

Fascinating how different everyone is. I love the size/weight/shape of the S1 like no other camera I've ever owned. I change my mind sometimes when it's on a Ronin S with a monitor mind! 😄
 

I'd be a happy man if Panasonic had made the S1 the same size, weight, and shape as my old Nikon D750.

Obviously, I can't answer for Dustin's nephew. And I am curious about this, too.
But I can tell you that the reason I switched from my a6500 (which is a pretty good camera for RE video)  to an S1 was for the 10-bit codec and the better screen and the better IBIS. I found that I don't need to use my external 5-inch monitor on my S1, not because the LCD screen is brilliant, but because it is "good enough" in bright sunlight (compared to the a6500 where you might as well just put a mirror on the back of the LCD because even a mirror would be LESS reflective than the screen on an a6500). So I wouldn't be surprised if those wer esome of the reason's his nephew went for the GH5.
Oddly enough, there is not a HUGE dynamic range benefit between the S1 and the a6500, but banding is all but eliminated and the shadows are significantly cleaner (Hmmm.... re-reading that< guess that means there IS a big difference in dynamic range???) Plus the 10-bit codec is really helpful in removing color casts (and when you are shooting real estate which is 98% of the time using available light / house lights, you get LOTS of color casts). 
I haven't used a GH5, but if you are on a gimbal and walking through a house, shooting in 4K 60 would also be helpful to smooth out the footage in post. (Assuming of course it is just a straight "walkthrough" type video where you aren't recording anyone talking.

Ok, so a few things...
I’m using my histogram and the built in exposure meter but I’ve read to expose between 1-2 stops over.
Well, that is if you are going to be metering middle gray off of a gray card. But that is difficult to do for a real estate video when you are trying to hold a gimbal and camera in one hand and you will be in a room large enough and with different brightness levels so you don't know what part of the room to put the gray card in.
In general, when in a high contrast scene, I try to expose SLOG 2 about 1/2 stop before the maximum zebras for SLOG2 appear. Double check what the max zebras are for SLOG 2. I think it is 105 IRE but I could be mistaken so double check. 
It is VERY IMPORTANT you don't set the zebra level above SLOG 2's maximum point because if you do, the zebras will NEVER appear. So if SLOG 2 clips at 105 IRE (which I think it does, but you are going to double check, right???) and you set the zebra display to show at 106 IRE or higher (which I believe is over SLOG 2's upper limit), then the zebras will NEVER show, no matter how bright your scene is. 
Let’s say I’m shooting a kitchen scene with nice windows but not much light. Would I balance between the two readings and maybe increase my iso from 800 to 1600 with the appropriate f-stop to match?
At that point, when it is REALLY contrasty, you just have to decide what is most important to you. Is the view out the window most important? If so, expose for the view and realize that you will probably have to crush the shadows / blacks a bit to keep the noise down. But if the interior of the kitchen is most important, then let the windows over-expose and just keep your exposure high enough so that the interior of the kitchen is about 1 stop or so over what a normal exposure would be.
If both the interior AND the view are important, then you are just going to have to shoot more than one scene / one angle with proper exposure for whatever makes up the bulk of that shot.
As for ISO, try to keep it at ISO 800 because that has the most dynamic range for SLOG 2.
Shooting in cine4 is easier to wrap my head around because I’m not thinking as much but I realize you give up a bit of dynamic range.
Yeah, but you give up about a stop and a half or something like that in reduced dynamic range. Also, I myself have found the roll-off in the cinegammas to look pretty nasty (although i remember @Deadcode mentioning that the rolloff in Cine 4 can be nice, but I don't think I have the skills / talent level of Deadcode to be able to get smooth rolloff with Cine 4, so I stick with SLOG 2)
The other thing is codec... isn’t the 1080 120fps a better codec than the 60fps?
No. Test this out to confirm, but 99% sure that it isn't a better codec. It is the SAME codec, but you have twice as many frames per second spread across 100Mbs worth of data. So in essence, each frame at 120fps is getting half the data each frame gets at 60fps (I know that isn't exactly how it works, but you get the idea).
The other thing is, if you want to stick to the 180-degree shutter rule, then if you are shooting at 120fps, you have to set your shutter for 1/250th of a second. It is unlikely you are going to be in a house shooting at 1/250th of a second. On the other hand, it might be useful if you are shooting outdoors in the bright sun with a shallow depth of field.

Obviously, I can't answer for Dustin's nephew. And I am curious about this, too.
But I can tell you that the reason I switched from my a6500 (which is a pretty good camera for RE video)  to an S1 was for the 10-bit codec and the better screen and the better IBIS. I found that I don't need to use my external 5-inch monitor on my S1, not because the LCD screen is brilliant, but because it is "good enough" in bright sunlight (compared to the a6500 where you might as well just put a mirror on the back of the LCD because even a mirror would be LESS reflective than the screen on an a6500). So I wouldn't be surprised if those wer esome of the reason's his nephew went for the GH5.
Oddly enough, there is not a HUGE dynamic range benefit between the S1 and the a6500, but banding is all but eliminated and the shadows are significantly cleaner (Hmmm.... re-reading that< guess that means there IS a big difference in dynamic range???) Plus the 10-bit codec is really helpful in removing color casts (and when you are shooting real estate which is 98% of the time using available light / house lights, you get LOTS of color casts). 
I haven't used a GH5, but if you are on a gimbal and walking through a house, shooting in 4K 60 would also be helpful to smooth out the footage in post. (Assuming of course it is just a straight "walkthrough" type video where you aren't recording anyone talking.

Obviously, I can't answer for Dustin's nephew. And I am curious about this, too.
But I can tell you that the reason I switched from my a6500 (which is a pretty good camera for RE video)  to an S1 was for the 10-bit codec and the better screen and the better IBIS. I found that I don't need to use my external 5-inch monitor on my S1, not because the LCD screen is brilliant, but because it is "good enough" in bright sunlight (compared to the a6500 where you might as well just put a mirror on the back of the LCD because even a mirror would be LESS reflective than the screen on an a6500). So I wouldn't be surprised if those wer esome of the reason's his nephew went for the GH5.
Oddly enough, there is not a HUGE dynamic range benefit between the S1 and the a6500, but banding is all but eliminated and the shadows are significantly cleaner (Hmmm.... re-reading that< guess that means there IS a big difference in dynamic range???) Plus the 10-bit codec is really helpful in removing color casts (and when you are shooting real estate which is 98% of the time using available light / house lights, you get LOTS of color casts). 
I haven't used a GH5, but if you are on a gimbal and walking through a house, shooting in 4K 60 would also be helpful to smooth out the footage in post. (Assuming of course it is just a straight "walkthrough" type video where you aren't recording anyone talking.

Actually, I am kind of happy with the Fashion Low Contrast lut in the Varicam pack. I still do my exposure in a node BEFORE the LUT is applied, and just use the shadows / highlights and contrast / pivot controls. Then I do the color changes in a node after the lut is applied. 

As someone who make their living doing real estate photography and video full time...
Here is what the sony a6500 and 10-18 lens (which I actually recommend, although the 12mm Rokinon / Samyang is supposed to be good). Also used a Phantom 3 Pro (also called a P3P). I'm using the Sony camera on the first generation Zhiyun Crane.
https://youtu.be/8S6NbTHqgxk
The issue I would imagine the main issue with the Samyang / Rokinon 12mm is the distortion will have to be corrected. Might be less of a problem in still photos, more of a problem in video. The Sony 10-18 already has the distortion corrected.
You really should think about doing photography as well, because your competitors will offer both video and drone and photography. And of course, you are most likely going to need a drone.
Really, the most important lesson is that quality of photo is not as important to the agents as reliability and speed in turning around photos (and video). And for 95% of real estate agents, price is a BIG factor. I am a bit of an anomaly because I charge MORE than my competitors and I do strive for more quality in my photos and I take longer to turn around photos and videos. There is a smaller group of agents who will work with me.
With the shelter in place order, I have seen more requests for video from agents who don't normally request video. I don't know if that will continue in two to three months as either states relax their shelter in place orders, or people just get tired of following the rules and more people decide to disobey them.
Oh, and you are going to want to use SLOG 2 with the s-gmaut.3.cine picture profile. There is a tool (can't remember the name) to transform that combo into ACES. I can look it up later for you. With real estate video, dynamic range is pretty important.
 

Actually, I am kind of happy with the Fashion Low Contrast lut in the Varicam pack. I still do my exposure in a node BEFORE the LUT is applied, and just use the shadows / highlights and contrast / pivot controls. Then I do the color changes in a node after the lut is applied.