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I would strongly discourage trying the ZV E1 for a shoot like this, too many usability issues. The FX30 is a fantastic camera for what you are trying to do. I don't have experience with the C200, but I can attest that the FX30 should meet all of your expectations. Good usability, great autofocus, plus all the other stuff you would want in a camera. Also don't forget that rental is an option, might be able to save a lot of money that way, or put your money into a really nice lens or two

Yeah r5's 4k120p is all-I only, so in terms of practicality R5II is massive improvement on that. R5II's 4kSraw for 25p/24p is like 350mbps, that is much more manageable vs R5's 8k only raw with huge 1700mbps. But then again not having card to test is a bummer, really keen to see how it fare with c70's 4k raw.

So had a play with R5II in store today They fixed IBIS wobble for wide. 4k120p is now only 300Mbps instead of R5's 1880Mbps and with sound too FHD 240fps with sound as well, that will be pretty epic for shooting action/sports etc. The false colour is nice, it gives u a guide too so you know what to look for. Clog2 does seem to give that more DR vs Clog3. In clog 3 there is white bar on the right on histogram but clog2 u have full range. The tracking with the ability to stick to 1 subject completely or occasionally change or change more often, in conjuction with face register that should able to keep say bride/groom in focus all the time instead of random people that is on the screen. I tried eye focus for a bit, but since I did basic calibration so the system might still need tune more, for now I still prefer touch screen/joystick. And no 60mbps ipb lite vs R5, 100mbps is the lowest for 4k25p and 150mbps for 4k50p. Ability to choose fine 1080p is nice, but there is no 4k fine in crop 4k60p though, since I can't take my own card so I can't verify if it does supersampled 4k50p on crop。

I second the s5ii but for slightly extra for the S5iix ($1,500 used) for the ability to record to tiny NVME SSD's and save on time/memory cards. You can use the Panasonic DMW-XLR1 XLR Microphone Adapter for nice, clean audio mounted right on the hot shoe. 6k open gate for reframing later in post and punching into 4k on the edit. Great color science and skin tones for ease of color grading, Great IBIS if doing any handheld B-Roll. No overheating, solid and dependable. Fx30 is solid but you will pay a premium for minimal specs and have to pay more for the audio top handle unit. No 6k for room in the edit and less low light performance from the smaller sensor unless adapting a speed booster (And loosing the great native Sony autofocus) Have you considered a Sony ZV-E1? I want to try that out on some interviews and see how it does. Poor man's FX3 with most of the same specs and a few more the FX3 doesn't have. The only reservations I have is the potential to overheat if things run long or it's hot in the space I'm shooting. External add on fan can help that and it's only $1,700 right now.

S5II from 1469 GBP on MPB?

seems to me that it is better to choose the cameras with the tradition or reputation of raw if wanting to shoot raw. at least to test the camera even if the spec says that it can sdi out/hdmi out to raw or can record raw internally. seems to me that "raw" is a glowing hat now, not necessarily true raw, which is actually very dumb, but fresh, juicy, real meat. it is funny that a real good raw, tmho, is the free offering, magic lantern raw.

from a business point of view, Nikon's hybrids may have the best raw in the future, as Nikon acquired red with its decades of knowledge of one of the industry's best raw codec tuning under the hood. also, Nikon does not have pro video camera department for protection. however, from a historical point of view, although Nikon introduced the true DSLR revolution with its d90, earlier than 5d2, it is not willing to add more buffer to Nikon v2 and v3, convinces me that Nikon is still controlled tightly by Japanese industrial conglomerates. anyways, I still have high hopes on nikon, as its z mount is also the shortest flange distance. sony, sigh, except its accidental error on fs700/r for excellent sdi out raw, its later low to mid tier cameras have crippled sci out raw to protect its high end Venice/2 cameras. on the other hand, Sony spent decades on codec implementation in hardware and firmware, its internal dsp is actually good enough. I will not bother with Sony's low end cameras' sdi out raw. canon is similar to Sony, except there is pressure from the free open source magic lantern. so canon has to compete with magic lantern on feature providing. however, seems to me, canon is trying to use sensor as the differentiator, r5/r5c sensors are behind c70/c300 mk3, etc. I guess the logic behind is that even magic lantern can hack the latest canon mirrorless, it cannot do much with the lower quality sensors. panasonic is the only one really aggressive, possibly due to its lacking of still photography camera department before. Panasonic seems also like canon, using sensor to differentiator its high end cinema cameras from its Lumix offerings. olympus, its board controlled by Sony investors, is not willing to step on Sony's toes, even willing to go belly up. its ibis was supposed to be the most disreputable technology 10 years ago. yet it did nothing to exploit this.

if a camera is famous for its log shooting, better to follow the crowd. its raw may not be that juicy.