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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.
Robbie Carman: So Rich, we're back from the field, and we've used our GoPros to record some, I think pretty cool shots when we're out there shooting our music video. And I want to take a look at the results because I think we've got some cool stuff. Rich Harrington: Yeah, we've got some footage and some stills, so let's just take a look at a few of the shots, and we'll look at them, there are some weaknesses like the wide angle look Robbie Carman: Sure. Rich Harrington: But that could be fixed. And there are some things with color, right? Robbie Carman: Yeah, and I think the thing to understand about GoPro stuff whether you're shooting time lapse or you're just shooting stills with it is that it's meant to be supplementary I think to your production.
I, I mean, of course you could go out there with the GoPro as your main tool. My feeling is you're better off having a different camera system as your main tool. DSLR, or a bigger professional video camera. And then using GoPro as a supplementary camera. Because I think in that context, it works perfectly. Getting time lapse, or getting really weird shots, wide angle shots, that kind of thing. Rich Harrington: Oh yeah. If you thought audio is hard on a DSLR, try shooting it on a GoPro! It's pretty much impossible! But it's good footage. And let's, I would really like how some of these shots are looking here. This wide-angle distortion, really quickly I'll just drop into Photoshop and I'll do an adaptive wide-angle fix, that compensates for that.
But what would you do for some of the washed-out color? Robbie Carman: Well, it's pretty easy. Most of the time the issues that you're getting with the washed color in the GoPro are simply contrast issues. So, for example, we're here in Premier. I could throw a fast color-corrector or a three-way color-corrector on it. And it just adjusts those contrasts just a touch to bring some life back into it. I might just saturate it up a little bit that kind of thing. Rich Harrington: I find sometimes, since it's so heavily compressed, I'll put a copy of the shot on top of itself in multiply mode and it actually adds up the color values. Robbie Carman: Well one more thing I want to say about this is that the Protune codec that some of the Go Pros use is actually a really big advantage when you want to get the best out of contrast and color.
That codec seems in my opinion anyway to handle contrast and color much better than the standard recording. Rich Harrington: And that was actually sort of out of their purchase of cineform. Which was a high quality codec used for people by I was like, why did GoPro buy Cineform, but they actually rolled that into the cameras to bump up the quality and that was one of the biggest advantages so I think as we look at some of these stills in the shots I definitely see things that would nice to supplement our production. And I also love using this as the behind the scenes camera. Shooting time lapses or footage behind the scenes.
I'll often just attach this right on top of my DSLR to the heart of the hot shoot. Which makes it really easy to get some extra footage.
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