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DSLR Video Tips
Illustration by John Hersey

Essential GoPro gear


From:

DSLR Video Tips

with Richard Harrington and Robbie Carman

Video: Essential GoPro gear

Male 1: You open up the Go Pro box - its plate, but then it had a little slider, so it would slide about.
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  1. 1m 23s
    1. DSLR Video Tips Trailer
      1m 23s
  2. 2m 30s
    1. Goodbye
      2m 30s
  3. 2m 23s
    1. Welcome
      2m 23s
  4. 3m 36s
    1. Frame size recommendations
      3m 36s
  5. 15m 6s
    1. Exploring frame rate choices
      6m 16s
    2. Frame rate recommendations
      4m 42s
    3. Mixing frame rates
      4m 8s
  6. 9m 19s
    1. Understanding color loss
      5m 6s
    2. Understanding detail loss
      4m 13s
  7. 12m 8s
    1. Comparing sensor sizes
      3m 43s
    2. Why choose a cropped sensor
      4m 40s
    3. Why choose a full sensor
      3m 45s
  8. 9m 9s
    1. Understanding how DSLR viewfinders react when recording video
      2m 11s
    2. Understanding live view
      6m 58s
  9. 8m 39s
    1. Understanding aspect ratio
      4m 14s
    2. Why shoot 16:9
      4m 25s
  10. 8m 6s
    1. Composition matters
      3m 24s
    2. Exploring the action-safe area
      4m 42s
  11. 23m 7s
    1. Understanding card speeds
      8m 59s
    2. Shooting video
      6m 42s
    3. Shooting time lapse
      7m 26s
  12. 11m 27s
    1. What is rolling shutter?
      5m 50s
    2. Avoiding rolling shutter
      5m 37s
  13. 8m 11s
    1. Moiré explained
      3m 10s
    2. Avoiding Moiré
      5m 1s
  14. 7m 36s
    1. The dangers of tiny screens
      1m 22s
    2. How to set focus before recording
      6m 14s
  15. 9m 32s
    1. Using your HDMI port
      5m 17s
    2. Adapting HDMI to SDI
      4m 15s
  16. 20m 6s
    1. You call this a mic?
      4m 7s
    2. The impact of Auto Gain Control
      4m 34s
    3. The dangers of not monitoring audio
      7m 27s
    4. Using an attached mic
      3m 58s
  17. 4m 44s
    1. Shutter speed explained
      4m 44s
  18. 19m 49s
    1. The Exposure Triangle for low light
      3m 40s
    2. Adjusting aperture
      5m 46s
    3. Adjusting ISO
      5m 24s
    4. Adjusting shutter speed
      4m 59s
  19. 12m 26s
    1. Avoiding lens flare
      2m 8s
    2. Using a lens hood
      2m 46s
    3. Using a matte box
      4m 15s
    4. Exploring other strategies for avoiding lens flares
      3m 17s
  20. 17m 20s
    1. What causes shake?
      3m 23s
    2. Using a stable platform
      9m 27s
    3. Fixing shake in post
      4m 30s
  21. 16m 24s
    1. What are prime lenses?
      3m 21s
    2. Exploring low-light performance
      3m 2s
    3. Working with shallow depth of field
      4m 31s
    4. Examining cost issues
      5m 30s
  22. 11m 39s
    1. What is a matte box?
      4m 2s
    2. Discussing the benefit of filters
      4m 19s
    3. Reducing lense flare
      3m 18s
  23. 14m 19s
    1. What is an EVF?
      2m 51s
    2. Checking focus
      3m 56s
    3. Checking exposure
      3m 28s
    4. Viewing camera settings
      4m 4s
  24. 12m 5s
    1. What is a loupe?
      2m 38s
    2. Proper focus with a loupe
      4m 18s
    3. Proper exposure with a loupe
      5m 9s
  25. 10m 33s
    1. What is a monopod?
      2m 39s
    2. Exploring stabilized shooting
      4m 28s
    3. Exploring overhead shooting
      3m 26s
  26. 13m 48s
    1. Why use a dedicated audio recorder?
      2m 42s
    2. What inputs do I need?
      5m 7s
    3. File formats to choose from
      5m 59s
  27. 17m 6s
    1. Setting levels
      6m 10s
    2. Monitoring sound
      6m 51s
    3. Slating takes
      4m 5s
  28. 6m 22s
    1. Apps you can use to record sync sound
      2m 55s
    2. Adapter cables
      3m 27s
  29. 10m 1s
    1. Why does my exposure change with a zoom lens?
      1m 21s
    2. F-Stop reviewed
      2m 58s
    3. Strategies for dealing with the problem
      5m 42s
  30. 13m 37s
    1. How can I check my focus?
      1m 27s
    2. Zooming in
      3m 14s
    3. Using a target
      3m 44s
    4. Using AutoFocus at the start
      5m 12s
  31. 17m 19s
    1. How many batteries do I need?
      1m 27s
    2. Power or no power
      4m 6s
    3. Other batteries to consider
      6m 35s
    4. Strategies for lengthening battery life
      5m 11s
  32. 27m 29s
    1. What adapters should I carry?
      1m 21s
    2. Adapting audio
      7m 13s
    3. Adapting video
      8m 54s
    4. Power options
      4m 9s
    5. Connecting gear
      5m 52s
  33. 16m 4s
    1. What type of microphone should I use for run-and-gun shooting?
      2m 16s
    2. Built-in microphones
      3m 36s
    3. Shotgun microphones
      4m 27s
    4. Microphone preamps
      5m 45s
  34. 13m 38s
    1. What type of microphone should I use for an interview?
      2m 2s
    2. Lavaliere mic
      6m 35s
    3. Boom mic
      5m 1s
  35. 16m 45s
    1. Why do I need a fluid head?
      3m 6s
    2. Standard photo head drawbacks
      4m 1s
    3. Why use a fluid head?
      6m 9s
    4. Converting a photo tripod
      3m 29s
  36. 13m 34s
    1. Why should I use a slate?
      2m 0s
    2. Using a digital slate
      5m 13s
    3. Using a physical slate
      3m 32s
    4. Alternate metadata
      2m 49s
  37. 10m 42s
    1. DSLR recording time limits
      4m 14s
    2. Legal limits
      6m 28s
  38. 22m 37s
    1. Is the Canon 6D right for me?
      2m 36s
    2. Beneficial features of the Canon 6D
      3m 41s
    3. Drawbacks of the Canon 6D
      4m 21s
    4. Menu options of the Canon 6D
      11m 59s
  39. 21m 17s
    1. The Nikon D600
      2m 38s
    2. Beneficial features of the Nikon D600
      6m 4s
    3. Drawbacks of the Nikon D600
      3m 45s
    4. Menu options of the Nikon D600
      8m 50s
  40. 8m 39s
    1. Can I attach lights to the camera?
      4m 57s
    2. Moving lights off-center
      3m 42s
  41. 18m 4s
    1. How do I get my camera into tight spaces?
      1m 58s
    2. Using GorillaPods
      3m 52s
    3. Using additional Grip Items
      4m 30s
    4. Using a DINO
      3m 50s
    5. Using a Lens Skirt
      3m 54s
  42. 17m 42s
    1. How can I get smooth tracking shots?
      1m 42s
    2. Walking the camera
      7m 55s
    3. Using sliders and dollies
      8m 5s
  43. 23m 1s
    1. How can I fix shaky shooting?
      4m 37s
    2. Fixing shaky shooting in Final Cut Pro X
      8m 54s
    3. Fixing shaky shooting in Premiere Pro
      9m 30s
  44. 15m 18s
    1. How should I manage my cards in the field?
      2m 16s
    2. Using card wallets
      5m 33s
    3. Mirroring your data
      7m 29s
  45. 23m 56s
    1. How do I transfer my footage?
      12m 15s
    2. Monitoring your footage
      11m 41s
  46. 26m 28s
    1. How do I rack focus?
      1m 47s
    2. Using a Prime Lens
      8m 22s
    3. Using a Zoom Lens
      9m 13s
    4. Using a follow focus
      7m 6s
  47. 23m 8s
    1. How do I clean my camera?
      2m 55s
    2. Keeping the lens clean
      7m 48s
    3. Cleaning the sensor
      8m 14s
    4. Performing a wet sensor cleaning
      4m 11s
  48. 23m 58s
    1. How do I get slow motion footage?
      1m 50s
    2. Setting up slow motion in camera settings
      4m 57s
    3. Slow motion in Final Cut Pro X
      6m 17s
    4. Slow motion in Premiere Pro
      3m 57s
    5. Slow motion in After Effects
      6m 57s
  49. 14m 53s
    1. How do I import into Final Cut Pro X?
      59s
    2. Transferring from a card into Final Cut Pro X
      5m 3s
    3. Importing footage into Final Cut Pro X
      8m 51s
  50. 12m 10s
    1. How do I import into Premiere Pro?
      1m 19s
    2. Transferring from a card into Premiere Pro
      3m 55s
    3. Importing footage into Premiere Pro
      6m 56s
  51. 19m 13s
    1. How do I sync sound in post?
      1m 20s
    2. Syncing sound with Final Cut Pro X
      4m 40s
    3. Syncing sound with Premiere Pro
      5m 57s
    4. Syncing sound with Plural Eyes
      7m 16s
  52. 12m 50s
    1. Lighting with available light
      2m 23s
    2. Calculating the sun's position
      2m 7s
    3. Reflectors
      1m 42s
    4. Shiny boards
      1m 31s
    5. Evaluating the results
      5m 7s
  53. 16m 2s
    1. Lighting with alternate sources
      3m 3s
    2. Battery operated LED lights
      2m 15s
    3. Using an inverter
      2m 28s
    4. Using a generator
      1m 19s
    5. Flashlights & GL-1
      1m 28s
    6. Evaluating the results
      5m 29s
  54. 26m 3s
    1. Shooting in small places
      1m 44s
    2. Using portable lights
      8m 0s
    3. Compact lighting
      1m 8s
    4. Lens choices
      1m 31s
    5. Mounting the camera
      2m 11s
    6. Remote operation
      4m 24s
    7. Evaluating the results
      7m 5s
  55. 11m 37s
    1. Follow focus overview
      2m 25s
    2. What is a follow focus?
      2m 38s
    3. Setting the marks
      1m 56s
    4. Operating follow focus
      1m 4s
    5. Evaluating the results
      3m 34s
  56. 13m 57s
    1. Achieving critical focus
      2m 36s
    2. Punching in on LiveView
      2m 5s
    3. Using a loupe
      2m 14s
    4. Using auto focus before the shot
      2m 20s
    5. Using a monitor
      2m 30s
    6. Change the aperture
      2m 12s
  57. 23m 0s
    1. Exposure
      2m 21s
    2. The impact of sensor size
      2m 25s
    3. ND filter
      2m 51s
    4. Variable ND filter
      3m 4s
    5. Matte box
      3m 39s
    6. Evaluating the results
      8m 40s
  58. 10m 29s
    1. Backlit subjects in production
      2m 20s
    2. Shooting "in the middle"
      2m 23s
    3. Overpowering the backlight
      1m 30s
    4. Evaluating the result
      4m 16s
  59. 31m 22s
    1. Backlit subjects in post-production
      1m 54s
    2. Look at scopes
      5m 20s
    3. Enhancing the shots
      4m 51s
    4. Enhancing with Speedgrade
      9m 31s
    5. Enhancing with plugins
      9m 46s
  60. 7m 3s
    1. Audio for interviews
      2m 1s
    2. Placing the mic
      1m 29s
    3. Interview techniques
      1m 36s
    4. Interviewee placement
      1m 57s
  61. 11m 57s
    1. Shooting a product shot
      1m 30s
    2. Building the backdrop
      1m 25s
    3. Compact lighting
      2m 59s
    4. Cleaning the object
      1m 16s
    5. Using a macro lens
      2m 25s
    6. Using a turntable
      2m 22s
  62. 9m 8s
    1. Using a field monitor
      1m 44s
    2. Connecting the monitor
      1m 19s
    3. Using peaking and using focus in red
      1m 36s
    4. Using color assist
      2m 34s
    5. Looping the monitor
      1m 55s
  63. 13m 25s
    1. Scopes
      3m 37s
    2. Reading the histogram
      2m 11s
    3. Reading a waveform monitor
      2m 38s
    4. Reading a vectorscope
      4m 59s
  64. 30m 59s
    1. What is a GoPro?
      2m 35s
    2. The GoPro bodies
      3m 53s
    3. Essential GoPro gear
      9m 0s
    4. Powering the GoPro
      6m 13s
    5. Accessing GoPro menus
      3m 34s
    6. Essential menu commands
      5m 44s
  65. 9m 2s
    1. Exposure
      1m 1s
    2. The exposure triangle
      2m 40s
    3. Evaluating the settings
      5m 21s
  66. 15m 48s
    1. What is aperture?
      3m 29s
    2. A DP's perspective on aperture
      45s
    3. Adjusting aperture
      2m 14s
    4. Evaluating the shots
      9m 20s
  67. 14m 4s
    1. What is shutter speed?
      3m 58s
    2. A DP's perspective on shutter speed
      1m 37s
    3. Adjusting shutter speed
      2m 54s
    4. Evaluating the shots
      5m 35s
  68. 18m 12s
    1. What is ISO?
      5m 12s
    2. A DP's perspective on ISO
      1m 52s
    3. Adjusting ISO
      2m 49s
    4. Evaluating the shots
      8m 19s
  69. 7m 41s
    1. Controlling exposure beyond camera settings
      2m 44s
    2. Adding light
      2m 54s
    3. Adding filtration
      2m 3s
  70. 19m 27s
    1. Getting the camera higher
      2m 26s
    2. Using a monopod to extend your reach
      2m 46s
    3. What is a jib?
      3m 33s
    4. Operating a jib
      6m 21s
    5. Evaluating the shots
      4m 21s
  71. 18m 14s
    1. The Blackmagic Pocket Cinema Camera
      4m 38s
    2. What to look out for
      5m 3s
    3. Pocket Cinema Camera workflow
      3m 51s
    4. Evaluating the shots
      4m 42s
  72. 17m 15s
    1. Shooting with a GoPro mount
      5m 14s
    2. Connecting a GoPro remote
      2m 46s
    3. Viewing with a remote app
      3m 48s
    4. Recording with a remote app
      3m 11s
    5. Evaluating the shots
      2m 16s
  73. 14m 15s
    1. Using a click track
      1m 28s
    2. Creating a click track
      5m 10s
    3. Playing a click track in the field
      36s
    4. Recording with a click track
      53s
    5. Syncing in post
      6m 8s
  74. 7m 5s
    1. Preparing for a shoot with multiple DSLR cameras
      2m 10s
    2. Scouting the location
      1m 16s
    3. Lighting for multiple cameras
      48s
    4. A DP's perspective on multicamera lighting
      1m 56s
    5. Matching cameras
      55s
  75. 5m 21s
    1. Doing a shoot with multiple DSLR cameras
      2m 21s
    2. Positioning the cameras
      1m 2s
    3. Syncing the cameras
      1m 2s
    4. Directing the shoot
      56s
  76. 16m 59s
    1. Achieving a film look
      2m 36s
    2. Post-processing to achieve a film look: Part one
      7m 20s
    3. Post-processing to achieve a film look: Part two
      7m 3s
  77. 28m 47s
    1. Black Magic Cinema Camera
      3m 44s
    2. Things to Look Out For
      9m 41s
    3. Recording with the Blackmagic Cinema Camera
      2m 15s
    4. Focusing
      3m 17s
    5. Evaluating the Shots
      5m 12s
    6. RAW Workflow
      4m 38s
  78. 15m 50s
    1. Achieving a film look
      2m 28s
    2. Post-processing to achieve a film look: Part 1
      8m 45s
    3. Post-processing to achieve a film look: Part 2
      4m 37s
  79. 18m 58s
    1. Shooting time lapses with a GoPro
      2m 25s
    2. Setting up the GoPro
      4m 30s
    3. Accessing the footage
      4m 52s
    4. Processing the footage
      7m 11s
  80. 21m 21s
    1. Why assemble a time lapse?
      1m 59s
    2. Assembling a time lapse in Photoshop
      6m 36s
    3. Assembling a time lapse in Premiere Pro
      7m 43s
    4. Assembling a time lapse in After Effects
      5m 3s
  81. 22m 40s
    1. Processing multiple-camera footage
      1m 42s
    2. Organizing the media for Adobe Premiere Pro
      5m 36s
    3. Syncing in Adobe Premiere Pro
      6m 20s
    4. Editing in Adobe Premiere Pro
      9m 2s
  82. 15m 1s
    1. Processing multiple-camera footage
      1m 8s
    2. Organizing and syncing media for Final Cut Pro X
      5m 13s
    3. Editing in Final Cut Pro X
      8m 40s
  83. 21m 56s
    1. How do I get a GoPro in the air?
      2m 1s
    2. Attaching a GoPro to a quadcopter
      2m 23s
    3. Calibrating the quadcopter
      2m 13s
    4. Flying with the GoPro on the quadcopter
      3m 48s
    5. Evaluating the quadcopter footage
      5m 49s
    6. Getting more control with the quadcopter
      5m 42s
  84. 15m 58s
    1. Sliding the camera
      3m 1s
    2. Tabletop dolly
      3m 8s
    3. What is a slider?
      3m 55s
    4. Using a slider
      3m 32s
    5. Slider versatility
      2m 22s
  85. 13m 14s
    1. Shooting with an iPhone 5S
      2m 58s
    2. Shooting slow motion
      3m 11s
    3. Accessing footage
      3m 17s
    4. Assembling footage
      3m 48s
  86. 16m 9s
    1. Benefits of mirrorless cameras
      2m 48s
    2. Mirrorless workflow
      2m 41s
    3. Things to look out for
      6m 10s
    4. Evaluating the footage
      4m 30s
  87. 26m 6s
    1. What is Log?
      2m 40s
    2. Why should you shoot Log?
      6m 7s
    3. Using a LUT with Dynamic Link
      8m 11s
    4. Creating a LUT in Adobe Speedgrade
      9m 8s
  88. 30m 34s
    1. Matching cameras
      1m 58s
    2. Variables
      4m 22s
    3. Calibration
      8m 42s
    4. Evaluating the shots
      3m 5s
    5. Matching Log footage
      6m 30s
    6. Matching ProRes
      5m 57s
  89. 11m 39s
    1. Achieving a film look
      3m 7s
    2. Using Resolve presets
      4m 29s
    3. Color grading from scratch
      4m 3s
  90. 19m 1s
    1. Achieving a filmic look
      3m 58s
    2. Using Speedgrade presets
      7m 34s
    3. Color grading from scratch
      7m 29s
  91. 11m 48s
    1. Remotely controlling a camera
      1m 34s
    2. Attaching a CamRanger
      2m 38s
    3. Creating a network
      4m 50s
    4. Controlling with an iPad
      2m 46s
  92. 10m 49s
    1. Taking a look at shaky footage
      1m 45s
    2. Fixing shaky footage in Final Cut Pro X
      3m 18s
    3. Fixing shaky footage in Adobe Premiere Pro
      5m 46s
  93. 14m 46s
    1. A quick overview of site surveys
      1m 25s
    2. Anticipating the weather
      3m 11s
    3. Taking panoramic site photos with Occipital 360
      3m 46s
    4. Collecting location information with PanaScout
      2m 48s
    5. Portable and mobile pro audio to go
      3m 36s
  94. 24m 54s
    1. Taking a look at third-party plugins
      3m 21s
    2. Exploring Tiffen Dfx Filter plugins
      6m 59s
    3. Boosting creativity with Tiffen Dfx Looks
      4m 3s
    4. Exploring the Magic Bullet Suite
      5m 45s
    5. Taking your footage further with Magic Bullet Looks
      4m 46s
  95. 9m 1s
    1. Scouting the lighting situation out on location
      1m 10s
    2. Using Lighttrac to determine sun or moon position
      2m 12s
    3. Using Sun Seeker to track sun or moon position
      3m 2s
    4. Determining the position of the sun or moon with Focalware
      2m 37s

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DSLR Video Tips
24h 8m Appropriate for all Jul 06, 2012 Updated May 16, 2014

Viewers: in countries Watching now:

This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.

Topics include:
  • Mixing frame rates
  • Dealing with color and detail loss from compression
  • Comparing sensor sizes
  • Understanding how DSLR viewfinders react when recording video
  • What is aspect ratio?
  • Getting the right speed of memory card
  • Avoiding rolling shutter
Subjects:
Video DSLR Video
Software:
Final Cut Pro Premiere Pro
Authors:
Richard Harrington Robbie Carman

Essential GoPro gear

Male 1: You open up the Go Pro box - its filled with stuff, and they've got it all tightly packaged together. I think the first thing to cover is that its going to come with a case something like this. Male 2: Yeah, and you know, if you've ever watched action sports on TV, you know, a guy, you know, whatever, a race car or riding his mountain bike or something. Yeah. This is the most visible thing that you see, and these case Male 1: Its great marketing. Male 2: Yeah its great, and these cases are great. I mean they're You know, high quality polycarbonate, so they're going to take a licking and keep on ticking. Now, I don't advise you to put it through its paces to see how much force it actually takes to break.

But, you know, if you were riding a bike or something and you crashed, my experience, they do protect the camera quite well. Male 1: Well it's the same sort of material that helmets are made out of. And let's cover the two parts that are the trickiest. Male 2: Yep. Male 1: The first is opening the thing. Male 2: Male 1: You're like, I just pull here, wait, and I've see people break it. Male 2: Oh yeah. Male 1: It's a two part switch right? So the first part is you push the triangle Male 2: Yep. Male 1: in to release and then you lift the second triangle. Male 2: Then it just opens right up. Male 1: Yeah, and notice, Rob, we got one back on here. It comes with two backs in the case Why the holes? Male 2: Well, a couple of reasons.

First, if you want to have in the holes, if you want to get things like hear audio from the camera. Male 1: Yeah. Male 2: Or, you know, be able to, control other devices and other parts of the camera, that's one reason. But then the sealed back ones, I think you have one there. Male 1: Yeah. Male 2: Hey, maybe you need to waterproof the, the case if you're going on a surfboard or something like that. So you definitely, if you're going in the water or anywhere near water, you definitely don't want holes in the back of the case. Male 1: Yeah. And I've seen people make that mistake. Male 2: Right. Male 1: And they just kind of rush, so This just simply pops off you, and it's a little tricky, you gotta kind of like, find it and wiggle it, but it pops right off. Male 2: Yup. Male 1: And you can switch between, and that'll just snap on the bottom there.

Male 2: Yup. Male 1: And then we're back in the business. Male 2: Right. Male 1: Now, that's fine, and everything's good. This case is still adaptable, I'll cover some of the other backs in a second. Male 2: Yup. Male 1: You're going to have these little. You know, gizmos basically. This is the one it comes with. It snaps into place. Male 2: Mm-hm. Male 1: And what's the idea here? I. Male 2: Well, these are different mounting options and again, the thing that really makes the GoPro so versatile, is the amount of mounting options they have. Male 1: Yeah. Male 2: Like this particular one is just an adhesive back, so I could put it on a table or, you know, on the ceiling or wherever it may be. Male 1: And this one's curved, actually, bluntly for sticking it on a helmet Male 2: Male 1: You'd probably put it on top of the helmet but it's actually designed to match the curve A, and this one's flat.

Male 2: Right. Exactly. So you're going to di, different, you know, different places a mount. There's actually if you go to the Go Pro website you'll even notice that they make specific kits for different things. Like I think they have a, a surfboard, you know? Male 1: Oh yeah. Male 2: A surf option and and a mountain bike option. Male 1: And they got, they got the chest harness one and they got the headband one. Male 2: I kind of like this one so you can mount it on the handlebars, right? So you got, or a pipe or something like that that you need to. Yeah, there's a plethora of different mounting options, and the thing to keep in mind is that, you know, just the basic one comes in the actual kit. If you need to have, you know, specific situations where you need the mount, just go to the GoPro website.

But also, I will say Rich, that a lot of third parties Male 1: Yeah. Male 2: I've kind of gotten in to this whole mounting game with GoPros. And are making really, really, really unique ones. In fact, the other day I saw one that was an adhesive plate, but then it had a little slider, so it would slide about. Male 1: Oh, nice. Male 2: Three or four inches. Male 1: Nice. Male 2: Which is kind of cool. Male 1: Well, and if you're going to take advantage of the third party ones, this is something made by GoPro. Male 2: Yep. Male 1: That I find essential. Now, notice here, we actually knocked the nut off the one side. Male 1: Mm-hm. Male 1: This is one thing that tends to happen. It's very easy to lose this.

Piece. So you always want to keep some extras of those around. Male 2: Yep, yep. Male 1: But this allows you, with a standard thread, to mount this to almost any third-party device. So here I have a simple handle to transfer that. Male 2: Yep. Male 1: What do you have over there? Male 2: Yeah, I have a little mini tri-pod here, the Male 1: Yeah. Male 2: and yeah, it's just a standard thread. So I could mount that thread on here, put the GoPro And this is great for things like, hey, maybe you're going to be out in the field and you want to do time lapse with your Go Pro, or you want to take something like this and, you know, wrap it around a fence or wrap it around a light pole or something like that.

And that standard thread with that adapter is going to make simple work out of mounting the Go Pro. Male 1: Now, a little later, we're going to actually talk about the menus and specifics, but there's one menu that's critical that most people don't know about. That is that you can step in and actually flip the image. So if you want and you have to, you can end up mounting the camera upside down but still have a right-side image. Male 2: Now, Rich, there is one other piece of gear that's not mounting related Male 1: Yeah. Male 2: That I want to, I want to talk about, because I know that you have some other, other pieces that you want to talk about too. But that's this little guy. And I find this to be an essential piece of kit, with, with the go pro.

So, you'll notice that the, there's a tiny little LCD screen for basic functionality on the front of the camera. I don't about you Rich, I'm getting older, that is, that is, a little small right? Male 1: Yeah. Male 2: However, I can take this guy. Snap it on to the back of the camera, Male 1: Yep. Male 2: and now I have an LCD screen. Directly on the back of the camera itself. Male 1: and it is not just an LCD screen. Male 2: No. Male 1: It's actually a touch LCD screen, so rather than sit there having to oh, menu button, cycle cycle cycle cycle cycle, you could just tap on what you want.

Male 2: Yeah, it's great. I mean the thing about this though, is that it's an accessory, it's an additional piece. Male 1: Yeah. Male 2: And there, since they are quite small, just make sure you keep track of the actual case. Label it, that kind of stuff. I've misplaced mine for weeks at a time, because it was in the back, you know, the bottom of my backpack or something like that. Male 1: And if you are going to do that, the good news is, whenever you buy one of those accessories, you get the companion piece. So I could pop this piece off, there we go, so that comes off, Male 2: Yep Male 1: and then this snaps on, there we go, and Feel that backside there.

Male 2: Yeah. It's kind of like, flexy. You can actually still get Male 1: Yeah. Male 2: a capacitive touch on the LCD screen, which is nice. Male 1: But it is extremely water resistant Male 2: Right. Male 1: and virtually waterproof to the right level. Male 2: Right. Male 1: And they try to cut down on that, like I had another manufacturer system that's for the Go Pro that I use for diving, Male 2: Sure. Male 1: and it was a single flip lever. And I was out snorkeling with my son. And he just like pulled the lever when we were 20 feet, you know, over the water. Male 2: I'll just say this to, to cover all the bases. When it comes to water and cameras, especially protective cases, my go to test is to seal the case up, put it in the bathtub for over, overnight.

Male 1: Yeah. Male 2: And see if any water gets in. Now, of course, it doesn't take into account pressure or anything like that, but it's a good idea to test. Male 2: And they do make little adhesive pads that you can drop in there. In fact they do recommend this. Male 2: Yep. Male 1: Because sometimes you just get slight moisture Male 2: Yeah. Male 1: and it doesn't take much moisture to damage. This will soak that up. Male 2: Yep. Male 1: If the case floods, you are screwed Male 2: Yeah. Male 1: but if there is just a little bit of condensation this will pull that in. That's looking pretty good. I do want to mention one more thing for power. And, and we're going to cover powering the camera in just a moment.

But that is, there is no plug that comes with the GoPro. You, you get the USB cable, but there's no. Male 2: You, you get this guy, Yeah, but that's not going to get you too far. Male 1: Yeah, I mean, I have actually seen electrical outlets with USB ports these days. Male 2: Sure. Male 1: It is the modern world. But you're going to want to pick up A plug. Now, if you've got a phone charger around, fine, you want to plug this into your computer, fine. I actually do like the Go Pro 1. Male 2: Yep. Male 1: Two plugs, so you can change two devices at once. And they actually make it, much like the Apple and other laptop adapters where, if you're in a foreign country, Male 2: Yep. Male 1: you can swap that out.

Male 2: Really handy. And it comes with all of them, so don't throw those away. So we got all that, it comes together, you know, we got these accessories. I think the thing that a lot of folks need to realize is that when they put together their Go Pro kits, you're going to have the camera, and they you're probably going to end up over time spending as much or maybe even more on all the other little pieces. Male 2: Yeah, and I mean, the thing you have to, at least if you're anything like me, the thing you have to resist is the urge to get all the little gadgets and doohickeys. I mean, like, great, having the surfboard mount would be awesome.

Male 1: Yeah. Male 2: But the amount of times I actually use it you know, because I'm not that big of a surfer. You know, wouldn't go there. So, I mean the thing I think when you're building the kit is spend some time on the go bo, GoPro website. Look at all the accessories think about the type of shooting that you're going to do, what's going to be most useful. And you know, it's not an all or nothing propersition. I mean you can always go into a situation where you can buy a basic kit. Buy a couple of accessories and then just add on. And don't forget there are a lot of third party manufactures making varies accessories for your go pro. Male 1: One last caveat that's just a bit of a danger.

Which is I did have some accessories that I bought. Male 2: Yup. Male 1: Not all third-party manufacturers, clearly specify for GoPro 2, or GoPro 3. Male 2: Yeah. Male 1: And so I brought, I bought a case for diving that was this cool wrist-mount case, so I could just, you know, wear it on my arm while I was diving Male 2: It only fit the 2 or something. Male 1: It only fit the 2, and I'm like oh. Male 2: Yeah and in just like anything else, your mileage will vary. I find of course that the original equipment manufacturer often makes The best stuff but yeah just see what's out there.

Male 1: Alright, well when we come back we're going to talk about powering the camera we already mentioned you're going to need a power supply but there are a few other things that are pretty important to pick up if you want to use this in a real world production situation.

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