I've shot through the Favelas of Brazil, and most recently through Cuba, using the Gh5 and a small portable lav mic, and variable ND filter. That was a perfect small discreet kit for that. I gotta say though, having a handler or fixer -- even a trusted local you can pay for a few days -- to walk with you for a bit, unveil some interesting angles to the culture, and just provide another body for added safety, really makes a big difference. If you could afford it, definitely consider it.
We've used the FS5 to match as a b-cam often. When in a pinch, also the Sony x70 -- drastic reduction in quality, but similar color profile.
Hey David, your reel looks great -- but yeah, I agree, maybe distill it down to about half of that.
As far as the discussion that is taking place here, I think too many people are focusing on the "arrogant" perception of it. Some people might think that of one man bands, but it's whatever, it's not really the full question at hand. In my experience, when it comes to getting jobs in the industry doing gigs, claiming that you got everything done with no budget/no people might instill a sense of fear that you do not know how to work with higher budgets and manage crew/talent. Most agencies want to know that you can work within a system like that and, if budgets increase, you know how to properly put that money on the screen. Most people starting out, or who have only worked as one man bands, don't really have those skills yet, and most agencies production companies know that, and that's not what they're looking for.
While I love DIY filmmaking, I only bring this up because your reel has a Doritos spec commercial, and your goal is to get low six figure, which tells us that you are looking for industry work and/or financing for a narrative. And, regardless of the situation of "why" or "how" you worked the way you did, it's not going to matter to companies. (it may have in the 90's, but the climate has changed).
I absolutely think there is a place in the broader discussion for being an economical filmmaker, but it needs to come from a professional standpoint (knowing how to work with producers, staying under budget by using coverage in a specific way, etc), or maybe when it's time to do some pitches on treatments. I think what the others are saying, that in the demo reel stage, it's not really helpful to focus on that aspect, especially as a way to get some slack for lesser shots. I say just kill those lesser shots from your reel (plenty of other shots are good enough), and push it out as a DP reel. Then, maybe re-cut it and re-purpose it as a director reel focusing more on that aspect, and sell yourself there to others. If that's the route you want to go.
Anyway, just my two cents, keep it up, your stuff looks great!
I just had this same dilemma, and eventually ended up choosing the GH5. I'm super happy with my purchase. The thing "feels and acts" more like a video camera then anything -- and that's a huge plus that I think is overlooked. I've taken it out at night to shoot a bit and test it out. It's not terrible. My iso is capped at 3200 to avoid too much noise, but things look pretty good at night; especially with the speed booster and some 1.5 lenses or something. You wont get that crazy "see in the dark" look that the a7s2 has -- but you also wont get those crazy light blooms from dynamic practicals in frame. I like the natural night look of the gh5. Popping around through the frame rates is super useful, and I'm editing the 4k 10bit footage now, and it's just a dream to work with as far as grading goes. It also has a lot less rolling shutter effect, and the color profiles built in look really nice (though you could go for the VLog and add a couple stops if you wanted).
I also use the Panasonic lenses on it and that dual OIS is freaking incredible.