Simon Young

I own the camera, yes it can be turned off under the profile settings. If he used the FLAT setting with sharpening turned to 0 it would be a very different result.

@Juan Melara I know you probably get this all the time but you’re a genius and a prophet.

@Juan Melara I know you probably get this all the time but you’re a genius and a prophet.

@Django If we’re doing the whole anecdotal thing I can safely say I would prefer the Made in China Fuji’s. I had two X-T2s, both brand new, and both wonky, one had the screen misaligned and the other had the faux leather on the grip out of place. They both had a weird smell as well.
I also bought a brand new X100F, made in Japan of course, and the screen in the viewfinder got permanently stuck so I had to get a new copy.
Owned two different X-T3s as well, both felt really well put together and I had zero problems with their functionality, never had them lock up not even once, and they never overheated.
My current made in Japan Nikon Z6 has the card door all out of place with at least two millimeters of play from the body.
And I never buy gray market products, always from a reputable retailer in Sweden.

Really beautiful video on this post:
https://www.fujirumors.com/fujifilm-x-t4-vs-sony-a6600-ibis-managers-explains-fujifilm-improved-x-t4-tracking-mini-documentary-shot-on-x-t4-and-more/
 
The paramotoring video is the one I'm talking about. If it's handheld I feel like it looks amazing. 

I think the main problem coming from these videos is that 90% are made from photographers that have limited understanding of video work. They think IBIS is a gimbal replacement or some sort of steady cam. It is not. 
If you add to the fact a lot of the footage displaying wobble artefacts are probably using the new EIS feature, well that just adds to the misjudgment of the IBIS.
From the few footage that uses the IBIS correctly, it seems to me that it works really well. Nothing to worry about.
Same thing for AF, even Canons dual pixel AF isn't flawless and won't replace a follow focus.
There is actually technique to maximise a camera's AF sticky rate. Lens choice, lighting can also alter performance.
That's not to say these pre-production cameras don't have issues, but until they ship these videos are just what they are: an early hands-on approach.

Kacey's tests are RIDICULOUS. Who in their right mind uses a camera like that?
Plus, Gerald and Kacey were shooting on a preproduction model with lenses that probably needed firmware. I think the results of the cameras sent to various reviewers varied--which makes sense. One reviewer hooked up a GH5 and the X-T4 and did a side to side walking test---and the X-T4 acquitted itself extremely well. IMO, the X-T4 did not get a fair review with Gerald and Kacey.
Better to see Jem Scholfield-- or Gordon Lang. Really good jobs, both of them.

I think you're going to be looking at about 11 to 12 stops with F-Log--and 10 bit 422.
Fuji now includes an internal LUT for LOG shooting--it's going to make exposing F-Log much better, and make peaking more useful. Personally, I'd shoot Eterna for video except in some extreme situation. The X-T4 looks like state of the art for APS-C cameras---best in class. I LOVED shooting the X-H1--such a wonderful experience--Nikon Z6 too. Both awesome.

@Django If we’re doing the whole anecdotal thing I can safely say I would prefer the Made in China Fuji’s. I had two X-T2s, both brand new, and both wonky, one had the screen misaligned and the other had the faux leather on the grip out of place. They both had a weird smell as well.
I also bought a brand new X100F, made in Japan of course, and the screen in the viewfinder got permanently stuck so I had to get a new copy.
Owned two different X-T3s as well, both felt really well put together and I had zero problems with their functionality, never had them lock up not even once, and they never overheated.
My current made in Japan Nikon Z6 has the card door all out of place with at least two millimeters of play from the body.
And I never buy gray market products, always from a reputable retailer in Sweden.

I have the opposite experience but to each their own, I'm not trying to impose my views.. just stating my preference.

The camera is definitely weather sealed. From Fuji's website:
"The X-T4 features an all-new fixed-axis 6.5-stop* in-body image stabilization (IBIS) mechanism and a new large-capacity battery that enables extended hours of shooting. These new components are housed inside a compact weather-sealed body that is dust- and moisture-resistant, capable of working at temperatures as low as minus 10 degrees Celsius. The ergonomic grip allows you to hold the camera steady even when using larger telephoto lenses."
 

The camera is definitely weather sealed. From Fuji's website:
"The X-T4 features an all-new fixed-axis 6.5-stop* in-body image stabilization (IBIS) mechanism and a new large-capacity battery that enables extended hours of shooting. These new components are housed inside a compact weather-sealed body that is dust- and moisture-resistant, capable of working at temperatures as low as minus 10 degrees Celsius. The ergonomic grip allows you to hold the camera steady even when using larger telephoto lenses."
 

The camera is definitely weather sealed. From Fuji's website:
"The X-T4 features an all-new fixed-axis 6.5-stop* in-body image stabilization (IBIS) mechanism and a new large-capacity battery that enables extended hours of shooting. These new components are housed inside a compact weather-sealed body that is dust- and moisture-resistant, capable of working at temperatures as low as minus 10 degrees Celsius. The ergonomic grip allows you to hold the camera steady even when using larger telephoto lenses."
 

I often look at the 4 or 5 cameras in my bag and think “this cost me far too much and they’re all the same”. Then I have a cup of tea and try to forget about it.
Yes it’s true, the full frame market is overcrowded and image quality differences between them are getting smaller. What about selling 3 or 4 of those cameras, I thought to myself… And consolidating them into one giant mad one.
So this happened…
https://www.eoshd.com/filmmaking/inspecting-the-fuji-gfx-100-and-having-a-cup-of-tea/
 

Check the Z6 after you update to Firmware 3.0, I find mine to have less viewfinder delay now, though it may be a placebo effect.

It love the Z6 and the output but I’ve always had a soft spot for Fujifilm and sort of waited for them to release a camera like this (IBIS, internal 10-bit, 4k60). There’s also something about the lcd and viewfinder lag when in video mode with the Z6 that annoys me and that I never really could get over.
For stills though the Z6 is great and I might have to rebuy it when they finally release their compact primes

It love the Z6 and the output but I’ve always had a soft spot for Fujifilm and sort of waited for them to release a camera like this (IBIS, internal 10-bit, 4k60). There’s also something about the lcd and viewfinder lag when in video mode with the Z6 that annoys me and that I never really could get over.
For stills though the Z6 is great and I might have to rebuy it when they finally release their compact primes

Well neither of my XT3's overheated last year here in SW France filming 4k where in the shade, it passed 40 degrees celcius several times, so I'm not expecting the XT4 to be any different...

^Agreed. Most of my clients don't have a clue what I'm shooting with. Could I get by with a 5D3? Probably, most of my deliveries are still in FHD. New gear can be inspiring though and the features they bring are useful to me as a DP. 
XT2/XH1 has a 0.2x crop when shooting 4K. So you're really at 1.7x instead of true 1.5x APS-C/Super35 like XT3/XT4 has. 
Again, no client would ever notice that but it does make a difference when composing.
I personally skipped XH1/XT3 coming from an XT2 but will probably pick up an XT4. 
I just love those dials, overall IQ and lack of OLPF on X-Trans sensors.

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

You could buy a grip for it...

Shot this with an XT3 and GH5. 

For those grading in ACES this Z-LOG L works wonders if you set the ACES input transform to one the following:
Canon C500 Daylight v1.1 DCI-P3+   
Canon C500 Tungsten v1.1 DCI-P3+  
The gamma curve seems to line up perfectly, creating great highlight rolloff and natural color. 

A7S3 Dev Team: Ok, back to the drawing boards folks.
Seriously, I don't see how Sony or anyone is going to compete with this in the near future.
Nikon took a hard L yesterday with the D6 announcement. Now Canon is here to finish them off.
This camera feels like the true successor of the 5D3 (let's just forget the 5D4/EOS R).
No more Touch Bar, joystick & scroll-wheel are back. Even the Rate button is there, hallelujah!
Canon is back for revenge with the 1DX3 & R5. 
I'm just glad I stuck with them throughout the years (which will be regarded as the 'dark ages' lol).

Looking at a couple of the series from Japan I notice a lot of young beautiful women and a lot of weathered old people. There’s a history of objectification with most of his motifs. Coupled with the black and white hard contrast look that many great Japanese artists have wielded for me the portfolio becomes mostly style and  little substance. 
 
It’s nowhere near for example Parr or Gilden.
They are beautiful photographs but as far as art goes it’s nothing special.