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I agree with the technical specifications. The tricks I can't say for certain though. It looks to me that cinematic mode does more harm than good at the moment. It may depends on how limited the knowledge of that person.
Anyways I haven't had a chance to test out this camera, so I'm just speculating.
If the ZV-E1 indeed can give someone with limited knowledge the ability to produce professional result, it's going to be a VERY BIG DEAL, but perhaps not so great for us professionals.😅

Here we go. 🙂 

Love the colour. The lens interestingly hazes quiet vintage style in the strong backlight shot. You should do a breakdown of your findings regarding colourwork and exposure from the Sigma FP thread. I watched your Sirui Anamorphic 1.6 test. Looking lovely. What are your estimations on the set? @OleB
Lovely stuff you all. I already posted some of my semipro work on this forum. Was mostly doing colour work last year, last hurray so to say before all auto on the newest Davinci version will do the job.:) Anyway, here is my first paid music video, directing, producing, lighting, DPing, editing the thing. All shots inside filmed against a small wall in a small living room;) Shot on one day, shots and lighting done spontaneously on location. Had a friend as AC for 90% of the shots thanx gosh. Most inside was GH5 at ISO400 VLog, S1 as BCam for the golden pattern lit background shot inside and three handheld lowlight shots outside. Sorry for reposting, if some of you mind:)
 

Yes indeed. Though from my experience, profiles of other brands (like Nikon) don't improve the images as dramatically as the fuji ones. Maybe the emulations of fuji profiles are better made? Adobe put in more effort?
Like Django has said, the XT5 uses a different sensor than XT4. IMO the autofocus of fuji in stills is great and usuable in video mode. Just don't expect it has Sony or Canon's level of AF. The newer models like XT5 should have better AF, if only slightly.
ISO performance is again behind Sony technically. However, the fuji usually handles noise in a more pleasing manner. Some recipes even work better in high ISO. Unless you shoot in really really high ISO, I believe its ISO performance will be good enough, especially for photos.

This is true for all makes of cameras. Adobe Color / Standard / Neutral levels the playing field. These profiles are supposed to be close to natural colour, from what I can tell.
The Camera Matching profiles are Adobe's emulations of the manufacturer's own profiles and are always worth checking out as they may be much nicer than the default.
And sometimes using the manufacturer's own raw converter will give slightly nicer colour (but without most of the convenience of Adobe workflow).

The unique SOOC look comes from both the different sensor technology and those film simulations.
If you just import the raw files into lightroom and using adobe color science, the color is just kinda decent. Then, you change the color profile to those film simulations and the difference is night and day. It's almost a magical moment. That's why I buy a fuji camera for stills (mostly for causal use though).
For video, eterna is a decent starting point, if you don't plan on shooting Log. The XT5 and X2Hs are great cameras with a lot of features, but it really comes down to if you need those high end features.
Personally I choose my fuji camera based on look and erogomics, since the color sciene is terrific regardless of the model. That's why I sold my XT4 and got a XE4 instead. The only feature I ever miss is the IBIS.

The unique SOOC look comes from both the different sensor technology and those film simulations.
If you just import the raw files into lightroom and using adobe color science, the color is just kinda decent. Then, you change the color profile to those film simulations and the difference is night and day. It's almost a magical moment. That's why I buy a fuji camera for stills (mostly for causal use though).
For video, eterna is a decent starting point, if you don't plan on shooting Log. The XT5 and X2Hs are great cameras with a lot of features, but it really comes down to if you need those high end features.
Personally I choose my fuji camera based on look and erogomics, since the color sciene is terrific regardless of the model. That's why I sold my XT4 and got a XE4 instead. The only feature I ever miss is the IBIS.

..not to mention current affordability of the FS7 vs other options.  Pro rigged out video/cine cams can be expensive.
But FS7 is closer to a cine cam with an ENG form factor than a "camcorder" which implies a more compact form factor with built-in EVF, zoom and mic.
Options kinda dried up but if sensor size, lens specs etc don't matter, surely there are many viable budget options left especially on used market. 
DVX200 is definitely the last pro model of that category I was genuinely interested in but yeah it was pretty expensive at launch and still goes for 2 to 3 grand. I still kinda want one and wish Panny would make a sequel although extremely doubtful at this point.

Ghosting! I had one and posted at length here about my frustration with its temporal ghosting, particularly noticeable in C-Log.
Other than that it was pretty cool. I loved the flippy handle and tilt screen. I took it on hols to Bali:
 
 

Great idea! Have played with the EOS-M with Magic Lantern before but have not used the raw capability. Maybe its enough to justify getting a 5D2 too. Always want to buy one but couldn't convice myself to do it. 😄

The FS7 really is a legendary camera. IMO it deserves to have its own chapter in camera history. I maybe biased though, as an owner of two, the FS7 and the FS7M2. 😄
The image quality of the FS7 sensor still holds up, especially with good lighting. No client has ever complained about the images I produced with it. Not to mention other profesional features like SDI. Both of my FS7 are easily some of the best pruchase I have made ever.

I can only comment on Sony cameras. I have very little experience with modern cameras from other brands.
TBH, basically any newer Sony camera(within 2-3 years) is going to be great at lowlight. I would recommend A7M4 because it is also a terrific stills camera, and in terms of image quality or high iso performance, quite similar to the A7S3. You don't need a high base of ISO 12800 to shoot in darker condition. For the most part, the high iso performance of the A7M4 is more than enough. It is FF too.
I personally use the FX30. Despite it being Super 35 and "only" ISO 2500, I can still shoot night scenes with it with only street lights and the results are at least acceptable. As long as there is some kind of light source, any capable modern Sony camera can give good result in lowlight.
My other even older camera, FS7M2, does decent in lowlight too. And that sensor is anicent, comparing to the A7M4.
Also, you can always clean up some of the noise in post. I really like the denoise in Davinci Resolve.

I can only comment on Sony cameras. I have very little experience with modern cameras from other brands.
TBH, basically any newer Sony camera(within 2-3 years) is going to be great at lowlight. I would recommend A7M4 because it is also a terrific stills camera, and in terms of image quality or high iso performance, quite similar to the A7S3. You don't need a high base of ISO 12800 to shoot in darker condition. For the most part, the high iso performance of the A7M4 is more than enough. It is FF too.
I personally use the FX30. Despite it being Super 35 and "only" ISO 2500, I can still shoot night scenes with it with only street lights and the results are at least acceptable. As long as there is some kind of light source, any capable modern Sony camera can give good result in lowlight.
My other even older camera, FS7M2, does decent in lowlight too. And that sensor is anicent, comparing to the A7M4.
Also, you can always clean up some of the noise in post. I really like the denoise in Davinci Resolve.

No I don't use much lighting when run & gunning. Most low light I do is concerts and events and I'll use the available lighting for realistic ambience. I mostly shoot fast prime lenses so not a big issue. On Canon I'll usually go with the Canon 50mm F1.2 & 35mm F1.4 wide open. On Sony I shoot with the Zeiss 35mm F1.4 & Batis prime series. And for zoom the Sigma 18-35mm F1.8. I also don't mind crushing blacks and using a little NR. Whatever works. 
If I get the FX30 I'd surely go for those new 7artisans T1.05 cine primes I was talking about the other day.  

I haven’t used either so my comments are entirely without substance but when I was considering (and came very close to) flipping my L Mount set up, I decided the closest would be neither the FX3 nor the FX30.
Instead, it would be both.
FX3 instead of S1H
FX30 instead of S5
But I got an S5ii to replace the S5 as the 10k approx to change systems was a bit rich 🤑 
I like them both in principle and perfect lens line up for me from Tamron and if it were not for the €‘ s, I would have done it as for my needs, it would be the only current viable way for me to get from a 4 body down to a 3 body set up (A7RV being the 3rd body in the equation).
Maybe next year because I really do want to go 3 body as soon as it is viably possible.
 

Oh I know bro, I own an FS7 so I know its a workhorse. But FF and even APS-C mirrorless have more refreshed sensors so not really a surprise they handle lowlight or DR better. I still think the FS7 has a certain mojo to its IQ, just like older Canon does despite being inferior on paper/charts. And of course the Alexa is already a cult classic still in heavy use despite more recent ARRI cams with higher resolution/specs. 

FS7 has probably shot more professional content in recent years than anything else. 
The FS7 was absolutely dominant in the mid/low end market until just a few short years ago. 
And the C300mk2 was the #2 player behind it. 
People playing in the no budget mirrorless world are very lucky to now have cameras such as the FX30 that outperforms the image quality from a FS7. (but no NDs, no SDI, etc... still a lot of reasons to prefer a FS7)
And the Alexa when it first came out certainly was a big game changer in allowing to shoot in low light, vs what they typically used beforehand. 

This maybe the case, and it helps marketing as well. Putting a professional sensor into a consumer (or prosumer) model makes the camera much easier to sell.
But yeah, for those vloggers who often shoot at environments where absolutely no lighting is allowed and whose work doesn't require a good image, rather it's more important to get the shot, good ISO performance can be a big plus. I think enthusiasts who just want to film their family or daily lives will also appreicate the extra lowlight capability.
Though back to the topic, I don't think the FX30, FX3 or the A7S3 is necessarily a perfect choice for those users. Unless they want a camera that they can grow their videography and filmmaking skills with.

Nikon Z6, Tamron 45mm 1.8, 8-bit 4k 24p, Neutral PP with iDynamic set to High

Obviously, everyone's needs are different. If one has to shoot almost always in very dark situation with absolutely no way to setup even the smallest of lights, like a newshooter, then he must have the camera with the best lowlight quality.
The FX30 is good enough in lowlight, as long as there is some light in the scene. Of couse it will do very poorly in pitch dark situation, but the same can be said for A7S3. Great in lowlight doesn't mean you don't have to light the scene. When we use the A7S3 at ISO 12800 setting on set of the short film, we still have to do porper lighting.
You need light to produce a good image. Great lowlight capablity is not the substitute for lighting.
Anyway, a cameraman has to adapt to the situation. In a lot of tight spaces or very poorly lit condition, even a small LED light panel can make the difference. Those are very cheap and portable, not luxurious at all.
There are many differences that make the A7S3 or FX3 the better camera than the FX30, such as FF look, no 4K120P crop. The lowlight advantage is there but IMO not as important as many other factors.
 

Obviously, everyone's needs are different. If one has to shoot almost always in very dark situation with absolutely no way to setup even the smallest of lights, like a newshooter, then he must have the camera with the best lowlight quality.
The FX30 is good enough in lowlight, as long as there is some light in the scene. Of couse it will do very poorly in pitch dark situation, but the same can be said for A7S3. Great in lowlight doesn't mean you don't have to light the scene. When we use the A7S3 at ISO 12800 setting on set of the short film, we still have to do porper lighting.
You need light to produce a good image. Great lowlight capablity is not the substitute for lighting.
Anyway, a cameraman has to adapt to the situation. In a lot of tight spaces or very poorly lit condition, even a small LED light panel can make the difference. Those are very cheap and portable, not luxurious at all.
There are many differences that make the A7S3 or FX3 the better camera than the FX30, such as FF look, no 4K120P crop. The lowlight advantage is there but IMO not as important as many other factors.
 

Hey friends, now with the latest built from Bilal and Dannes achievements before let´s get some Raw magic started. Thanks to our friend @ZEEK the latter are well reported, the former has been posted about here by our friend @QuickHitRecord The challenge would be up to us to make up. So what are your suggestions, what kinda challenge could that be? I think there are plenty Magic Lantern lovers and Canon owners. I got a EOS M for 75EU about a year ago and a 5D2 for 150. Still, I have not filmed anything with it yet. I feel pumped to try out my EOS M though with the latest built from Bilal, since even Danne seemed to like it.
Some 50D cats here? Put some dirty fungus M42 Meyer Goerlitz on your cam and give us that Keny Ty look but not in filthy 420 8bit but in gorgeous RAW glory! 5D3 queens and kings? Mercer, you go! Some keywords for our magic fun tour: experimental, 3min narrative, video essay with photographic beauty, cinema verité exitement, locked shots parade..camer
So all camera cats with the love for the some Raw image magic, let´s get our and your jazz on with magic lantern! 🙂

Great idea. I'm psyched about this latest EOS-M build but I need a little push to get moving with this camera.
I think the simpler the prompt, the better. I propose calling it something like the 'No More Camera Tests Magic Lantern Challenge', make the criteria that all entries be scripted, and leave the rest open to interpretation. And then we all share at the same time, perhaps at the end of May?

FX3 & FX30 just got a major 3.0/2.0 update today that adds Anamorphic De-Squeeze, True 24p, 4K DCI Recording.. and Breathing Compensation:
Excellent news for users wanting more cine features and this really starts to tie these cameras to the rest of the FX line. 
Pretty sure this is the first time an alpha camera gets DCI 4K. About time! 

24-70gm ii my poor credit card 😭