A_Urquhart

If you want a hybrid camera, id skip the FX30. I love it as a video camera but wouldn't want it to be my only camera if I needed stills as well. 
If you take video seriously and don't really need stills, the FX30 would be my pick even over the newly announced S5II....and A7IV.
I'd also be very careful of taking advice from anyone that says the FX30's image quality is 'vomit'. This obviously indicates they have no idea what they are doing.

The other big problem for Panasonic is there no upwards path to progress with the L Mount. 
Desperately there is an EVA2 with an L Mount that is needed! (so very sad that a EVA1 MFT never happened 😕 ) 

Seems the cinema camera division at Panasonic has been gutted, so I guess an EVA2 (of any sorts) won't be happening? 
If a future EVA1 sequel will never happen, and the LUMIX team have to step up to the plate, then perhaps a "Panasonic BS2H" is what is needed?? (an updated BS1H!)
Apparently the boss of the cinema division now works in the LUMIX division, and I'd say that is very very very good news indeed! Gives me hope for a future "Panasonic BS2H"
This BS2H could have dual SDI outputs (with zero delay, and independent), plus internal NDs, and that would make everyone very very happy. (plus of course keep everything good about the BS1H, and bring over all the goodness of the S5mk2)

Theoretically a person could have a custom V-log to S-log LUT in their S5mk2 camera and be able to smoothly shoot alongside Sony cameras as well? Hmmm
Could (kinda... half way) "fix" one of the other big negatives about the Panasonic cameras: "it is not Sony". 
As Sony is the dominant player in the pro market for anything low to mid budget (i.e. "not ARRI"). So very frequently you'll see a Sony Camera Op being requested, so that they smoothly integrate in with their existing workflow. 

Yep but I don't care. Function over form every day of the week. 
'Filmaking' has become all about the pose factor recently. 
If the way a camera looks deters you buying it tge your priorities are wrong and I'd question your ability too. 

Seriously?
Who the hell cares and why. It's a tool, if its nice to use and produces great images, what does looks matter?

Edit: sorry just saw your comment on the Kessler being expensive......Leftfield is not cheap!

Seriously?
Who the hell cares and why. It's a tool, if its nice to use and produces great images, what does looks matter?

I would highly recommend the Leftfield system by Bright Tangerine.
All the benefits of the Arri dovetail while also being just as quick to engage and disengage as the VCT system. With Leftfield, there is no sliding the camera on to the dovetail. You just place it where you want it and lock the lever but then you have full front to back sliding capabilities for adjustment. 
 
 
 

Yeah, knocking it down it 8bit to record longer than 30min is not really an option for the work I do. Haven't used an 8 bit camera professionally for at least 5 years. Personally don't have an issue with it most of the time but my clients expect 10bit across the board, not just for some shots.
Is the 30 minute 10bit limit due to overheating or just a cripple hammer move by Panasonic?
Don't worry, YouTube 'Influencers' are the last people I listen to! Most of them don't even seem to shoot anything more than their own Youtube videos.

Is this a camera thing?
Are there forums out there with carpenters spending this much time and effort arguing about why their Makita drill is better than the others DEWALT drill? 
Two post in a row! 🤯

You pick one phrase and really pull it apart! What I meant was that I am happy with an APSC camera. I don't need full frame. I just wanted a great APSC camera and that is what I got. I wasn't saying that the S5 was no good in APSC mode was I? Sorry if that is what you thought I meant and got offended? It was not my intention.
Is the FX30 the best APSC video camera out there? Nope.
Does it suit my needs better than most other cameras out there? Yep.
 
I have camera operated on two Netflix docs back on the FS7. Never had a complaint from Post production about it. But again, I never said the Vlog was bad did I?
 
 
 

Is this a camera thing?
Are there forums out there with carpenters spending this much time and effort arguing about why their Makita drill is better than the others DEWALT drill? 
Two post in a row! 🤯

Yep, I posted three times in a row. Arrest me! That's mainly due to not being able to edit or add to a post very shortly after posting. Didn't know it was a crime! 
I think you will find that what I said about cine lenses and crop sensors was....and I quote "I also wanted a camera that could shoot high quality APS-C for using most current cine lenses which the FX30 excels at". The FX30 is a great APSC camera, there is no debating that. APSC or S35 (not the same thing)  is extremely well catered for when it comes to cine lens selection and it's still a perfectly good format for me. It has been the industry standard for many decades. Many more cine lenses in S35 format than full frame. Sure, you can shoot in APSC mode on many cameras but it sounded like you were in the 'Full Frame or nothing' camp. Happy if I was wrong. 
EOSM is worse than the FX30 in many regards and may be better in some....not sure what your point is? So if I am happy to shoot in APSC then I should just shoot EOSM because it's cheap? Not sure what your getting at here? What about all the other features it lacks? Is the EOSM the best choice for APSC shooting overall?
SLOG3 and All-I have proven themselves. The FX30 is not the first camera with these and that is why the production/post houses I have to deal with  prefer them. I stated that I personally had nothing against LONG GOP so you can argue that with post production. It fits in with their work flow here and I've also been shooting for two clients in Europe that requested SLOG3 footage. Never had one ask for VLOG. That's not to say VLOG is bad, but me buying into Panasonic just won't earn me any money....I don't know anyone shooting it unlike Sony and Canon.
Ok, so are you going to melt the S1 and S5 into each other to create the perfect Panasonic "Challenger"?
Look, a camera is more that one or two flagship specs. It's a sum of ALL it's parts. The FX30 ticks pretty much all the most important requirements for me. According to you so far I need to carry around an EOSM, an S1 and an S5....I'm really confused at what you're trying to prove here.
I said the S5 is a great hybrid camera. I'm happy with the FX30 which Is possibly why I don't feel the need to get on the Panasonic S5 thread and bag it to defend my purchase. Are you happy with the S5? I hope so and I hope you go out and enjoy shooting with it. Not sure why people have to pump up their chests and get aggressive when it comes to camera specs??

Yeah, knocking it down it 8bit to record longer than 30min is not really an option for the work I do. Haven't used an 8 bit camera professionally for at least 5 years. Personally don't have an issue with it most of the time but my clients expect 10bit across the board, not just for some shots.
Is the 30 minute 10bit limit due to overheating or just a cripple hammer move by Panasonic?
Don't worry, YouTube 'Influencers' are the last people I listen to! Most of them don't even seem to shoot anything more than their own Youtube videos.

Thinking about this more......
Regardless of price, the FX30 gives many video shooters features that they need.
My circumstances require an ALL-I codec, Timecode support, professional audio and most importantly.......when filming interviews, I need to be able to record for longer than 30 minutes.
The S5 doesn't give me any features I need so regardless of price, it just doesn't cut it. No one 'needs' full frame.
If you need stills in the same camera...then the S5 is an obvious choice. 

As it's not really a hybrid camera, there are less compromises made in video mode on the FX30. 
If I am comparing the FX30 to the S5, then here in Australia they are the same price.
FX30 has an All-I Codec, No 30min record limit in 10bit, professional audio, Timecode support, MUCH better AF if you're into it.
Sony's ecosystem is huge and third party manufacturers are making lenses with electronic support for e mount in droves.
Also, I can use the FX30 as a B or C Camera to the FX3, FX6, and FX9 which are all 'industry standards' so to speak here in Australia for shooting broadcast content. Post houses deal with SLOG3 all the time and familiarity with colour workflow trumps any debatable image quality advantage the S5 has that you mention.
Sure, the S5 is full frame which is the only real 'advantage' for video. 'Full frame' is not the be all and end all but if I want, I have a Metabones speed booster I can attach to the FX30 which makes it Full Frame. We also sometimes use the Alexa Mini and MiniLF. We chose them on a project to project basis and we don't always choose the LF by default just because it has the bigger sensor. 
Ultimately, If you need one camera to do it all, sure the S5 is a fine choice.
I'm not here to create a spec argument and not sure why you wouldn't stay calm if you are happy with your choice but to say one camera is better than the other in general terms is incorrect I feel.
Sure, the S5 is a better hybrid camera.

Is this a camera thing?
Are there forums out there with carpenters spending this much time and effort arguing about why their Makita drill is better than the others DEWALT drill? 
Two post in a row! 🤯

You pick one phrase and really pull it apart! What I meant was that I am happy with an APSC camera. I don't need full frame. I just wanted a great APSC camera and that is what I got. I wasn't saying that the S5 was no good in APSC mode was I? Sorry if that is what you thought I meant and got offended? It was not my intention.
Is the FX30 the best APSC video camera out there? Nope.
Does it suit my needs better than most other cameras out there? Yep.
 
I have camera operated on two Netflix docs back on the FS7. Never had a complaint from Post production about it. But again, I never said the Vlog was bad did I?
 
 
 

Yep, overkill. 
Luckily, 95% of the jobs I do have the budget for a sound person. 
I've never liked the Sennheiser G3 and G4's that I've used even though many rave about them. Found their wireless signal not very robust.
Yeah, might go for the two UWP-D21's and scrap the Mi interface. I got the XLR handle so can mount them both up to that.....somehow!
Ha, yeah I've dabbled in audio quite a bit to know just a bit!

The audio guys (IronFilm) are going to scoff at me for this suggestion but I've had good experiences with the Rode Wireless Go II on small little projects I've done in the past that have not allowed for more expensive setups. 
The Transmitter records so that if the signal to the receiver drops out (and it doesn't take much to get it to drop out) you still have a 24bit audio recording.
It has quite a few shortcomings, mainly being the non removable recording media so you need to make sure you transfer the files before they get overwritten (7hrs in High Quality 24bit mode), no Timecode support and the requirement of using Rodes rather clunky software to transfer the recordings but if you treat it like a small recorder that can transmit just for monitoring then I think you will be pretty happy with it. Use a slate to mark your takes for easy syncing in post.
I've also used it paired with a Sennheiser HS2 headset microphone to record an exercise instructor and it sounded great. The small, lightweight form factor was a cinch to hide in the instructors active wear....where I don't think I would have been able to use a heavy sennheiser G4 or Sony UWP.
It's also pretty cheap.
What I don't like about recorders that don't transmit like the Tascam, is that you can't monitor the sound so you will not know if the lav capsule is rubbing on clothing or pick up on any other issues you may get. 
Learn the Wireless Go II's limitations and work within them .....used with a good lav I think you'll be surprised with how it can sound.

After playing with it for a few hours.....I don't think the FX30 should really be compared to hybrid cameras as that's not it's focus. It's a video camera (or 'cinema camera' as they seem to be called these days!). I think it's closest competition is the Pocket 6k or Canon C70. 
It's much more like a video camera to use, which to me is a good thing. Has proper Audio and timecode capabilities, not likely to overheat as it has a fan, supports 4 channel 24bit audio recording, doesn't have the 30min record limit many other cameras have when shooting 10bit codecs etc etc.
These conveniences when used in a professional environment are invaluable and well worth the asking price. Sure, If you have no need for them then they are kinda pointless but this is why you shouldn't compare this to many hybrid cameras. 

Ha, that really rolls off the tongue....how do you pronounce MILVC? 😉

Two frame delay between FX30 screen and WiFi to iPhone 11.
Useful when rigging camera in hard to reach places. App gives live image (as you can see) and full control of pretty much all camera setting.

Two frame delay between FX30 screen and WiFi to iPhone 11.
Useful when rigging camera in hard to reach places. App gives live image (as you can see) and full control of pretty much all camera setting.

After playing with it for a few hours.....I don't think the FX30 should really be compared to hybrid cameras as that's not it's focus. It's a video camera (or 'cinema camera' as they seem to be called these days!). I think it's closest competition is the Pocket 6k or Canon C70. 
It's much more like a video camera to use, which to me is a good thing. Has proper Audio and timecode capabilities, not likely to overheat as it has a fan, supports 4 channel 24bit audio recording, doesn't have the 30min record limit many other cameras have when shooting 10bit codecs etc etc.
These conveniences when used in a professional environment are invaluable and well worth the asking price. Sure, If you have no need for them then they are kinda pointless but this is why you shouldn't compare this to many hybrid cameras.