kye

More examples of bad lighting.
This was a 709 shot from my GF3, which obviously couldn't auto-WB far enough to compensate (yes, this looked white in person):

My best attempt at grading in post also couldn't compensate well enough:

But the real demonstration is on a project.
Here's a camera test I shot.  These are the images after grading:

They all look pretty straight-forward, but it took a lot of work to get to that.  Here are the shots SOOC:

Note that adjacent shots have considerably different looks - SOOC:

After:

Obviously I've let the flaring lower the contrast on the middle images to a certain extent because otherwise it would look too forced, but the tint of the first image and second ones needed to be evened out as one had the sun in it and the other didn't.
I've shot these tests by the beach many times, using many different cameras (OG BMPCC, BMMCC, GH5, GX85, XC10, GF3, iPhone, GoPro, etc), shooting manually and in auto, in RAW / LOG / 709, etc etc.  All required decent amounts of work in post to even them out and look normal.
It's like anything - the natural look takes the most amount of work and is, in reality, the least natural.
You keep saying you want nice looking images without doing any/much work, but I've been working super hard at this for quite some years now and it's just not possible.  You either get nice looking images with work, or you wave the camera around and you get out what you put in - a film that looks like a dad with a handycam.
The myth that you can buy it was created by equipment manufacturers trying to sell you cameras and LUT bros on YT trying to sell their LUT packs.

Update is live:
https://av.jpn.support.panasonic.com/support/global/cs/dsc/download/ff/dl/s5m2x.html

I bought FilmConvert years ago but balked at paying for Dehancer. And yes, of course you could do subtractive sat before now, but nowhere near as easily as slices and FLC make it.

🤷‍♂️ 
It looks great to me. I'm not looking for an image that looks exactly like reality. It's definitely desaturated, but I don't agree that it's low contrast.
No offense to the photographer of that shot, but that looks like it could have been shot with any standard profile from a camcorder in auto mode.
As far as... how can I judge the image... look at the skin tones... the weight of the image. It looks and feels like a real movie.

Both of those cameras are great, you should get one. What are you shooting with now?

At times, people here and in other forums wonder about what this can have in common with cinema... Well, filmmaking is not only fancy outcome for sure and I give you now an example with the release of this feature film in the Japanese market and how BTS material can help making the trick happen...
MAKE-BELIEVERS' BTS/making-of
Imagine what that could happen for BTS stuff acquisition (because we need it for selling movies!) with a mere tool like this one -- as simple as this newly listed no-brainer buy:
Is the only device we need? Of course, not! BTW don't try to mimic those close-up shots going so wider angle for sure... LOL : ) But in the end of this video, the YouTuber gives a fair idea how this is a mandatory toy or tool...
Reframing, at the computational side of the things, creatives ones included, is not only the future but the current one now already.
It will surely depend on the way you get your creativity fine.
Don't count on less ; )
But it is here nowadays and there's no a unique reason to wait for something better to come no doubts, just not not yet available today as this one, at the sole range of your click ;- )

I agree. His Sony work does not respond to me, neither in the edit, premise, lengthyness, choice of focal lengths, camera movement nor framing nor color palette and contrast. @mercer That Sigma 30mm is a thing I had been keeping in my mind. I am a sucker for 28mm on S35. Kendys Canon work was magic, his Sony uploads on his channel are video imo. Besides colour, movement, framing and lensing are not in the same league as his Canon library imho. I can relate to the impact of a camera on freewheeling video essay work. I still hold a G70 in high regard for the mojo it has in HD 24p. The only two pieces I shot with it are still oozing color magic and forced me to design my shots and movements instead of gimbleing through the world rather effortlessly. No effort means no magic in most of the instances.

Whenever I start thinking about the beginning of the DSLR revolution or the Digital Revolution, I take my own advice and go back to look at some old videos that I love from those forgotten cameras.
This first round of films, from Kendy Ty and his t2i, I have linked to countless times, years ago, but I think they could be helpful or relevant to the OP's topic...
If I remember correctly, he used the t2i and the old Sigma 30mm 1.4. I believe he even created his own picture profile, in camera, for his earlier films.
Like so many others, he eventually moved onto a Sony 4K camera, but many people commented they preferred the look from his trusty, old t2i.
If there's a lesson here, it's simple... sometimes less is more. Sometimes the tool that gets the job done and is simple to work with, is better than wading through the minutiae of features and tech finding the best camera.

That sounds great!
Having two people instead of one would be an incredible advantage and time saver.  I've tried to film myself for camera tests enough to know that it's almost impossible to frame and focus and expose correctly when you're the one in the frame!!
Also, what about Resolve 19 are you excited about?

This video answers a lot about EIS high. I look forward to trying this out on Monday. This guy tried out lots of APS-C L-mount lenses- I was surprised how many there are now. Also, there are some that could be amazing with that 1.43x crop in EIS high. Here's the S5i with the Sigma 10-18. I imagine this would be a cheap, great combo.

I've long thought that if Panasonic makes just a little smaller L-mount camera (FF), they'll kill M43, especially with all the APS-C lenses now available. Right now, it seems M43 only has 4k 120fps and widely available smaller lenses; the rest is practically a wash, including price. 
 

Making a film is one of the hardest things I've ever attempted... especially in a DIY, low/no budget space... but it's also one of the most exhilarating experiences I've ever had... even if ai haven't been successful with finishing the film...
Yet. 

So there's a guy who lives near me - young guy, good looking - who 2 years ago gave up a film-making degree at a London university (can't remember which one - but a good one, I can remember thinking when he told me) to go on the tools with his dad, because he couldn't see any way that an expensive 3 year course was ever gong to wash its face.

Was talking to his sister this evening and she reckons he'd be totally up for getting involved in my short. Which could mean I've either got talent that isn't me, or a camera op that isn't me. Either way, it suddenly makes this project a whole lot easier.
(Not to mention Resolve 19 - which changes the space entirely!)

Yep, every time I invest in one, it ends up being too much for my use case.
Too much cost, battery charging, transport, set up, storage etc. Just a PITA.
No longer and never again!

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.

I highly recommend going to the source if you're interested in going deeper, here are a couple of interviews with Jill on Joker that I found to be fascinating and thought-provoking:
...and this interview with Jill on John Wick and other films where they even talk about specific shots etc:
Lots of info out there if you search and go looking for it 🙂 

I'm just wondering why you were posting a random YT video.
If I posted a new thread with every video I liked then the place would just look like my YT viewing history and not a forum where discussions can happen and people can share knowledge etc.
I don't know what experiences you had in high school, but I've been an adult a long time and I've become fond of talking to people.
I really don't know what you were trying to say?
What point were you trying to make?
Maybe if you actually typed something then there might be some communication....?
There are all sorts of interesting things in that video, so the discussion could be a good one.
Let's all leave high school behind and try and discuss things like adults 🙂 

Here's my recommendation for SOOC shooting - Sony AX100.  As Dave says "Sony AX100 looks better than your camera".
Just look at the nice contrast, saturation, and above all...  skintones!  and in mixed lighting no less!
Good luck getting that with a "better" camera - they all have far too much DR to give you a punchy image from their 709 LUTs or profiles.

Same! The color really brought us into a different/alternate universe!

Actually unreservedly loved it. I'm finding that I'm gradually getting further and further away from preferring verite/realistic looks and getting into the wilder end of things!

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

I highly recommend going to the source if you're interested in going deeper, here are a couple of interviews with Jill on Joker that I found to be fascinating and thought-provoking:
...and this interview with Jill on John Wick and other films where they even talk about specific shots etc:
Lots of info out there if you search and go looking for it 🙂 

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 highly recommend going to the source if you're interested in going deeper, here are a couple of interviews with Jill on Joker that I found to be fascinating and thought-provoking:
...and this interview with Jill on John Wick and other films where they even talk about specific shots etc:
Lots of info out there if you search and go looking for it 🙂 

I want one!