IronFilm

Very awesome kit!  The GH2's are so killer for the price!  GH1's as well, you can get them for under $100 if you look hard enough!  Such a nice 1080p image from those older Lumix MFT cams, back when I used a Panasonic G7 as my main camera I always liked the mojo I got from the 1080p image, despite it being pixel binned and a low bitrate it had surprisingly good detail and held up well all things considered.  Would often use it instead of 4k to save filespace, and I always was happy with the results!

I still use 2 GH2's for live 1080p 25fps stuff... English classes that I get paid for. Super happy with them and they seem good enough when used with an ATEM Mini. For personal stuff, I use the GH6 and a G100 for travel. I'll be selling my E-M1 ii this next week if I can get 400-ish Euros for it. The rest of my cameras are either film or just broken broken.

Times change, as does how people get into video production and videography. You're unable to see things from a perspective that isn't yours @Kisaha. If you're a 21 year old kid (that's how old he was when he got his first paid gig) that is offered $75 to film a theater performance because you happen to own a camera for a YouTube channel you're trying to get off the ground, you're not going to have the experience and knowledge of someone that has been doing it for years and years. You're also probably not going to turn that opportunity down, either, because that's a credit card payment for the camera you put on credit.
I was only relaying how his path into videography began, and how he first purchased a camera that was limited and how that impacted his unexpected, but ultimately successful, transition into doing paid work. He now shoots with three A7siii bodies and is doing well for himself. His criticism of the ZV-E1 is pretty valid, because 5 years ago he would've been the target demo for this camera, probably purchased it, and found he'd spent $2200 on a camera that he couldn't use for the work he'd eventually end up doing. As he put it, there's dozens of better options that won't limit a person from following whatever path they end up taking, whether it's being a YouTuber or becoming interested in filmmaking or videography as a job.
His perspective was different from mine, and obviously yours, so I figured it was worth sharing.

As I said it might not be typical, but I don't think it's one rare case at all. I think quite a few YouTubers end up producing video work for others, whether it's a friend asking to film their kid's recital or a family member asking if they'd film their wedding. Once the ball gets rolling it can lead into something else. Many of us "blue collar videographers" started out as hobbyist and got our first paid gigs because we were known as "the video person" or "the person with the video camera." My first paid work was because as a 13 year old I'd bring my video camera to pro-wrestling shows to film for my own enjoyment and one time I was offered money in exchange for the footage. In many ways the aspiring YouTuber is the modern equivalent of that. To say that it's rare I just don't think is correct.

I was talking to a friend this morning who started out planning to be a YouTuber but ended up doing actual paid work and losing interest in YouTube. He's a Sony user and he gave me a different perspective for why this camera sucks and it is a pretty simple one: given it's limitations it can't grow with you.
His first paid jobs were because people knew he did "that YouTube stuff" and they wondered if he could film something for them. He was of course stoked about it, but ended up having a problem: his A7iii was good for his YouTube channel but the 30 minute record limit didn't cut it for the theater productions he was asked to film. Suddenly the camera that he bought because all the YouTubers he wanted to emulate were using it, and that he bought on credit (he was 20 at the time and didn't know better), wasn't the right tool for the job. He was able to get around it when he found out the trick to remove the limit, but he still found it'd overheat sometimes. His parents eventually helped him buy an A7siii once they saw the potential in what he was doing, but it was a costly lesson. 
Obviously his experience might not be typical, but his point was that if he was just getting started now he'd probably buy this camera but end up regretting it because of it's limitations. People's intentions/priorities change over time. People buying this camera might only intend to use it for YouTube and short takes, but what happens when your co-worker offers to pay you to film their kid's play? Or you're asked to film your cousin's wedding? 
Anyway, it was an interesting perspective from someone that started out as a YouTuber that I thought I'd share.

The FX30 is great. A perfect camera for me.
Originally bought it to use alongside my FS7M2. Now, if the job doesn't require the bigger camera, I'll just use the FX30. The FX30 is so much lighter and image is also better. The pricing is great too. Much more affordable than the FX3. Super 35 is not an issue for me because I'm too poor to switch to all full frame lenses.
But if you want a hybrid, keep in mind it doesn't have mechanical shutter. Still very decent for taking some snapshots. Also 4K 120P has big crop. If you film a lot of slow motion, get the A7S3 or the FX3 instead.

Yes, great run n' un. Great stabilization and AF. And compact.
All-I Sog3 4K 60P:
And the cheap Sony E 18-135mm lens behaves as if par focal.

I've never worked in feature films, let alone direct one, but have worked in a few very low budget short films for some local film competitions. They are 25-30 mins long each and the highest budget one still cost under USD$8K.
Of course it is made possible because I'm not living in the US. Things are generally slighter cheaper here.
Basically, we need to gather a small group of aspiring individuals, perferably friends, who are willing to work long hours for free. Everyone has to multi-task on set. It's almost required to have crew that can fill in multiple posistions. The same applies in post production. Luckily, we just have some simple VFX so it's doable.
Also, have to make a lot of compromises. That means very strict and tight schedule. All were shot in under 3-5 days. Crew members had to fill in for extras or even acted as important side characters. Had to walk around the city to find the cheapest places to shoot. Much of the costumes were brought from stores that have a return policy. Most importantly, tons of arguements regarding budget allocations by every departments.
Needless to say it's quite a stressful and gruesome experience. I can't imagaine making a full feature film with only $30K.
 

Exactly. Anything can have all the paper specs in the world but if when you step outside your front door…
Or even remain on your couch like Dan 🤔
I’m all for small, light and ingenious and I am well aware of what/who the target market is, but there are plenty of other options sooooo much better than this.
Who would it work for?
C/casual cam for someone who can say, “OKfuckit” and flip over to their FX30 in under 10 seconds when it shuts down.
I can see a place for it and some of it’s features are pretty funky, but I think what most of us are mainly criticising is it’s not going to be a reliable sole camera for anyone that is working I guess.
The ZV1 was great but it had that problem most small cameras suffer from, near zero thermal management.
Mine overheated too many times so it had to go. But then I probably should not have been using it for what I was using it for! 🤪

I thought you said in a few posts back I was being too harsh regarding this release? 🤔😉

you keep overlooking the one major caveat: overheating. all the FF / A7S3 / Z battery / AI stuff is worth zip if your camera bricks after couple minutes. and it will. this camera could potentially ruin whatever summer travel vlog in an exotic location. also very skimpy hardware for a "high-end" vlog camera (single card slot, micro HDMI, cheap plastic body)
that is why I consider this camera a trap/scam. its the R5 all over again but much much worse (R5 never overheated in 5 minutes) due to the horrible thermal dissipation such a body with that kinda horse power emits.

..this is simply not true. ZV-E1 is 2699€. That's only about 30% cheaper. and you are not getting the mechanical shutter or the full IBIS. or the passive cooling. and you are losing a lot on the outside starting with the EVF (which is useful for video too in bright daylight). and in the end the high-frame rate and chunky codecs end up unusable because of overheating. all you are really benefitting from that sensor is high ISO and low RS. All the rest is crippled.
Even all the cool AI features end up ruining the IQ because the 1:1 4K sensor can't oversample. A shameful "cinematic mode". Zero vertical shooting options. Piss poor mobile communication. Really this is what you applaud? This is the best Sony can come up with for this market?
No competition? So you mean to tell me "VLogging" can only be done on a "ZV" camera? 
Sorry I find that a bit ridiculous. I follow a few "vloggers" and none use a ZV camera.
The pre-existing ZV lineup is pretty awful too.
No I'm not the target but I know people that are and they wouldn't touch this camera with a 6-foot selfie pole.
To me they got everything wrong with this cam. Its all hype and fluff. Basically a tourist trap for hype beasts.
 

Look at ZV-1F... what a failure that one is, and dont get me started on the QX series!  Though still kudo for them to try something different, I just wish they could use a better sensor, the R6II's sensor seem to be pefect for E1 with FF 4K60P, enough res to crop anything and still have proper 4K.
Maybe Canon should do one out side the box vlogging camera too, they should really scratch that C50/R7C and make a E1 competitor, cause that where the money is

And 5 minutes may be the max they can ever shoot before the camera overheating. This is just unacceptable, I don't care what kind of content creator you are or who this camera is marketed towards. And no camera should overheat while browsing its menu, that's just wrong. Reminds me of R5C getting its battery depleted during menu diving. This just completely breaks usability. Stop giving these cameras excuses.
As for "extensive color correction" well this is a 2699€ camera with some high-end specs. Why even offer 10-bit or XAVC-I if the camera can't handle it? Sony do it for the spec list but in real world conditions the camera fails to deliver on that. I called it before the announcement, this camera will have severe cripple hammer. and it does, not on paper but in real use.. straight out of the Canon playbook.
Its important to call these companies out for their shenanigans. Canon has learned via firmware updates and subsequent camera models that no longer overheat to ridiculous degrees. A lot of Sony ambassadors including Bloom and other big influencers are starting to rant over their crippling strategies and lousy firmware policies but on deaf ears it seems. Sony is sitting comfortably in its leadership position and only seems interested in pushing new cameras with the latest specs. 

Nowhere says "unlimited recording for the seasoned professional", you misunderstood the product..
..if you are still searching for the perfect camera, you will always be! Especially these days manufacturers seem to over specialize..
It's really simple what the E1 offers and why is going to be a big hit..
1) Cutting-edge technology for vloggers
Working with the ZV-E1's 12.1 MP1 full-frame sensor, the latest BIONZ XR™ engine provides high-speed processing to support 4K 60p, 120p upgradable2 recording, while an AI processing unit improves subject-recognition capabilities for advanced vlogging applications
- a very famous sensor with great chips around it! Zirgons, diamonds and pearls and fancy epistimonic words help to give gravitas anyway!
2) Sony's E-mount system
Vary your imagery with different lenses
- as I said, lenses became a huge advantage from a disadvantage for Sony
3)Intuitive Cinematic Vlog Setting
Create memorable imagery with S-Cinetone™ and other settings
By using Cinematic Vlog Setting5 and choosing a Look and Mood6, you can create cinematic vlog footage that matches the scene and your creative intent. The overall cinematic feel is further enhanced by the use of a 24 fps7 frame rate and the widescreen Cinemascope aspect ratio (2.35:1)8 with black bands above and below the image.
- "Cinematic" always sells cameras! Everyone wants to be "cinematic" whatever that is..Certainly has black bars above and below!
4)Rely on stable camera work
5-axis in-body image stabilisation, Dynamic active Mode and Framing Stabilizer
- a good stabilizer and a couple of gimmicks for the lazy ones..
5)AI-based Auto Framing for movies
Automatically adjust the framing to highlight your main subject
- for zombies that want to be filmmakers! 
6)Real-time Recognition AF
Human pose estimation using a skeleton-based model
- for zombies filming mummies!
7) Slow and Quick Motion
Capture action in superhuman detail
- for the Marvel funs and whoever wants to feel super..(funs of Thus Spoken Zarathustra included..the original super human)
😎Creative zoom control (the rocker in the on/off dial 
- ok, that is good to have regardless 
9) 3 mic audio
- sounds better than the usual and typical arrangement 
10) amazing battery
- after half a dozen of years with terrible battery life, when they did it, they really did it..
11) smallest full frame camera
- is it really? HUGE selling point..
12) A7sIII lite for a portion of the price
- ofcourse it isn't the A7Siii, so it doesn't cost as much.. everyone's happy..if someone needs what the A7Siii does and have..well...yes, right..

Follow Noam Kroll: https://noamkroll.com/ 
He talks a lot about making films in that general budget range. 
I'd say the key tips are:
Everything on the cheap. A short shooting schedule. Doing a lot of it yourself (even perhaps all of the post!). Sometimes he'll even OMB then entire shoot. Or just have merely an extra crewperson or three, no more. 
Personally if I was given US$30K and told to produce a feature film then:
1) I'd find someone to direct it for free
2) leads would have nothing up front (maaaybe if we could get "a name" for half a day, we'd pay for that. But realistically, that isn't possible on this budget. But depends on what your connections are)
3) find a keen aspiring DoP wiling to shoot it "for the reel" (who will use their own camera gear, or mine). Have a second keen aspiring "DoP" -ish person who can work under the actual DoP as the B Cam Op. Won't be too reliant upon the B Cam, but extra coverage might save us in the edit, as we won't be slowing down to get that during the normal shoot itself. (yeah, shooting multicam will screw over the Sound Dept, but that's going to be me... I'm ok with that compromise. Plus I will have the absolute power on the film set that if I need to say "no, we can't shoot this scene for sound with multicam" I will be listened to and obeyed. Thus that reduces a lot the risks and downsides of shooting multicam)
4) have a couple of keen film students as PAs / Unit / LX Assists / Grips / Boom Op / etc to give extra helping hands, I wouldn't count upon them showing up or being moderately competent, but if they are then that is a nice bonus. 
5) make a tough decision about if we can afford paying a token amount to a 1st AC and/or a Gaffer and/or Boom Op
6) work myself "for free" as the Sound Mixer (I know this not an option most people have, and normally you'd have to prioritize this above paying a 1st AC or Gaffer), as I'd be doing this just to get a successful production and a substantial producer credit on my IMDB (and maybe something for me on the backend too, if this project succeeds)
7) shoot it under two weeks, preferably in under a week
8 ) lean hard on the director and/or DoP to be doing their own editing / color grading / VFX for free themselves (or taping into their network to find someone).  For example, ideally this film has no  VFX, and the director might do the edit, and the DoP will do the color grade. 

eh, if you're rolling for hours (days even!) covering some random small business conference in a hotel that's only going to be put on YT (or perhaps even only used internally) then 8bit is perfectly fine. 

In a blink of an eye we're going to enter the "Web 4.0" era within a few years, when there is more AI written content on the internet than there is human written content. And you won't be able to tell the difference. 

ohhhh.... I like a good conspiracy theory! And this one has some legs. Let's see how quick the firmware update comes out. 

Correct about Canon, totally wrong about Panasonic. They're quite open and welcoming!

If you're using higher bitrate codecs and/or you are in warm conditions, the camera won't last you 30-45mn. Again Dan Watson got it to overheat in under 5 minutes! Gerald Undone got run time cut in half with just 2 degrees Celsius difference. 
This camera is all paper specs. i.e. the biggest sensor, the most advanced AF, AI etc.. in the smallest body. That's a recipe for disaster and I think it's going to backfire big time, especially with summer creeping up. 
The camera is ok for TikTok / social media short clips in cool environments. We're talking 15 to 60 second clips. Or you gotta step down to longGOP / 8-bit / FHD for longer form content. (Sony has a chart where they specify 8-bit for the run time!)

8bit 100mbit HD codec from the GH5 is pretty good for a lot of stuff. Twisting colours is pretty solid with it. 100mbit on the 4K from my GX85 is amazingly good for grading. These are in 709 acquisition. Wouldnt film VLog L in 8bit. 100mbit 4K on the A7SII was some of the worst codecs I have had to colour grade for someone. 12 444 all intra hd on the C300II can fall apart badly in bad exposure giving temporal noise reduction artefacts galore. So it´s not 8bit vs 10bit but rather the quality of codec vs codec.

The FX30 has timecode too! And has a different UI that is better suited for filmmaking, than one for photography. 
btw, I wouldn't call it "so much worse" though for low light. I'd still happily use the FX30 in low light conditions. 

Probably the most honest review, he got the camera to overheat on his couch while just menu diving and it overheat in FIVE minutes in 4K60p while shooting outdoors in non summer Florida:
 
Its expected in June so well after all the reviews will be out. 

That is brutal. 
Just to get a basic yearly income he'll have to do two each and every week!
And that includes: marketing to find new clients, onboarding them, doing the preproduction, doing the shoot itself, doing all the postproduction himself (otherwise that eats into profits) and delivery!