webrunner5

If you have 180 shutter and shake the camera then your images will have shake and motion blur.  This will look normal because the blur will match the shake - if you shake / move left the blur will be horizontal and the size of the blur will match the shake / motion in the shot.
If you stabilise in post, you remove the shake but not the blur.  If you stabilised in post completely so that the shot had no shake then it would look like a tripod shot because the camera movement would be gone, but all the blur would remain, so a stationary shot would blur in random directions at random times for no conceivable reason.
This is a test I did some time ago comparing OIS / IBIS vs EIS (stabilisation in post is a form of EIS).  The shot at 25s on the right "Digital Stabilisation Only" shows this motion blur without the associated camera shake.
The IBIS + Digital Stabilisation combo was much better and is essentially the same as OIS + Digital Stabilisation.  
The issue here is that people using IBIS or OIS often have all the stabilisation they need from that, so the gyro stabilisation is aimed at people who have neither.  This "blur doesn't match shake" also happens in all action and 360 cameras when they shoot in low-light and their auto-SS adjusts to have shutter speeds that include blur (which is why I bought an action camera with OIS rather than EIS).

I think i am gonna use gyro stab to some degree but not 100% cos I like the handheld look, just to smooth it out. On some other particular shots I might use it more extensivly. I would also try using a gimbal with a gyro to get it as smooth as possible as I hate that robotic walking gimbal look. Or I would just use my air2s for those perfect floating camera shots. Dunno, need more experimetns. The softwae is just getting developed (I use with gyroflow for now, but I hope either Blackmagic will add support for Sony or the former will produce their promiced plugin so the workflow becomes more intuitive and simple). If I had to choose which one to get - stable footage or motion blur, I would choose stable footage, if that what I need. Some times you must have a motion blur. Just prioritize what you need.  

The R5 just became the worlds best camera

The one that came today, people getting over 2hrs of 8K without overheating.
 
EOS R5 Firmware Update Version 1.6.0
22nd July 2022
Firmware Version 1.6.0 incorporates the following enhancements:
1. Adds [Auto Power Off Temp.: Standard/High] to the menu for movie recording. When [High] is selected, the camera will not automatically turn off when the temperature of the camera body and card become high, which may allow for longer movie recording than before, depending on the shooting conditions. Note that the temperature of the bottom surface of the camera may increase at this time.
2. Adds the ability to convert multiple HEIF images into multiple JPEG images.
3. Enhances the performance of "Movie Digital IS". It stabilizes the image when taking selfies or walking shots using a wide-angle lens.
4. Fixes minor issues.

This thing is special. 

I found something interesting yesterday. When you set the fp to output raw when you have a connected monitor over HDMI that is not the Ninja V, it displays the b+w mosaic sensor image. You can clearly see all the highlights and where they're clipping because it's underexposed. Obviously if you have a Ninja V connected, it can display the image as Vlog which is more clear, but I thought this was interesting.
 

base plate sample has arrived today. Need a little adjustment😉

Peter says it overheated after 2 3/4 hours. BUT that's without recording internally (he was recording via HDMI) and with a dummy battery. He says that the camera itself felt hotter than any other camera he has felt. He was able to immediately turn the camera back on and continue recording, though. I'd be real cautious about doing that though, because it can't be good for a camera's internals to push it that hard. He thinks perhaps the overheating shut off is something programmed into the camera, but isn't sure. This was all indoors with AC. He gives the specific situation and modes he used in the video. 
I do wish he'd tested while recording internally and with a battery to see if that made a difference. 
2 3/4 hours is probably more than enough for most folks, but that the camera body itself gets so warm is a bit concerning. 

I always laugh when they want you to buy a 2500 dollar camera and they show the results using 100,000 dollars of shit and a crew of 10 to get the shot.

Ha, an influencer making videos about how to be an influencer.
He said "What do you struggle the most with as a content creator?" and I was thinking - obviously it's editing and sound design.  Then he talks about cropping to post on TikTok.  Umm, no.
I mean, I get it.  If you're an influencer then you want to shoot in 8K RAW so you can record everything and if something wonderful happens then you want to be able to crop and post on all the socials and make an edit where you crop from a wide to a mid to a long to a nasal close-up etc, but I'm just thinking - at what point would concentrating on writing and ideas be more beneficial.
 

To be fair @kye I was answering @leslie question about what it was he had seen.
And also saying that it would not be sufficient to cope with that amount of movement you are describing which by extension would not be able to protect the camera.
Back in the mists of time when dinosaurs and DJI Phantoms without integrated cameras roamed the earth, we all used a product called MoonGel to try and offset the vibrations coursing through the direct mount to the GoPro.
MoonGel was originally a dampening solution for drums and when placed between the drone and the mount was quite effective in reducing the jellovision produced by the GoPro getting vibrated to within an inch of its life during flight.
If you are fashioning/modifying a mount for the scooter then you might want to look at incorporating a similar solution to reduce the vibration transmitted to the camera.
With regard to the GX85, the big danger will come if you ride along without the camera being powered at any point as without power the sensor will be left to flop about which will potentially cause a problem.
Worth remembering that the GH5s came about in large part, apparently, because shows such as Top Gear wanted an IBIS-free version of the GH5 to deal with the vibration issues shooting in cars causing a problem with the image of the IBIS version so if you have got a non-IBIS camera then I would probably look at that as an option.

*40mm
 
4mm doesn’t exist for FF…lol

I believe you already made a very good move with your Panasonic, BM are more specialized cameras for video.
What they did to the industry is very significant though, a 4K is dead cheap and can mount almost every lens ever made, and the 6K Pro is an amazing tool with the ND and the bright and movable screen with the most popular lenses in history (EF). Internal ND is the holy grail for cheap video cameras and tick that box also.
But IBIS and good AF are very helpful tools to have and for some people must have, so they have to move to other options.
No perfect camera for everyone, but so many great ajd varied choices at the moment. Good news for all of us.

I you are happy I am happy. 🤐 But I agree with you, for the average person on here less is better in the long run. If you are not doing heavy grading why shoot 400mb/s. Hell, I was looking through some of my older stuff because one of my drives was getting full and Jesus, I had like 30 OG BMPCC Raw DNG projects on there. It was taking like a 1/4 of the damn drive up. And don't even ask about the Canon 1DC files. 😬
People that want the Sigma FP need their head examined if they want to shoot Raw out of it. Grab your ass on storage space.
I don't even need to turn the heat on in the room where my box computer is, it does all the heat I need!

https://www.xdcam-user.com/2020/06/raw-myths-you-cant-change-the-white-balance-of-the-camera-or-iso-in-post/?amp=1
 
The comments are as interesting as the article.

Its certainly not a vintage mojo lens but rather a very practical APS-C zoom that covers the narrow but  useful 27mm-52mm range and with a constant fast F1.8 aperture. It is very sharp and can really benefit from a Pro-Mist, upside being it resolves high-resolution exceptionally well. I really like to pair it on a P6K and I imagine will do well on a R7 too.. some "cinematic" examples of it:
 
 

Good point.
My Panny's are all 150Mbps 420 10 bit and my grade is fairly mild but a lot of 50% Slow mo.
I tried very briefly (once) jumping up to the 400Mbps option...but never again. I didn't see any benefit and it chewed through cards at a crazy rate.
150 therefore is Goldilocks for me.

I you are happy I am happy. 🤐 But I agree with you, for the average person on here less is better in the long run. If you are not doing heavy grading why shoot 400mb/s. Hell, I was looking through some of my older stuff because one of my drives was getting full and Jesus, I had like 30 OG BMPCC Raw DNG projects on there. It was taking like a 1/4 of the damn drive up. And don't even ask about the Canon 1DC files. 😬
People that want the Sigma FP need their head examined if they want to shoot Raw out of it. Grab your ass on storage space.
I don't even need to turn the heat on in the room where my box computer is, it does all the heat I need!

The WD disk I use is the 1tb version and there can be speed differences with the lower capacities of some drives so that could be an explanation.
With the drive/enclosure combination that I am using I can record 12bit/24fps cDNG until the battery or drive space runs out so it could be in play here.
However, I have also had problems in the past with T5s with cables so that is something to check if you have a different one around.
With regard to the higher frame rate stuff, its not something I use but testing it just now I did experience issues at 100fps up where it would record for a short time and then stop.
I resolved this in the following way :
In SYSTEM1 menu, there is an option setting called "Memory Media" where you can select between "Standard" and "Custom".
Switching it to "Custom" is to enable you to use a broader range of media than their authorised ones.
When you are set to "Custom", the USB indicator on the screen is lit in orange instead of green.
It might well be that changing to "Custom" will resolve both your long 4K recording and unable to do any recording above 60fps issues in one fell swoop.
 

Use however much you need, but be aware that how much you need can vary radically depending on what you're filming.
50Mbps is tonnes if you're filming a talking-head with a blurry background, but point you camera at a tree while there's lots of wind, or during rain or snow, or at the ocean, or from a moving vehicle, and the 50Mbps you were loving before might make you cry.
Also, if you're filming in higher frame rates and then conforming to normal speed to make things appear in slow motion then your bitrate will get stretched accordingly.  50Mbps is 25Mbps when viewed at 50% speed on a timeline, etc.
You can't add bitrate in post!

I you are happy I am happy. 🤐 But I agree with you, for the average person on here less is better in the long run. If you are not doing heavy grading why shoot 400mb/s. Hell, I was looking through some of my older stuff because one of my drives was getting full and Jesus, I had like 30 OG BMPCC Raw DNG projects on there. It was taking like a 1/4 of the damn drive up. And don't even ask about the Canon 1DC files. 😬
People that want the Sigma FP need their head examined if they want to shoot Raw out of it. Grab your ass on storage space.
I don't even need to turn the heat on in the room where my box computer is, it does all the heat I need!

And not even the way it is or was... That's what makes this both ridiculous and stupid.

Of course, there are people who want to sell to the world the wheel has been invented again:
 
While the trick is not in the device but just a whole world beyond.
 

Like I said the 150mbit 422 10bit on the S series and the GH5 is an anwesome codec. Highly recommended even for feature work I must say. Talking about acquisition of course, but that should of course be clear, if talking about codecs in cameras.:)

Like with everything, there's diminishing returns. If you're not doing a ton of tweaking in post, you really don't need huge files, especially if it's only going on YouTube. For a lot of my work 50mbps (or 100mbps in h.264) is more than enough, given the final edit will end up on a streaming service that will stream it at maybe 1/4 of that. 
That's not an argument against higher bit rate options, as there absolutely are plenty of good reasons to have that as an option, but not everything needs to have 400mbps just as not everything needs to be filmed in RAW.