You might want to give your film a look through grading, to make appear less like a "family vacation" video. Here's a frame from "Saving Private Ryan" (1998) that uses a bleach bypass grade to make it feel "grittier" : http://cinematicpaintings.com/post/126030090653/saving-private-ryan-1998
Finally another high quality V90 SDXC card brand enters the market. ( Panasonic V90 cards are great but they cost a fortune )
Can't wait to try this new card out.
The GH5s camera takes things even further. Here is my favorite short made with the GH5s and Fujinon cine lenses ( there's a company in England that adapts these lenses to the Micro 4/3 mount )
Ettore’s Stargate (The Journey of Nau-chan), shot by Filippo Chiesahttps://vimeo.com/255921627
You should check out the camera reviews at the www.backscatter.com website that covers everything from GoPro action cameras to $40K underwater cine rigs. They are a dedicated underwater photography and video website.
The DOF difference between the GH5 and a Full Frame camera is 2 F-stops, so if you can shoot with a lens that is 2 F-stops faster than you would with a Full Frame camera the DOF is the SAME.
This is relatively easy to do with "normal" and telephoto lenses ( especially with GH5 speedbooster adapters ), but for some wide angle lenses you can only open up to f/1.4 on the GH5 which matches the DOF of f/2.8 on a Full Frame camera.
Generally I don't find the DOF difference to be that big of a deal for me, where being able to shoot 4K 10-bit 4:2:2 with the GH5 has been a big improvement over shooting 8-bit footage. ( color correcting for sh*tty fluorescent lights is not so bad now )
I've been syncing hours of video with recorded "wild sound" for the past 10 years using the "track stretch" feature in the Vegas Pro editor. All you have to do with Vegas is sync the start of your long audio track, then jump to the end of your audio track and "stretch" the audio to match with the video track, then export everything with a high quality "editing" CODEC. ( I use the Cineform CODEC to export )
If it's a multi-cam shoot, then I base everything on one video track as the "master" track, then stretch both the audio and the other video tracks to sync with the "master" track, and then export all of the different video tracks with a high quality "editing" CODEC. It's pretty easy to do, though you may find some of your cameras are out of sync by as much as half a frame, which is fine as long as you stick with one audio track for everything.