markr041

I think that's a good idea.

Hypersmooth is great, not matched by anything. No blowouts - dynamic rage good, colors good. But...
More noise, softness I never saw before.
Shot in Linear + Horizon Leveling, 5.3K 60P, 10bit, G-Log, auto WB. Edited using the G-Log LUT, with no other color changes, but lots of luma adjustments (many of the clips were overexposed (but no clipping - maybe does on purpose for G-Log).
Shooting without worrying about focus, color, stabilization, keeping the camera level and being able to move with the camera effortlessly without extra equipment is always a pleasure.

My Ulanzi fan just arrived. Must admit, is a cute little thing - all metal, bright little display, and the flow generated is more than I expected.

And the two questions I have about it were solved:
- The suction cups will really stick to the back of the cameras? It came with two adhesive stick that you put on the back of the camera, and the suction cups will adhere to that.
- How it measure the camera temperatue? There is a sensor in the bacl (looks like a infrared one) to mesure the surface temperature.

Will try to do some teste when I have some spare time.

Sony's Cinetone-S is not the only OOC pseudo-cinema look. This camera has a dozen.
This camera also has a real built-in ND filter, cinema aspect-ratio LCD guidelines, external mic jack, manual control of audio, wind protector attachments and a cage available. No IBIS-distorting stabilization, just like real cinema cameras. LCD red border tally for live recording.
.
 

Sony's Cinetone-S is not the only OOC pseudo-cinema look. This camera has a dozen.
This camera also has a real built-in ND filter, cinema aspect-ratio LCD guidelines, external mic jack, manual control of audio, wind protector attachments and a cage available. No IBIS-distorting stabilization, just like real cinema cameras. LCD red border tally for live recording.
.
 

This is my favorite video of yours! @markr041 You got much closer to the subjects and your compositions are really engaging me to watch. The colours are dethroning the sterile palette of the expensive gear which you have tested before. I like em. Remind me of some nice GH1, GH2, 5D2 vibe. Now keep that closeness to your subjects and throw in some tele shots of them with a second focal length and than you will have me watch your video more than once!
Great vibe in that park and first time for me that I felt like being there.
Now please, tell us a bit more about that lil cam. One inch sensor, right? Focal lenght(s)? Internal NDs, how many and how many stops? Thanks and cheers 😊

Sony's Cinetone-S is not the only OOC pseudo-cinema look. This camera has a dozen.
This camera also has a real built-in ND filter, cinema aspect-ratio LCD guidelines, external mic jack, manual control of audio, wind protector attachments and a cage available. No IBIS-distorting stabilization, just like real cinema cameras. LCD red border tally for live recording.
.
 

Bluetooth audio, likely not possible by a firmware upgrade. Not saying that is important or not important. 
Took out GPS - also not possible with firmware downgrade. 😆

Americana:
12bit RAW, and I needed all the latitude I could get given the very mixed lighting levels (luma adjustments in post) and the different colors of the lighting (WB adjustments in post).

Americana:
12bit RAW, and I needed all the latitude I could get given the very mixed lighting levels (luma adjustments in post) and the different colors of the lighting (WB adjustments in post).

8K 60P RAW.
Hot card warning only.
 

There is a lot of great capabilities with computational photography that Japanese camera makers could use, and didn't, but the point of having interchangeable lens camera is to have more control, not less. Of course you get more noise, to control how you like to deal with it.
And what iPhone does with highlights is anything but pleasing. I don't blame the AI tho. Stacking multiple frames with different exposure to get a "normal" looking image is still a challenge for humans too. 

Now, tests of Dynamic Active Stabilization Slowed 2X (from 4K 60P) in a 4K 30P video + Clear Image Zoom with a power zoom lens - the AI-assisted capabilities of the ZV E1.
Climbing a hill and other moves.

180 Mbs HEVC, 5.3K 60p, 10bit color, wide gamut, but all transformed to 8bit REC709. This was mainly a test of some guy's LUT to see the colors.
Do you SEE mush? Does this LOOK bit-starved, even though it has gone through YouTube compression (another high efficiency codec) at a much lower bitrate? And, the video was cropped in camera to reduce fisheye distortion.
I think there are people who are not up to date on what modern codecs/processors can do, perhaps because they have not used any newer cameras they comment on. They rest on their decades-old film school habits. Now they just read or, in some cases, misread selective specs (bitrates). 
Yes, bitrate matters, but so does the codec. Which is not news to just about anyone, just about anyone.
I have shot the highest bitrate real RAW video, and I find it hard to distinguish the quality from much, much lower bitrate H265 video, recorded in the latest cameras, at least in terms of resolution (lack of mush).
Codecs, codecs, codecs. And processors that can execute them, all advanced enormously in the last few years. Everyone needs to keep up.
And, no, the Hero11 video quality is not as good as the latest ARRI. But it's not chopped liver either.
 
 
 

180 Mbs HEVC, 5.3K 60p, 10bit color, wide gamut, but all transformed to 8bit REC709. This was mainly a test of some guy's LUT to see the colors.
Do you SEE mush? Does this LOOK bit-starved, even though it has gone through YouTube compression (another high efficiency codec) at a much lower bitrate? And, the video was cropped in camera to reduce fisheye distortion.
I think there are people who are not up to date on what modern codecs/processors can do, perhaps because they have not used any newer cameras they comment on. They rest on their decades-old film school habits. Now they just read or, in some cases, misread selective specs (bitrates). 
Yes, bitrate matters, but so does the codec. Which is not news to just about anyone, just about anyone.
I have shot the highest bitrate real RAW video, and I find it hard to distinguish the quality from much, much lower bitrate H265 video, recorded in the latest cameras, at least in terms of resolution (lack of mush).
Codecs, codecs, codecs. And processors that can execute them, all advanced enormously in the last few years. Everyone needs to keep up.
And, no, the Hero11 video quality is not as good as the latest ARRI. But it's not chopped liver either.
 
 
 

Wiseguy, do you know about GoPro Labs firmware? As usual, you get your info from the internet and pass on what you read. 
Two people instruct you on your false information, but you go on.
I have personally shot 200Mbps 5.3k GoPro videos. Read by metadata as 200Mbps. I can't say I notice a big difference, but the option is there.
GoPro Labs firmware. Google that.
Maybe also get a GoPro, learn what it can do, and get back to us after you have actual experience.
Let's see if you can refrain from making a nasty reply to cover your doubling down on your mistake.

I’m telling you. Color Space Transform. 1000% better. You can export the CST as a LUT in Davinci and use it in Premiere. I do that to monitor NLOG on my Atomos. 

Was this color graded? Yes, heavily (and no LUTs) like all of my videos, to create the "illusion of reality."
Think National Geographic video of meerkats - no film-like color tints or distortions; rather see the habitat and watch the activities of its inhabitants as if you were there. But with humans, unlike with animals and birds, one cannot hide or wear a disguise or shoot with an enormous lens.
Some good stills too:

You are correct, the ZV E1 is not the camera for 1.5 hour clips. It will overheat. Are you sure you can shoot continuous high bitrate 1.5 hour videos on an fx3 with its small battery?
You can also hold the camera, lens and gimbal for 1.5 hours?  It is not a light camera, and full-frame lenses are big and heavy. Perhaps a reason to go with a crop camera like the fx30 - smaller lenses.

The Z8 as an APS-C video camera.
You can shoot RAW in DX mode, which crops the sensor and gives you 5405x3040 clips, better than 5K and much better than 4K. You can shoot RAW at the highest quality (HIGH), with the bitrates 1/4th those for 8K - so you can shoot 48 minutes at HIGH RAW on a 1TB card, as opposed to 12 minutes for 8K!
You can of course us DX (APS-C) lenses in those mode. For this video I used the FF Nikon Z 24-70 f4 lens. An advantage of the crop is that mostly one is using the center of the lens, so corner drop-off is irrelevant - most lenses from Nikon are really good in the center.
So, how does it look:
Think meerkats - habitat and inhabitants in their activities.
5K (5120x2880) frame grabs:
 

The Z8 as an APS-C video camera.
You can shoot RAW in DX mode, which crops the sensor and gives you 5405x3040 clips, better than 5K and much better than 4K. You can shoot RAW at the highest quality (HIGH), with the bitrates 1/4th those for 8K - so you can shoot 48 minutes at HIGH RAW on a 1TB card, as opposed to 12 minutes for 8K!
You can of course us DX (APS-C) lenses in those mode. For this video I used the FF Nikon Z 24-70 f4 lens. An advantage of the crop is that mostly one is using the center of the lens, so corner drop-off is irrelevant - most lenses from Nikon are really good in the center.
So, how does it look:
Think meerkats - habitat and inhabitants in their activities.
5K (5120x2880) frame grabs:
 

Fair enough. And good point 👍🏼 

I agree with you that the fx3 and fx30 are not the right cameras for shooting 1.5-hour takes, but I do not think your "evidence"  - your remembering a video where someone quoted someone else (!)  - is the kind of evidence that anyone should make decisions on.
There are settings in those cameras for the fan, and for the shutdown thresholds. And indoors with no airflow will overheat cameras more compared with using a camera outdoors, where there is airflow. So, we need to know more about the tests than what you think someone concluded for a serious discussion of overheating.
But, I do not think we need more on "overheating" for the purpose of this guy's video styles. Let us just agree that no professional cinema camera is appropriate for the OP's use (and we will all refrain from expressing our view of the worth of 1.5-hour continuous videos).

The Z8 as an APS-C video camera.
You can shoot RAW in DX mode, which crops the sensor and gives you 5405x3040 clips, better than 5K and much better than 4K. You can shoot RAW at the highest quality (HIGH), with the bitrates 1/4th those for 8K - so you can shoot 48 minutes at HIGH RAW on a 1TB card, as opposed to 12 minutes for 8K!
You can of course us DX (APS-C) lenses in those mode. For this video I used the FF Nikon Z 24-70 f4 lens. An advantage of the crop is that mostly one is using the center of the lens, so corner drop-off is irrelevant - most lenses from Nikon are really good in the center.
So, how does it look:
Think meerkats - habitat and inhabitants in their activities.
5K (5120x2880) frame grabs: