Extremely, makes me not trust the company at all. I'm sure it's not indicative of them as a company in general, (at least I hope not) but why would they put such a misleading frame grabs in their image? Very dishonest of them to do that.
You also might consider accomplishing the shot in two shots.
1. expose for the ground and then quickly pan up
2. expose for the sky, begin your shot on the ground and then quickly pan up to the sky.
3. combine your shots in post with a quick dissolve to make for a seamless transition from ground to sky
Of course, your pan would need to be quick enough to cause motion blur so that you can disguise your dissolve and blending of the two shots in post. So if you're going for a slow gradual pan, it's going to be much trickier and would most likely require what the two people above suggested.
Best of luck.
Yeah, I've been looking into that, thanks.
As to why I am looking for a dolly as opposed to just using a gimbal:
I need to have it be as precise as possible because I will be doing multiple takes with multiple subjects and lining them all up in post.
The thing that strikes me as silly about VR for cinematic purposes is that it introduces vast amounts of visual information but only say 15-20% of potential viewing has any real relevance. If I'm in a workshop, watching someone working on a motorcycle, why would I even want the option to stare at the wall "behind me". It feels like an extremely inefficient use of visual information and a lazy way to just throw vast amounts of information at people and expect them to construct their own experience.
To obtain the same efficiency out of a single 360 frame as filmmakers can with a single traditional frame, you would have to cram enormous amounts of relevant information at which point, the sheer volume would be too much for an audience to even take in. Unless you limit your movie to staying at fixated points long enough for people to absorb everything you've put into a single 360 degree frame.
I can see how VR would have great use in educational capacities and certainly interactive gaming (when the game is centered more on action than narrative substance), but there would have to be some major changes made for it to be practical for cinematic use, in my mind. The entire time I was watching "Jump', I felt like I wasn't getting enough out of any of the frames before I was violently shifted to the next location. I found myself having to pause and explore the entire environment before I could really let the scene sink in. And even then, I was constantly wondering whether or not I was missing something going on behind me that was equally as interesting as what was happening in front of me.
To make VR effective for cinematic use, there has to be a way to ensure audiences that whatever is going on behind them is not equally or more important than what they're already watching every step of the way. At which point, you've basically defeated the purpose of having a 360 degree field of view. But that, I feel, is what they need to address. It's a neat technology and the implications are exciting, I just think they have a loooong way to go before it will be a practical tool for filmmakers instead of just a kitch trend.
There's a couple things wrong with this comparison.
1. I've owned and shot many projects on the gh4 for over a year now and I've never gotten images as horrible looking as the ones you're using to compare with the gh2.
2. You're not even comparing similar shots, you're comparing completely different shots with completely different light set-ups and environments.
You're either inept for thinking your comparison and "research" is indicative of anything worth noting or you're immature for posting an entirely troll bate post for the sake of attention.
Okay, so the event has passed and I've come to the conclusion of what I would've done better if I could re-do it all.
The answer: I would've asked a lot more questions and been much more discerning before agreeing to work on his movie to get a feel for how legitimate his project actually was. Also, not to let a dollar sign or promise of fame dictate my professional choices which is a tactic that was used to get pretty much everyone involved from the beginning.