eatstoomuchjam

10G ethernet is only 10Gbit / 1.2GB/s but CFExpress cards can exceed this.
This test from Petapixel shows speeds up to 2.8GB/s and most of the models tested exceeded 1.2GB/s.

If BM put dual CFExpress cards in the camera then in theory this could double that throughput too.
The ethernet standard is designed for maximum throughput with cables up to 100 meters/yards long and the 10G standard for copper was announced in 2006 so it's hardly a new standard, and stuffing data through long cables is an entirely different challenge to transmitting it an inch or two!

10gE is plenty fast for a lot of things and as you said, on many productions, the camera ultimately spends more time stopped than it does rolling.  Though also for a lot of productions that I'm on, at least, it would be far from ideal to need to keep the camera tethered to a network switch so that somebody could continuously offload footage.  Though for the sort of productions that take 30+ minutes to move the camera, etc, I'm sure it would be great...  though for productions with that sort of time/budget, $1600 is a no-brainer for a second module for the DIT to swap back and forth.
Anyway, it's cool storage and I hope it becomes some sort of standard, even if for the sorts of stuff I do, CF Express will continue to be more than fast enough for a while to come.

Hmm..  10G ethernet isn't that fast I guess, but it's all relative.
For example if you're shooting the highest quality setting "12K - 12,288 x 8040 Blackmagic RAW 3:1 - 1,194 MB/s" then you'll only be able to pull it off the camera in real-time, but that's not likely to be a situation that most people would be in.
If you were shooting in 8K (Blackmagic RAW 3:1 - 533 MB/s) then you can copy it off in double-speed, or 8K 12:1 and 4K 3:1 (~133MB/s) then you're copying at 9x realtime.  Of course, most productions are going to be rolling for a lot less time than they're stopped in-between takes, so the DIT can keep pace with offloading the files off the camera throughout the shoot without having to stop the production to swap out media.  
It is a pretty low-cost way to protect yourself against camera/media failures where you'd lose the contents of the media.  
It's like that old backup saying..  Two is One and One is NONE!

What a crazy presentation with so many new and big features, but what I took away from it is this:
1) Resolve 19 is awesome.
2) When it comes to cameras, Grant knows what's up:

Improbable predictions:
BMD will announce that they have been acquired by Ricoh/Pentax Resolve will be fully dropping support for BRAW and adopting ProRes RAW New DaVinci Resolve Nano Panel with only a single trackball and no sliders/knobs/buttons New DaVinci Resolve Pico Panel with just a single small button that can only order pizza from Dominos.  What flavor of pizza?  It'll be a surprise every time. Black Magic Cloud is merging with frame.io so that customers will only have to pay one subscription fee to share with people on either system Based on strong sales of the UM12K, there will now be a UM36K which uses a beam splitter and 3 copies of the UM12K sensor for each of the R, G, and B channels similar to 3-chip camcorders of the past New AI assist camera module that detects if you aren't recording in BM raw - and if not, a small robot version of Grant Petty jumps out and punches the user in the groin until the camera settings are updated

Improbable predictions:
BMD will announce that they have been acquired by Ricoh/Pentax Resolve will be fully dropping support for BRAW and adopting ProRes RAW New DaVinci Resolve Nano Panel with only a single trackball and no sliders/knobs/buttons New DaVinci Resolve Pico Panel with just a single small button that can only order pizza from Dominos.  What flavor of pizza?  It'll be a surprise every time. Black Magic Cloud is merging with frame.io so that customers will only have to pay one subscription fee to share with people on either system Based on strong sales of the UM12K, there will now be a UM36K which uses a beam splitter and 3 copies of the UM12K sensor for each of the R, G, and B channels similar to 3-chip camcorders of the past New AI assist camera module that detects if you aren't recording in BM raw - and if not, a small robot version of Grant Petty jumps out and punches the user in the groin until the camera settings are updated

At least not new features for the stuff that's baked into the ASIC.  At least in the case of Z Cam, the E2 got so many features through firmware updates that it's basically a different camera now than when it was released.  🙂

There's almost no way that they're pushing enough data to actually require 16 lanes of NVMe, even if it's only at gen 3 speeds.  Each lane of gen3 is able to carry about 1 gigabyte/8 gigabits per second.  From what I read elsewhere, 12K at Q0 on the existing UMP is just over 1.1 gigabytes/second.  Even the upcoming 17K should, then, be kicking out under 2 gigabytes/second (or 2 out of 16 lanes).  That's also assuming gen3 speeds.  If it's gen4 or gen5, it's even more overkill.  A single modern high-performance NVMe drive can write at around 3,000MB/s. 
Anyway, to get to 8GB with off-the-shelf modules, it would either need to be 4 4GB drives in a raid 1 or 4 2GB drives in raid 0.  At $1600, they could afford the former, but I'd bet money that they're doing the latter and pocketing the money.
 
I'll hope it does drive them down, then - every so often, I get a fever and once again start leering at a used Monstro 8K VV and thinking which of my current cameras to sell/trade toward it - given that they're only about $6k used (in good condition) these days (well, probably about $7.5k after getting all the accessories that are needed for it to even function).  Then I go read stories from small shops who needed to send in their RED for service (warranty or pay for repair out of warranty) and it's like a cold splash of water on the face (if you're not a major studio, expect long waits and bad communication).  But slowly, the GAS starts creeping in again...  "But it'll match the FOV of your GFX 100 II better...  How often can a camera fail anyway?  Well, it's a RED, but... how often?  Really?"
Well, that and the fact that I get really confused when I start trying to figure out which accessories are compatible with which cameras.  Since I don't have much in the way of PL glass, I'd want an EF mount.  Can a DSMC mount work with DSMC 2?  Does it need to be a special mount for the bigger sensor?  Does a freakin' lens mount cost that much?  USED?

Anyway, if those were to drop to $4k, I'd probably be unable to stop myself from trading some other stuff in toward it.  
 
I'm less optimistic about this.  My guess is that most of the people buying it will be people already firmly embedded in the BMD ecosystem and thus other brands' cameras won't drop too much in price.  Other than "has BRAW," nearly all of the other features of Pyxis have been present on the E2-F6 since 2019.  Even after the price dulled any initial excitement, it got even duller when I remembered that I'd be trading the external monitor to record raw for an external transmitter for the image when on set.  I always forget that BMD app control is just a control surface with no image preview.
 

Oh, hey!  They finally released a box camera.  Pyxis 6K which uses the same sensor, apparently, as their full frame BMPCC.  Pyxis is compatible with the Ursa accessories including the USB EVF.
Does this mean I'm actually going to want a Black Magic camera for the first time since the original BMCC?  It might.  Let's see the price...

Oh, posted too soon.  They're also going to release an Ursa cine with a new 17K VV sensor around the end of the year.  That's even more resolution than the GFX 100 has in photo mode.  Same pixel size as the 12K version - just stretched out to 65mm wide.

Ursa Cine looks like a huge upgrade over UM12K - and priced to match.  $15k for the base package.
They kept 12K, but went full frame.  It has much better DR and even though they didn't mention it (or if they did, I missed it), RS looked pretty good in their example footage.  Media is up to 16 lanes of NVMe.  I think Grant mentioned that the camera will come with an 8TB module which is made up of 4 separate drives (each with 4 lanes of NVMe).  The camera also has 10gE for output.
As far as why there's a USB-C on the front, it's actually for the EVF which connects by a single cable.

Improbable predictions:
BMD will announce that they have been acquired by Ricoh/Pentax Resolve will be fully dropping support for BRAW and adopting ProRes RAW New DaVinci Resolve Nano Panel with only a single trackball and no sliders/knobs/buttons New DaVinci Resolve Pico Panel with just a single small button that can only order pizza from Dominos.  What flavor of pizza?  It'll be a surprise every time. Black Magic Cloud is merging with frame.io so that customers will only have to pay one subscription fee to share with people on either system Based on strong sales of the UM12K, there will now be a UM36K which uses a beam splitter and 3 copies of the UM12K sensor for each of the R, G, and B channels similar to 3-chip camcorders of the past New AI assist camera module that detects if you aren't recording in BM raw - and if not, a small robot version of Grant Petty jumps out and punches the user in the groin until the camera settings are updated

Never thought I would buy a X100VI (and a limited edition too!), But after my name got drawn out of the lottery I say why not!
The thickness of the X100 is similar to my Sony body without any lens on it, and even with that OVF it is only slightly taller but shorter than most other mirrrorless with dslr design.
The ND and IBIS does it make a more compelling video camera, I really hate to screw on and off the lens filter on trip.
Btw it can be powered by USB powerbank
 
 

Improbable predictions:
BMD will announce that they have been acquired by Ricoh/Pentax Resolve will be fully dropping support for BRAW and adopting ProRes RAW New DaVinci Resolve Nano Panel with only a single trackball and no sliders/knobs/buttons New DaVinci Resolve Pico Panel with just a single small button that can only order pizza from Dominos.  What flavor of pizza?  It'll be a surprise every time. Black Magic Cloud is merging with frame.io so that customers will only have to pay one subscription fee to share with people on either system Based on strong sales of the UM12K, there will now be a UM36K which uses a beam splitter and 3 copies of the UM12K sensor for each of the R, G, and B channels similar to 3-chip camcorders of the past New AI assist camera module that detects if you aren't recording in BM raw - and if not, a small robot version of Grant Petty jumps out and punches the user in the groin until the camera settings are updated

Improbable predictions:
BMD will announce that they have been acquired by Ricoh/Pentax Resolve will be fully dropping support for BRAW and adopting ProRes RAW New DaVinci Resolve Nano Panel with only a single trackball and no sliders/knobs/buttons New DaVinci Resolve Pico Panel with just a single small button that can only order pizza from Dominos.  What flavor of pizza?  It'll be a surprise every time. Black Magic Cloud is merging with frame.io so that customers will only have to pay one subscription fee to share with people on either system Based on strong sales of the UM12K, there will now be a UM36K which uses a beam splitter and 3 copies of the UM12K sensor for each of the R, G, and B channels similar to 3-chip camcorders of the past New AI assist camera module that detects if you aren't recording in BM raw - and if not, a small robot version of Grant Petty jumps out and punches the user in the groin until the camera settings are updated

The new automatic parameters for denoising and the film look panel in Resolve are both a bit exciting.  BMD might have just tanked sales for Dehancer and/or FilmConvert, especially if the new film look panel allows export/sharing of settings.

There are *some* advantages to being both crew and talent myself! Obviously this is a passion/learning project, though, so reshoots aren't a problem, except for getting the time to do them.
In terms of movement - I'm not missing it too much. There is one point in one shot where a subtle push-in would really help to sell the moment. I can do it in post, but that it won't have the (very mild) parallax that a 'real' push-in would give me.

Another factor for overheating can be the processor in the camera.  The Z Cam E2 series are known for running very well even in fairly extreme conditions (though other components such as memory cards, SSD's, monitors, etc overheat).  This is partly because of proper cooling/lack of IBIS, but also because a lot of image functions in the camera are done with ASIC vs the FPGA that some of the overheating cameras use.  It has the drawback that Z Cam can't implement some changes (at least not without releasing a whole new controller board), but has big advantages for cooling and power use (can run for hours on an NP-F550).
I guess they added a cooling fan to the new F6 Pro - so maybe they changed processors for it or they decided to cool the memory card, etc.

It's great that you can reshoot!
I'd also say that if the composition/angles and/or lighting are boring, moving the camera is just a crutch anyway.  Fincher's stuff usually looks great/cinematic and he rarely moves the camera.  That said, moving the camera can be a great addition to good composition and lighting.
Anyway, it sounds like you're off to a solid start!  Looking forward to seeing some wip scenes or screen grabs!
 

So an update, if anyone's interested. I shot the first scene, which was made up of 5 distinct shots. They came out OK. They were... competent, but only that. The lighting was good - nice contrast, nice colours, well-motivated, but that's all.
Can you tell I'm dissatisfied?
I was so focussed on getting everything 'right' that I didn't pay enough attention to getting it good or interesting.
So I'm going to reshoot and one of the things I'm going to do is lean in to the limitations I have - first among which is that I'm doing this almost completely alone. I am both crew and talent! The biggest limitation caused by that is that camera movement while I'm on screen is not going to happen, which means that to create interest I need to make my angles and composition more interesting.
Also, the lighting as I did it the other night looked, basically, like a commercial, not a movie, so now I'm happy with my ability to get decent levels etc, I'm going to really try to push the envelope with ratios and temperatures and try to have some fun with it.
Once I've reshot I may post both versions for comment before I continue with the remaining scenes (it's going to take a while to complete the whole project given that I work full-time and my main set is our kitchen, which is in near-constant use as my 3 children attempt to bankrupt me purely through food costs!).

There's nothing wrong with baking in a LUT if that fits your goals.

If you're handing off the footage to someone else to color/grade, they might resent you for it, though.  As long as that isn't the case, the only thing that's really "wrong" is failing to get the shot/look that you wanted.

Yeah - as kye said, ISO is not invariant between cameras.  In theory, it should be - as the name implies, there is actually an ISO standard (ISO 12232) for how sensitivity of a digital medium should be measured (and before it, there was one for how sensitivity of film should be measured), but either the digital spec is insufficiently exact or different manufacturers just choose to ignore some or all of it.
This is one of the reasons that side by side camera shootouts tend to devolve to pointless arguments and bickering in the comment section.  There are too many variables.  Similarly, the t-stops marked on different cinema lenses aren't fully consistent between vendors in how much light they transmit.  I haven't found them to be radically different (not nearly as much as with f-stops!), but there can be noticeable differences.

Without watching the videos and just looking at the screenshots, it looks like the ZV-E1 was exposed about 2/3 stop brighter than the FX30.  Assuming that it's 10-bit footage with a decent codec, you will drag a single slider slightly to the right in post and the images will look much more similar.
It is likely that the ZV-E1 has slightly more DR than the FX30 (full frame vs aps-c of a similar generation).  In the relatively low-contrast scene that's shown, if the exposure is within a stop or so of (what I think of as) correct, you would never know or care.

Without watching the videos and just looking at the screenshots, it looks like the ZV-E1 was exposed about 2/3 stop brighter than the FX30.  Assuming that it's 10-bit footage with a decent codec, you will drag a single slider slightly to the right in post and the images will look much more similar.
It is likely that the ZV-E1 has slightly more DR than the FX30 (full frame vs aps-c of a similar generation).  In the relatively low-contrast scene that's shown, if the exposure is within a stop or so of (what I think of as) correct, you would never know or care.

The pro cameras are pro because they have xls, nd, double recording, sci out, etc.
It's like saying "I really like my Toyota hatchback. it bests all of my so called super-cars and hyper-cars. if you don't care about acceleration, top speed, braking, cornering, cool factor, etc."
🙂