Not really, because that's an example where someone of limited means needs a low light camera. In a way, it would have made more sense for a gh5 sensor to come without IBIS for big budget crews needing b cams on car mounts--and put IBIS in the gh5s for indie filmmakers and event videographers who need both a great low light camera and IBIS. Remember also, that since both flavors of gh5 have woeful AF the camera op has to be hands on the entire time, often negating the external rig option.
But can't you just turn off the ibis on the gh5 already?
He did do some research. He went to a web site called "No Film School" and asked a reasonable question, for God's sake. Some of what you offered was reasonable advice, including had you phrased it in a less snot-nosed way, information that there are different kinds of 70mm stocks and formats. New filmmakers have to go through a lot of junk, they shouldn't have to be afraid of asking questions, lest the comic book store guy from the Simpsons decides to troll them with hack snobbery.
A top of the line 5k screen so small that even when you lean across the desk over the keyboard and squint you can't take advantage of the additional resolution.
It's 2017; it's ridiculous to charge 2000 for an hd cam with poor low light (therefore problematic for event videography, low budget indies, and documentaries). Even if you just need something to put in the back of the room and record, there are so many better options--and 4k allows you to punch in on someone's face if you really are just letting stationary cams go it alone. And it's sad that I've had a 4k video camera in my smartphone for four years now and they're still trying to peddle this junk.
As someone who's done his share of DP work, I've never been comfortable with the term. "Cinematographer" is a more noble and prestigious credit--and it
discourages that small but unfortunate minority of DPs who see themselves as co-director, the senior partner to the "actor's director."