markr041

The Wetlands of Hangzhou:
The kit lens. 87 degrees F. No overheating.

S5 is great. But, an APS-C crop in 4K 60p and really bad AF - it loses focus, and it goes back and forth. Also the 4K 60p crop is in S5 ii and iix.

5 minute limit for 4K in the specs.
This will overheat, just like the normal form-factor Powershots shooting 4K. As I experienced.

5 minute limit for 4K in the specs.
This will overheat, just like the normal form-factor Powershots shooting 4K. As I experienced.

So far, no issue. I do feel the camera getting hotter as the ambient temperature increases. Temperatures did reach 80's F for one shoot (I was in Shandong too), but I never even received a heat warning. I do turn the camera off a lot between shots. This does tax the battery more, but I actually never exhausted a full battery either.

Not yet (looked), promised in June.

So far, no issue. I do feel the camera getting hotter as the ambient temperature increases. Temperatures did reach 80's F for one shoot (I was in Shandong too), but I never even received a heat warning. I do turn the camera off a lot between shots. This does tax the battery more, but I actually never exhausted a full battery either.

Not yet (looked), promised in June.

Here is a third test video I shot with the ZV E1, kit lens, and internal mics at 4K 60p in the sun at 70 degrees F:
 

It's a travel camera, with kit lens:
At night:
In the morning:
 

A very cool feature I'd missed that came with the 3.0 Z9 FW is this "Hi-Res Zoom" which is basically what I assume is the equivalent to Sony's clear image zoom tech but with oversampled 8K to work with and zoom control can be set to lens control/focus ring. This is really sweet for prime lens shooters like myself, effectively doubling the focal range. Great way to make use of that extra resolution.

That's an important question.  Two advantages of an external mic mounted on the camera over internal mics that are now negated by the ZV E1 are that you can choose directionality and conveniently use a deadcat to muffle wind.
So that then leaves pure audio fidelity, which might vary by sound source.
The ZV E1 videos I posted have recordings of various instruments including voice. So one can judge whether the audio is good enough for these sources (forward direction was used; uncompressed 16bit 48Hz audio was recorded internally).

Here is a third test video I shot with the ZV E1, kit lens, and internal mics at 4K 60p in the sun at 70 degrees F:
 

That's an important question.  Two advantages of an external mic mounted on the camera over internal mics that are now negated by the ZV E1 are that you can choose directionality and conveniently use a deadcat to muffle wind.
So that then leaves pure audio fidelity, which might vary by sound source.
The ZV E1 videos I posted have recordings of various instruments including voice. So one can judge whether the audio is good enough for these sources (forward direction was used; uncompressed 16bit 48Hz audio was recorded internally).

Very nice write-up. But one advantage of the ZV E1 is Dynamic Active Stabilization (DAS). It turns out that what is going on is that Sony is exploiting Clear Image Zoom technology, now much improved by AI - you can use all the tracking AF features with CIZ - CIZ is better on the E1 than on any fx camera (and the a7s iii) because of the AI (you lose tracking focus with ZIZ on all other cameras). Anyway, the DAS uses the augmented CIZ to zoom out to accomplish the crop. So the loss of resolution you expect from the crop is not there! Moreover you really can walk and shoot with the camera with no gimbal and it looks good  - much better than the simple crop you get using gyro stabilization in post, and a smoother result.
I will have a 4K 60P real video soon, which shows off the audio (live music), focus pulls, CIZ, DAS, and AF. Shot in 4K 60P HEVC 200 Mbps 10bit 422 Slog3. And I used the kit lens. First time with the camera. As you said, the images look as good as the fx3 (a7s iii), but the capabilities are really enhanced for using in the field.
And, in a 2.5 hours shooting with clips ranging from 10 seconds to two minutes exhausting 96 GB's of storage and 76% of the battery the camera never even got warm (65 degree (F) weather and humid).

And her it is, with the Dynamic Active stabilization demo at the end:
 

I agree that ambient temperature really matters - even the Sony manual reports shot durations by ambient temperature, which shows a real gradient. I would have wanted to shoot in a hotter setting, but I cannot control the weather!
I will be disappearing into China for 4 weeks tomorrow and I was seeking the smallest rig possible, which got me interested in the ZV E1. I had two days to try it out (delivered yesterday) - I will be facing some days in China in the 80's (F).
I was very pleasantly surprised by the camera. It is actually hard to go back to the "old" technology!
It is the fx30 + Sony 18-70 f4 lens versus the ZV E1 + Sony 28-60 lens. I prefer the 18-70 lens because it is faster and has a larger range, but that combo with the fx30 is just much larger. And an equivalent range and aperture lens on a full-frame is a monster. The compact 28-60 has good quality, though. I will take one faster prime for night, likely the small Sony FE 24 f2.8. That is fast enough for the ZV E1 sensor for any light.
A key advantage of the ZV E1 too is the built-in mic and deadcat - no need for an eternal mic mounted on the camera with a deadcat, which basically makes one look like a professional, but adds no real extra quality in audio. There were some folks at the park with cameras and mounted mics and they attracted attention. But no one cared about my tiny camera. I was also considering using the white version, so no one could possibly take me seriously.
I do have experience with overheating cameras - I shot 8K RAW video with the Canon R5 in summer before the firmware update that extended durations. In those days, the limit was 5 minutes! I could take similar videos as above. The most important trick was to turn off the camera after each shot (I did not do that with the ZV E1). Cameras now turn on instantly so this is not a real constraint, and one just gets used to shoot, turn off, see something, turn on and shoot, turn off. Shade is a friend, and so is a breeze, so when I walked with the camera from place to place I would swing my arm with the camera so air rushed by it like a fan. It all worked and became second nature. So I think I am prepared for the worst.
Btw, setting up the camera using the menus to suit my preferences (button/dial assignments etc.) took 10 minutes and the camera got hot - this really scared me. Others have reported this phenomenon (one person experienced the camera turning off). But it appears this says nothing about actually shooting with the camera. It is odd though.

Very nice write-up. But one advantage of the ZV E1 is Dynamic Active Stabilization (DAS). It turns out that what is going on is that Sony is exploiting Clear Image Zoom technology, now much improved by AI - you can use all the tracking AF features with CIZ - CIZ is better on the E1 than on any fx camera (and the a7s iii) because of the AI (you lose tracking focus with ZIZ on all other cameras). Anyway, the DAS uses the augmented CIZ to zoom out to accomplish the crop. So the loss of resolution you expect from the crop is not there! Moreover you really can walk and shoot with the camera with no gimbal and it looks good  - much better than the simple crop you get using gyro stabilization in post, and a smoother result.
I will have a 4K 60P real video soon, which shows off the audio (live music), focus pulls, CIZ, DAS, and AF. Shot in 4K 60P HEVC 200 Mbps 10bit 422 Slog3. And I used the kit lens. First time with the camera. As you said, the images look as good as the fx3 (a7s iii), but the capabilities are really enhanced for using in the field.
And, in a 2.5 hours shooting with clips ranging from 10 seconds to two minutes exhausting 96 GB's of storage and 76% of the battery the camera never even got warm (65 degree (F) weather and humid).

The A7Sii was quite seminal being the first FF 4K mirrorless with IBIS that could literally see in the dark. Noise was never an issue with that camera since it had such great low-light performance across the ISO field. The real problem with these earlier A7 cams was the horrible AWB in mixed lighting combined with so-so CS. Andrew had a classic hilarious YT video about the A7Sii zombie skin tones. Sure you could somewhat correct it in Davinci but 8-bit really isn't the best for heavy color correction not to mention the waste of time. Daylight shooting not so much an issue but the camera had a few other cons brought up in that video such as slow AF, harsh highlight roll-off, poor battery life, build quality issues etc. 
Still for the current used price its a great little budget camera if you find one in not too battered state (they honestly haven't held up well) and don't shoot much mixed lighting. 
 
The A7iii fixes most of the A7Sii issues both in build, battery life but also AWB/CS. Also uses oversampled 4K for more detailed current IQ. But they still go for +$1.5K used. Not bad but not phenomenal considering you can now get a 10-bit cam for not a lot more from other manufacturers.. 

I don't take photos except with my cell phone (and they are pretty good - my cellphone uses AI, much more advanced than most cameras). The ZV E10 has lots of Picture Profiles and a large amount of customizations for each. The ZV E10 has the latest Sony "color science."

Now, the question is, how are the log profiles of cameras different? And do those differences matter?
Here is what Fuji says, from their official data sheet, about their Flog2 profile:
"The gamma curve of F-Log2 follows the density of negative films, which has a high compatibility with post production technique fostered in the field of cinema film. It also configures 0% CV (Code value) as 95/10 bits and 18% gray CV as 400/10 bits. The gamut of F-log complies with ITU-R BT.2020 and realizes ease of cinema-like exposure and easy grading on the DCI.P3 color space." [emphasis mine]
Note the references to film and cinema. What does Fuji mean by that? Has anybody at Fuji seen actual movies?

If you are not going to shoot log, and want ooc colors, and a small camera for video, you might consider the Sony ZV E10 (not ZV E1). It is APS-C but smaller and lighter than the fx30. No IBIS or 10bit (which you do not need), but with Sony OSS lenses (there are plenty), handholding is fine. and, of course, those lenses are small. You have lots of controls of color and looks in the camera. Onboard audio and mics are very good (like the ZV E1).

OK. This is the type of comment that downgrades this whole forum. Just think about what you posted. Are you proud of your post? Should you reflect on what made you do it? Do you think it is clever? Do you think it impresses your friends and family?
 

You are correct, the a7iv is a better hybrid camera than the fx30. That is because the fx30 is not a hybrid camera, it is a video camera. It therefore has many features that aid in shooting video that the a7iv does not and never will.
The fx30 and fx30 are perhaps the worst hybrid cameras. So are the ARRI LF, the RED Komodo, the Sony Venice II, the Sony fx9, etc.
And, so you don't get all riled up, the a7iv can take great video, unless of course you want to shoot 4K DCI 24.0P or shoot a Netflix film.

Slog3. I do like the full-frame look and the spotless 4K 120p of the fx3. But, the fx3 4K is oversampled, so it visibly has more resolution, and the zoom lenses are much smaller for the same range. The difference in low light is also not as large as one might think given the sensor size and pixel size differences.