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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.
All right. I've got the video settings set. But there are some additional things under the setup menu that's going to affect the camera. Now, you can go ahead and switch on over to the capture settings. Here, you can do things like flip it so the shot is upside down if you need to suspend the camera or hang it. But more importantly here, I'm going to turn on the spot meter. Now, spot metering is going to evaluate the whole frame and adjust the exposure. Typically, I usually use spot metering when shooting under outdoor lighting conditions, but you may want to try shooting both ways to see how it works for your particular set-up.
But, I like the camera to sort of average things out, in this case with the spot meter it's going to favor the center of the shot rather than the entire frame and that means that where you're pointing it for the critical action, that's going to be best exposed. Next, I'm going to go down a little bit and go into Protune. Now, not all cameras are going to have Protune, this is a beefier Kodak. It basically means the compressor/decompressor or how the footage is being acquired. Using a higher quality codec like Protune means that the video files have more data in them and they're more robust.
Course it also means you're going to fill up your memory card quicker, so balance that out if you need a long day of shooting. For example, when I'm shooting under water and I don't have the ability to swap out memory cards, I may leave Protune off. But, we're in a nice controlled environment here today, as much as a skate park is controlled. So it's easy to swap out memory cards, so I'm going to go for the maximum quality. I got that selected. Now, we can go ahead here and tap that white balance, and what you'll see are different degrees Kelvin. There is an Auto setting that I generally avoid.
If you choose Auto, it means your color balance is going to change throughout the shoot. I find it a lot easier to have one setting all the way through and then adjust during post-production. You've got 3000, 55000 and 6500. You're going to probably use the 5500 when shooting outdoors, but you can go ahead and find what works for you. I actually prefer to go to a setting on here called camera raw. Now, its not raw video. It's not raw photo. What it means is, is the native color temperature of the sensor, and I find that that works best.
You're going to post process this footage anyways when you take it in and want to color correct, so why not use the native settings on the sensor and get the best results?
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