_{EOS 50D + EF 70-200mm f/2.8 L IS II. 120mm, ISO 800, f/2.8, 1/200 second. I shot this one back around 2010 with an EOS 50D. Yeah, it was back when I was saturating colors a bit more than I do now. The lower shutter speed was intentional to get just a bit of blur from the movement of the flag and hands while freezing the face.}

_{EOS 50D + EF 70-200mm f/2.8 L IS II. 120mm, ISO 800, f/2.8, 1/200 second. I shot this one back around 2010 with an EOS 50D. Yeah, it was back when I was saturating colors a bit more than I do now. The lower shutter speed was intentional to get just a bit of blur from the movement of the flag and hands while freezing the face.}

_{EOS 50D + EF 70-200mm f/2.8 L IS II. 120mm, ISO 800, f/2.8, 1/200 second. I shot this one back around 2010 with an EOS 50D. Yeah, it was back when I was saturating colors a bit more than I do now. The lower shutter speed was intentional to get just a bit of blur from the movement of the flag and hands while freezing the face.}

Going full frame to shoot football only really makes sense if you are also committed to getting lenses to give back the reach you give up when going from an APS-C format to a larger full frame camera. To get the same reach with a FF camera as your 70-200mm gives you at 200mm, you'll need 320mm. Have you looked at what a 300mm f/2.8 lens costs? If you put the 70-200mm on the FF body and then crop to make up the difference in reach, it's no different than using a crop body to begin with, assuming both have the same generation of technology in their sensors.

With wrestling, if you have access to the floor during matches, fast prime lenses make a lot more sense. For Canon these would include:

Before you go out and spend a lot of money, make sure your shooting technique and processing workflow aren't contributing more to your issues than sensor performance.

Here are a few other questions here that you might find helpful:

_{Canon EOS 7D Mark II + EF 70-200mm f/2.8 L IS II. 185mm, ISO 2500, f/2.8, 1/640. Slightly slower Tv than I normally use because the light dims a bit down near the goal lines where this interception was made.}

_{EOS 50D + EF 70-200mm f/2.8 L IS II. 120mm, ISO 800, f/2.8, 1/200 second. I shot this one back around 2010 with an EOS 50D. Yeah, it was back when I was saturating colors a bit more than I do now. The lower shutter speed was intentional to get just a bit of blur from the movement of the flag and hands while freezing the face.}

Going full frame to shoot football only really makes sense if you are also committed to getting lenses to give back the reach you give up when going from an APS-C format to a larger full frame camera. To get the same reach with a FF camera as your 70-200mm gives you at 200mm, you'll need 320mm. Have you looked at what a 300mm f/2.8 lens costs? If you put the 70-200mm on the FF body and then crop to make up the difference in reach, it's no different than using a crop body to begin with, assuming both have the same generation of technology in their sensors.

Do you notice anything about the gear used to shoot the four example shots above taken over the course of almost a decade?

Three different camera bodies.

• 50D in August, 2010.
• 7D in February 2013.
• 7D Mark II in August 2015
• 7D Mark II in November 2018.

The same exact lens.

• EF 70-200mm f/2.8 L IS II in August 2010.
• EF 70-200mm f/2.8 L IS II in February 2013.
• EF 70-200mm f/2.8 L IS II in August 2015.
• EF 70-200mm f/2.8 L IS II in November 2018.

When shooting sports in low light, it's always more about the lens than the camera. Get the fastest lens you can afford before you start worrying about changing bodies.

For night field sports under lights, it's hard to beat a 70-200/2.8 without accepting a slower aperture or spending a boatload of money. The next step up with f/2.8 is the Sigma 120-300mm f/2.8 Sport for around $3,500. After that, it's all above $5 grand.

With wrestling, if you have access to the floor during matches, fast prime lenses make a lot more sense. For Canon these would include:

Before you go out and spend a lot of money, make sure your shooting technique and processing workflow aren't contributing more to your issues than sensor performance.

Here are a few other questions here that you might find helpful. They're grouped by those related to technique and processing and those related to gear: