Totally agree with Kaster. Not being parfocal is a big problem. Not to mention the breathing. All the alternative cinema zooms available from Canon, Fuji, Zeiss and Angenieux are parfocal and barely breathe (if at all) I don't see how Sigma's rehoused stills glass is worth nearly $4K. I'll pass.
This article neglects to mention that two Sundance 2017 films were shot on Blackmagic Design cameras:
“Carpinteros (Woodpeckers)” shot by DP Hernán Herrera with an URSA Mini 4.6K digital film camera:
“Casting JonBenet” shot by DP Michael Latham with a Blackmagic Production Camera 4K
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.