fuzzynormal

Not to put too fine a point on it, but but problem with that video is that it's poorly shot, not that the 5axis is introducing some jitter into the motion image. (Which it does)
Long fast handheld pans?  Sorry, but 5axis isn't going to help in that scenario. So, the solution?  Don't do ridiculous long and fast handheld panning shots.  Easy enough  
Look, good shots need a good shooter. I don't care if you're filming with an Alexa and the worlds most expensive gimbal. If you don't know what you're doing within the limits of the gear, you're going to create garbage. 
The thing that footage is good for is recognizing the patameters of the stabilizing tech. 
If you suffer from the delusion that 5axis is going to make bad footage good...well, this should disavow you of that notion. 

When I can finally buy the perfect ink pen, I'll compose my masterpiece. It's going to be awesome. Just you wait and see.  

Well, I guess I can literally say that Olympus has been so far up my ass, that they left an impression.  I do remember laying in the colonoscopy room and thinking, "hmmm, I wonder what resolution that camera has?  Hopefully the DR is good."
BTW, John, in all seriousness, I'm trying to get an Olympus rep her in SoCal to visit a film festival I'm part of and do a demo of the EM5II and EM1MII during the event in January.  If you got any idea who I can contact, much appreciated.

Well, I guess I can literally say that Olympus has been so far up my ass, that they left an impression.  I do remember laying in the colonoscopy room and thinking, "hmmm, I wonder what resolution that camera has?  Hopefully the DR is good."
BTW, John, in all seriousness, I'm trying to get an Olympus rep her in SoCal to visit a film festival I'm part of and do a demo of the EM5II and EM1MII during the event in January.  If you got any idea who I can contact, much appreciated.

Well, I guess I can literally say that Olympus has been so far up my ass, that they left an impression.  I do remember laying in the colonoscopy room and thinking, "hmmm, I wonder what resolution that camera has?  Hopefully the DR is good."
BTW, John, in all seriousness, I'm trying to get an Olympus rep her in SoCal to visit a film festival I'm part of and do a demo of the EM5II and EM1MII during the event in January.  If you got any idea who I can contact, much appreciated.

When I can finally buy the perfect ink pen, I'll compose my masterpiece. It's going to be awesome. Just you wait and see.  

You're not wrong about Oly.  And I shoot Fuji as well, so all these things are part of the mixed bag.  The thing is, when we're talking price, when we're looking at cameras within similar classes, the difference is typically a few hundred bucks.
At a certain point, determining my camera purchase can turn into a  "penny wise and pound foolish," decision.  A few hundred, or even a grand, is a small price to pay to own and use a camera that I'm comfortable with and does the things I need it to do.
You know how it is.  You balance liabilities of the gear with the needs of your work and one's own biases.
For instance, I just did 6 30-min documentaries in 6 months.  I did it with the GX85 and EM5II.  I'm not lying when I say that I'm glad I did the job on these consumer cameras rather than something like an Arri.  One would look INCREDIBLY better than the other, and I would love to use that camera for many many many things, but I wouldn't have been able to do half the work load (nor the radically informal work that yielded a lot of good results) without the flexibility of these goofy, small, hybrid, IBIS, 8-bit, cams.
I know it's hard to fathom among a forum like this, but having the best IQ is not always a priority.
My favorite industry idioms comes from the National Geographic guys.  It's simply, "f8 and be there."  And I think you can understand the sentiment of that saying.  
That's why I can't get caught up to much in the IQ debate.  My factors for my particular work rely on a lot more than just IQ.  You'll have other needs.  Someone else will have other requirements as well.  
For instance, I'm doing a cinematic doc/narrative in 2017, and I plan on using a Sony F5 and 100% static shots, so it's always always an "it depends" sort of answer with tools one decides to use for a project.  

You're not wrong about Oly.  And I shoot Fuji as well, so all these things are part of the mixed bag.  The thing is, when we're talking price, when we're looking at cameras within similar classes, the difference is typically a few hundred bucks.
At a certain point, determining my camera purchase can turn into a  "penny wise and pound foolish," decision.  A few hundred, or even a grand, is a small price to pay to own and use a camera that I'm comfortable with and does the things I need it to do.
You know how it is.  You balance liabilities of the gear with the needs of your work and one's own biases.
For instance, I just did 6 30-min documentaries in 6 months.  I did it with the GX85 and EM5II.  I'm not lying when I say that I'm glad I did the job on these consumer cameras rather than something like an Arri.  One would look INCREDIBLY better than the other, and I would love to use that camera for many many many things, but I wouldn't have been able to do half the work load (nor the radically informal work that yielded a lot of good results) without the flexibility of these goofy, small, hybrid, IBIS, 8-bit, cams.
I know it's hard to fathom among a forum like this, but having the best IQ is not always a priority.
My favorite industry idioms comes from the National Geographic guys.  It's simply, "f8 and be there."  And I think you can understand the sentiment of that saying.  
That's why I can't get caught up to much in the IQ debate.  My factors for my particular work rely on a lot more than just IQ.  You'll have other needs.  Someone else will have other requirements as well.  
For instance, I'm doing a cinematic doc/narrative in 2017, and I plan on using a Sony F5 and 100% static shots, so it's always always an "it depends" sort of answer with tools one decides to use for a project.  

You're not wrong about Oly.  And I shoot Fuji as well, so all these things are part of the mixed bag.  The thing is, when we're talking price, when we're looking at cameras within similar classes, the difference is typically a few hundred bucks.
At a certain point, determining my camera purchase can turn into a  "penny wise and pound foolish," decision.  A few hundred, or even a grand, is a small price to pay to own and use a camera that I'm comfortable with and does the things I need it to do.
You know how it is.  You balance liabilities of the gear with the needs of your work and one's own biases.
For instance, I just did 6 30-min documentaries in 6 months.  I did it with the GX85 and EM5II.  I'm not lying when I say that I'm glad I did the job on these consumer cameras rather than something like an Arri.  One would look INCREDIBLY better than the other, and I would love to use that camera for many many many things, but I wouldn't have been able to do half the work load (nor the radically informal work that yielded a lot of good results) without the flexibility of these goofy, small, hybrid, IBIS, 8-bit, cams.
I know it's hard to fathom among a forum like this, but having the best IQ is not always a priority.
My favorite industry idioms comes from the National Geographic guys.  It's simply, "f8 and be there."  And I think you can understand the sentiment of that saying.  
That's why I can't get caught up to much in the IQ debate.  My factors for my particular work rely on a lot more than just IQ.  You'll have other needs.  Someone else will have other requirements as well.  
For instance, I'm doing a cinematic doc/narrative in 2017, and I plan on using a Sony F5 and 100% static shots, so it's always always an "it depends" sort of answer with tools one decides to use for a project.  

Eh, many just want affirmation that they're correct in their decisions.  We're all guilty of it.  Being able to step away from that insecurity is part of what separates the the accomplished from the enthusiast.

When I can finally buy the perfect ink pen, I'll compose my masterpiece. It's going to be awesome. Just you wait and see.  

When I can finally buy the perfect ink pen, I'll compose my masterpiece. It's going to be awesome. Just you wait and see.  

So, trying to function as professional in the industry is more about people skills than not.  At least that's been my experience at the level I'm at.  No one's ever going to hire me because I have a craft level that's superior to those in the upper echelon of film making.  I'm just not that guy.
Which leaves me in a precarious situation --as most of the time the work I'm doing has been quick boutique "one-offs" wherein I go in for a day or two, gather footage, then take it back to the homestead and edit it together.  Rather simple, small and fun stuff to do.  Nothing special about that.  12 year olds have better equipment and do the same.
The tough situation I'm facing is that my ability to tolerate a difficult client has diminished.  Maybe it's a sign of getting older?
This is no small thing.  Seriously, the desire to coddle a client has seemingly disappeared.   For instance, I'm working on a documentary thing where the client is so maddeningly absent minded, she has forgotten about shoots, called me in at the last minute to locations, sent me on location for shoots that are irrelevant to the product, has failed to produce shoots that offer any useable coverage, won't stop talking (about herself) to the documentary subjects on location to allow clean b-roll of said subject, doesn't seem aware that words from an interview require some sort of image to cover the endless droning of a talking head, refuses provide interview (trans)scripts with accurate time-code, etc, etc, etc.... 
Basically, she's kind of incompetent (from my point of view) to direct documentaries.  Nice person, but her choices and process are maddeningly pathetic.  Nevertheless, she's paid me a flat rate to do all this stuff for her.
Aha!  Therein lies the problem.  
Never, ever, work with a bad client on a large project for a flat rate. --AND ALWAYS assume first time out of the gate, no matter how sweet they are, that you're getting in bed with a potentially difficult client.  You'll end up being exploited and resentful; resentful to your client and resentful to yourself for agreeing to such ridiculous terms to begin with.
Anyway, that's my advice.  How to y'all cope with a shitty client?  I drink lots and lots of wine and get fatter.  You? 

"I don't like movies because of the plot line."

"I no longer want to pander to the times."

FWIW, I'm undertaking an effort to transition out of doing "work-for-hire" and going into producing and underwriting my own commercial projects.  The risk is greater, the pay is less, but the creative reward and personal ownership aspect of that possibility are too intriguing.
My wife and I have spent the last decade setting up our finances with modest passive income so we can pursue this ambition.
I'm also of the mind that the current democratization of imaging equipment is going to make technical accomplishments very very moot in the immediate future.  And the people that rely only on their expertise in using that technology might become moot as well (outside of the upper echelon of production).
So, I want to position myself for that assumption.
What I offer creatively HAS to be more valuable than the gear I bring to the table.  If I don't believe that, then I'm in the wrong biz'ness completely.

So, trying to function as professional in the industry is more about people skills than not.  At least that's been my experience at the level I'm at.  No one's ever going to hire me because I have a craft level that's superior to those in the upper echelon of film making.  I'm just not that guy.
Which leaves me in a precarious situation --as most of the time the work I'm doing has been quick boutique "one-offs" wherein I go in for a day or two, gather footage, then take it back to the homestead and edit it together.  Rather simple, small and fun stuff to do.  Nothing special about that.  12 year olds have better equipment and do the same.
The tough situation I'm facing is that my ability to tolerate a difficult client has diminished.  Maybe it's a sign of getting older?
This is no small thing.  Seriously, the desire to coddle a client has seemingly disappeared.   For instance, I'm working on a documentary thing where the client is so maddeningly absent minded, she has forgotten about shoots, called me in at the last minute to locations, sent me on location for shoots that are irrelevant to the product, has failed to produce shoots that offer any useable coverage, won't stop talking (about herself) to the documentary subjects on location to allow clean b-roll of said subject, doesn't seem aware that words from an interview require some sort of image to cover the endless droning of a talking head, refuses provide interview (trans)scripts with accurate time-code, etc, etc, etc.... 
Basically, she's kind of incompetent (from my point of view) to direct documentaries.  Nice person, but her choices and process are maddeningly pathetic.  Nevertheless, she's paid me a flat rate to do all this stuff for her.
Aha!  Therein lies the problem.  
Never, ever, work with a bad client on a large project for a flat rate. --AND ALWAYS assume first time out of the gate, no matter how sweet they are, that you're getting in bed with a potentially difficult client.  You'll end up being exploited and resentful; resentful to your client and resentful to yourself for agreeing to such ridiculous terms to begin with.
Anyway, that's my advice.  How to y'all cope with a shitty client?  I drink lots and lots of wine and get fatter.  You? 

Looks like another great value from Panasonic.  Ridiculous how practical their cameras are.
Still interested in Oly though, ain't gonna lie.

Looks like another great value from Panasonic.  Ridiculous how practical their cameras are.
Still interested in Oly though, ain't gonna lie.

Looks like another great value from Panasonic.  Ridiculous how practical their cameras are.
Still interested in Oly though, ain't gonna lie.

Looks like another great value from Panasonic.  Ridiculous how practical their cameras are.
Still interested in Oly though, ain't gonna lie.

The last doc I made was a passion project.  My wife and I didn't pay anything to do it, 'cept our own travel costs.
Since documentary production is so simple, I can't really imagine 'em needing to be too expensive these days.  If you're capable of being your own crew, you can certainly do it for "free."

So, trying to function as professional in the industry is more about people skills than not.  At least that's been my experience at the level I'm at.  No one's ever going to hire me because I have a craft level that's superior to those in the upper echelon of film making.  I'm just not that guy.
Which leaves me in a precarious situation --as most of the time the work I'm doing has been quick boutique "one-offs" wherein I go in for a day or two, gather footage, then take it back to the homestead and edit it together.  Rather simple, small and fun stuff to do.  Nothing special about that.  12 year olds have better equipment and do the same.
The tough situation I'm facing is that my ability to tolerate a difficult client has diminished.  Maybe it's a sign of getting older?
This is no small thing.  Seriously, the desire to coddle a client has seemingly disappeared.   For instance, I'm working on a documentary thing where the client is so maddeningly absent minded, she has forgotten about shoots, called me in at the last minute to locations, sent me on location for shoots that are irrelevant to the product, has failed to produce shoots that offer any useable coverage, won't stop talking (about herself) to the documentary subjects on location to allow clean b-roll of said subject, doesn't seem aware that words from an interview require some sort of image to cover the endless droning of a talking head, refuses provide interview (trans)scripts with accurate time-code, etc, etc, etc.... 
Basically, she's kind of incompetent (from my point of view) to direct documentaries.  Nice person, but her choices and process are maddeningly pathetic.  Nevertheless, she's paid me a flat rate to do all this stuff for her.
Aha!  Therein lies the problem.  
Never, ever, work with a bad client on a large project for a flat rate. --AND ALWAYS assume first time out of the gate, no matter how sweet they are, that you're getting in bed with a potentially difficult client.  You'll end up being exploited and resentful; resentful to your client and resentful to yourself for agreeing to such ridiculous terms to begin with.
Anyway, that's my advice.  How to y'all cope with a shitty client?  I drink lots and lots of wine and get fatter.  You? 

Just as a point of physics from a goofy layman (me) that can kind of only half remember high-school science classes: molecules that get colder move slower.  After all, absence of vibration is actually absolute zero, right?
That's not exactly relevant, however.
Computer components being exceptionally cold won't change the laws of electromagnetism and the speed of light.  Waves of electricity are unaffected.
Of course, your components could get so hot that the molecules in the components would start to fly away and irradiate so violently that certain components fail.  That's always impressive.  Humans tend to like to see things burn and get blowed up real good.  It's a fun primal thing we all share.
All that said, if you computer is hot, cool it.

So, trying to function as professional in the industry is more about people skills than not.  At least that's been my experience at the level I'm at.  No one's ever going to hire me because I have a craft level that's superior to those in the upper echelon of film making.  I'm just not that guy.
Which leaves me in a precarious situation --as most of the time the work I'm doing has been quick boutique "one-offs" wherein I go in for a day or two, gather footage, then take it back to the homestead and edit it together.  Rather simple, small and fun stuff to do.  Nothing special about that.  12 year olds have better equipment and do the same.
The tough situation I'm facing is that my ability to tolerate a difficult client has diminished.  Maybe it's a sign of getting older?
This is no small thing.  Seriously, the desire to coddle a client has seemingly disappeared.   For instance, I'm working on a documentary thing where the client is so maddeningly absent minded, she has forgotten about shoots, called me in at the last minute to locations, sent me on location for shoots that are irrelevant to the product, has failed to produce shoots that offer any useable coverage, won't stop talking (about herself) to the documentary subjects on location to allow clean b-roll of said subject, doesn't seem aware that words from an interview require some sort of image to cover the endless droning of a talking head, refuses provide interview (trans)scripts with accurate time-code, etc, etc, etc.... 
Basically, she's kind of incompetent (from my point of view) to direct documentaries.  Nice person, but her choices and process are maddeningly pathetic.  Nevertheless, she's paid me a flat rate to do all this stuff for her.
Aha!  Therein lies the problem.  
Never, ever, work with a bad client on a large project for a flat rate. --AND ALWAYS assume first time out of the gate, no matter how sweet they are, that you're getting in bed with a potentially difficult client.  You'll end up being exploited and resentful; resentful to your client and resentful to yourself for agreeing to such ridiculous terms to begin with.
Anyway, that's my advice.  How to y'all cope with a shitty client?  I drink lots and lots of wine and get fatter.  You?