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GoPro HERO cameras are compact, durable, and versatile—and they love road trips! With various mounts and housings, you can attach a GoPro to the outside of a car, motorcycle, or anywhere else your imagination leads you. Shoot dramatic on-the-go footage, capture the action of a race, or shoot a time-lapse movie that enables your audience to travel hundreds of miles in a few minutes.
In this course, Richard Harrington and Jim Ball detail the tools and techniques for shooting mobile video with a vehicle-mounted GoPro. They'll explore the mounting and housing options and compare mounting locations: both inside and outside a car, on various spots on a motorcycle—or even directly on the rider. Plus, learn how to set up your GoPro settings to best capture video and still photography on the go.
Okay, we've got some of our initial equipment laid out. One of the first things Jim, I think is important, is that we get all of the cameras to sort of match up. So we need to choose a frame size and a frame rate, and we have a mixture of cameras here, so what are some of your initial thoughts for how we set these up? You would get your shoot specs, usually leave a paper trail, get an email, so you have that proof in case something goes wrong but also you need to go through all of your cameras and make sure everything is the same.
>> And there's a couple of ways to do that. So you guys can sort of follow along. We're going to use the Go Pro app to wirelessly do this. But of course, you can also use the built in screen or put the LCD BacPac on. There's lots of ways. Do you have a favorite way when you're doing settings, do you like the BacPac? >> I'm a fan of the BacPac, I'm very hands on. Mainly, I would be hands on if I'm doing this the day before. This is not a day of moments before you're doing the shoot kind of thing. I, I would lie in them all up in a very tactile way and use color tape to label things or your assistant.
I mean, this is also because you're not the only one that's probably handling these cameras. Usually, this can be a secondary thing that's going on while the main shoot is taking place as well. So, you may have to delegate. >> Mm-hm. >> These duties to other people and they need to have a really easy way, a really standardized uniform way of making sure all the settings are the same. >> And to that end, we're going to take a look at the 3+, which has the most choices. But if you checked out our Getting Started with Go Pro title, we walk you through a lot of the frame rates there and the choices so you could dig a bit deeper.
Let's go right into the video resolution to start, and the first choice here is resolution. So we go from a 720 frame size, which is perfectly acceptable for some HD, up to 4k resolution. This is the 3+ that has the most choices. What's going through your brain here when your deciding whats going to work. >> Well resolution, I'm considering what it's matching to. If there are other cameras, there are say 4k camera, obviously you want to try to strive for a matching resolution. However I think you have limited frame rates with higher resolution, so you have to weigh which is more important in that respect.
>> And to that end, remember frame size and frame rate, you nailed it, go hand in hand. Some of the shots were going to get today are going to be high speed shots where we want the ability to have flexibility to capture at a higher frame rate for some slow motion and post. But I think as a good sort of baseline, why don't we go with 1080 which is sort of going to work for most HD delivery situations. That'll give us the greatest flexibility. And so we just tap that and this particular camera's configured. Now our next choice, after we choose that for resolution, is frame rate and with this particular camera we get four choices.
So, if you were doing a broadcast workflow, Jim, which one would you pick here? >> Well, of course I'm going to go to my spec sheet, that I've gotten in pre-production, and I'm going to determine whether I need to, as a baseline, match that frame rate, whether it's 2398 or 2997. Or, if I'm departing from that baseline frame rate specifically for an effect like slow motion. And so in this case when we're shooting 1080, we are faced with four choices. Let's assume for the purposes of today's shoot we're doing a broadcast workflow, so we're going to go with 30 frames a second, except I want some flexibility to have some motion effects.
So we can capture at 60, but then throw away those extra frames if we don't want them. Jim, there's an additional benefit to capturing at a higher frame rate, right, when it comes to things like motion blur and rolling shutter? >> Sure, you don't necessarily have a shutter option on the GoPro which affects the sharpness and the amount of motion blur that you're talking about. So, the choice you have is a higher frame rate which can increase that clarity and sharpness by just adding more frames to the clip. >> Alright. So we'll go with 60 for this particular one.
We may have to adjust some of the other cameras, 60 and 30 will cut together pretty well, 24 and 48 will cut together pretty well, but it really is an important decision there. We're going to go with these as our baselines for today. The great thing with the wireless app is we can see everything that's in here. We also can make some changes to the still photos, because we are going to capture some still photos during today's shoot. So, as we take a look at this for the photo resolution, we have really, four choices. Personally, I'm going to go with the highest one here. I don't think there's any downside to that.
Any preference, or would you say go big? >> Go big. I mean, you know, these cards have more and more capacity with a 64 gig card or a 32 gigabyte card, you know. Unless you're running this thing for such a significantly long period of time, there really isn't a reason not to go with the highest res. I mean it goes, same thing with the, with the video. If you are say trying to reframe something, you want the flexibility to pick and choose, you know, the frame where the action happened because sometimes we don't actually know, you know, where the action might happen in a frame.
So there's always reasons to go wider, more resolution, you know, because of the unpredictability of where we put some of these cameras and where we think the action's going to happen. >> Well, for example on that end, let's say we did want the ability to crop the video in post. If we were to choose a video resolution of 2.7K, I would go with the 17 by 9, so it more closely matched the 16 by 9 aspect ratio. The other 2.7K is more of a square pixel. If we take a look at the frame rate there, you see we're only locked in at 24.
So, as you do change frame sizes, you might lose some of the frame rates that you need and this a balancing act. The good news in post these days, it's pretty easy to convert frame rates, but you have to balance out your need for slow motion and motion effects with your need for higher resolution. So you really do need to take a look at those settings and find the right balance. I think we'll switch this back to 1080, for, for the purposes of our initial shoot. But, we got a lot of other things to talk about as well, Jim. Right? Mounting and other things? >> Sure. >> Right, so when we come back, we're going to get the GoPro's in a case, and we'll also go ahead and configure the rest of the camera's.
We'll have one of our assistants do that so all the cameras match.
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