kye

Agreed.  Something that I think that doesn't get talked about much and isn't well understood is the relationship between resolution, bit-depth, and bitrate.
To some extent they are linked and can, under some circumstances, offset the weaknesses in the others.
I'd still like Prores 444 though, because it would give me downsampled 1080p with low levels of sharpening, high-enough but not unmanageable bit-rates and RAW-like bit-depth 🙂 

I so wish that companies would put Prores 444 into their cameras as a 12-bit standard that is well supported...  well, that they'd put Prores in their cameras at all, then 444 after that 🙂 
Mind you, I have tried to break the 10-bit files from my GH5 and they've held up, so maybe there isn't much need for it?  Not entirely sure on that one.

It is a little unusual for me to work on a film without a 1st AC who doesn't have a wireless focus system. 
As they've been so cheap, that even "no budget" indie/student film sets have in recent years started to almost always be using wireless focus now. (at least the ones I'm on)
But even in the days before cheap wireless follow focus systems, and even before gimbals were common, it would still be doable for the steadicam op on low/no budget shoots to work with a manual focus lens without a 1st AC pulling focus. They'd just prefocus and then take care to always keep the same distance between themselves and the focus. 
That's kinda the point, the latest Panasonic MFT (or L Mount cameras) have autofocus which puts the Sony FS7 to shame! 
  
Eh, is pretty much the common norm for all discussions about a new Panasonic release to have a "but their autofocus..." and about how much better DPAF is
(not saying you do it! But you'd agree it is a common tangent found on Panasonic discussions)

I never owned a 5D2 but at least I got a used EOS M two months ago or so. Will see how that goes. 🙂 @Django GX85 is my personal 8bit wonder so far.
On a sidenote, in order to avoid the gruesome youtube start screen I began to start youtube with a bookmark, which comes from a search for beauty couple months ago: kodak vision 500t. I higly recommend it.:)
On a general note, some of the replies to my statement about the GX85 are making me question my nonnative speaker english diction.
So again, I never stated GX85 would replace film. I stated it is almost overkill in regards of image quality one would need, not what one might want. Almost, I then continued, since films (movies) have been made with filmstock with its superiour attributes.
That was meant as a compliment of love to the 4K image of the GX85. In grading one can achieve any hues within the 709 colour space, great colour response in grading, beautiful palette to work with. Now, the usual artefacts can appear sooner or later. So it is a little 8bit wonder to me and in the spirit of lowfi filming. Just as for the oldie 8bit dinosaur 5D2 I have a love for these little 8bit machines. I am still planning on doing a shortfilm in 8bit. It´s like slidefilm in regard, that it needs to be treated with love and care.

I recently purchased a tiny set of microprime (5 lenses). I've only done some minor testing though. Still I think for the price, they are very very nice. 
They are compact and quite well-built. The focus ring is pretty smooth. The images are beautiful, with a slight vintage feel, but the lenses are not very sharp, especially at the widest aperture. It really depends on your taste or the project. 

With bonus audio!
For err... note taking

You're probably thinking of Prores RAW, which Resolve doesn't support.  Normal prores has full support though.  I've noticed that people online often say Prores when they mean Prores RAW and it's quite confusing as they're definitely not the same.

Any time a “newbie” student type asks me what camera to buy, I just say get a GH5 and a set of cheap vintage primes. Then learn to frame and light 💡 

Absolutely! That's what so many people miss! It's not just about the camera, it's about what you're filming and all the pieces that go into it. When you put that much effort and skill into what you're filming it doesn't matter all that much what you're filming with. 

Funny this. One person did say “why are we shooting this video on just these small cameras, why not a RED?”
 My response was “although you’re underestimating their image, this project is not about the camera….” 
It was great to have the crew but it was still stretched. However, you can still achieve a lot with few resources. 

Yeah, it's a really good sensor.
The reason I went for the Fp-L over something like an S1R is as follows:
Storage is getting cheaper and M1 Pro absolutely flies in Resolve now. I will jump back on the Uncompressed RAW 4K wagon. 500GB T5 SSD cost me £59 brand new. The Fp cages and SSD mounts are really small and light. The 61 megapixel sensor is a step up from the S1R sensor which is already cutting edge. If you don't mind a slight 1D-C style crop to APS-H (1.3x) you get an oversampled 7K image in RAW video mode up to 30p. That's going to look very nice in 12bit Cinema DNG. Better than BRAW. Real RAW. Huge sensor. So a clear upgrade from the original Fp which was pixel binning the RAW from 6K.
It is tiny, with an EVF and runs off a GH2 battery. Can't say the same about RED or Blackmagic stuff!

Hallo Kye, why do you cite me in connection to your post above? I find it misleading in connection to what I actually wrote about the beautiful GH6 piece that I posted for all of us to enjoy or not to. I wish for a bit more consideration from all of us to each other, to what our posts actually emphasize and mean. So let me repost and enjoy this video.:) This is what I wrote:
 
"Some splendid colour. They went a bit overboard with grading, especially the red cloth of the suit is oversaturated as oversaturated can be and some bluish tint is showing the joy of grading a bit too much. But as a visual sketch and indication of what the GH6 is capable of, this is really something.
I cannot comment on the voice over style as I am not a fan of it. But a lot of talent and visual taste in this piece and great showcase of what to expect from this powerhouse of a camera. I hope Panasonic gets the streaking sorted out and follows up on Prores for all filming modes this SUMMER, please!
Anyway, one of the best showcases of any prosumer camera and its image quality I have seen."
 
 
 

Wouldn't it be great if the camera market was like Build A Bear and I could just order the Alexa Mini LF in a GH6 body with IBIS and internal NDs... while also having an interchangeable monochrome sensor that I could easily pop in and out when desired.
Of course, it would have the Roger Deakins mode that would make my footage look better. And obviously the Amy Adams mode to make my actors prettier. 

It's a good question why they don't add those modes.
I've noticed on looking at the specifications sheets on sensors that have been shared over the years that often Sony (it's always Sony) will have a full-resolution readout of the sensor up to a certain frame rate (eg, 30p) and then a lower resolution at a higher rate (eg, 60p or 120p) but don't list any lower/faster modes than that.
For example, they might list 6k60, 4k120, but not 1080p240 (which is actually half the number of pixels per second as 4k120).  Let alone faster readouts for 720p or 480p.
Obviously the tiny sensors for smartphones and the 1" ones like the RX100 (and GoPro?) etc do have those fast/lower-res modes, but maybe they just don't include them on larger sensors - not sure why.

This BTS is interesting
 
 

The free version of Resolve lacks very little compared to the paid Studio version. For someone new I doubt you would need what is missing.

If I keep arguing about camera specs, I'll never have to create something memorable 
 

It is because if people admit autofocus is not that important for some folks/uses, then they'll be forced to admit that Panasonic would then be their #1 choice. And Panasonic has been so the #1 leader for years and years. 

Nice!
Anything is usable as long as it's aligned to the creative aesthetic.  Footage from any camera can also be a disaster, regardless of how technically good it is, if it's not a good fit for the aesthetic.

Nice!
Anything is usable as long as it's aligned to the creative aesthetic.  Footage from any camera can also be a disaster, regardless of how technically good it is, if it's not a good fit for the aesthetic.

No idea about FCPX.

We have to be careful here.
Comparing a GX85 to film and implying that the GX85 is better than film is simply flat out wrong.
The GX85 is better than film in terms of:
camera size resolution (for cameras of remotely the same size - 8mm or 16mm) artificial sharpness lower-noise Film is better than the GX85 in terms of:
dynamic range / highlight rolloff colour natural rendering of details rolling shutter motion cadence film is "raw" - ie zero compression artefacts cinematic image rendering slow-motion (film can be as slow-motion as you like and doesn't decrease in quality) While the size of the GX85 is definitely a huge point (it's why I bought one), everything I care about in images is better with film.

I actually think what camera you choose can be crucial for a project like this but not for the reasons most may think. 
I'm thinking mostly about budget and time constraints. 
A big cine cam takes time to rig, to setup. do reverse angle shots etc. It all eats up precious time.
Having two or even three cameras like OP can allow multi-cam or multi-rigs speeding up down time.
Then you have the crew to think about. Big cam usually means first AC, 2nd AC etc.
With an A7S3/FX3 you could get away with AF on gimbal shots, handheld with IBIS, monopod instead of tripod etc.
This all saves you time & budget that can be allocated to more shots, location, production value.
Anyways maybe OP can share his own experience & congrats to him on the music video!
 

The red being pushed up was a trend, IIRC it was made popular by this video:
Outside of camera forums, no-one gives a shit about getting natural looking colour - they want colour that will do something for them - to support the aesthetic and vision of the film - to bring the film success and popularity so it reaches a good audience and makes the effort of making it worthwhile.
We discuss cameras colour on these forums in some sort of strange parallel universe where making a camera neutral and accurate and nice is this kind of goal in itself, but it's really not.
If you guys have a challenge with that level of pushing/pulling colours then you'll have a heart attack when you start watching movies and other music videos.....
plus, you know, check out the terribly inaccurate colour on these little-known films that failed due to their poor colour....



What awfully inaccurate colours - I guess the cameras were rubbish!  Looks like those were shot on Alexas - man must those cameras be overrated!
 

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.