EphraimP

This is interesting. I haven't posted on my T4 recording torture test yet. Last weekend I tested 4k 24p recording times in my office at 79F/26C. I was able to get almost 2 hours out of the camera, ending the test when the battery died. I recorded for about 24 minutes in 4K (limited by the amount of space on my card) then messed around the menu system, recorded a minute or so in 1080, reformatted the card and then recorded about 74 minutes in 4K by restarting record each time it ended after timing out.
During this time, I was also feeding signal to my Ninja v to monitor recording. OIS on my 17-55 was enabled, as was IBIS (but not boost mode if I remember correctly). The camera was positioned on my desk on a Ronin-S, so the stabilization wasn't actually needed. I'm not sure how much heat the IBIS generates if it's on but not actually needed. I had the screen flipped out to dissipate heat. The camera definitely got hot to the touch but didn't trigger an overheat warning or limit record times above the normal limit.
After I put in a new battery and reformatted my card, I put on my new Speedbooster with an EF 50 1.4, switched to photo mode and took a bunch of jpegs of one of my dogs, who was sleeping on my office couch (photo below, just for fun).
So, at least at reasonably warm indoor temperature overheating doesn't seem to be an overheating problem, at least not one that would cripple a reasonable video workflow. ~Two hours of actual record time on a shoot is pretty long. As I mentioned before, I got about 2 hours of total use time outside on a 90+ degree day recording external 4K plus internal 1080. I'll try to do an outdoor torture test soon, but I'm not sure how to set it up with monitor (because I'm chained to the computer until I finish editing a project for a client). So far, overheating on the T4 isn't going to hold me back. IBIS

That's complete bullshit. As others have stated, a 4K workflow, even for 1080 delivery, is standard now. I've got about 20 Terabytes of storage sitting on my desk top right now, in mixed SSDs and spinning disks. Cost a couple hundred bucks. 3 Terabytes worth of SSDs in my editing machine, cost a couple hundred more. The 1 Terabyte drives I use for my two Ninja 5 recorders cost a bit over a hundred a piece. Really big budget.
Why are we feeding the troll? I know, I feel like doing it too. But it's pointless. He either doesn't actually know much about video production, or he's a Canon shill, or, most likely, he's just here to troll. Lame.
 He doesn't believe in the cripple hammer, which is unfortunately very real in this case, hit him with the ban hammer.

Meh. The screenshot is nice. The actual footage didn't look impressive, at least on my screen. Not bad, just not better than a lot of current hybrid footage. Definitely didn't seem on a level with cine camera footage, though some other Komodo clips have, at least for me. 

There is absolutely no problem to match these three lenses with the 10-bit F-log. 

This is interesting. I haven't posted on my T4 recording torture test yet. Last weekend I tested 4k 24p recording times in my office at 79F/26C. I was able to get almost 2 hours out of the camera, ending the test when the battery died. I recorded for about 24 minutes in 4K (limited by the amount of space on my card) then messed around the menu system, recorded a minute or so in 1080, reformatted the card and then recorded about 74 minutes in 4K by restarting record each time it ended after timing out.
During this time, I was also feeding signal to my Ninja v to monitor recording. OIS on my 17-55 was enabled, as was IBIS (but not boost mode if I remember correctly). The camera was positioned on my desk on a Ronin-S, so the stabilization wasn't actually needed. I'm not sure how much heat the IBIS generates if it's on but not actually needed. I had the screen flipped out to dissipate heat. The camera definitely got hot to the touch but didn't trigger an overheat warning or limit record times above the normal limit.
After I put in a new battery and reformatted my card, I put on my new Speedbooster with an EF 50 1.4, switched to photo mode and took a bunch of jpegs of one of my dogs, who was sleeping on my office couch (photo below, just for fun).
So, at least at reasonably warm indoor temperature overheating doesn't seem to be an overheating problem, at least not one that would cripple a reasonable video workflow. ~Two hours of actual record time on a shoot is pretty long. As I mentioned before, I got about 2 hours of total use time outside on a 90+ degree day recording external 4K plus internal 1080. I'll try to do an outdoor torture test soon, but I'm not sure how to set it up with monitor (because I'm chained to the computer until I finish editing a project for a client). So far, overheating on the T4 isn't going to hold me back. IBIS

Meh. The screenshot is nice. The actual footage didn't look impressive, at least on my screen. Not bad, just not better than a lot of current hybrid footage. Definitely didn't seem on a level with cine camera footage, though some other Komodo clips have, at least for me. 

I didn't say speedbooster autofocus is "good" in my earlier post, I said it works and I need to test it more. I have been using in AF-C. So far, I've only been able to test it with UMC lenses. The autofocus seems to track as well as with native lenses, which is pretty good until it inexplicably looses a face (which is Fuji problem in general right now). When changing focus, the EF lenses I've used can hunt and go in and out while trying to lock on. I think that's more to do with the UMC lens motor than anything to do with the electronic connection of the speedbooster.
I bought my daughter an EF 50 1.4 USM and played with it on the T4 before I gave it to her. Autofocus hunting was horrible, but the image was very nice opened up all the way. It makes me really want a fast niffty fifty! Any suggestions out there about which EF 50 has the best autofocus performance for under $1k? I'm wondering if I should get a EF 50 to use with the speedbooster, or get a Fuji 35mm. I like manual focusing but there are times when it's great to have autofocus. Also, I'm loving the fact that the speedboster gives another stop of aperture. 

v60 is fine. I have a Lexar 126G SDXC II V 60 card rated for 150 MB/s that's worked great. In the second card slot I usually have a San Disk Extreme 32G SDHC V30 card rated at 90MB/s that B&H sent with the camera.

Have you any full frame f2.8 zooms you could try it with (for stills and video AF) and report back?!
Something I am very interested in right now.
@Dustin re. XH1, sorry, I only think in 4K 60 terms as I do a lot of slowed down footage!
A used XT3 with an 18-55 has to be one of the best value kits right now. It’s just the longer end that I use that kills it for my work, but otherwise superb.

Nuts isn't it! This is the 'flagship'. 2005 called and wants its camera back.

Canon have said they may add C log 3 via firmware which would obviously improves things, but with the much much larger issues I can see that going to the back of the dev queue.

I've also been super happy with my T3. Love the image quality out of it and the film simulations for photo. I have been able to get the Ninja to work fine with it and really like getting a 422 Prores file to edit, plus a much bigger monitor with a full suite of monitoring tools is clutch.
I've mainly used the 18-55 on it; it really is a decent lens if a bit slow. A key benefit of the X-mount system that hasn't been mentioned yet is cheap, good cinema glass. I have a Meike 25mm, and it's a great piece of glass to use, if you have a matte box to control flairs. I'll definitely be getting more of these lenses if Canon continues to screw up it's mirrorless line.
I've had the new Metabones speedbooster for a week or so. It does boost your price range a fair bit, but if you have old lenses you can use with it, it might well be worth the investment. The optical quality is great as far as I can tell. The autofocus does work, but I can't yet say whether it matches or beats native lenses because my L-glass is all quite old (~15 years) with USM motors. I'd like to try it out with STM motors or the very best new L-glass.

Yeah, it's been ridiculous how hard it has been to get a Mini Pro, or even a Mini. I got really luck in that respect. When I landed the jobs to fund the purchase and had to get one right away, I pre-ordered from B & H, which had a lead time that was acceptable. Then I found a Amazon seller with a few in stock, so I ordered from them and probably secured the last one they had in stock. I had to pay extra shipping, but it got to me before B & H even had them in stock. I thought about keeping the B & H order and selling it on Ebay, because I'd seen them going for as much As $900, but decided against it. Hopefully I got some good karma points for letting someone else get it at the regular price before B & H went out of stock again.
I get that the ISO features aren't necessary for everyone. Like I said, I'd pay the upgrade if it was possible. If you only used in to remaster one job, it would totally be worth it.

This is so depressing. 
People should never, ever buy a camera that needs some kind of third party cooling solution. Don't reward companies that put out cameras like that. 

Definetely do teh metabones review. There is lots of cheap used EF glass with great quality, so it may be worth the investment.

I feel I'm stuck. I ordered Pro and waited about 6 weeks for delivery. I actually built a little segment of my business around the functionality it gave me. Now, the ISO version presents me with a super useful and sought after feature I've wanted since I got the Pro, but long after I could return the Pro. Also, I can't really even dump the Pro in favor of ordering the ISO since I need it for my work now. 
Choice is great. I just wish I had this choice when I ordered the Pro! 

Yeah, it's been ridiculous how hard it has been to get a Mini Pro, or even a Mini. I got really luck in that respect. When I landed the jobs to fund the purchase and had to get one right away, I pre-ordered from B & H, which had a lead time that was acceptable. Then I found a Amazon seller with a few in stock, so I ordered from them and probably secured the last one they had in stock. I had to pay extra shipping, but it got to me before B & H even had them in stock. I thought about keeping the B & H order and selling it on Ebay, because I'd seen them going for as much As $900, but decided against it. Hopefully I got some good karma points for letting someone else get it at the regular price before B & H went out of stock again.
I get that the ISO features aren't necessary for everyone. Like I said, I'd pay the upgrade if it was possible. If you only used in to remaster one job, it would totally be worth it.

Yeah, it's been ridiculous how hard it has been to get a Mini Pro, or even a Mini. I got really luck in that respect. When I landed the jobs to fund the purchase and had to get one right away, I pre-ordered from B & H, which had a lead time that was acceptable. Then I found a Amazon seller with a few in stock, so I ordered from them and probably secured the last one they had in stock. I had to pay extra shipping, but it got to me before B & H even had them in stock. I thought about keeping the B & H order and selling it on Ebay, because I'd seen them going for as much As $900, but decided against it. Hopefully I got some good karma points for letting someone else get it at the regular price before B & H went out of stock again.
I get that the ISO features aren't necessary for everyone. Like I said, I'd pay the upgrade if it was possible. If you only used in to remaster one job, it would totally be worth it.

A Metabones EF to X- mount Speedbooster hit my doorstep Friday and I've started to play with it a bit. I know it was mentioned in a conversation about EF adapters on a recent Fuji thread but I can't remember which one. I'll give my impressions on it once I'm more familiar with it, if people want that. First impression it that is produces a nice image quality with my 17-40L and 180 L macro.  I took some shots with my 70-200 L 2.8 (old non-is version) but I haven't looked at them yet. The autofocus works with both the wide and telephoto zooms, though I'm not sure yet how it compares to native lenses. I did a side-by-side setup with the wide Canon zoom on my T4 and my XF 17-55 2.8-4 but I haven't had an opportunity to look at them side by side yet.
On a separate note, I'm running a test on the T4 right now to see how long it can record in DCI 24p with HDMI out to a Ninja, not recording internally. I know internal recording has limits and possible heating issues, so I'm testing HDMI out recording first. Later I'm going to test how many times I can restart internal recording in DCI or 4K before heating is an issue. I'm recording in my home office, which 78 degrees Fahrenheit, 25.5 C for those of you who live in a place with a rational measurement system. Tomorrow I'll be using the T4 on a doc project outside with temps around 92/33 degrees, so we'll see how it does in real-world conditions.
Btw, is it possible to turn IBIS completely off on the T4? When I turn off the OIS switch on my 17-55, the IBIS option is grayed out in the menu, but the boot mode is still available? And what if I'm using an non-stabilized third party lens like my L-glass or Meike prime?

Not an absolute recommendation as I don't personally own one but you might want to look at companies like Elecrow who make slim portable monitors that can be powered by USB or mains.
They have a whole range of them but this 15.6 inch one might suit your needs and definitely suits the budget !
https://www.elecrow.com/elecrow-mf156-15-6-inch-full-hd-1920x1080p-touch-screen-portable-ips-gaming-monitor.html
They are primarily for gaming or as additional screens for laptops etc so you won't get any monitoring tools and the brightness of 400 cd/m might not be optimal for you but as a budget option it might be worth looking at.
If you can live with a 10.1 inch screen then the Feelworld FW1018 might be worth a look as it has focus peaking and is 800 cd/m
https://www.bhphotovideo.com/c/product/1473463-REG/feelworld_fw1018v1_10_1_ips_4k_hdmi_camera.html/overview
Its certainly more made for the job and has SDI inputs as well as HDMI but you are then into 12v power too so that is something to bear in mind and at that size it will likely be less useful doing double duty as an extension PC monitor.

I seriously doubt anybody buying a 12K camera is buying it because they can now show audiences a 12K feature film. 12K opens up other possibilities.
I’m getting pretty sick and tired of the pervasive Luddite mentality being displayed on this forum.
There is always going to be compromises with gear. It will either work for you or it doesn’t. You give feedback. You move on. 

Northrup. Now that's funny. I'll go with Bloom's analysis, thanks very much. 

I was holding off considering an X-T4 until this dropped. And I gotta say, as good as some of the specs are, it looks like the Cripple Hammer is making this a less attractive to me than I'd hoped, especially without RAW to set it apart competitors. 
Specifically, the lack of DCI formats (and no true 24p frame rate) is a big downer. There's no good reason for it, other than to protect the R5. The codec issue everyone is talking about is also a bummer. And the recording time limit is a huge issue. True, Fujis also have a recording limit, but I've used them for more than an hour (heck for about 4 hours on one concert shoot) and haven't had a problem on my X-T3 with just stopping the recording when it timed out and starting again and getting the full time again. It sounds like both of the new R cameras have unchangeable, shorter recording limits for immediate recording restarts. Is that right? I do a number of concerts and other long-format public presentations each year (once things get back to normal) and this would be a problem, for me anyway.
Considering that B&H has the X-T4 packaged with a Ninja 5 right now for $2,226.90, I could pick that up now with a new Metabones Speedbooster Ultra for $2,875.9 for the full frame look with my EF lenses vs $2,898 for the R6 with the V-ND EF adapter ($2,598 for the bare-bones adapter).
With the Fuji I'd get to choose between Super 35 and Full Frame looks depending on lens selection, access to decent, dirt cheap mini-cine lenses (Meike), recording directly to easy to edit codecs with the Ninja with all of the great features of a 5-inch monitor plus record backup files on SD cards, the strip down to a small, light setup when required, and the joy of having to cameras that match when it comes to livestreaming or editing a two-camera setup. Oh, and better 1080 high frame rate options.
The pluses with the R6 would be better autofocus (though even the Philip Bloom video shows that with careful lens selection and setup the T4 gives acceptable autofocus) possibly better IBIS (I'm not sold on this until unbiased third-party reviewers get their hands on production models, plus Fuji seems committed to churning out firmware updates to smooth out the T4's IBIS).
Dynamic range will probably be a wash or a Fuji advantage. Same with rolling shutter. Actually, Canon hybrids have had poor rolling shutter lately, so I'm not hopeful for the R6.
I think my choice is pretty obvious. Am I missing anything?

I have my X-T3 on a rig powered by a D-tap battery. I've done multiple shoots where I've hit the recording limit and then hit record again and again for an hour and a half or more, no problem.
I've also livestreamed for 2 plus hours straight in a room warm enough to make sweat stick my shirt to my back (without recording).

You might want to invest in a drone as well. It seems drone shots are becoming standard for real estate videos. 
I'm curious what you plan to charge per video. 

You might want to invest in a drone as well. It seems drone shots are becoming standard for real estate videos. 
I'm curious what you plan to charge per video.