kye

You're still thinking about the GH8...?
I'm wondering if the GH9 will have 12k120 in 10-bit 4:2:2.  I have given up on it being internal raw in that mode, but my cat videos won't be cinematic if it's only 4:2:0 and doesn't have at least 17 stops of DR.
As an astute poster recently commented, if ARRI can do 17 stops with the Alexa 35 then why not Panny?
I don't think I'm asking for too much when I expect the cameras specs to compensate for my complete lack of skill.

Speaking of camcorders... here's a video I found shot with an XA10 in "cinema" mode with a monochrome filter applied...
 

That makes sense! Form and function working together creating a new visual style.
You can grab shots from two different locations and match them in an edit.
You can even shoot one side of a conversation if you only have one actor available and get the other angle another day.
With shallow DOF, I can shoot inside a coffee house, on a crowded ferry and grab shots while I look like a tourist with a camera and nobody will come back and say that blurry counter is my coffee shop.
So as much as I understand that it can be overused, there's also a very practical reason to use it for me.
Just another tool. 

When I bought my first DSLR... the t2i... the exciting part was the ability to use shallow depth of field to help hide our lack of production and art design on DIY films. Those original Canon DSLRs lacked detail on wide angle, infinity focused shots but close ups with shallow depth of field looked great. Unfortunately, wide angle shots became very popular due to skateboarding videos and people's desire to go handheld, so people wanted sharper, more detailed images.
With IBIS and AF in FF cameras, it makes sense why shallow DOF has become popular again. Like anything else, it's just another tool. I kinda miss tripod and slider shots if I'm being honest... I imagine they work great now with the great AF and motorized sliders that are available.
That said, I was recently watching footage from my friend's old HV20 and was floored by how great it looked in that old Canon "cinema" mode. What it lacked in DR, it made up for in color and atmosphere... and no color grading needed.

Since you're a newbie, have you considered iMovie? 

I think the answer really depends on your individual circumstances.  
People tend to give advice based on their own situation, which is fine, but almost always underestimate how different the situations of others can be from their own.
Some key considerations to frame the discussion should include:
If you are going to be collaborating with anyone else
obviously, if you're planning to collaborate then having the same platform makes certain things 100x easier.
  What your workflow is like
Some people shoot, edit the footage with a simple rec709 conversion, then Picture Lock, then sound design / music / VFX / colour grading / etc all get done, then output and distribution.
Others may do the edit but will go back and fine-tune it as colour grading and VFX and sound design etc are all being integrated.
Others my do all the stages simultaneously, in workflows where the concept of Picture Lock makes no sense whatsoever.
  How well your footage is shot
Some projects have complete control over lighting etc during filming and need basically zero colour grading in post.  Others need a lot more finesse, which is well beyond the scope of FCPX.
  What the turn-around times are for the project
If you need to turn something around in 3 days, but need to do round-trip the colour, get Picture Lock before the composer can start composing the score, etc etc then good luck, but if you're in Resolve and editing in the cloud (or with Resolve Server) then you can have the whole team working on the project literally at the same time 
  What codecs you're using
  What tools you need for VFX / colour grading / audio
  What tools you're used to using and how much time (if any) you can devote to switching I feel like there is an increasing divide between the formal "industry" way of doing things, where (in theory) everyone does their bit in a sequence and (in theory) the process doesn't go back to an earlier stage, and everything can be done in separate pieces of software..  and the way that small teams or solo operators might sculpt an edit, with everything done within the same package and where everything is able to be finessed right up to hitting Export.

like any other camera:
if you're an artist then it's fine.
if you're a technician then not fine because it doesn't have 750MP and 22 stops of DR.

...and Linux!

You forgot the timeless pink unicorn: internal NDs 
P.S.
I heard voices about GH10...
 

 

This is why I have emphasised colour grading to folks.  Over. and. over. again. lol.
I know you finish your images in post and don't expect the camera to create completely finished images, so you're one of the few who understands that a file on the card isn't a finished image, but there aren't that many of us in amateur circles.
It really goes to show how ridiculous it is when people are nit-picking straight 709 conversions, as if this is what matters - as if anyone professional would ever use that for literally anything.  Even the BTS would get a LUT or basic 5-minute look applied over it.
For most high-end films and TV shows, the final grade is more different to a straight 709 conversion than the differences between the 709 conversions of completely different brands of cameras.
Not at all...   with colour if it looks good, then it is good.
The rest is preference and the creative vision for the project.

More finished work..
 

You're still thinking about the GH8...?
I'm wondering if the GH9 will have 12k120 in 10-bit 4:2:2.  I have given up on it being internal raw in that mode, but my cat videos won't be cinematic if it's only 4:2:0 and doesn't have at least 17 stops of DR.
As an astute poster recently commented, if ARRI can do 17 stops with the Alexa 35 then why not Panny?
I don't think I'm asking for too much when I expect the cameras specs to compensate for my complete lack of skill.

Is it only one astute poster or are there more of them? We could do a petition for them so they can finally get the chance to decide if they would like to buy a Panasonic camera.😂

You're still thinking about the GH8...?
I'm wondering if the GH9 will have 12k120 in 10-bit 4:2:2.  I have given up on it being internal raw in that mode, but my cat videos won't be cinematic if it's only 4:2:0 and doesn't have at least 17 stops of DR.
As an astute poster recently commented, if ARRI can do 17 stops with the Alexa 35 then why not Panny?
I don't think I'm asking for too much when I expect the cameras specs to compensate for my complete lack of skill.

You're still thinking about the GH8...?
I'm wondering if the GH9 will have 12k120 in 10-bit 4:2:2.  I have given up on it being internal raw in that mode, but my cat videos won't be cinematic if it's only 4:2:0 and doesn't have at least 17 stops of DR.
As an astute poster recently commented, if ARRI can do 17 stops with the Alexa 35 then why not Panny?
I don't think I'm asking for too much when I expect the cameras specs to compensate for my complete lack of skill.

That one arrived last week from UK, still waiting for the adapters to couple the customary manual glass... which should arrive by tomorrow or Thursday just in time for The Waterboys concert this Friday.

Those 4x G7 units are used for multiple-camera setup needs, here are some grabs extracted from one of those 4K 25p H.264 codec (where high resolution shows some advantages of its own) videos I cannot publish for music copyright not under my umbrella but just for a couple of ETTL samples here now:




The artist is a famous Portuguese Grammy winner who represented the country with an honourable 7th place in Eurovision 1980 BTW with a few universal words in German/English/Italian/French mixed in the lyrics...

Another comparison
I pulled the video into Resolve and did a little grading on the GH7 LogC image to match the Alexa, and it wasn't too hard to get this:

Obviously colour grading a Log image that has been through YT is an abysmal image pipeline, so take that into account.  
It would be interesting to play with the files and see how they feel.  I suspect the vast majority of people would be looking to get the LogC upgrade in order to get a nicer image, rather than match an Alexa, so shooting Vlog and LogC and then trying to work with the images would be interesting.

Another comparison
I pulled the video into Resolve and did a little grading on the GH7 LogC image to match the Alexa, and it wasn't too hard to get this:

Obviously colour grading a Log image that has been through YT is an abysmal image pipeline, so take that into account.  
It would be interesting to play with the files and see how they feel.  I suspect the vast majority of people would be looking to get the LogC upgrade in order to get a nicer image, rather than match an Alexa, so shooting Vlog and LogC and then trying to work with the images would be interesting.

Now this is marketing...  clicked on an S9 thread?  Here's a product you might also be interested in... the ARRI 416!

Another comparison
I pulled the video into Resolve and did a little grading on the GH7 LogC image to match the Alexa, and it wasn't too hard to get this:

Obviously colour grading a Log image that has been through YT is an abysmal image pipeline, so take that into account.  
It would be interesting to play with the files and see how they feel.  I suspect the vast majority of people would be looking to get the LogC upgrade in order to get a nicer image, rather than match an Alexa, so shooting Vlog and LogC and then trying to work with the images would be interesting.

Sharpness and resolution are misleading measures if you care about aesthetics.
The things to pay attention to are the MTF curve of the final images.  Both film and classic lenses all had a natural fall-off where finer details were present but became lower contrast - a low pass filter essentially.
Digital has no low pass filter (except nearing nyquist), and with most processing, it actually exhibits a high-pass pattern, where the contrast of fine detail is higher than that of larger details.

Sharpness and resolution are misleading measures if you care about aesthetics.
The things to pay attention to are the MTF curve of the final images.  Both film and classic lenses all had a natural fall-off where finer details were present but became lower contrast - a low pass filter essentially.
Digital has no low pass filter (except nearing nyquist), and with most processing, it actually exhibits a high-pass pattern, where the contrast of fine detail is higher than that of larger details.

Skateboarders don't care about helmets, or safety of any kind whatsoever.
See the below video, which they spiced up with slow-motion........ and explosives.
 

Nice shots. Colors look nice too. The whole time I was watching scared that she'd fall. I genuinely surprised she never wore a helmet. She wiped out pretty good a couple of times (of the times that made it into the final edit).