As an ex-lab guy who implemented color management on a grand scale, I'll advocate for leaving your camera set at sRGB. More prints have been ruined by Adobe RGB than any other issue other than using uncalibrated, unprofiled monitors.

There are good reasons and good places to use Adobe RGB. They are usually very narrow niche market uses... For instance, if your employer insists you use Adobe RGB so they have a little more wiggle room to edit your JPEGs before converting to CMYK and printing them in a news magazine or paper.

100% of photo labs accept sRGB. Some labs can handle Adobe RGB, but ONLY if you tag the image in the EXIF AND EMBED THE PROFILE, AND you tell them you are using Adobe RGB.

Many labs use software that strips off ALL profiles and EXIF data when they import your images to the server. That's because their lab software ASSUMES you are submitting sRGB images. If you tell them you are using Adobe RGB, they can adjust their process to handle it, but not all labs do that.

HIGH END inkjet printing boutiques will work with you to interpret whatever profile you tag and embed.

THE INTERNET IS sRGB! If you upload Adobe RGB images to web sites, they may or may not use the profile correctly. Users' browsers may or may not interpret the profile correctly. So as a practical matter, use sRGB for JPEGs.

If you record raw files at the camera and post-process them in advanced software (Capture One, Lightroom Classic, Photoshop, etc.), you can make use of wide gamut profiles as INTERMEDIATE, WORKING PROFILES.

A working profile allows the raw file to be converted to RGB without losing visible colors. Lightroom Classic uses a wide gamut working profile, and can hand off RGB images to Photoshop or other software as 16-bit, ProPhoto RGB or Adobe RGB files.

The idea is to convert, edit, and manipulate images in that wide gamut space, then convert to JPEG in sRGB for a lab or the Internet.

If you use a monitor with 10-bit color that has been custom calibrated and profiled BY YOU, using a kit from Datacolor or Colorbrite, then you can see most or all of Adobe RGB colors (but not ProPhoto RGB, which includes many hues outside the range of human vision). Then, by "soft proofing" your files, you can see how they look in sRGB, or if you have the correct profile for your lab or your inkjet printer, you can get a reasonable preview of what your lab or printer will print.

ICC Color Management is NOT camera brand specific. sRGB and Adobe RGB are standard definitions of color range agreed upon throughout the industry. How the camera manufacturer uses their own proprietary color science to create images STORED in one of those color spaces does differ. But the profile spaces or gamuts themselves do not.

Raw processing allows you to get the most from your sensor. It does require knowledge of color management practices, full monitor calibration with a "puck and software", and some discipline, care, and concern about settings. But it is worth it.

Ooops, I apologize if I left the impression that the financials are my most important consideration. I have two sell/purchase scenarios. I'm looking at Canon R5/R6 refurbished with the Canon Customer Loyalty Program (nets me 10% off the refurb price). The R5 out of pocket (OOP) would be about $1300 after the sale of my 5d4 and 7d2. The R6 OOP is about $1500 after selling the 7d2+lens and keeping the 5d4. For some, it may look like a no brainer... i.e. go with the R5 and spend the delta for memory cards, etc. I'm struggling a little on determining whether I "need" 45meg raw files vs 20 on the R6. Also, there's something to be said for the convenience of SD cards in the R6 since I don't shoot video. And... the OOP is contingent on me getting my asking price for my DSLRs. Yes, I've met the enemy and it is me.