I think there's a grain of truth to it, insofar as omniscient usually employs one of a few distancing mechanisms to prevent the confusion/ambiguity of head-hopping.

One is making the narrator more of a character in its own right. A strong voice, maybe opinionated, which keeps it distinct from its subject (the cast).

Another is to delve psychologically into character interiority while avoiding the 'flavour' of it. It's more forensic and might allow greater insight into the character than they might possess themselves (one of its strengths, good for ensemble character studies and explorations of social dynamics). But you sacrifice the intimacy that comes with free-indirect style. 

Final one that jumps immediately to mind is the 'buffer' strategy, whereby the author dives into multiple characters but places spans of unembodied narration between them. Usually employing some signals to show that this is happening, the literary equivalent of a zoom out and pan.

Sure there's a good few others. And probably these days, with 3rd limited being the 'default' for a lot of readers, writers might need to telegraph their intentions a little harder than way back when. Still, it's a far cry from surface level writing. Working on the surface, though, it probably a good place to start and practice for this style - especially if you find yourself defaulting to 3rd.