I don't think anyone would dispute that in the digital world probably 99% of weddings and events are shot with 35mm cameras.
In fact when I first started with digital, I learned more from wedding and event photographers than anyone because they work in the same workflow and speed I do when we shoot loose lifestyle projects and wedding guys/girls started digital earlier to keep the costs self contained.
In fact they started way before advertising and editorial photographers.
Still, there are photographers in every genre that use every format and do it well.
Look at this link of the Hasselblad Masters section of Wedding/Socialhttp://www.hasselblad.com/masters-finalists?#image-Bryan-Foong-Wedding-Social
All the imagery is stunning, regardless of camera.
What I do take strong exception with is the absolute definitive view that a any 35mm cmos camera replaces any form of medium format.
I have owned at least a dozen cmos cameras and 5 ccd cameras and shot many side by side and I know that the ccd files work deeper and offer more possibilities.
Does that mean that my selection is right for everyone . . . No. Right for me . . . Yes.
Pixel count means nothing as long as their are not artifacts, what matters, especially when you go to post is the depth and sharpness of the file that a clean non aa filtered CCD provides. My little Leica M8 doesn't have near the file size of a most modern dslrs but the file works deeper and looks more detailed than cameras with twice the pixel count.
In regards to the image, of course that's important and every photographer has their reason for selecting a certain camera and lenses, film, sensors and post production software.
There is no right answer. Consequently there is no wrong camera.
But in regards to working under pressure which I assume most weddings and events come with a truck load of, I shot Ronaldinho in Barcelona, 14 set ups, multiple monitors, many multiple client suggestions from 20 plus clients, two sets and 90% with a p30+.
This image was shot in 4 frames and was featured in CA magazine's photo annual. It may not be outside lifestyle, it may not be for emotion only, but the pressure more or equals a wedding shoot (which I have great respect for), the thought process to block the shot happened in minutes.
This session of Asafa Powell in Kingstonwas scheduled for 8 hours and a lot of set ups. Instead of 8 hours we had him for 2. We worked so fast the assistants are holding the lights because we didn't have time to set up stands and two grip trucks were in the background.
So we shot background plates to blend out the crew. Used a Contax and Aptus 22.
Now this last image is of Sanya Richards shot with a Nikon D3, 300 mm 2.8 at 2.8. We had one opportunity to get this image, planned the shot and angle two days before her run, and honestly this was a heart stopping shoot.
Would I have shot this medium format . . . NO . . . but every situation requires a different set of equipment. Then again I doubt if a D800 Nikon could have shot this at 12 FPS in available darkness. Maybe, haven't tried one yet.
But this shot of Sanya with a p30+ was for a different look, different time.
Now I'm not trying to prove this is an apples to apples comparison just wanted to show what worked under extreme pressure.
If one system did everything for me, heck I'd own it.
Now the funny thing is the night I shot the B+W of Sanya there was a Japanese photographer working with a Nikon d1 or d2, or some old digital Nikon. So old that the black was worn off it.
I saw him upload his image to wirelessly transmit and they were stunning. Earlier that night I saw a photographer with an H system, 4 assistants with wireless flash and just working away.
I didn't see his images, but he knew his stuff.
There is no wrong camera.