josdr

I doubt any of the videos on that channel are real. Most probably the same camera in every comparison and every single video, if the shots haven't been nicked from elsewhere. It's a clickbait account, similar to quite a few others with similar names and the same modus operandi. If you do a search for any new camera and sort by upload date you'll see a ton of this bullshit masquerading as genuine comparisons. 

...
It's a plague from these strange days. At least the model could be worthy, well, that is, if there would be signs of her there! LOL : D

That's another one of those endless fake comparison videos clogging up YT. 

Fuji has superior colour science to Panasonic, not even something to argue about here. You do not need 4:2:2 unless using a green screen but people like to repeat it because a YouTuber said so. You can do 4:2:2 externally if you use green screen extensively.  You have the best app-c mirrorless available for video, use it.
Influence your shooting environment , deny the gear acquisition syndrome.
 
Invest in a Meike cine lens if you must buy something 🙂, the 25mm is butter coupled with the x-t3.. If you like the video look, go with Panasonic
 

Great video!

Great video!

I don't click on it in sheer point of principal.
Unless it's a very nice looking lady with limited clothing in which case I overrule myself.
But if it's one of the camera reviewer crowd or anything else I might be interested in, making a mock shocked face with a caption, "you won't believe this shit!", I don't even bother to click on it and thumb you down. You just don't exist to me other than as another clickbait cretin on the internet.
And even if you don't have a clickbait thumbnail, but every single frigging time it starts with you riding around on a one wheel or walking aimlessly about staring off into the distance... well look forward to getting past puberty.
I'm off to make a video now about me making coffee.

Something I find interesting is how many have commented on the distractingly shallow depth of field, but I haven't seen anyone comment on another characteristic of this F0.95 wide-open shooting...the softness, which was to me very noticeable in wide shots. 
Goes to show that we gear-nerds and pixel peepers get way too hung up on technical perfection. I suppose it's different if you're doing product shots or ads that are trying to project a clinically cutting-edge image, but the majority of the time, no one cares that much as long as the image registers. See also on Netflix the grain storm of the 4K scanned 16mm for the new Master of None show. It blows my mind when people call images with some small, gently buzzing noise in the shadows 'unusable'.

Naughty  🙂

Fujifilm X-T4 + Fujifilm XF 16-80mm F4 R OIS WR
(perhaps pair it with a couple of primes too, if you've got the budget/time/space)

Alternatively instead of the 16-80mm F4, you could consider the more expensive Fuji 16-55mm f/2.8 (you'd gain speed, but lose reach. Or the Fuji XF 18-55mm f/2.8-4, which is the cheapest of the three but a different mix of compromises instead).

Panasonic S5, and Nikon Z6 are worth a look too. 

Even though you have already tried the Panasonic G9, it's got big firmware update in the past, and might be worth a second look again. 

I'd advised Panasonic to go full frame, but I was asking for this about 5 years ago and they moved too late. Sony had the chance to mature - expand the lens line ups and get prices down, they even got round to reorganising their menus. Shocking I know. The Panasonic S1 was great but now people are too heavily invested in Sony E mount lenses or even Fuji. The autofocus situation didn't help. The S5 is fantastic bang for buck but the body feels like a G100. Too consumer, evem compared to the A7 III. And it has to compete with the X-T4 and Fuji branding / film simulations too. Tough market.
Here's what Panasonic need to do now...
Cull almost 90% of the lower-end Micro Four Thirds line and focus on a big exciting GH6 launch, make it do what only the GH6 can do - unique sensor size, fast frame rates, no rolling shutter, add what was missing from the GH5 (phase-detect AF and ProRes / RAW) - pitch it against Blackmagic and sell it for around $2200. Rebrand it CINEMA GH6 INSTEAD OF LUMIX GH6 FFS. Even a mini-XLR and SDI port could help sell MANY GH6 bodies.
Stills is a different matter - in my opinion the market is pressing heavily toward full frame. It is in video too, but with stills cameras all being so similar, it is harder to give a small 2x crop stills camera enough 'uniqueness' to make it a viable alternative to full frame, especially now there are small full frame mirrorless lenses and the lower price Sony stuff like A7C. So the size and cost advantage of M43 is being whittled away even on the lenses side. Sigma 28-70mm F2.8 for L-mount anyone?
Clearly Panasonic is 99% committed to L-mount now.
I honestly think the writing is on the wall and there will be no GH6.
It would be a huge mistake.
My Kern Switar 26mm F1.1 is very tearful today.

This showed up Friday.  Of course, it was supposed to show up Wed and I had a job Friday I wanted to use it on. Oh well. Probably best to get some more time than that to get familiar with it before using it as an A cam on a job. Maybe I'll use it as a b-cam on a shoot this coming week
 that's lower stakes than what I was shooting Friday.

Sorry to post my own stuff again but here's my latest pandemic lock down piece. Confined to my backyard.🙄 The FP continues to inspire.
 

20Κ and pay for raw output whenever Canon feels like including it... 😁

So you want to spend more money so that you can then get a "XT4, rarely used"??

No, that doesn't seem like a wise way to spend money at all!

Wait until you have "XT3, well used" first!

Make the most of what you have currently, before thinking about spending even more money. 

I wish I had an original fp to compare to the fp L, and due to it's dismissal by most of the "popular" sources I wouldn't hold my breath on many of them doing tests. There are a few videos comparing the still aspects of each so that might tell you something.
Personally, I wanted it for both stills/video but an emphasis on stills, so the fp L made more sense. If you want strictly video the fp would be the better option. As with any high res camera it is not as good in low light, and little more rolling shutter. The only catch I see is the bit worse read off in full sensor 12bit, that the the fp doesn't have. It is most likely a limitation of the sensor. It doesn't bother me, but it might to some. Under good conditions they should be visually identical in quality, and miles better than most. 

I will disagree with MRSMW 😁 a bit  , I think x-t3 makes much financial sense when in essence you are buying the same camera as the X-T3. If you use either of the models for video ,power junkie will be your friend and I would not rate the X-T4 ibis that much. But horses for courses etc..

I will disagree with MRSMW 😁 a bit  , I think x-t3 makes much financial sense when in essence you are buying the same camera as the X-T3. If you use either of the models for video ,power junkie will be your friend and I would not rate the X-T4 ibis that much. But horses for courses etc..

I have and use both. The menu separation between photo and video is nice on the T4, as is the switch between photo and video modes. Another thing I like about the T4 is that you can easily select for audio line level in or mic level in. I haven't found a setting to do that on the T3, so if it's possible it's either buried in the menu system somewhere or I'm a dummy.
As for the screen, coming from Canon I didn't like the T3's screen articulation when I bought it. A full on flip screen is definitely better for some extremely low and high angle shots and a must for any kind of selfie work or if you are recording an interview on sticks and positioned beside the camera to talk to talent. But, on the other hand, I've come to appreciate the way the T3's screen tilts up and down from it's position in line with body. For some hand-held filming styles it works much better than the screen flipped out to the side and tilted.
 

With the latest firmware autofocus is almost the same  if not the same between the X-T3 or X-T4. You have to dial in the focusing settings withe the glass you have which is a bit of a black art with fuji.
In the long run nothing that matters is that different between the two cameras. They have the same cpu and the X-t4 has a slightly different variant of the same sensor of the X-T3 The x-t4 ibis is still not that good I think.

Here is my preliminary setup. This little setup here is amazingly powerful. 

Thank you for your answer. I do have a Shinobi and I was wondering whether the 4:2:2 recording of the ninja V would give me something more until the X-H2 hopefully comes out :). You are of course correct in all counts, especially about having a proper backup which is worrying sometimes. Quality wise I do not seem to get a straight answer and it is a testament to the integrity of your answer that you cannot possibly say a resounding yes or no to my question. Thank you for your reply.

I use Ninjas with my T3 and T4 all the time for paid work for small nonprofits and businesses. Besides the ease of editing, which you've mentioned, it seems like my Prores files tend to have a bit more latitude for color correction. I haven't done side by side test, so could just be a perception based on my expectations of a 422 file's color depth over 420. 
Using a Ninja also means I can record two high quality files for each take, so I have a backup in case something goes wrong. Hard drives for the Ninja are way cheaper per Gig of fast storage than cards. I run a 1TB drive with each Ninja and can edit straight on the drive if I don't have space on my main editing drives on the workstation. Western Digital 1TB WD Blue drives are dirt cheap at about $100 a pop. 
There are also tangible benefits to using a bright, high quality 5-inch monitor with all the exposure tools and ability to de-squeeze anamorphic, using different framing guides, etc. You can use something like a SmallHD or an Atomos Shinobi, but I figure if you're already buying an on-camera monitor, it makes sense to go with one that records too.