63degreesnorth

I feel that the Panasonic Varicam LT is one of the most underrated cinema cameras of the recent era. 

Just the timing and market was bad for it. 

Varicam S35 before it wasn't too successful (too expensive, and too heavy? And late-ish to market), thus even though the Varicam LT was 98% of the Varicam S35 but at a cheaper price and a lower size (addressing the two biggest issues of the Varicam S35), there wasn't the strong success of the Varicam S35 to build upon. 

Plus by the time Varicam LT arrived, it was already too late, ARRI had their claws solidly into the higher end market, and the Varicam LT was still too expensive when the likes of the Sony FS7 / Canon C300mk2 did the job well enough for the low/mid budget and were massively cheaper. The Varicam LT just couldn't find a large enough niche to be a huge hit with.

Just give plenty of SDI outputs, with full individual control over each, and let people use their own preferred monitors. 

There may be a third factor at play, although it would be invisible to film-makers.
That would be where clients have a keen sense of what the image they want looks like, and they learn that all the examples of the shows they like were shot on the Alexa, so they just know to ask for that.  Sure, they wouldn't know what the letters "DR" are as an acronym, and they wouldn't know what "Dynamic Range" means as a pairing of two words, but they might know what it looks like.
One example of that is how women have more refined perception of colour than men, meaning they see clearer than men do, but mostly won't know the technical terms.  Most of the people I run into in real life that have a honed sense of taste / aesthetic such as visual artists, interior designers, etc have very astute perception but lack the technical vocabulary to explain it.

Yes of course it's multiple frames at different exposes fused together. Tap the shutter button and it's done for you, by a neural network no-less, with AI. And certainly more than just 3 frames fused together, due to the speed of the sensor.
The GFX 100 burst isn't fast enough for this to work.
It does show that small, fast smartphone sensors can overcome shortcomings like dynamic range, with computational photography.
They have never been able to beat a medium format camera, massive 44x33mm sensor with 100 megapixel before.
The Huawei is the first to do this.

I use the 1/8 Black Promist filter on that exact lens A LOT, and I highly recommend it. Subtle, but great.

6K users, how tight is the EF mount on your cameras? One of the only things holding me back from upgrading my 4k to the 6k is that i'm worried the mount is loose. Its not an issue on the 4k as i've added a Cine Lock Speedbooster.

I've used the XH1 and now own an XT4.
The XT4 is definitely just... better when it comes to IBIS. I found the XH1 to be sickeningly bad for the way I shoot, I had to get rid of it asap. Those little quantised jumps in sensor movement were destroying shot after shot. The XT4 has similar but more well-controlled issues I suppose. It's not up there with Panasonic IBIS though (not like GH5 anyway).
 
You're right about the planes of movement thing, this is the key with Fuji IBIS I guess. It just can't handle any sort of movement in more than one plane at a time. Tilt while panning? You'll get tiny jerks and catch-up movements in the stabilisation. Likewise strafing or raising the position of the whole camera in space while panning or tilting. You have to be very deliberate with the XT4 handheld movements. I never use the DIS digital stab. The IS Boost seems to be okay, to be honest I can't tell the difference in what that's doing half the time. It's performance may have been altered a bit in one of the firmware updates and I'm just confused about its efficacy now at this point.
Something about the XT4 footage stabilises pretty nicely in post, thankfully. Maybe the good performance for rolling shutter is important there. Stick (in DaVinci Resolve anyway) to the straightforward 'translation' type stabilisation and you can avoid the dreaded "warpy shit". So if you're happy enough to polish your footage after that way, you'll get perfectly great results with the XT4 IBIS, yes. Especially with a heavier setup, I guess.
The codecs are really great. I'm delighted with how well they hold up in terms of noise and dynamic range. They playback/edit fairly well for h265 and all too on my laptop.

Man, I've been shooting full frame glass on crop sensor bodies since the 30D (up through the 70D and 80D). Now, between my Metabones and Vizelex nd throttle I can either get that full frame FoV with increased aperture or boost my focal length with VND behind the glass. 
If the X-H2, when it finally comes out, is closer to a cine Super 35 cine camera than a full frame hybrid, I personally will be in heaven and snatch one right up.

My review is coming up soooon.
www.youtube.com/anamorphiconabudget

Thanks for the responses.  I'm also concerned with the resampling from 6K to 4K.  I know that is not optimal, but how much of an issue is it in real world situations?  I have the original pocket and the fact that the sensor is 1920 x 1080 and it shoots 1920 x 1080 makes for a remarkably clean image.  The Pocket 4K and Pocket 6K have this "feature", but the bloated size of the new pockets (compared to the original) is a major issue for me.  The FP's form factor is great and the full frame sensor is not such a bad thing.  However, I'm interested in FP owners' comments on how the 6K to 4K resampling affects image quality in a real world sense (I know this is subjective, but still interested in everyone's thoughts).  Any comparison to the pocket 4K or 6K would be useful as well.  Thanks in advance!

I personally agree that exposure is not really an issue. I'm used to using a light meter or a grey card and false color with the Digital Bolex or Fuji X-T3, and for the most part that can be done with the fp. Highlight clipping is more tricky though.
Sorry if the topic has been derailed. I was originally commenting on what the external raw recording may bring to the table as far as more accurate monitoring, and how that may relate to the "none" picture mode. If you want I can post on the other thread instead.
I did also mention that people are creating great images with this camera. I saw some of your gorgeous images. Regardless of its quirks when it comes to color workflow, it has a lot going for it. It just depends on the context. I work in film post production and so maybe I'm being too demanding as far as what I expect from this camera, but it seems close to usable in that context.
What I'm actually advocating is something much more simple and robust than the rather complex ideas that I see people posting using the log curves of other cameras, which are not necessarily technically accurate workflows anyway. But I understand people need to fill in workflow gaps.