Policar, it's marketing? It's FREE.
Most marketing is free.
The cameras aren't.
I've used both neutral and log extensively. I recently shot some B roll for a made-for-tv feature (A camera was Alexa, B camera Epic) and because it was a log show I shot most of the footage in cinestyle. (Cinestyle was introduced for intercutting with log footage and NOT as a "flat" high DR alternative, as it offers no additional DR over neutral with contrast set at low.) I accidentally shot some footage in neutral with contrast low, too.
Ultimately, even in a log show, there was no material advantage to shooting cinestyle. Sure the corrections were closer to the corrections for the Alexa footage, but not significantly. And there was no more DR and tonality was slightly poorer. A total wash when the footage was exposed well, but cinestyle footage exposed wrong looks dreadful.
As for manual white balance, I disagree very strongly with suggestions to white balance manually. I shoot 3200K for tungsten lit scenes and night exteriors with uncorrected HMIs (personal preference) and 5600K for daylight. Fluorescent preset for fluorescent to ward off the green cast. Then adjust in post. I can understand using cloudy white balance for cloudy scenes or to add a warm pop to a daylight image, but if you white balance every shot or set up manually you will have catastrophes in post. Not all light sources are meant to be neutral and when they are 3200K, fluorescent, and 5600K have you covered for 99% of set ups. I've heard stories of very inexperienced first timers doing this--white balancing every shot--and the cast and crew laughing behind their backs and the footage coming out just horrible. DO NOT do this. It's such a bad idea it's almost comic. At best it's innocuous; at worst it will ruin your footage and cost tons of time in post. DO NOT white balance each shot manually unless you have a very good reason to.
24p is NTSC. PAL is 25fps.
Basti187's recommendation is excellent. You can try cinestyle but you will come to the same conclusion the rest of us have--it's useful in theory for intercutting footage with a log show. In practice, all it does is hurt tonality. Look up prolost flat. That's what his recommendation is similar to.