Several different cameras used for same movie

a final farewell and good luck wish...

think of the upside of what you are doing... learning ( self teaching ) about the technology and also the aethetics of telling a story visually with sound... how cool is that ???

in a nutshell....my opinion... from experience on film sets shooting for episodic tv and projection ( movie theatres ).

a page of shooting script is typically 1 minute per page ( if shooting script is written by pro writers).

that means you may have a 170 minute film approximately.

Shooting on set means using professional on set sound mixers with jammed digital slates, boom mics and lavs as needed.... no camera records sound on the set..it's seperate and sync later in post via slate.

The means if you want to slow down action with high frame rate ( 120fps for slow motion for example) the sound is still constant regarding the overall cadence ( like you could have a person walking slow motion in an airport but still hear the jets taking off with normal sound outside the terminal ). Slow motion is mostly used to emphasize specific moments ( on a 24 fps timeline )...like car crashes, explosions, etc.

Most all the shots are with the same camera brand and codec and color space... and most shots are a single camera on dolly...do wide master after blocking and lighting, then move in for coverage ( on correct axis ) for medium and close ups...with lighting tweaks to accomodate those shots..

This means, using a 180 degree shutter, shooting 24 fps, you got a exposure of 48th /sec...and F stop and ISO to deal with that fact of lighting.

This forum cannot possibly be a FILM SCHOOL so what my opinion represents is basically useless.  Most people ( including me ) cannot possibly afford producing a simple TV commercial, let alone a TV episode or feature film.

However, I do have a few lights and use a bmpcc 4k to stay busy after retiring from the film business as a grip, and use PPro and Resolve. The hardest thing for me is to just go out with a tripod and fluid head at the age of 71...as I am weaker and lazy in general.  But if you can tell a story god bless you, cause we can use some nice stories these days.

good luck and happy holidays

p.s. reshoot if you can and whittle down the script to bare essentials so you don't run out of storage space and start choking your computer.

That's actually pretty typical for documentary work. Except throw in some older stuff that's 4:3 and 16fps ... oh yea, fun stuff.

I would suggest the timeline should be in your delivery specs ... framesize/rate, progressive, DF/Non-DF, interlaced, whatever you need to deliver at. Probably with some HD you don't want to go bigger than 1920x1080. And Rec.709 for your sequence color space, as you can't really take Rec.709 clips 'up' to any HDR form well. But HDR can come 'down' to Rec.709 just fine.

Then there's the process of time conforming, and that's where you may need some expertise brought to bear. Some things can be done easily, but others require "cadence" shifts between pulldowns ... and that's way above my paygrade.

Check all clips for color space in the Project panel. Any that are not Rec.709, you will need to select in the Project panel ... do groups at a time too! ... and right-click/Modify/Interpret Footage, setting the Override-To option to Rec.709.

Neil