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The GoPro HERO was practically built for sports, and not just the extreme kind. It's compact, durable, and produces high-quality footage at a high-frame rate—just the kind of camera you want for shooting fast-moving athletes outdoors. Rich Harrington drops in at the local skate park and shows how to shoot grinds, kickflips, and ollies from multiple angles, including a head mount and an under-the-board point of view. He also shows how to plan for other equipment you'll need, like Steadicam rigs for extra stabilization or clamps and poles to capture interesting angles. Plus, learn how to film interviews on location without having to switch cameras, and set your GoPro to capture overcranked footage. Best of all? The techniques shown only require one camera, so if you have a GoPro, you're good to go.
This course was created and produced by RHED Pixel. We're honored to host this training in our library.
We're going to go ahead and record an interview out here at the skate park with some of our riders. But, in order to get the best interview, we need to worry about composition. Now, the Go Pro is a pretty wide angle camera, and it's not going to give you the classic interview that you want. What we don't want to do is walk this camera and put it right up his nose, because that's kind of uncomfortable, plus it'll be out of focus. So, you need to keep sort of a minimum distance between your subject. About three feet is typically pretty good. So, what you're going to end up doing is changing the field of view in the camera.
I like to use the LCD backpack so there's no guessing as to whether or not I have the shot. So as we go in here, I can adjust the field of view. And what I'm essentially trying to do is make sure that we work with the more narrow field of view. So I can go into the settings there, and my choices are wide, medium or narrow, and I generally find that when working on a interview, that the narrow field of view works pretty well, and then we'll adjust that So that we've got good composition.
What I did there, was, I made sure that the camera had a little bit of look room. And in the frame of the camera here, I've left the side open a little bit, so we can see where he's at. Unless someones a newscaster or a lynda.com trainer. You rarely center them exactly in the middle of the screen. Because you want to sort of let it see the environment where the interview's occurring. Alright, that's looking pretty good, we've got the shot framed up. On a second angle, which I've put on a monopod, I've set this to a different field of view. So while I'm using narrow on this one, I'm going to use the medium field of view over here, which is just going to give me a second interview.
This one will be locked off, the second angle here is going to give me a little bit of flexibility to move in and out And get sort of a floating camera effect, as an additional angle to go ahead and work with.
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