EphraimP

The F250 with the V8 7.3L Powerstroke is a hell of a truck. Extra cab, not the crew, full-sized bed.

I dont use autofocus so I forgot about that one. 
I mean, i use my sony a6300 along side my S1 as a gimbal cam and its negligible once graded. 
The xt4 being 10bit pretty much means that it can look like any camera with enough adjustments. 
We're definitely in a time were most cameras can get the job done and nobody will ever notice what camera you used. 

More like 99.9%

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.

Yeah, no problem matching the two. Same sensor. It's more about the potential difference in color rendering if you are using third party lenses on one camera and native Fuji on the other. It's still not a huge problem to match them as long as you shoot a color chart to help you. 
I got a T4 to go with my T3. I'm glad I did. The IBIS isn't perfect, but if you learn how to use it properly, it does help. That's really the biggest difference besides battery life and the small size difference, on paper, since they upgraded the T3's autofocus via firmware. I've not done a side-by-side comparison to see if there are any differences. 
The extended battery life can be clutch, too. 

The F250 with the V8 7.3L Powerstroke is a hell of a truck. Extra cab, not the crew, full-sized bed.

I prefer V8.

Because you already have your new gimbal and your handheld setup, practice with the handheld setup and see if you can get acceptable shots. If not, then maybe think about upgrading the camera. Or, if you want a two-camera setup, sell some other gear for the T4, and set that up for handheld/sticks shooting and leave the T3 on the gimbal.
I don't know if you still have your Pocket 4K (if that's the BM camera you had). I'd definitely ditch that for a T4, because it has the IBIS and better autofocus you seem to want. And working with two cameras with the same color science is nice. Even with different brand lenses that handle color differently, I can correct my T3 and 4 very easily. Love that.

Because you already have your new gimbal and your handheld setup, practice with the handheld setup and see if you can get acceptable shots. If not, then maybe think about upgrading the camera. Or, if you want a two-camera setup, sell some other gear for the T4, and set that up for handheld/sticks shooting and leave the T3 on the gimbal.
I don't know if you still have your Pocket 4K (if that's the BM camera you had). I'd definitely ditch that for a T4, because it has the IBIS and better autofocus you seem to want. And working with two cameras with the same color science is nice. Even with different brand lenses that handle color differently, I can correct my T3 and 4 very easily. Love that.

Menawhile, as predicted, here in Brazil things are escalating quickly. Already in the ballpark of 2300 deaths per day, now we are on top of the ranking.

South states are already collapsed - lot of cities with 110% of capacity in the ICU's. Troves of people in the 25-40 years old dying with the P1 variant. Here in São Paulo, the largest and richier city, the health system is target to collapse in 10 days.

And still, no very strict lockdown enforced - even with the Araraquara example, the 1st city to collapse, the only one that made a more-or-less lockdown (we never had a REAL lockdown in Brazil) that resulted in a 70% reduction of new cases after 12 days. Or the Portugal example (in which @Emanuelcould talk more properly than me).

And since the central government demises masks and vaccines (today was announced the fourth REDUCTION of the vaccines available for the month, since March 1st the number decreased by 60%), we will go to the 3000-4000 deaths per day very soon.

Again: just hope to be alive to be here in 2022.

I have my X-T3 rigged out this way, with pre-amp so I can use XLR mics and multiple mics at once. Here are some crappy quick pics.  
 
You don't need to cobble together a dummy battery, Blind Spot and several other manufactures already make one.  I can't remember which one I have for this rig, a GyroVu I think. It's worked fine for more than a year. This is a heavy rig, but for hand held shots I like that the extra weight tames micro jitters and compensates for not having IBIS in the body. I also like being able to power the monitor and follow focus with one battery. 
This rig also goes shoulder mount very quickly. I have a pad that slips onto the Manfrotto tripod plate under the pre-amp. And I can move the wooden grip down with a SmallRig extension arm. To make it balance better on the shoulder, I should probably get longer rails for the battery and move it back a few more inches. A counter weight would also help. 
For a simpler solution, because you are using a monitor, you can always get Power Extra NP-F batteries with USB and DC power ports. I use this setup for my T4, which admittedly I'm using more these days for run and gun b-roll and walk and talk interviews. You can mount the monitor on the top handle, on an arm on the right side, or you can use a magic arm as a side handle if you bend it right. The only issue I see for using a T3 is that it doesn't have IBIS, so the lighter setup is going to give you more micro-jitters from hand holding.

I have my X-T3 rigged out this way, with pre-amp so I can use XLR mics and multiple mics at once. Here are some crappy quick pics.  
 
You don't need to cobble together a dummy battery, Blind Spot and several other manufactures already make one.  I can't remember which one I have for this rig, a GyroVu I think. It's worked fine for more than a year. This is a heavy rig, but for hand held shots I like that the extra weight tames micro jitters and compensates for not having IBIS in the body. I also like being able to power the monitor and follow focus with one battery. 
This rig also goes shoulder mount very quickly. I have a pad that slips onto the Manfrotto tripod plate under the pre-amp. And I can move the wooden grip down with a SmallRig extension arm. To make it balance better on the shoulder, I should probably get longer rails for the battery and move it back a few more inches. A counter weight would also help. 
For a simpler solution, because you are using a monitor, you can always get Power Extra NP-F batteries with USB and DC power ports. I use this setup for my T4, which admittedly I'm using more these days for run and gun b-roll and walk and talk interviews. You can mount the monitor on the top handle, on an arm on the right side, or you can use a magic arm as a side handle if you bend it right. The only issue I see for using a T3 is that it doesn't have IBIS, so the lighter setup is going to give you more micro-jitters from hand holding.

Ha! Curtis Judd has the flattest affect ever. I mean, some of his videos are very helpful and all, but that dude is speaks in middle grey. 
You and me both! But if you can't afford an audio guy, you gotta be the audio guy. And if you take this stuff seriously at all, you quickly learn just how important audio is.

Well yes - there's a reason why, in the *actual* film industry, nearly every DP started as an AC, every gaffer started as a grip/best boy, every producer (actual producer, not exec) started as a runner, PA and line producer. There is absolutely no substitute for hands-on learning surrounded by people who really, really know what they're doing.

😂

I get it, you're a professional and use purpose built tools. I watch your beard...I mean vlog occasionally.
This would be for chasing my toddler around and maybe a few other fun things I'll hopefully think of along the way.

The Ronin S supports Fuji, both charging and stop/start record. So I assume their other gimbals do as well. 
Interestingly, the S can also control Fuji native lens focus with the Ronin focus wheel and no external focus motor. The wheel can control the internal focus motors of the lenses. When they first introduced this in firmware, it canceled out autofocus, meaning all Fuji lenses became manual focus only when the camera was plugged into the gimbal. Now, I believe, autofocus will work and you can use the wheel to adjust focus even while autofocus in on.
Not 100 percent sure about that though. I should probably test it. Shows how much I use my gimbal these days.
 
 

Because I shoot for nonprofit agencies mostly (that's NGOs for you non-American types 😉), the videos I shoot are pretty issue specific and not at all redundant. Just yesterday I was up in a wetlands restoration project that had been burned out in a major forest fire. The Forest Service and our local land trust are replanting it. The clips I got from it will go into a three-part series of social media shorts about how the land trust and its partners are helping the community and the ecosystem rebound from this devastating event. And I maybe be able to use it in a longer term documentary about the fire and its aftermath in context of climate change and the increase of severe wildfires in our region.
That's definitely not redundant content and I'm really excited/motivated to tell these important stories. Maybe the answer to feeling like you're creating redundant content is to find unique stories that feel like they have value to you and shoot them!

If someone hasn't left their house for nearly a year they've probably got issues that extend beyond the "paranoia hysteria" that came with the COVID-19 pandemic. No one has suggested you don't leave your house, they've suggested you wear a mask, wash your hands, and maintain a distance of 6 feet. 
Regardless, you live in a country where 26 people have died of COVID-19. We're in a country where over a half a million people have died of it. It's easy to sound off and claim its paranoia when you're a world away and haven't experienced it first hand. 

For the past two years, I had 20-25 videos I shot and edited (not films, really) posted to various social media platforms. And last year I edited another 30 short videos for social media with assets provided to me by others. This was as a part-time professional. This year I went full-time, so I should see an increase in volume of output.
I definitely have learned a ton from watching tutorials online and also agree that practice makes perfect, especially on the shooting side of things. Familiarity with gear is huge.

Because I shoot for nonprofit agencies mostly (that's NGOs for you non-American types 😉), the videos I shoot are pretty issue specific and not at all redundant. Just yesterday I was up in a wetlands restoration project that had been burned out in a major forest fire. The Forest Service and our local land trust are replanting it. The clips I got from it will go into a three-part series of social media shorts about how the land trust and its partners are helping the community and the ecosystem rebound from this devastating event. And I maybe be able to use it in a longer term documentary about the fire and its aftermath in context of climate change and the increase of severe wildfires in our region.
That's definitely not redundant content and I'm really excited/motivated to tell these important stories. Maybe the answer to feeling like you're creating redundant content is to find unique stories that feel like they have value to you and shoot them!

If it's putting money in my bank account, it's not redundant.

Looks cool, but I'm holding out for a Mavic Pro 3. I find FPV footage a little nauseating to watch, but they look like fun LOL!
Chris

With almost any camera you have can benefit from an external monitor, even big cinema cameras have extra monitors being used for the operator / AC / director (or all of the above). 

Especially if you're just doing the bulk of your work as sit down interviews, I can't see why you wouldn't want to use an external monitor.