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Thank you.
After reading your comment, I feel like maybe I was thinking too much.
I still don't know why I worry about this shoot so much. It's not like it is my first paid job ever. I have been doing event videography for three years now. Maybe I just don't feel like I am a filmmaker because I have never done any narrative film or documentary. I just know how to expose and get shots that are useable, and make the "story" in editing. And having to be a proper filmmaker and plan for a short documentary for the first time makes me kind of nervous. 
I don't know. Maybe I should just shoot 4K internally. 8bit 420 has never been a problem for me anyway. I mainly shoot in S-Log2 so there is banding and compression artifacts here and there, but I guess YouTube compression is going to butcher the video regardless 😆. Or just ditch the thought of trying ProRes Raw and shoot ProRes 422 like I always do when I have to record externally. 

H.264 1080P via Google Drive. 
Most clients don't care about 4K or the codec, and they actually prefer smaller file size. Of course, there are some clients who have specific need, and I will deliver the codec and resolution they want. But more often than not, H264 1080P is the most suitable format for the clients. 
I do event videography mostly, so this is my experience. 

Is your client asking for 4K high bit depth delivery?

If not I would NOT ad the variables of the external recorder and RAW that you've never shot with on top of you shooting for the day.  If you do go that route give yourself 2 days to get used to the setup and editing it before shooting. 

H.264 1080P via Google Drive. 
Most clients don't care about 4K or the codec, and they actually prefer smaller file size. Of course, there are some clients who have specific need, and I will deliver the codec and resolution they want. But more often than not, H264 1080P is the most suitable format for the clients. 
I do event videography mostly, so this is my experience. 

What are you filming? Could you use telephoto primes?
Can you go tripod/monpod instead of handheld? 
Remember if you go with MFT, you'll get extra reach! Easier to find affordable very long zooms then which are f2.8
 

Agreed. (and not just because you mentioned sound)

You can buy the Lumix S5 and be happy about its astonishing video quality and great codecs. Too bad I bought the S1 instead eight months ago. Seems like the S5 is the best you can get for your money.  An awesome deal! We will see September the 2nd, as Andrew stated. S1 owners will be a bit grumpy that day.:)

My favourite is the Aputure 120D II and a few modifiers.
Although I mainly do event works so don’t always have the luxury of setting up lights, I use this light whenever I can. It is light and portable, but gives more than enough light unless you need to film in a very big room or have to simulate or fight against the sun.
But nowadays there are many competitively priced lights as well. So my favourite may change. 

I've found some (very noisy) pictures from whoever bought it when it was decommissioned and added some pointers to it.
The yellow one points to the ashtray holder and the red ones point to the wine glass holders as, of course, I had forgotten that this was in fact a dual wine glass holder spec mixing console.

My favourite is the Aputure 120D II and a few modifiers.
Although I mainly do event works so don’t always have the luxury of setting up lights, I use this light whenever I can. It is light and portable, but gives more than enough light unless you need to film in a very big room or have to simulate or fight against the sun.
But nowadays there are many competitively priced lights as well. So my favourite may change. 

Nah it’s because I’m broke now or I’m going to buy it. 😆

Well just kidding. I used to be one of those “I’m to buy it based on one video”, but now I care about workflow more than anything so I try before I buy anything if possible.
It amazed me how much money I have saved. 🤣

Nah it’s because I’m broke now or I’m going to buy it. 😆

Well just kidding. I used to be one of those “I’m to buy it based on one video”, but now I care about workflow more than anything so I try before I buy anything if possible.
It amazed me how much money I have saved. 🤣

Screw it.  Goodbye 4K, hello 1080p.
Why?
I can either:
Spend hundreds of dollars replacing my 2x256Gb SD cards with 2x512Gb UHS-II SD cards (to retain similar recording times) Shoot 400Mbps 4K 16:9 or 3.3K 4:3 10-bit 422 ALL-I Or:
Spend that money instead on upgrading the SSD in my MBP upgrade I'm about to do so I can edit files SOOC Shoot 200Mbps 1080p 10-bit 422 ALL-I Completely eliminate the proxy workflow I've had to use, with all the rendering and re-conforming timelines between proxy and original SOOC footage Colour grade on 25% as many pixels as UHD, giving me either 4X fps in playback, or 4X processing ability for the same performance Use Resolves Super Scale feature when rendering for 4K YT uploads (this looks pretty good after all......) Use the digital zoom function of the GH5 instead of cropping in post (this is for when I don't have a long enough lens on the camera - the digital zoom looks like it applies to the 5K sensor readout, so isn't a crop into the 1080p downscaled image, but an adjustment of the downscale that is already occurring) All else being equal, h264 ALL-I codecs are slightly better than Prores.  Prores HQ for 1080p is 176Mbps and the best 1080p mode on the GH5 is 200Mbps.  Both are 10-bit, 422, and ALL-I, so all else is equal.
So, if 1080p Prores HQ is good enough for feature films then that mode should be good enough for me, where I'm only publishing to YT or watching locally on TVs.  The last footage I was involved with shooting that got projected came from a PD150, so the big screen doesn't factor in my world that much lol.

Haters gonna hate....
That's top 5% of the most sensible things ever said on a camera forum.  
Nice to see a departure from the "based on one video I'm going to buy it / I'll never buy it" all-or-nothing sentiments 🙂 

I'm a Sound Mixer, and yet a C Stand still rates as one of my best investments ever. 

I downloaded the footage by Jacques Crafford. First, thank you Jacques Crafford for sharing these footage so I can test them out. 
So I put it in Resolve, tweaked a little bit and used a color space transform. It took me about a minute or two. Here is the quick result.

Of course this is far from a graded image, only a starting point. 
I have to say this is quite an improvement over the A7S and A7S2. People argue otherwise likely never use an A7S before because its color science is really really bad. I will not say this new color from A7S3 can rival Arri Alexa, but this is definitely a usable image, especially if you consider the codec is pretty solid so you can do quite a lot of adjustments without breaking it. 
Surely, color is subject so everyone can have their own opinion, but I feel like claiming these images are horrible may be a little bit exaggerated. 
Personally for me, although the color from this A7S3 may not be the best, it is totally usable and if one cannot make a good picture of it, he is the one to be blamed. If you think my quick result is very bad, probably it is my fault too. 

This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec:
In the hands of a capable shooter, the lack of internal RAW is no limitation at all.

I downloaded the footage by Jacques Crafford. First, thank you Jacques Crafford for sharing these footage so I can test them out. 
So I put it in Resolve, tweaked a little bit and used a color space transform. It took me about a minute or two. Here is the quick result.

Of course this is far from a graded image, only a starting point. 
I have to say this is quite an improvement over the A7S and A7S2. People argue otherwise likely never use an A7S before because its color science is really really bad. I will not say this new color from A7S3 can rival Arri Alexa, but this is definitely a usable image, especially if you consider the codec is pretty solid so you can do quite a lot of adjustments without breaking it. 
Surely, color is subject so everyone can have their own opinion, but I feel like claiming these images are horrible may be a little bit exaggerated. 
Personally for me, although the color from this A7S3 may not be the best, it is totally usable and if one cannot make a good picture of it, he is the one to be blamed. If you think my quick result is very bad, probably it is my fault too. 

Downloadable ALL-I footage here:
 

This is interesting. 
I'm always amazed by what the EOS M and magic lantern can do. I love mine very much and it still is one of my favorite mirrorless camera. Although I will not take it to paid jobs, it is very fun to use and despite the price, has so much to offer. Shooting RAW continuously in such a small body is simply crazy. Though I had never thought of trying it, for some reason, and I only used magic lantern for focus peaking and audio level monitoring. 
Anyway, I suggest to invest a prime lens because the kit lens really isn't that great. Many of the shoots in the video would benefit from a shallower DOF and lower iso setting. 

Once there is an USRA Min Broadcast with a 6k RGB sensor using the same sensor tech as the BM12k, the both super 16 and b4 cinema lenses will be back in fashion.  
The super 16 lens is not the problem,  it is having camera that can make these lenses shine.
I had a GH1 with a vintage C-mount 25mm f0.95 and in video mode it look pretty good but in photo mode it look like a still frame from a movie.
Anyways, tube mics where kind pushed to the side by solid state mics in the 70’s as there were cleaner to analog tape then with digital audio recording the tube mics (and tube compressor) became in fashion again an doubled and quadrupled in price overtime.
Once Blackmagic’s RGB sensor tech as a lower price point and compatible with super 16 resolution wise, I’m sure it will be popular option for specific film genres like horror, documentaries and action scenes.

It will be interesting if there is a plugin designed specifically for handling spoken word (like an interview), but I take it this plugin is not? 
Anyway the price is pretty cheap for a good compressor. I used to learn mixing so I got plenty of plugins lying around, but this one looks quite interesting and convenient. May give it a try later. 😀

If you don't care about filmmaking, then "peak camera" hit for DSLRs years ago. 

For most buyers a Canon 5Dmk2 / Nikon D7100 / etc (zillions of older cameras out there!) are plenty overkill for their stills needs. 

I was lucky enough to break six figures last year with 73,000 subs. I’ve never enjoyed my work more and i’ve never made more in my life. I highly recommend it if you’re thinking of starting a youtube channel. 

Guys, guys. This is the videography and photography world. You have to teach him to be really toxic first so he has a fighting chance in the first place.
First of all, you can't use more than one camera brand. IF you do, you're lost. You have to choose one brand and then go all in...buy brand merch and invest at least 10K into the system. You then have to shun and look down on anybody that uses a different camera, why? Because they are dumb and not smart like you. Got it? Good.
Second, EVERY camera that is NOT YOUR CAMERA has terrible color science. This is fact.
Third, it's always, without exception, all about the gear. Dropping 3K on a new camera WILL make you a BETTER photographer/videographer. Don't believe anybody that tells you otherwise because they probably shoot on a point-and-shoot (this is very, very bad).
Fourth, never talk to a Pentax owner. This rule has no exceptions. Do not break it.
Fifth, and final, when you switch your camera brand you have to start from step 1 all over again.
Good Luck and fast shutters!

Sports shooters really don't need any more. (and neither do most of us!)

It's just like us sound mixers recording at 48KHz for many years, as more really is not necessary. 

Heck, more megapixels can be BAD if it slows down their workflow of getting images uploaded immediately and instantly to their press agency.