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I think that if you can possibly manage it, it's best to provide the simplification yourself rather than through external means. This gives you flexibility in the odd example you need it, and doesn't lock you in over time. The basic principle I recommend is to separate R&D activities from production. Specifically, would recommend doing a test on the various ways you can do something, or tackle some problem, and the options for your workflow, evaluate the experience and results, then pick one and then treat it like that's your limitation. I'm about to do one of those cycles again, where I've had a bunch of new information and now need to consolidate it into a workflow that I can just use and get on with it. Similarly, I also recommend doing that with the shooting modes, as has happened here: I find that simple answers come when you understand a topic fully. If your answers to simple questions aren't simple answers then you don't understand things well enough. I call it "the simplicity on the other side of complexity" because you have to work through the complexity to get to the simplicity. In terms of my shooting modes I shoot 8-bit 4K IPB 709 because that's the best mode the GX85 has, and camera size is more important to me than the codec or colour space. If I could choose any mode I wanted I'd be shooting 10-bit (or 12-bit!) 3K ALL-I HLG 200Mbps h264, this is because: 10-bit or 12-bit gives lots of room in post for stretching things around etc and it just "feels nice" 3K because I only edit on a 1080p timeline but having 3K would downscale some of the compression artefacts in post rather than have all the downscaling happening in-camera (and if I zoom in post it gives a bit more extension - mind you you can zoom to about 150% invisibly if you add appropriate levels of sharpening) ALL-I because I want the editing experience to be like butter HLG because I want a LOG profile that is (mostly) supported be colour management so I can easily change exposure and WB in post photometrically without strange tints appearing, and not just a straight LOG profile because I want the shadows and saturation to be stronger in the SOOC files so there is a stronger signal to compression noise ratio 200Mbps h264 because ALL-I files need about double the bitrate compared to IPB, and also I'd prefer h264 because it's easier on the hardware at the moment but h265 would be fine too (remembering that 3K has about half the total pixels at 4K) The philosophy here is basically that capturing the best content comes first, and the best editing experience comes next, then followed by the easiest colour grading experience, then the best image quality after that. This is because the quality of the final edit is impacted by these factors in that order of importance.

He’s the only man who doesn’t hate the sound of his own voice 😉

Actually, what am I blathering about?! The only time I need the EIS is for tracking the couple, outdoors, once, maybe twice. Doh. Absolute none issue. I'll simply put it on a function button! I'd normally be tracking at '42mm' and it will be '58mm'. I'll just increase the distance between myself and the subject by a couple of feet et voila. Move on, nothing to see here 🤪

It's only "Standard" with a 1.09 crop or "High" with a 1.43 crop. There's no adjustment for the behavior, thank god. There are already so many things to adjust on this camera that trying to figure out the perfect stabilization to use on a given shot would be like trying to figure out which picture profile setting on a Sony camera works best- paralysis by analysis. I'm trying to simplify these days as it shouldn't be that hard... I might even go back to iMovie, seriously!

PicoMic is still smaller and lighter, and the newer Pro version can use a lav mic. The receiver is bigger, but it's also the storage/charging dock for the transmitters, which is handy when you're going from mic'd to not mic'd, changing speakers often, etc. They just need internal recording and they'd be perfect IMO.