Please provide camera models if possible. Not knowing this is driving me crazy haha
Netflix, the BBC, Amazon, and others that commission and/or broadcast content maintain a set of professional standards that specify everything from acceptable cameras to file naming conventions. The Netflix list of approved cameras is here. I would offer that by studying these lists (which talk about not only resolution, but also bit depth, chroma sampling, bit rate, compression rates, etc) you can see where the professionals draw the line between claims made by prosumer camera models and what is standard industry practice in 2018.
There are people who are shooting real feature-length productions for theatrical distribution on iPhones. Because that's the director prerogative: their movie, their aesthetic. But I would say that the approved camera lists give a good idea of what sort of camera produces the mainstream image quality you see in professional-quality productions, which that YouTube video seems to demonstrate. And those cameras typically more than $2,000.
And, as noted before, you could have a $80,000 RED Monstro with a $45,000 Zeiss Master Prime lens and you won't get that quality without proper lighting, set design, etc. But if you have a great set with great lighting, then you can do a lot with cameras in the $2,500-$45,000 range (and lenses in the $2,000-$20,000 range), which you can find on the Netflix approved camera list, or elsewhere (for other broadcast/streaming specifications).
Pretty much anything modern from Grass Valley, Sony Broadcast or Panasonics Broadcast division would be well capable of this, if combined with decent glass and a skilled camera and rack operator. It is after all only HD, so nothing particularly state of the art.
All of that kit is well north of £2k however (Maybe 10 - 20 times that), even before you consider the glass which is just a bit important, and the skill of the operators for which there really is no substitute.
I would bet that that crew could shoot something that looked substantially the same on a modern DSLR with a few trimmings (Matte box, some rails, some decent video glass, and a case of filters).
For many of those shots there is clearly plenty of light and given the shallow depth of field the apertures are clearly wide open so sensor noise should not be a big issue, this is not that big an ask of a camera chain.