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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.
Rob: So Rich, we're back in the studio from what I can only classify as one of the most fun days I've ever had in the field. Rich: Yeah. Rob: And that was flying a, quad copter. Rich: And, and to be clear, we had to drag him kicking and screaming. Like the ice cream man came by. And we're like Rob, would you like some ice cream? I did, it was a real hot day. No. We, we, it was only when the batteries went dead did he finally accept that it was time to go back Rob: Well because I felt like I crossed this line from completely inept copter pilot, to master copter pilot.
And I just wanted to continue the fun. Rich: Well, and, and then we looked at the footage and realized, there were some things we did really well, and a couple things we'd do different next time. So let's show you some of that footage. And we're going to share with you a couple of lessons learned. So what do we got here? Rob: Well, the first thing I want to show you is the inevitable shot that you're always going to get when you're working with a GoPro. And that is the up the nose shot that we have here of Rich. Just pre-warned, that you're always going to get these shots. Rich: Yeah. And as such if you're going to be setting your poster frames within your NLE, you might want to go forward and set your poster frames. Otherwise, you're going to spend your entire editorial session going, nostril.
because that's almost always the first shot. You look at the camera, you hit the start button and then you're taking your nose. Rob: Absolutely. So, here we have a shot, obviously this is the GoPro on the, the copter that we had set up. And it's on the ground. Now the first thing I notice about this particular shot is the color is not all that great. It's a little green color cast. But we can fix that later on with some color correction. Let me just go ahead and play this. Rich: Well and before you do, definite wide-angle effect there. Rob: Oh yeah. Rich: The Earth is not that curved. But that's an easy fix, believe it or not, using Adobe Photoshop. Rob: Cool. So if I just hit play here you can see that the copter starts up.
You can actually see it in the shadow. This by itself this is kind of a cool shot. And if I make this a little louder. Rich: Yeah. Rob: So one of the things that you're going to get on the copter with the GoPro if you're running audio, is some really annoying audio. So you want to just make sure that, if you're going to use that, you put it low in the mix or something like that. Rich: Chances are it's going to be completely unusable. Because it just sounds like race car engine. Rob: Totally. So let me fast forward a little bit here. And the copter is getting ready to take off. There we go. And we have lift off. And if I go ahead, let me just make this a little bigger, so we can see it. So obviously, we're here, we're floating above the, above the baseball field here. I, I, I was actually flying it this time.
Doing a little 360 spin, moving in and out. Now again, this is where we were just sort of starting to practice with this. But I think you can see a master pilot would be able to do things like, follow the action in a sporting field. Rich: Mm-hm. Rob: Or follow an event, maybe a parade or something like that. Now, I want to point out one thing that we didn't actually talk about in the field. But I think it's a really important to put in mind. Is that if you're going to use a cop, a copter like this with a GoPro on it, you need to pay attention to where you're doing it. First of all, for safety concerns but also for legal concerns. You don't want to just show up somewhere, and start running a copter.
Because some people might have problems with it, namely the Police. Other folks like that. Rich: You know, we, we live in an area that's very guarded. We live in the Washington DC area. And, you know, flying para-military helicopter drones around without a permit, not necessarily a good idea. I do see one other thing with the footage. Rob: Yeah. Rich: That, on the right hand edge there, we're seeing one of the struts. Rob: Yeah. Rich: Rob: And that's going to happen because of the wide-angle view. And, I mean, I think we could crop it out. We could do a number of things. Rich: Well, and that's why we shot this at 2.7K. Rob: Right. Rich: So, at a standard HD resolution, we got a lot of resolution here.
We could punch in on the center, which is great. Rob: Yep. Rich: And let's take a look at one of the later shots. Rob: Yup. Rich: There was one other instance where we had a problem like that. There it is at the top. Rob: Yup. Rich: And what's there, Rob? Rob: Oh, that's a good one, Rich. That was the battery door from the actual camera the, the copter itself. So we had maybe crashed the copter a couple times. Rich: We? Rob: I. And the latch on the actual battery door had come loose. Rich: Yeah. Rob: And it was just kind of hanging down there, and the GoPro goes right under here. So it was actually you can see it there. It's actually just kind of right in the field of view.
Rich: And part of the reason why that was sort of more of an issue is that the cage that comes with the quadcopter, I broke that when I crashed it. Rob: Yeah. Rich: So we went with the more robust Go Pro cage. Which was a little bit closer. Lesson learned here. Gaffer's tape. Just put a little piece of gaffer's tape right here.' because it would go up, and it was fine. And then, you know, there's vibration, and boom, it flops down. Of course, again, high enough resolution. And we'll talk more about a couple accessories in a second that we've added since our shoot. Rob: Yeah, and I want to, I want to show you one more, on more shot. And then I want to talk about one sort of aesthetic thing.
This is a cool shot we got in our location behind the scenes with musician Jason Massey. And again, this was sort of feeling out how the GoPro and the QuadCopter were going to work. But here I have a kind of a cool flight. Just sort of set the GoPro up. And that by itself is kind of a cool shot down there in the grass, nice wide-angle view. And you can see we take off. And here's the thing, I want to just point out how fast these guys can go. So here I'm hovering and getting a little, sort of, orientation. And then I put it into full throttle here across the field. And there you go.
You can see how you know, in the hands of a master pilot, this could create some really, dynamic dramatic effects. Rich: You could catch a honey badger. Rob: Yeah. And that goes, when there's a nice little crash at the end. And that actually is one of the things I wanted to sort of say is that we experimented a lot. With just sort of getting the basic mechanics and flights of this. But just like you would set up say, a dolly, or another camera system when you're actually recording in the studio. Getting your moves right with a quad copter and recording with the GoPro is part of the ball game, right? Rich: Yeah. Rob: Knowing how to push into something, how to pull back, how to go up, how to go down, things of that nature Is going to give you much more dramatic shots.
Now, we're, of course, were just experimenting and having fun. Which you should as well. But just keep that in mind if you're going to use one of these devices on your next shoot. Rich: Alright. And when we come back, there's a couple of pieces of gear we've learned about since our initial shoot that I want to share. And it actually addresses some of the weaknesses in the footage. The little bit of wobble or jello that's really prone to these types of sensors. So, a couple of pieces of gear that you might want to add on, next.
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