kye

I had the G85 for a while...even took it on a 1.5 months road trip in Europe along with my RX100 V. I couldnt disagree more about claiming you need to go much higher than $1000 to beat the G85..If you care about best 4k video IQ, the A6300 will easily beat the G85

I have been shooting Sony after I moved from a Pentax DSLR but have also played with Canon 5D IV, Nikon P900, etc...all sorts of cameras .
Honestly, the G85 never made my happy IQ wise. The 4k video just never had the detail, impact I saw from the A6300 I had before buying the G85. The reason I sold the A6300 is because I only wanted a one camera solution for behind the scene videos of my photoshoots that could also work as a travel camera with more flexibility and better IQ than my rx100 V.
Well,  the G85 surely has better IBIS than the A6300 (which has non) and the A6500 but is not perfect specially with wider lenses. The problem is...the IQ just let me down. Not only lacking in detail but also any time you push the ISO it will get grainy. At 3200 the difference to the A6500 is clearly noticeable. At 6400 is BIG and at 12800 is laughable really (the same goes for the G9).
Sure there are things I wish the 6500 had from the G85...namely a bigger body to have more controls (but this is a complicated matter since there are many that prefer an even smaller body so its a no win situation for Sony). Better IBIS would be nice but I figured that I am better of with a Gimbal instead either way.
But when it comes to IQ...this is a no contest and that is what counts to me the most, not to mention the video AF of the Panasonic is a disaster compared to the fantastic one from the A6500.
So I sold the G85 and bought an A6500 and couldnt be happier with the 4k video quality I get now. Sure if it would do 4k60p that would be even better so that is the main reason I would upgrade but not at a bank breaking price since my main camera is an A7R3.
Regards

There are lots of good software choices out there, and for simple stuff it probably doesn't matter which you choose.
A little history lesson that may (or may not) be relevant to choosing a DAW..  I remember there being three major types of audio packages:
Those designed to work with notes (MIDI at first, but samples later on too, eg Logic) Those designed to work with loops (eg, Ableton Live) Those designed to work with long tracks of audio (like recording an orchestra, eg ProTools) It's gotten to the point now where the big packages can probably do a respectable job at all three, but there may still be advantages to getting a package with the right 'heritage' because it might have more features you'd use.
I would imagine you would be more likely to be working with loops, or working with the timing of drum samples, rather than creating tunes, and this is where loop based software can often have an advantage.  For example, in a good loop based DAW you can change the speed of the song and it will slow down the loop samples, programmed elements, and perhaps the effects too, so that everything stays in sync, whereas other programs may just make a mess of things.  In addition to this, Ableton Live has a performance mode where you can take pre-written sections of a song and kind of mix and match them live, allowing beat-matching and other cool stuff that DJs like.
It depends on how you work and what is valuable to you.  Logic might have similar functionality too, I'm not sure, but Ableton Live is just the one I'm familiar with.
When you're making beats, you want access to enough different samples and you might also want velocity sensitivity (so it knows if you're hitting it hard or soft).  You may want a keyboard (which has both) or you might find that something with pads is nicer.  Pads are rubbery and softer to hit, and are therefore nicer on your fingers, but aren't that good for playing tunes.
Something like the Arturia Beatstep:

I bought this one and it's really solid, is powered by USB so is portable, and has the knobs which make mixing or effects programming so much nicer.
The other thing is that you don't NEED anything except a computer, some software, and your microphone setup of choice.  The rest just makes doing things easier.
My advice is to remember that music is a creative pursuit, and you should only buy things that help you be creative.  In general, technology is distracting for creativity (having to remember which button does what and how to change modes really kills the creative flow!) so buy things that let you be creative by getting out of your way.

There are lots of good software choices out there, and for simple stuff it probably doesn't matter which you choose.
A little history lesson that may (or may not) be relevant to choosing a DAW..  I remember there being three major types of audio packages:
Those designed to work with notes (MIDI at first, but samples later on too, eg Logic) Those designed to work with loops (eg, Ableton Live) Those designed to work with long tracks of audio (like recording an orchestra, eg ProTools) It's gotten to the point now where the big packages can probably do a respectable job at all three, but there may still be advantages to getting a package with the right 'heritage' because it might have more features you'd use.
I would imagine you would be more likely to be working with loops, or working with the timing of drum samples, rather than creating tunes, and this is where loop based software can often have an advantage.  For example, in a good loop based DAW you can change the speed of the song and it will slow down the loop samples, programmed elements, and perhaps the effects too, so that everything stays in sync, whereas other programs may just make a mess of things.  In addition to this, Ableton Live has a performance mode where you can take pre-written sections of a song and kind of mix and match them live, allowing beat-matching and other cool stuff that DJs like.
It depends on how you work and what is valuable to you.  Logic might have similar functionality too, I'm not sure, but Ableton Live is just the one I'm familiar with.
When you're making beats, you want access to enough different samples and you might also want velocity sensitivity (so it knows if you're hitting it hard or soft).  You may want a keyboard (which has both) or you might find that something with pads is nicer.  Pads are rubbery and softer to hit, and are therefore nicer on your fingers, but aren't that good for playing tunes.
Something like the Arturia Beatstep:

I bought this one and it's really solid, is powered by USB so is portable, and has the knobs which make mixing or effects programming so much nicer.
The other thing is that you don't NEED anything except a computer, some software, and your microphone setup of choice.  The rest just makes doing things easier.
My advice is to remember that music is a creative pursuit, and you should only buy things that help you be creative.  In general, technology is distracting for creativity (having to remember which button does what and how to change modes really kills the creative flow!) so buy things that let you be creative by getting out of your way.

Thank you man! I'm not totally satisfied with it but I'm glad people like it That was shot on the G85 + EF-M2 + C 16-35 2.8; graded in FilmConvert 

My understanding is that most people currently use Resolve for grading, which means round-tripping to Resolve via the XML export, doing the grading, but then rendering out the graded individual clips which are then swapped into the original project in the editing software to replace the ungraded clips.  In this sense, PP (or FCPX) won't be too worried or motivated to make sure that all the dissolves and effects make it out to a Resolve timeline.  I'd suggest that BM would be very interested in making sure things import as well as possible, but BM is currently adding entirely new screens and hundreds of new features in each major release, so they definitely have their fair share of bugs too.
I've heard that there's normally some work to get all the media linked in Resolve, but it has some quite good features for linking clips quite easily (something like highlight clips -> Relink media -> select "include sub-folders" and point it at a folder with all your footage in it) so if you do need to relink files it's not necessarily a big job.  There's lots of advice around for solving strange importing problems so if you want to pursue it at some point then google can help.
Ouch - I'd say that using contacts to circumvent their prioritisation of bugs is a bad idea, but considering how buggy people say it is, maybe that process isn't working so well!
I remember when those colour features were added.  I saw a bunch of Youtubers had released videos with exciting titles and I thought the added features must be really great - then I saw them and actually laughed out loud.  If you double (or triple) the available features then it looks like a huge improvement, but to Resolve users they just went from having 1% of the features to 2%, so it's not so exciting from our perspective 

Yeah I think fixing WB first will ease color correction using the lut but I also use auto-WB because I dont have the time to always snap a gray card first. What I see that help is adjusting the saturation too. Loving this LUT and it has kept me from selling my GH5 for a P4K

I've found that sometimes skin tones can go too pink, but it's normally just a matter of lowering the saturation to fix it.  I think of it like Canon footage which can sometimes have reds that are too saturated, so lowering the saturation of those colours after the conversion is a pretty standard way to treat a lot of footage from different cameras.
I also shoot auto-WB and in mixed-lighting (against Sage's guidance of course!) and it definitely gives you trouble in post.  Sometimes playing with the WB before the conversion can tidy things up nicely, and other times you have to do seperate adjustments to different parts of the image.  For example in the wedding shot you could adjust skin tones on one person and not the other by using a combination of a key and a power-window.  You might push the woman slightly toward pink and the man slightly towards yellow, or perhaps just desaturate him and adjust the woman to match him.
Good luck - fixing these kinds of problems isn't easy!

Yeah, but will it be stable?  Those moose tend to wriggle around..

Very, very little. The extra crop in 4K can be a bit of a hassle, no headphone jack stinks, and there are a couple of minor features missing that the GH5 has, but I'd argue 85% of the time it'll do everything most people would use the GH5 for. 
Image quality wise there isn't a ton of difference. You can cut between the two and they'll match perfectly with minimal, if any, tweaking needed. 
Panasonic really doesn't get enough credit for the G85. It was incredibly brave to pack so much into that camera knowing a few months later they'd be announcing the GH5. It will follow the G7, I think, in having a long, healthy life cycle. 

I can't speak to the G80/85 but as a recent GH5 buyer I can confidently say that the lenses are the other half of the picture, and if you have to stick to a budget then put some aside for great glass.
I've just done a couple of trips with the GH5, Voitlander 17.5mm f0.95, Helios 44-4, and SLR-Magic 8mm, and the stand out aspects to me are the DR, the 10-bit capture, and the three lenses.  The 8mm has that WOW factor for scenery and landscapes, the f0.95 gives that lovely DOF on the MFT sensor and great low light performance (better than the human eye), and the Helios gives a soft rendering that really looks like film and without a speed booster gives a 116mm equivalent and rounds out the lens kit.
I have no idea how much you sacrifice from the GH5 with the G80/85 but I get the impression it's not so much?
Edit: I shoot hand-held and the IBIS worked spectacularly well, at 58mm in gusty winds on a small boat the locked-off mode gave rock solid landscape shots even with the ETC digital zoom mode making it something like 160mm equivalent, it was just incredible.

@IronFilm can tell you the cheapest way to hook up the mic to your computer.
In terms of making a sound booth, you want to pad it out with as much absorbent material as possible, blankets and foam mattresses work well, but use whatever you have. The heavier the fabric is the more likely it is to absorb sound.
Of course, rappers have recorded in all sorts of circumstances and on all sorts of equipment, including their iPhone in a walk-in-robe, so experimentation is the key. Remember that music is creative so it's not about quality so much as getting the sound you like, so experiment with everything you can think of.
Also, performance is more important than the sound, so if you don't perform well squatting in a wardrobe covered in blankets then change it up.
Best of luck!!
I wrote electronic music as a hobby for about ten years and when you make something that sounds great there's no better feeling!

If you want a much cheaper alternative to the Shure mic pre-amp then have a look at the Behringer UM-2 which will get you what you need for not far off a third of the price.
With regard to fitting out the recording environment, have a look at someone like BoothJunkie on YouTube for some insights into low cost DIY options using quilts etc.
Reflection filters such as this have come down in price quite dramatically in recent years and can help in producing a more controlled sound in less than ideal environments.

They can be had on Amazon for under £40 but their effectiveness does vary so obviously check out reviews on there and on YouTube for specific ones.
One challenge you will face though combining being the performer and the recording engineer is having the computer as your recording device. Having it in the same room will likely throw up issues regarding noise and also the ergonomics of where you are going to place it so that you can operate the mouse/trackpad/keyboard to control the recording software.
The option here if you have an iphone/ipad would be to use something like DuetDisplay so you can operate the computer remotely from in the booth.
Another option would be to control it from in there from a small USB control surface like the Korg NanoKontrol

The advantage for the Korg is that it is far better ergonomically as it is giving you dedicated controls for playback, recording and looping (which will be important when you are getting a section right) as well as control of your recording level and monitoring level for the backing track etc. It will also find utility of course in the same roles when you are doing your final mix and make the whole thing a far more intuitive experience.
Price wise, its about £40 so although its twice the price of the DuetDisplay its still not too bad at all
Now......having said all that...
If it was me, I might actually consider going a different way and getting a more dedicated multitrack music recorder like the Zoom R8

This will give you the whole thing in one package.
It is small enough and quiet enough to be used in the booth with you, has all the dedicated controls you need to combine being the performer and the recording engineer and also has in built effects to get you where you need to get to sonically a bit quicker.
Even if you didn't want to use its internal recording then you can use it as an audio interface to your computer (as per the Shure/Behringer interfaces) and as a control surface for the software (as per the Korg NanoKontrol).
Or any combination of both, so you could create the backing tracks on the computer, transfer to the Zoom to add your vocals, then transfer back to the computer to finish off and use the Zoom as a control surface.
In addition, it also has a drum machine and sampler built in so can actually be used to help create the tracks in the first place.
It is powered by mains or battery so can also be put to work as a field recorder for your films if need be.
They are currently around the £200 mark (though you can always find a lot of used ones cheaper) so its more than the price of just adding an audio interface and controller to your computer but if you can stretch to it then I think you would find it a much better solution for what it is you are trying to do.
https://www.zoom.co.jp/products/multi-track-recorder/r8-recorder-interface-controller-sampler

I  help support like 8 different people on YouTube through Patreon and most of them use a Canon 80D as their main, but all of them seem to have a DJI Drone of some kind, and a GoPro and about the only way you can see a difference is yeah it is a overhead view so they are using the Drone, and yeah they are underwater so they are using their GoPro. Even some Smartphone footage thrown in at times.
Now granted they are not shooting Hollywood movies, but most of them are really well done. I think particularly 4K has leveled the playing field and it is getting easier to interlace footage now. Is it perfect, no, is it good enough probably yes for most amateur, semi Pro stuff. Wedding event people have been using all kinds of different stuff combined for years. Look at even the crash cams big time movies use. Sure it is in short cuts, but if the story is good enough you really don't pay that much attention to camera work unless it just sucks being out of focus or blurry as heck etc.. Video has come a Long way in the last few years. It is all becoming pretty amazing on big and small devices. If you have skill you can do about anything.

I can't speak to the G80/85 but as a recent GH5 buyer I can confidently say that the lenses are the other half of the picture, and if you have to stick to a budget then put some aside for great glass.
I've just done a couple of trips with the GH5, Voitlander 17.5mm f0.95, Helios 44-4, and SLR-Magic 8mm, and the stand out aspects to me are the DR, the 10-bit capture, and the three lenses.  The 8mm has that WOW factor for scenery and landscapes, the f0.95 gives that lovely DOF on the MFT sensor and great low light performance (better than the human eye), and the Helios gives a soft rendering that really looks like film and without a speed booster gives a 116mm equivalent and rounds out the lens kit.
I have no idea how much you sacrifice from the GH5 with the G80/85 but I get the impression it's not so much?
Edit: I shoot hand-held and the IBIS worked spectacularly well, at 58mm in gusty winds on a small boat the locked-off mode gave rock solid landscape shots even with the ETC digital zoom mode making it something like 160mm equivalent, it was just incredible.

(DISCLAIMER: THIS IS MY PRODUCT)

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It started when I inherited an old film camera from 1954 from my grandfather from Northern Norway. I was amazed with the unique camera strap it had. He crafted it himself during sparce times. After 60 years, it still looked and felt amazing. It had aged like a bottle of good wine. 
I started using the camera strap on my own professional camera during my travels. From Grammy Awards in Los Angeles, to week-long expeditions in freezing arctic weather. With inspiration from my 92 year old grandfather’s craftmanship, we kept the fundamentals of the retro design and improved on crucial parts and materials. The result is a camera strap with modern features in a timeless design.
Would appreciate it if some of you checked it out at www.jl-gear.com
Happy to answer any questions!

this time of year $5 is about all thats left

Sounds like a video vs data levels issue? You can specify whether cmimported clips in resolve use data or video levels, and you can also specify which your export uses. You can also specify which to use in VLC. Neither one is universally correct, just check how it looks on whatever platform you distribute on.

Redneck Bokeh.
https://petapixel.com/2018/12/17/how-to-make-and-shoot-a-bokehlicious-tin-foil-backdrop/

It might be interesting to do a Resolve stress test to see if it can handle big projects.
Maybe someone who finishes a big project can pull it into Resolve and render it out and give their impressions?
I'd do one but I don't have a real project that's big enough to be a genuine test.

The scaling happens automatically.  Resolve handles almost anything you throw at it. Resolutions, framerates, bit-depths, gamma or colour spaces, the whole lot, and it does it so transparently that when I hear that other software doesn't it just makes me confused why anyone would write software any other way.
I also have photoshop as well as Resolve, they're good for different things.

Just wanted to say thanks to all of you for contributing to this thread, I will be bookmarking it. 
After 5 years of paying for the creative cloud, (most on the student discount) I simply cannot afford $60/mo. If it was the student price I would consider. That said, I have briefly played around with resolve, edited a few clips and watched a few tutorials and I think I should be just fine lowering my adobe to just photoshop. The only reason I’m keeping photoshop is I use a film correction plugin for scanning 35mm film (photography not video) and $10 a month is something I can afford.
As with any creative outlet I always like to pick the best tool for the job and budget, I’m looking forward to diving into resolve. It might take a few projects to get that muscle memory going but I’m pumped! 
At the moment I shoot 4k on my Sony a6500 and downscale to 1080p timeline for super crispy 1080p. In resolve will this downscaling happen automatically upon drag and drop or will I need to set it up to do so?

As long as you have a camera that can do at least 10bit and it has a Log it can do HDR 2020.

Almost everyone is completely outclassed by all their equipment, at least from an artistic point of view (those guys who film walls and then blog about it are safe) so it seems to me that either you didn't like the aesthetic, or you're just aware of something that other people aren't. I could be wrong of course and it might be something else I haven't come across..
I'm shooting home videos with a GH5, Voitlander 17.5mm f0.95 and Rode video mic pro plus. Talk to me about equipment that is too good for the operator, I might be at the epicentre of that scenario!

That's pretty nice!  RAW huh...

I forgot it went to 2.8 on the wide end. 2.8 is great. I just notice the image gets noticeably mushy if you’re all the way closed down.