Or ExFAT, which would be the best option as it can be written and on both PC and Mac like FAT32 but without the 4GB limitation.
That's odd for you to say. Some of the most talented editors I know prefer FCPX. Tends to be the less committed producer/editor folks who shun it because they don't want to invest any time in learning anything new. In any case, it's a waste that you went all this trouble to test the machine without providing any results from FCPX. The main reason so many creators have stuck with Apple is the tight integration of hardware and software. Ignorantly stating that "pros" don't use it is a poor excuse.
Yes, there is definitely a difference. Not only does FilmConvert add basic contrast and saturation to the image, many of the modeled film stock choices also add color contrast to the image. When properly dialed in, it can make skin tones pop in a way that's impossible to mimic with only simple lift gamma gain adjustments. It also rolls off saturation in the highlights in the same way as film. To accomplish that kind of roll off without FilmConvert requires either an inflexible LUT or the kind of luma v sat control that only exists in dedicated color software like Lustre, Baselight or Resolve.
Another way to think of the benefit of FilmConvert is this: digital video has only been around for a few decades and until very recently has mostly been engineered to meet the needs of television, in comparison color film stocks were continuously developed over nearly a century to meet the specific needs of cinema. By modeling film stocks for digital video FilmConvert is allowing you to access the aesthetics and color engineering wisdom of Kodak and Fuji.
HDMI? I'll pass. SDI to USB could potentially be useful in some workflows, but that's not this unit.
On FCPX the Lumberjack Systems app does the same thing (real time metadata logging) with much more control and functionality. It's nice to see something similar for Premiere Pro. Adobe used to have a time of day timecode based logging tool as part of a their now discontinued OnLocation app, but they never added that function to Prelude (which also looks as if it may be on its way out as today's pre-NAB update announcements didn't mention Prelude once).
$10K as a total budget to produce, shoot, edit, score, mix, grade, and finish Encounters at the End of the World? I call B.S. He's got some good films but he's so full of crap it's hard to take.