kye

OIS or IBIS have almost no problem dealing with severe vibrations. Their killer is dust. Even if your lens is "weather sealed", its not immune to dust. Stabilizer being on lens or sensor, use very tiny metal balls lubricated by a special oil, to move smoothly. If that oil contaminated by environment particles, it loses its required viscosity, and the result is jumpy moves. 

I use them for delivering recorded and live lectures & meetings (using Teams). The Atem handled the green screen side of things so I had the Keynote slides behind me. 

I’d definitely go with 2 (or more) AIDA cameras fed into a BM Atem for this. They are cheap and capable and the setup is easy to use (either live streamed or recorded - in the latter case there are, of course, multiple options either to record each camera separately and mix in post or simply to record a single output from the Atem).
I use 2 x HD100A but there are other more expensive options.
 

Are you not glad? Hau else are you going to shoot your TikTok videos if not open gate?

Thanks for the detailed info on the 700D. Had no idea. I'll be sure to check out some vids on YT. Incredible to think there's so much the ML team have pulled out of these little cams :)

I’m still very intrigued by the Canon 70D. That organic ML RAW image, but with DPAF. 

I don’t trust the IBIS in my GX85 that much any more. I had a problem with it moving when the camera sits stable even when off that I documented before in another thread here. That was fixed with a firmware update that I somehow had missed but to my disappointment the IBIS sometimes does that even now. Not so pronounced as before but it does it unexpectedly and I found others have had this problem with their GX85s so I don’t think it’s my specific camera but rather a general problem. 

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.

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!

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.
 

ML with Canon truly is some special images.  If you can get over the lower DR, poorer lowlight, and lack of stabilisation then the images can be truly excellent.  I found the grain from it on my 700D to be spectacular as well, very natural feeling.
The other camera that seems to get forgotten is the 700D.  When I last checked it was at the cutting edge of the ML development as one of the most active developers had one, so it got every new feature basically immediately.
The limitation of the 700D compared to the 5D was that the 700D only had ~1700 pixels across the sensor (IIRC that was every third pixel) and if you wanted more horizontal resolution than that then you'd have to crop pretty severely into the sensor, but 1.7K RAW upscaled to 1080p didn't look too bad, especially if you were going for a slightly more organic look.  
The image from the 5D is nicer of course, but I'm yet to see images that the EOS-M can do that the 700D couldn't.

Looks like it might be time for this gem again....
 

Looks like it might be time for this gem again....
 

Looks like it might be time for this gem again....
 

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!

Yes, it would be similar to the top end bodies from Canon and Nikon that have a built-in grip.  I presume it will be called OM something since they started with the OM series now. 

I haven't weighed it, but I suspect that my 3d printed SSD holder with half of a Sandisk Ultra 3D 500GB in it weighs a little bit less than the Andycine thing, given that the Andycine one is metal and has multiple screws to hold everything in place.  But the Andycine is already only 55g - so the weight savings would be extremely minimal (if they even exist)... and given that mine relies on holes for ventilation, I suspect that the Andycine will be more robust in light rain, etc.  Anyway, if every single milligram counts, you could use mine as a start and modify it to be even smaller and lighter - I think the end away from the SATA interface could be about 3mm closer to the SSD and the ventilation holes could be made a bit bigger, at the cost of structural stability.  In addition, instead of using the tiny screws to hold the SSD in place, you could use a few dabs of superglue.  Overall, you might be able to drop the weight of my thing by around 20% with all those changes (but it already weighs almost nothing).
To make it even lighter YET, you could probably just take the bare circuit board and use some sort of small shim to hold it the right distance from the inner shell and use a piece of tape to keep it from falling out.

I feel like there used to be NP-F330's, but I can't remember if they were smaller (and if so, by how much) than an NP-F550.  One thought is that there are different capacities of NP-F550 when I look on Amazon.  Some of the lower-capacity ones might weight less (less lithium inside them) - as long as the manufacturers don't put some lead or similar in them to make them feel more "professional."
Can you relocate some of the weight elsewhere?  You could use a dummy NP-F with the Ninja and connect it to a V mount in a backpack or on your belt.

Are you willing to modify the Ninja V itself and probably void your warranty and/or increase overheating risk?  A simple first thing might be to remove as many screws as possible (if there are 4, usually two diagonal screws are enough to hold things in place, for example).  In this YouTube video, the guy disassembles his to fix it.  There are multiple sets of screws inside where you could almost certainly remove a few.  Maybe there's a lighter version of the fan in a similar form factor.  If you were going to mount it on a drone or similar, you could experiment with removing the cooling fan.  If you're flying it around on a drone, there might be enough natural airflow to keep it from overheating.  If you're handy enough, you could probably even run it completely without the backplate and just wire in some other battery to the contact points for the rear battery shield.
https://www.youtube.com/watch?v=18hMNzn34R8

 
 

A lot of that depends on resolution and camera though too. Like the C100 always impressed me with its imagine given it was only what, 24mbps? On the GH5 I could probably find a scenario where I could break it, but I've never had any problems when filming 100mbps in 4K, which would be about 50mbps in h.265 like the OP is using. The only time these days that I really notice mushy or blocky video is when given footage from action cameras and some phones to edit. 

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!

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!

Helium balloons? 

I haven't tested any of these things but from what I've read online there's very little to worry about. I think I remember reading that you can set the fan on low if you're worried about fan noise with an onboard mic.
It's too mild in Ireland to test these things. We're supposed to be experiencing Europe's heatwave at the moment. Here in Dublin the highest temperature today was 27C 😂

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!

hey guys!! please help me so i can recommend camera(s) for my friends new ~low budget youtube show~
its a satire of a typical late night talk show... from carson to the present, very similar sets, right? desk, two chairs/couch, etc. this will be a small set in a living room – not the ed sullivan theatre, just fyi
the director wants to start with two cameras, allowing for the possibility of adding more in the future, but they need to match – meaning: we need two inexpensive identical camera bodies. two of the same camera
the camera needs to:
- have reasonable image quality
- shoot forever without overheating
- have a front facing flippy screen
- be super affordable
- it does NOT need to shoot stills at all, a 'camcorder' is totally a possibility (something in know nothing about)
suggestions??
 
please help!! thank you!! love u guize!!!
 

Also remember that if you initiate video recording, with the mode dial in any photo mode it ignores the exposure settings and records in 'full auto' exposure. You can force shutter priority in this situation by using the 'flicker reduction' setting in the menus to force 1/50, 1/60, 1/100 or 1/120 shutter speed, but that's all.  I assume (but don't know for sure) this situation carries over into any custom presets derived/generated from photo mode. To get full exposure control for video you have to use 'creative movie' mode on the dial.
Only exception to the above is '4k photo' mode, which records 4k video but uses the current photo exposure settings (as it's regarded as a photo mode).
As an aside, my Olympus E-M1 ii does basically the same thing, except that it doesn't have the same 'flicker reduction' workaround, so you have to switch to 'movie' mode to get shutter priority for video (which is annoying when switching between video and stills frequently).