A_Urquhart

Yeah fair enough. I already had a Speedbooster and using it, I get 4k 50/60p FF (no crop) which the S5 can't do. 
 
When it comes to lenses, apart from cine lenses, I was more referring to electronic lenses which support Sony's AF. Plenty of good aftermarket lenses coming out for E Mount. 
The FX30 is not a hybrid so yeah, get the S5 if you want more photo functions. 
For what it is, the FX30 is extremely well priced though IMO. I got $450 AUD off RRP (with Audio Grip) with my supplier making it even more attractive. That's only $500 more than an S5 body here and the S5 doesn't have XLR

Apologies in advance if this info is already known but just discovered you can have the image on the flip out screen with all the status info on while outputting a clean feed to a monitor via HDMI AND output an extremely low latency image with full camera control and touch focus control to a phone all at the same time. My guess is that the latency on the Wifi image is less than a frame!
Could open up some possibilities!
I often have to rig cameras on/in cars so this could come in handy!

Despite me complaining about the choice of CFExpress type A, the small body of the FX30 is a bit of a revelation to me. It's small in all the right dimensions except thickness which makes it far more comfortable to hold than any other mirrorless camera I have used from Sony or Fuji to date. 
After owning both the Pocket4k and 6K pro, there was no way I was going back to a camera with mini or micro HDMI. 
I don't like the Flip out screen...hated it on the GH3 I had years ago and still hate it. Give me a screen that just tilts up and down. 
I'm using a Metabones Speedbooster on mine at the moment for Full Frame. That makes the 4k 120p crop around APC-C. 
Most of my clients want Sony these days so the FX30 made perfect sense as a B or C Camera to the FX6 and FX9. I never would have made my money back on a Panasonic camera despite specs.
 I also wanted a camera that could shoot high quality APS-C for using most cine lenses which the FX30 excels at. As above, add Speedbooster and I have a Full frame camera which with the Leica R cine modded lenses, is absolutely tiny even with Speedbooster. Best of both worlds really and Sony has a much better range of available lenses and third part accessories. 
Despite the still awful menu's, I think I'll like this camera!
 

Got my FX30 a few days ago and time to buy some more CFExpress Type A cards.....
Reminds me how much I hate that Sony went for Type A over Type B. Paying more than double for a card that is half the speed of type B. For the same price of one 160GB type A card I can get a 512Gb Type B card which is rated at double the speed. Sure, they're smaller but I would happily have gone a slightly bigger body to accomodate.
Why Sony.....just why??

While this is kinda old news and not strictly FX30 related but with the similarities between the FX3 and FX30......Greg Fraser is apparently shooting his next feature "entirely" on the FX3. Normally I would agree that what people are calling 'cinema cameras' really aren't cinema cameras but merely marketing BS and Greg does call it what it really is: a 'prosumer camera' but this is blurring the lines I suppose.
Go to 38:28 in
 

Recently posted over on reddit what is the best prosumer wireless on a budget, which is the Sony UWP-D21, and why. Thought I'd reshare it here as well, should others here be interested as well:
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If someone can't afford pro level wireless (i.e. a receiver such as the Wisycom MCR54 / Lectrosonics DSR4 / Sony DWR-S03D / Sound Devices A20-RX / Shure ADX5D / etc plus the appropriate matching receivers) then going instead with the fourth generation Sony UWP-D is no brainer decision! (although, I'd recommend 2x UWP-D21 over 1x UWP-D27) This choice is so easy it isn't even close, as the 2nd best choice comes a long long way behind Sony.
Sony gives you:
True diversity receiver (no other prosumer UHF wireless has this) Has a digital compander (avoiding the issues that say for instance the Sennheisers have with their analogue compander, giving you better quality audio from the Sonys. Essentially, the Sony wireless transmission behave more comparably to how Lectrosonics Digital Hybrids do, using the same mix of digital + analogue for transmission) A slot receiver (again, no other prosumer wireless does this! Although, sadly not unislot, you'd need to get the Sony DWR-S03D instead. Hopefully Sony will bring out a UWP-D receiver one day in the future with unislot compatibility) An option of using the smart shoe on Sony cameras to feed it audio directly, skipping doing another D/A conversion, along with numerous other benefits such as being able to add more audio channels than otherwise or being able to go cableless with the receiver or not needing to do battery changes either for the receiver (these are all features entirely unique to the Sony wireless) Sony UTX-P40 Wireless Plug-On Transmitter supplies phantom power. (the Sennheiser EW100 G4 plug-on transmitter does not) Headphone output (but yet again, the standard Sennheiser G4 doesn't have this) An option for a dual receiver (again, the Sennheiser G4 doesn't have this) An option for getting it in the 941 to 960 MHz frequency range (again, the Sennheiser G4 doesn't have this, Usually only pro wireless offers products in this frequency range) Backwards compatible with all past UWP products.  
Just a few of these reasons would be enough to make a strongly compelling case to buy the Sony UWP-D21! (especially as Sony is priced similar to or cheaper than the Sennheiser competition) But add them all up together? Sony blows away all the competition.
There are literally hundreds and hundreds and hundreds of options for lav mics for the Sony wireless just merely listed on the one B&H website alone:
https://www.bhphotovideo.com/c/products/mini-microphones/ci/3779?filters=fct_compatible-with_744%3Asony%2Cfct_connector-type_745%3A3.5mm-mini-plug|3.5mm-mini-plug-locking 
There are zillions of accessories for the Sony UWP-D system, such as these (would you like for instance a battery pack for your Sony transmitter so that you can run it for over 24 hours? You can do that!!): https://www.hlaudio.de/sony-pro-audio/wireless-zubehoer/
Unfortunately when people hear "Sony" they think of "cameras", not audio. What most people don't realize is that Sony's name itself comes from the latin word for audio: "sonus"! Sony originally started out as purely an audio company, and has been making wireless since the 1950's.

You'd take the Tamron 20-40mm f/2.8 over the Tamron 11-20mm f/2.8? You don't ever need anything wider than 17mm?
Do the Tokina / Viltrox / Sigma sets of fast f1.2/f1.4 primes for APS-C appeal to you? They're very affordable!
https://www.bhphotovideo.com/c/products/Mirrorless-Camera-Lenses/ci/17912/N/4196380428?filters=fct_a_focus-type_5738%3Aautofocus%2Cfct_brand_name%3Atokina%2Cfct_lens-format-coverage_3332%3Aaps-c-lenses%2Cfct_lens-mount_3442%3Asony-e-mount%2Cfct_zooms-primes_5903%3Aprime-lenses
https://www.bhphotovideo.com/c/product/1723065-REG/tokina_szmf33_fe_sz_33mm_f_1_2_mf.html (I'm guessing more are coming soon? To fill out the set?)
https://www.bhphotovideo.com/c/products/Mirrorless-Camera-Lenses/ci/17912/N/4196380428?sort=PRICE_LOW_TO_HIGH&filters=fct_a_focus-type_5738%3Aautofocus%2Cfct_brand_name%3Asigma%2Cfct_lens-format-coverage_3332%3Aaps-c-lenses%2Cfct_lens-mount_3442%3Asony-e-mount%2Cfct_zooms-primes_5903%3Aprime-lenses
https://www.bhphotovideo.com/c/products/Mirrorless-Camera-Lenses/ci/17912/N/4196380428?sort=PRICE_LOW_TO_HIGH&filters=fct_a_focus-type_5738%3Aautofocus%2Cfct_brand_name%3Aviltrox%2Cfct_lens-format-coverage_3332%3Aaps-c-lenses%2Cfct_lens-mount_3442%3Asony-e-mount%2Cfct_zooms-primes_5903%3Aprime-lenses (I feel like Viltrox has the best range of AF APS-C primes for Sony E Mount, unless splurging out for the Sony branded lenses)
 
Or TTArtisan which has lots of fast primes for Sony APS-C that are sub $100! 😮 (although, of course, they're only manual focus)
https://www.bhphotovideo.com/c/products/Mirrorless-Camera-Lenses/ci/17912/N/4196380428?sort=PRICE_LOW_TO_HIGH&filters=fct_a_focus-type_5738%3Amanual-focus-only%2Cfct_brand_name%3Attartisan%2Cfct_lens-format-coverage_3332%3Aaps-c-lenses%2Cfct_lens-mount_3442%3Asony-e-mount%2Cfct_zooms-primes_5903%3Aprime-lenses 
 
oh just realized there is a nifty Meike 12mm f/2 Lens for Sony E at only $199! Of course with a MFT level "crop" in 120fps UHD, that's no longer ultrawide, but it is still a nifty wide angle lens with a fast f2 aperture for very little money! 
https://www.bhphotovideo.com/c/product/1714074-REG/meike_mk_1220cfmf_e_12mm_f_2_0_aps_c_manual.html (or go 2mm wider for more than double the cost! With the Meike 10mm f/2)
 

Sorry, I didn't quite word it correctly. 
The Venice, FX9 and FX30 (apparently) all have true Dual Base ISO sensors. This means that at ISO 800 and 2500 (for the FX30), there is the exact same noise and dynamic range.
The FX6 and FX3 on the other hand have 'dual sensitivities' of 800 and 12800 but 12800 has more noise and less dynamic range than ISO800. They are not exactly the same. 
Article here explaining it better. https://sonycine.com/articles/what-is-dual-base-iso-/

For a lot of my use cases, I'll be using my old Metabone Speedbooster that I had for the FS7 on the FX30 with Leica R glass. Extra stop of light back and FF to boot. Makes the FX30 super flexible.
In addition, the Speedbooster means that the 4k 120p mode is now roughly APS-C crop. Winning!
I'm also liking the announced Meike EF to E mount adaptor with built in Vari ND. If the quality of the ND is good, I can see the FX30 replacing my 2 BMD P6K Pro's!

Doesn't quite work that way. There are plenty of times when shooting with the FX6 that I've found I need more ISO than 800 but really don't need 12,800. 12800 is not a native ISO on the FX6 sensor and there is noise. FX6 is Dual Base ISO...not dual native ISO. A lot of the times, I don't want to shoot at 12800 and use ND when what I really need is an ISO of around 3200.
For professional use, the closer native ISO's of the FX30 are far more usable. Sure, if you want to shoot by the light of the moon just because you can, then go for it but usually there is no need. Saying that, the FX30 looks quite usable at 12,800 especially with a bit of noise reduction in post.

Sorry, I didn't quite word it correctly. 
The Venice, FX9 and FX30 (apparently) all have true Dual Base ISO sensors. This means that at ISO 800 and 2500 (for the FX30), there is the exact same noise and dynamic range.
The FX6 and FX3 on the other hand have 'dual sensitivities' of 800 and 12800 but 12800 has more noise and less dynamic range than ISO800. They are not exactly the same. 
Article here explaining it better. https://sonycine.com/articles/what-is-dual-base-iso-/

Hundreds of thousands of euros???
Oh no, I bet ARRI spent tens of millions on development of the new ARRI 35 camera!
Wow, digital has become (when done right) "more filmlike" than film itself!
 

Not really sure what the last few pages have been about? Are we trying to justify an APS-C sensor as being good enough for a Netflix or Theatrical release?
Maybe Arri should weigh in here on why they would have spent hundreds of thousands of euro on developing a new S35 camera that is not good enough for the big time. Maybe every rental house I know, that all have ordered and received their new S35 sensor Arri camera could also weigh in here? With so much $$ at stake, you'd think they all would have done some research to learn that nothing less than full frame is really acceptable today. 
If only Arri, the rental houses and top DP's watched YouTube reviewers .....a lot of money could have been saved by not buying or even developing a useless 'crop' sensor camera.  
 
 
 
😉

Not really sure what the last few pages have been about? Are we trying to justify an APS-C sensor as being good enough for a Netflix or Theatrical release?
Maybe Arri should weigh in here on why they would have spent hundreds of thousands of euro on developing a new S35 camera that is not good enough for the big time. Maybe every rental house I know, that all have ordered and received their new S35 sensor Arri camera could also weigh in here? With so much $$ at stake, you'd think they all would have done some research to learn that nothing less than full frame is really acceptable today. 
If only Arri, the rental houses and top DP's watched YouTube reviewers .....a lot of money could have been saved by not buying or even developing a useless 'crop' sensor camera.  
 
 
 
😉

Also, when working professionally....it's not just about which camera has the best specs. It's about which camera is most accepted in a given workflow. 
For the broadcast documentary work I do, Sony is king here. Producers/Editors prefer working with two Sony Cameras than one Sony and one Blackmagic for example. Same workflow, same codecs etc. FX6 and FX9 are hugely popular so a Sony B Cam makes sense. 
For the higher end commercial work I do, It's pretty much all Arri. Surprisingly, when needing a B or C Camera for Car rigging or just general crash cam use, Blackmagic Pocket 6K Pro is is accepted my many. An FX3 or FX6 or even the FX30 just wouldn't fly with production houses shooting Arri but Blackmagic does. Not just because of the brand of camera, it's about the colour science, the codec (ProRes and BRAW more accepted in commercial world, XAVC more accepted in Broadcast world) etc. Sure, you can match the Pocket6K colour wise to the FX6 but if the production house doesn't have to in the first place because the two cameras are matched out of the sensor then they are going to prefer that workflow.  Broadcast content won't go through as extensive color grading as higher end commercial work so giving them two matched cameras saves them time in post.
So while many YouTubers lament over tech specs and pixel peeping, to most professionals what's technically the better camera is not what's most important. It's what camera will get you the most work and to get more work (apart from natural talent obviously) it helps if you have equipment that fit's the production houses workflows. My personal camera for holidays/kids shot is a Fuji X-T4 and I have been with Fuji since the X-T1 as I love them but they never make it out as a Cam because production don't know Fuji despite it being the better choice for some uses.

Django pretty much covered all my responses but I'll emphasise that a Metabones speed booster is not a low quality piece of glass. People lump it in the same category as a lens doubler which is trying to stretch an image out and therefore you end up losing light and image quality. I'd bet my cameras that no one would notice when I had the speed booster in when it comes to image quality. The speed booster actually helps the image quite a bit and the image is indestinquishable from one shot without a speed booster (again, when it comes to image quality). Just because there is extra glass involved, does not mean the quality is being lowered.
Do you judge the quality of a lens based on how many elements it has? Surely a lens with 17 glass elements will be of lower quality than one with 15 elements? No. Extra glass does not always mean lower quality. 
Most of my work is with the FX6 and FX9 using Leica R lenses that have been cinevised. These lenses are tiny despite being full frame and the speed booster really doesn't add much bulk to the whole package. To be honest, these new FX3's (and therefore FX30's) are tiny bodies to start with and I actually prefer bulking them up a little to make them easier to handle when handheld. I also have the Sigma cine 18-35 and 50-100 and it will be great to be able to use these APS-C lenses as I love them both and not completely sold on FF for every job. 
I'm actually looking forward to the possibility of Sony (maybe!) releasing an FX60!!
As Django mentioned, The speed booster also helps with the lower ISO performance of the APC-C sensor compared to FF.  I don't shoot lowlight much and really never need anything close to ISO12,800 but the speed booster essentaily gives the FX30 native ISO's of 1600 and 5000. I like the much closer spaced native ISO's of this camera over the FF Sony sensors. 
 

Also, when working professionally....it's not just about which camera has the best specs. It's about which camera is most accepted in a given workflow. 
For the broadcast documentary work I do, Sony is king here. Producers/Editors prefer working with two Sony Cameras than one Sony and one Blackmagic for example. Same workflow, same codecs etc. FX6 and FX9 are hugely popular so a Sony B Cam makes sense. 
For the higher end commercial work I do, It's pretty much all Arri. Surprisingly, when needing a B or C Camera for Car rigging or just general crash cam use, Blackmagic Pocket 6K Pro is is accepted my many. An FX3 or FX6 or even the FX30 just wouldn't fly with production houses shooting Arri but Blackmagic does. Not just because of the brand of camera, it's about the colour science, the codec (ProRes and BRAW more accepted in commercial world, XAVC more accepted in Broadcast world) etc. Sure, you can match the Pocket6K colour wise to the FX6 but if the production house doesn't have to in the first place because the two cameras are matched out of the sensor then they are going to prefer that workflow.  Broadcast content won't go through as extensive color grading as higher end commercial work so giving them two matched cameras saves them time in post.
So while many YouTubers lament over tech specs and pixel peeping, to most professionals what's technically the better camera is not what's most important. It's what camera will get you the most work and to get more work (apart from natural talent obviously) it helps if you have equipment that fit's the production houses workflows. My personal camera for holidays/kids shot is a Fuji X-T4 and I have been with Fuji since the X-T1 as I love them but they never make it out as a Cam because production don't know Fuji despite it being the better choice for some uses.

maybe you need to put reading glasses on. he explained his work is mainly on FX6 & FX9 which are both FF cameras. he'd use FX30 as a b-cam so a speed booster makes sense to keep the same FoV and use the same FF lenses. 
plenty of FF cine lenses out now as well as large sensor cine cams from RED/ARRI. Sony's entire cine line from Venice down to FX3 is FF.
SMH. You must be new to lenses, my FF Leica M & Nikkor AIS glass are more compact than any modern APS-C lenses.
The extra glass from the speed booster can actually help reduce over sharpening from cameras like XH2S that have no OLPF. And the stop of light that you gain helps with S35 sensors poor lowlight performances.
He said he also plans to use S35 glass and so FX30 allows him to use both FF & S35 lenses, unlike the FX3.
I love shooting wide open at f1.4 or even f1.2. obviously for specific shots requiring isolation or a dreamy feel but you have entire films like Army of the Dead that were shot FF on a Red Monstro wide open at 0.95 on Canon Dream lens rehoused in Leica M mount:

Rules are meant to be broken. And just to prove this isn't just a one off Hollywood phenomenon, here is 6.2K open gate footage from XH2S using a speedbooster with some shots done at f0.95 (lowlight footage from scene 4):
I think the image looks fantastic personally, FF aesthetic/bokeh yet still very detailed but without the over sharpness usually associated with Fujis.

I'm agreeing with you. The FX30, if it's going to don the 'Cinema' tag, should have shutter angle and DCI. Two fundamentals of cinema shooting. 
I was merely saying that this proves the term 'cinema' camera is nothing more than marketing nonsense according to the manufacturers who tell us these are 'cinema cameras' but then omit very core fundamentals of Cinema shooting. 
Sony should be applauded for this camera but it should be a slow clap until they add shutter angle and DCI. 

That would be brilliant!!
The vast majority of people wouldn't pay to watch 4K content, YT would take their 4K-preference out of the algorithm, without 4K watching ability most people would stop insisting on 4K content, creators wouldn't be ruthlessly pummelled for not shooting 4K, and the entire platform could switch focus from irrelevant pedantry to actual real content.

It's a Fly by wire lens isn't it?
 
If so, then no matter if it's in AF or MF motors 'could' make the adjustment even if it's in MF. 
 
Either way, this looks like a great lens for video. Well done Fuji.

It's easy to clean that cable up with
some clever cable management (unlike the photo). A good 1st AC will sort that out quick smart. Having a cable means it can be adjusted and placed anywhere on the camera quickly and easily. 
 
The current Alexa Mini is pretty easy to solo operate really. Such a great menu system and most of what you need is accesible by the buttons on the EVF/screen
This may have been mentioned already but I genuinely am curious about the following..... Why isn't anyone here seriously complaining about the lack of IBIS, Auto focus or the fact that it isn't Full Frame? Is it because the camera is so far out of reach price wise that you just don't care? 
So, when other companies make cameras that are not too far away from this image wise such as Z-Cam, Blackmagic etc (I know the Alexa trumps them image wise, but I have used Pocket Cameras as B_Cams to Alexa Minis in the past without too much issue), do people complain that those camera don't have IBIS, AF and FF just because they are priced in reach of people who need those features without really realising who those cameras are aimed at? Is the Problem with other manufacturers the fact that they price their cameras too cheap?
We seem willing to accept the lack of features in a $75,000 camera but when someone comes along and gives us 70% of that camera in a much cheaper package, we wine about it not having feature XY&Z.
Not wanting to stir the pot, just genuinely interested as to how people think.

The Alexa 35 should build up quite a bit smaller than the Mini for general shooting. The problem with the Mini is that it wasn't designed to be operated on the shoulder or even on sticks. It was a small body for Steadicam, Gimbal or Drone shots. Thus, to make it work, you needed to add a cage and battery plate but due to the design of the body, the battery plate is always quite far away from the back of the camera. The new Alexa 35 doesn't have this issue so should be a much better form factor despite the possible weight increase in batteries.
Battery plate directly mounts to new Alexa 35

 
Alexa Mini solution: (Not so Mini any more)
 
 

 
 

It's easy to clean that cable up with
some clever cable management (unlike the photo). A good 1st AC will sort that out quick smart. Having a cable means it can be adjusted and placed anywhere on the camera quickly and easily. 
 
The current Alexa Mini is pretty easy to solo operate really. Such a great menu system and most of what you need is accesible by the buttons on the EVF/screen
This may have been mentioned already but I genuinely am curious about the following..... Why isn't anyone here seriously complaining about the lack of IBIS, Auto focus or the fact that it isn't Full Frame? Is it because the camera is so far out of reach price wise that you just don't care? 
So, when other companies make cameras that are not too far away from this image wise such as Z-Cam, Blackmagic etc (I know the Alexa trumps them image wise, but I have used Pocket Cameras as B_Cams to Alexa Minis in the past without too much issue), do people complain that those camera don't have IBIS, AF and FF just because they are priced in reach of people who need those features without really realising who those cameras are aimed at? Is the Problem with other manufacturers the fact that they price their cameras too cheap?
We seem willing to accept the lack of features in a $75,000 camera but when someone comes along and gives us 70% of that camera in a much cheaper package, we wine about it not having feature XY&Z.
Not wanting to stir the pot, just genuinely interested as to how people think.

The Alexa 35 should build up quite a bit smaller than the Mini for general shooting. The problem with the Mini is that it wasn't designed to be operated on the shoulder or even on sticks. It was a small body for Steadicam, Gimbal or Drone shots. Thus, to make it work, you needed to add a cage and battery plate but due to the design of the body, the battery plate is always quite far away from the back of the camera. The new Alexa 35 doesn't have this issue so should be a much better form factor despite the possible weight increase in batteries.
Battery plate directly mounts to new Alexa 35

 
Alexa Mini solution: (Not so Mini any more)