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I haven't managed to get any footage, but I'm still very interested to do this. I was hoping that my before/after in the $200 camera challenge might inspire people and show what is possible in post. Taking files with more resolution and emulating files with less resolution shouldn't be that hard, but I'm happy to be proven wrong!

So is the Voigt 17.5mm! Considering you own the Voigt, it might be useful to shoot a test scene at various apertures and then take the wide-open shots and try to add sharpening in post to match the shots from the sharper apertures. You might surprise yourself by how well you can match things, in which case it doesn't matter if they're a little soft. It would matter even less if you're shooting in the 5K mode, or delivering in 1080p.

Surely there is an OLPF filter with filter threads that you can mount to the front of your lenses and would do the same job? I'm not familiar with what filters are around, but I'd imagine this would solve your moire problem on your S1...

Just imagine the title of the thread said "2019" instead of 2018 and just re-read it. My advice - upgrade your skills with your existing camera. You get: an upgrade that is with you for life, not just for another year or two to feel good about yourself and like things are possible that maybe you didn't think were to shift your thinking that you can find solutions within yourself rather than just buying solutions to your problems I plan to celebrate all the new cameras by setting up a test shoot with my camera under the best conditions I possibly can, and then bringing the footage into Resolve and trying to match the skin tones from a high-end colourists showreel. This is partly to learn something about colour grading, partly to learn more about how to best use my existing camera, and partly to remind me that truly amazing footage can be created with equipment I already have and to not get drawn into the showreels of the new equipment. What would you like to learn?

Yes. I saw a vlogger include it in a vlog once when there was a meetup of vloggers and they got someone else doing the focus trick in the background, so they explained it. You put the camera in AF-S hold the camera up to your face, hold out your arm and flip your hand up (like you're indicating to stop a car) and do a single focus on the back of your hand. Then set the camera to MF and it will keep the focus you set from this procedure. The vloggers were all Sony people and they all laughed that they do this secretly to make sure they're kept in focus. Because they're Sony users and don't have flip screens they can't see what they're shooting, so basically put on a wide angle lens and point it at themselves and over time learn what the composition is like. They go MF because if you can't compose you don't know what you're pointing the camera at and you also don't know what's in focus and what isn't. Sony FTW!!

This is one thing I like about having a normal backpack that opens at the top - I can turn it around and wear it on my front and get into it without putting it down. Great for touristing (which is what I do typically) so you can change lenses while waiting in line or shuffling in a queue or whatever, and it also means it doesn't get put on the ground and get dirty, scratched, etc. Of course, if you had a set and weren't moving then that doesn't really apply and you'd want something you can lay down and access it on the long side rather than through one end.

I live in Australia and so am familiar with removing my laptop, but they don't get you to remove anything else from your bag. I've looked at the mess of cameras, iPad, batteries, chargers, and other devices and wondered how they can really interpret what it is, but they all seem to be happy with it. I once went through a TSA check in the US on a domestic flight with the detachable hand controller for an electric wheelchair (the chair itself was stowed) and it seems that wires and switches without a power supply causes some questions to be asked lol

Have you ever had to remove the camera pouch for inspection? The reason that I ask is that I think the only time that I ever had to (that I can remember) is on a domestic flight in India and security made me take everything out individually and wouldn't even let me keep them in the camera insert. So there were my lenses and camera bodies all rolling around crashing into each other in the trays as they started and stopped (and reversed) the x-ray conveyor belt. Then there's me standing at the other side trying to put everything back into its places and keep watch over everything while the 20 people behind me are standing around me snatching their stuff and basically trying to push everyone else out of their way. Luckily I was travelling with my wife because the security scanner was next to the line where the women queued to be searched, and the men had to be searched in a line about 6 queues up, so you basically had to just abandon your bag. There was no talking to security either - I've seen more polite crowd control techniques from farmers loading livestock into trucks! That was an experience I'll not quickly forget!

When I was buying my GH5 I was evaluating options and word was that Olympus had slightly better IBIS than Panasonic. Not sure what model that was, but they're not to be sneezed at.

I use a camping brand daypack style bag for air travel carry-on and a camera luggage insert like this: That bag also carries my laptop, one of my hard drives (one carry-on and one checked as backups), headphones, and all the other travel bits and pieces too, so is only for travel legs. Then when I get to my destination I have a separate lightweight backpack (one of those corporate fitness promotional bags - yes I weighed every bag I owned) and just transfer the camera insert into that bag for day trips, leaving laptop and everything else in the hotel safe. I also bought a vest like this for the huge pocket in case I need to shed weight at the airport: Then again, I shoot mirrorless with smaller lenses, and I'm not a pro photographer so take that into account too! Isn't there a point where you get a hard-case like a Pelican for your carry-on because you're carrying that much gear?

Yes. Also, if you're worried about it, just take your 70-200 2.8 out of your bag and carry it separately so that even if someone asks to weight it then it'll be a lot lighter than normal. I find it a strange situation that they can weigh your bag, but can't weigh you. I have had extra luggage weight anxiety and I purchased a sleeveless vest with a huge pocket in the front in case I wanted to reduce carry-on weight, and it has a nice hood too so can act like a scarf or hood if I was cold or wanted to sleep on the plane. My carry-on is actually underweight normally, but it's nice to know that if I have problems I can take my bags away to "re-pack" and basically just pocket heavy things then get through check-in and unload my pockets again.

Yes, an eND like the FS5.. A GH5S with IBIS and eND would be pretty nice, but I don't think that's enough to keep it at the same level as the GH5 has proven to be. Dual ISO would be pretty sweet though! Just buy second-hand?

So, in-line with whats winning right now, how about a challenge where we: play for fun and glory can only spend $50 for a camera body can only use the Helios 58mm F2 Russian lens (but speed boosters are allowed) there would be a general theme equipment is secret until the judging is over the schedule would be: a time period where people can order their equipment and have it shipped then we announce the theme and everyone has something like a week or two to make their film then judging like last time then we reveal equipment and shooting tips etc. I'm up for that

If DR15 could do it then DR16 should be able to. Hopefully someone on the BMD forums will help

Are you racing for a deadline? I'm wondering if it's a CPU bottleneck where two cores are being used at maximum and the others aren't being used much at all, but who knows and that doesn't really help you. If you're racing for a deadline then I'd say bite the bullet and render Optimised Media for the Multicam clips you need and get it done, then troubleshoot later. It's very strange why this would be happening though, v16 is fully released software so shouldn't be worse than the previous version.

I saved the function that re-saves the custom config to the user shortcuts menu just for that purpose! But yes, I take your point

It's complicated, absolutely, but that's why there are the custom modes. The P4K let's you change settings really easily, but to me you wouldn't need to change those settings that often, except if you were changing shooting scenarios, which is where the C modes on the GH5 come into play. I have C1 set to normal 5K shooting (5K 4:3 25p), C2 set for normal 4K shooting (4K 16:9 25p), and C3 as the slow motion modes, with C3-1 as 4K50, and C3-2 as 1080 120fps. I have the buttons and dials setup how I want them and so just shoot, only having to pay attention to focus and exposure, which are mapped to the same controls on all profiles. I literally just set the dial to which lens choice I want, turn on the camera, set the mode dial to the shooting mode I want, and then shoot. To go from shooting 24p to shooting 120fps on the P4K would require changing the resolution, frame rate and shutter, but is one click of a dial on the GH5 if you've set it up already. It's funny you say that you're always wondering if you got everything right, but I use the C modes because I know that I won't get everything right in the moment but programmed it well so I don't have to worry

I know you're talking and saying stuff but now that you've changed your avatar all I can hear is "a spooooon full of sugaaaaaaaaar helps the medicine go doooown!"....???

If you're a Mac user, there's a tool called Activity Monitor and in it you want to enable the CPU History and GPU History from the Windows menu. That will bring up graphs that show how much each of them is doing. Then you try and use Resolve and see what the graphs are doing. Typically you'll either see the CPU graphs (one graph per core) all at maximum while the video card isn't maxed out, or it will be the other way around. On PC I'm not sure what the tool is, but I think Windows will have something equivalent? Maybe someone else with a PC can help out here.. However, all of this is to work out what the bottleneck is, which will just tell you what hardware you have to upgrade. Back in Resolve, try reducing the timeline resolution, engaging Playback -> Proxy Mode, or disabling any colour grading you have done. To test if it's your disk drive (and assuming you're not editing off an SSD already) try copying the clips to an SSD and editing them. With multi-cam you're asking the computer to read and process multiple video clips at once, so if you have high-bitrate low-resolution clips (eg, 1080p clips) then reading the files off the HDD might be the bottleneck.

No ideas, but have you looked at your CPU/GPU/HDD usage and seen where the bottlenecks are? I can't find it, but I swear I read somewhere that DR16 moved a lot of processing from CPU to GPU so maybe that's what's causing your issues?

Just an idea, and not sure if it will work, but aren't there media players that will let you install a LUT? Like, if you put the free false-colour LUT into VLC and looked at it that way?

Now the P6K is with us, I think this changes the landscape a bit for the hotly anticipated cameras like GH6, A7Siii, etc. From my own perspective, I think the following improvements over a GH5 would be 'enough' to sell a bunch of them: Built-in ND that can be controlled by auto-exposure Being able to set the camera to a set aperture, a set shutter speed, and then having auto-ISO and auto-ND control the exposure for me would be spectacular. Higher bitrates / resolutions This would be some combination of: RAW 4K, 6K 16:9, and "8K-like" 4:3 anamorphic mode. Mix-and-match codecs and bitrates and framerates Being able to choose from any combination of bitrate (eg. 100/150/200/300/400/600/800Mbps), and codec (H264/H265), and frame rate (1/2/4/7/10/23.976/24/25/30/50/60/HFR) that the hardware is capable of would be great. Low framerates are great for time lapses or special effects too. Better stabilisation Not sure if better IBIS is possible, but adding a GoPro/OsmoPocket type EIS on top of IBIS would allow great SOOC clips in difficult situations. For bonus points, having a removable mount so you can either have MFT and use adapters, or go EF or Nikon if you wanted to (and maybe a S35 sensor with the smarts to know what lens is attached and adapt appropriately). Better low-light / dual-ISOs wouldn't go astray either. The GH5 is a workhorse, so keeping the ergonomics and practicality / reliability but adding an ND, bumping up the image, and making it more customisable would be spectacular. I am a very happy GH5 user, and when I look at the P4K I think "No thanks, I don't want the huge data rates of RAW, but I do need IBIS", and when I look at the P6K I think "No thanks, I almost have 6K, but I do need IBIS". The GH5 was released in early-2017 and is still winning against late-2019 cameras. Assuming that the GH6 is released early-2020 and needs to still be winning against late-2022 cameras, it will need these things, although they're not out of reach technically, it just needs a company willing to put them all into a camera, and Panasonic has a track record of that.

Absolutely! Couldn't agree more.. ???

I agree. I'm curious to hear how you interpret that phrase. One thing I read (that was talking about that phrase) was that at the time most lenses were sharpest at F8, and combined with the typical shooting situation (combinations of what people might shoot, which focal length they would choose to shoot it, and how far away they are likely to be) that F8 was also a practical compromise between having a deep DoF to not have focus issues but was also a combination of daylight and a large enough aperture to not have to have a really long shutter speed with ASA100, 200 (or maybe 400) film in the camera. In that sense I thought the phrase was quite practical for people who wouldn't understand the various tradeoffs that are at play. Obviously there are all kinds of nuances for the experienced photographer to explore but as soon as auto-exposure was widely available I thought the average person could turn on auto-SS, set to F8, and then they'd have pretty good results treating their SLR like a point-and-shoot camera but with MF?

I guess that depends on what primes you have - it's definitely not a replacement for the f0.95 (or faster) primes available. It's the FF equivalent of a 20-50mm F3.4 lens. Will it be a flexible length? Absolutely. Will it be a workhorse? Probably. Will it be a "prime killer"? Definitely not.