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I love the way Blaine constructs his videos. Zero fluff. Just tips and tricks the whole time.

Further to this, I watched a few past videos from Blaine yesterday and this video (while quite chaotic) gives a bunch of pretty interesting examples of how using a Film Emulation of some kind combined with some of the basic Resolve tools can give quick but very effective results:
Perhaps the most interesting thing about it is the way he treats Resolve..  he shows that if you know a few techniques then you can get in, make some good adjustments, get a great result, and get out, and move on with your day.
It's sort of a rare counter-example of the impression that Resolve is finicky and takes hours and hours, which almost all other colour grading videos give, but isn't true.
At it's most basic, you can just apply a LUT to every clip and then make basic adjustments in a node prior to the LUT on each clip and can get great results in a really quick way.  This is the way that film-makers grade when they want a result, rather than the way that colour grading YouTubers grade when they're making a YT video about some nuance or other.
The section from 5:00 on with the test shots shows that even if the shots weren't filmed well at all, you can get great results quickly with just a few quick techniques.

Cullen Kelly says that the grain and the halation are nicer than the previous separate OFX plugins, so that's promising if you're a connoisseur / picky 🙂 
 
 

Further to this, I watched a few past videos from Blaine yesterday and this video (while quite chaotic) gives a bunch of pretty interesting examples of how using a Film Emulation of some kind combined with some of the basic Resolve tools can give quick but very effective results:
Perhaps the most interesting thing about it is the way he treats Resolve..  he shows that if you know a few techniques then you can get in, make some good adjustments, get a great result, and get out, and move on with your day.
It's sort of a rare counter-example of the impression that Resolve is finicky and takes hours and hours, which almost all other colour grading videos give, but isn't true.
At it's most basic, you can just apply a LUT to every clip and then make basic adjustments in a node prior to the LUT on each clip and can get great results in a really quick way.  This is the way that film-makers grade when they want a result, rather than the way that colour grading YouTubers grade when they're making a YT video about some nuance or other.
The section from 5:00 on with the test shots shows that even if the shots weren't filmed well at all, you can get great results quickly with just a few quick techniques.

It's worth pointing out that the thermals might be the dominant factor here, considering that laptops will throttle down on their performance in order to manage overheating, so a few extra fans in the laptop can make more difference than which model of CPU / GPU you buy!

I've heard that the 12K files are very usable in terms of performance, but it will likely depend on what mode you're shooting in.  Most people aren't using the 12K at 12K - they're using it at 4K or 8K.
Regardless, Resolve has an incredible array of functionality to improve performance and enable real-time editing and even colour correction on lesser hardware.  This is a good overview:
 

I recommend FilmConvert or Dehancer if people like the overall film look but don't want to learn to colour grade - it's a quick and effective solution.
Resolve 19 has a new plugin called Film Look Creator included in the paid version that is like FilmConvert / Dehancer except it doesn't model specific film stocks but is designed to give a flexible overall film look.  For most people it would be better than FilmConvert or Dehancer just for creating a nice look and not having to learn colour management etc.

From the videos I've seen on Film Look Creator, I think subtractive saturation and split toning are the things that stuck at to me as most interesting - that and I'm going to need to spend a bit of time with their grain generator to see if I like the output.

Uhhh I know! Maybe this summer when I have more time! The advent of internal LUTs I think will help me on that journey. Seeing what folks have done with Dehancer has been motivating as well. 

Yep!
Hey - you should look into colour grading! 🙂 

Blaine Westropp is also killing it recently.

Well, I dislike HFR as much as the next guy, but the reason he's abandoning it is because of the ecosystemic/economic context within the movie industry which doesn't want to take visual risks with their production investment, not because Ang personally doesn't like HFR.
Aside from that, never been sure why he's enamored with the look.  I've read his rationale, but it still doesn't jibe.  HFR pulls movies way too close to visual "reality" and narrative film are stories.  Make 'em ups.  Pretend.  The nature of 24p's look is a huge asset. 

Slight digression from the topic, but unless you really need the flippy screen, you might consider the RX100 V over the ZV-1.  The V is even smaller, but weighs just a hair more (probably due to having more metal and less plastic in the body) (and I think the V is cheaper on the used market).  The flippy screen was just about the only difference between the two cameras.

Spenser Sakurai
Tenfold Productions
Robert Machado
- also deserve a mention.

My rule of thumb is that if I use an item on 5 or more shoots, buying (and reselling at the end) is cheaper than renting. That's probably fairly conservative too: I usually buy used, so when I sell I get 60-80% of the cost back. I've even sold cameras at a profit after 1-2 years.

If you're fighting the sun then yeah, serious horsepower definitely comes into the equation!

Absolutely.
Another consideration for some is availability.
When I was hanging around reduser.com it became pretty apparent that a common thing was to own a RED (obviously!) and also a set of vintage primes, but to rent modern lenses.  The rationale was that often these cinematographers were doing personal projects and having the vintage primes made it so that they had a set on hand for whenever the personal project was able to be scheduled.
Quite a few were filming one (or more!) documentaries too, and are essentially on-call so that if something suddenly happens they can grab the camera and go.  It was common for these guys to store the camera in a go-bag, often rigged up and sitting next to the front door.  Good luck shooting that if you got the call and then had to rent equipment in the middle of the night!!
Film-making varies much more person-to-person than most people expect, and logistical factors or aesthetic preferences can easily flip a decision between two different people and their circumstances.

@John Matthews While I'm sure you could just put a bit of gaff tape over the contacts and manually program in the focal length you want for IBIS have the camera treat it like a manual lens and get the high stabilization mode, it probably wouldn't be ideal because then you'd also lose aperture control, AF, and most likely the ability to even focus, as I'm assuming it's an electronic/focus-by-wire lens and would need the contacts active to be able to function. 

I used the new high e-stab on my s5iix on a shoot last week to test it out, pretty dang smooth! Although the crop is quite significant, I was running around getting very gimbal-like footage on the venerable sigma 18-35, but at 18mm, plus the crop in 60p, still quite tight, so I may use this more with the Sigma 14-24. Great new tool in the toolbox of this already amazing camera though. 

Maybe the forum has been taken over by AI and it's become sentient and agreed with your comments so much it wanted everyone to read them several times!!

Lok just posted a video talking about the S5ii and talks about the new e-stabilisation feature, and it looks like it has completely eliminated the IBIS wobble on wide lenses?
He includes examples with him walking with a wide lens, so it looks like a legit test:
 

LOL, yeah, or self-importance or narcissistic or megalomanianism etc 😂😂😂
I guess in that case they don't have a clear idea of the industry they're in, likely because they're thinking about themselves rather than their audience.
Entertainment is very broad and is sort-of a catch-all for the other categories, but I think it's still useful as it firmly defines that the purpose is to engage and entertain.  
I think that because YT was new and people didn't really understand what it was or how it fit into the world people weren't clear that it still fit the definitions that had been previously established, but (as usual) the pros had figured it out already and there (almost never) isn't anything new under the sun.

Maybe the forum has been taken over by AI and it's become sentient and agreed with your comments so much it wanted everyone to read them several times!!

Sorry. UK idiom. 'Old' in that context doesn't mean old. My bad.

A 'walking about in a forest' comparison from Robert May of the S5iix stabilisation modes at 14mm (very wide angle) using the 14-28mm f4-5.6 lens(which doesn't have OIS):
Pretty impressive stabilisation performance with minimal warping artefacts.