Ed Andrews

It always sways when you pick it up, it's just using the light pinch of the fingers around the gimbal keep it where you want it. It'll come in time with practice. It's some zen like control that develops. Then you starting sprinting with it.

Glidecams and Gimbals are like swords and guns. The sword (glidecam) takes more skill and precision but doesn't jam, run out of bullets and just needs a bit of sharpening from time to time - if that isn't stretching the metaphor too far. I still use mine for a lot of run and gun stuff and when you need that little bit of paralax. It's great for solo shooting. I've nothing against gimbals but the glidecam seems to be doing 90% of the job it can do without all the extra hassle. All horses for course though

If you are shooting SLog2 with A7s mk1/2, try giving the Arri Rec709 LUT a shot. It's now my go-to one for standard, naturalistic stuff. Used after primary adjustments for exposure, it pulls the slightly iffy sony colour into decent shape and gives a slight warmth in the skintones.

I often feel the reason people are so in awe of cameras Red and Arri are because they are invariably used in productions where there's a team of highly skilled professionals working with good lighting, locations and post-production/grade. They see the finished shots and immediately think its down to the camera, not all the other stuff that's going into it. I feel my work has improved massively in the last year through nerding up on lighting techniques and working with some great people. Invest your money in those sort of things...