We have several Osmo4 and 5 pros and Osmo Pocket 3 - rigged for in car shooting.The firmware was the latest.

The image quality and low light ability was great.
The satbilization on both was terrible.
The car would turn a corner and the video looked like it was panning and floating like it was on a ship. No setting other than stabilization off fixed this on the Osmo's. Stabilization "off" gave a lot of vibrations in the image.

The Osmo4 and 5 - drifted heavily on acceleration or decelleration, as if the camera was being tilted up and down. They were locked on mini arms with arri lockng pins to a suction cup, so it was 100% not the arm moving. On corners it would drift left or right. I was surprised by how much it moved. It made the footage almost unuseable. There needs to be some sensitivity setting, or adjustments to ignore these large accelerometer moments and just hold a frame.

With the Osmo Pocket with face tracking on, it would drift so much that the face track lost tracking. If Face track is on, and the car accelerated or decellerated, it would counter act by tilting up or down. This is unacceptable. It should keep the face in the right place regardless of accelerometer input. With facetrack off and tilt lock on - it would still drift up and down and left and right. An unacceptable amount. No gimbal setting would get rid of this over acting stabilization.

I would like to send you footage so that it can be fixed. I cannot post it publically because it is from a TV series.

is there a vid to show that

It’s disappointing to hear about the stabilization issues you’ve encountered, especially when using such reputable gear like the Osmo 4 and 5 Pros, as well as the Osmo Pocket 3. These tools are often relied upon for their portability and advanced stabilization, but it sounds like the performance in your car-mounted scenario fell far short of expectations.

From your description, it seems the gimbals are overly reliant on accelerometer data, leading to the drifting and panning effects when cornering, accelerating, or decelerating. This behavior undermines the primary purpose of the stabilization—holding the frame steady—and can render footage unsuitable for professional use. The issue with FaceTrack losing tracking due to these accelerations further highlights a significant gap in its functionality.

Given that your rigging was done with professional-grade tools, such as mini arms and Arri locking pins, and securely mounted to suction cups, it’s clear the problem isn’t mechanical movement but rather the gimbal’s software or hardware failing to adapt to the dynamic conditions of in-car filming. This kind of scenario calls for either customizable sensitivity settings or a firmware update that prioritizes frame lock over responding to extreme accelerometer inputs.

To address these issues:

Feedback to DJI: It’s vital to share your detailed feedback with DJI directly. Since you can’t post footage publicly due to the nature of the TV series, DJI’s support team can handle the footage privately. Their engineers may use this to refine the firmware for future updates or suggest temporary settings adjustments to minimize these effects.

Post-Production Stabilization: While this doesn’t fix the root issue, software like Adobe After Effects or DaVinci Resolve offers stabilization tools that might help reduce the drift and shake in your footage. Combined with masking techniques, you could improve certain shots without sacrificing too much quality.

Vehicle Vibration Minimization: If the base footage vibrates due to the vehicle’s movement, it may amplify the stabilization’s overcorrections. Consulting with a <a >bmw workshop near me </a>  or a similar high-end automotive specialist could help ensure the car’s suspension and balance are optimized, reducing vibrations during shooting.

Alternative Mounting and Rigging Options: Even though your setup is professional, trying alternative shock-absorbing mounts could make a difference. Certain rigs are specifically designed to minimize gimbal overcorrection by isolating it from sudden jolts and accelerations.

This issue highlights a gap in current stabilization technology for dynamic environments like vehicles, where gimbals struggle to differentiate intentional movement from external forces. Your input could be pivotal in driving improvements to the Osmo line for filmmakers facing similar challenges.

If you need assistance with framing your feedback for DJI, selecting post-stabilization tools, or finding a BMW workshop near me to assist with vehicle tuning, let me know!