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The anamorphic adapters we used on the GoPro cases were really cool. We have some of the footage here that we can take a look at. It looks pretty good but you'll notice that things kind of look a little squished. >> Yeah and that's because it hasn't been interpreted yet. >> Right. >> So one of the things you could do in most NLE's is interpret footage. >> Right. >> And Rob what do we need to do here? >> Well let's go up to the pixel aspect ratio because that's really what. Anamorphic footage is doing it. Squeezing that footage and it needs to be stretched out to an appropriate size later on.
>> And you might remember this from the says of DV or formats like DVC Pro, >> Yeah. >> well now, even though that GoPro's a square pixel format, we were shooting and stretching it with that optical lens. So now if I choose that and click OK. Oh, it's really widescreen. >> Yeah, absolutely. >> Now, why don't we put that into a sequence. >> Now it still has some by the way some of that sort of widescreen sort of, you know, barrel distortion that you're going to get natively with a GoPro. >> Yeah it's just a wider, widescreen. >> Wider version of that yes, yes. >> But that's okay. So let's just take that out and what I want to do here is throw all these clips in the time line, but.
We need to convert a bunch of them. We actually have several bins worth of footage we shot this way so I can select all that footage, Right click and choose modify interpret footage and we can do all of these clips at once, right? >> yep. >> So there we go, we'll make that change and click OK and now they all update and we can dump those in the timeline. Now, you mentioned that there was a bit of a wide angle distortion. Keep in mind that you may or may not in your editing tool actually start to find some conversion. Now in this case, Premiere Pro has some presets.
There is a little bit of a performance hit but this was a Hero 3 plus that we shot with. And we're going to say that this is. Super view and technically this preset isn't 100% accurate but that did pretty good. >> Yeah. >> And remember, this is an effect so since technically this preset was for something else, we could manually tweak that curvature a little bit and I think that that's looking about right. >> Yeah, looks normal to me definitely. I mean when we first did this sort of the pixel aspect adjustment. I thought it was a little odd looking, but again keep in mind, that you are sort of enhancing that natural barrel extortion you are going to get on the GoPro lens anyway.
And again, these adapters are not exactly what I would call high end optics, you know what I'm saying, so they are going to have inherit problems as well. >> So we'll take a look at a couple of these shots without that adjustment on there, it looks pretty good, you know we've got a little bit of movement with the car, but that's really giving us a tremendous field of view. And you know, if we toss on that correction there. >> Oh yeah, that's much better. >> In this case it's just a little bit much, but that's simple enough and that's because this is for the super view.
Look at that, I think we've nailed that, that's a great place to see that conversion. And so now, as we go under that underpass there, now this is a bit of a performance hit so you might notice some dropped frames depending upon the speed of your computer. Yeah, it is dropping some frames there because this lens correction is not an accelerated effect for the Mercury playback engine. But it looks pretty good. Like all those lines are straight. >> I mean, it's a look. >> Yeah. >> I mean, that's the thing about when, when you couple sort of anamorphic look with the GoPro.
I mean, in my personal opinion, this is kind of a very niche kind of look. But it's, you know, the adaptors are so cheap. And the look that it gives you is so unique that, you know, for, you know, some applications it might be just the look that you're looking for, if you pardon the pun. >> Well let's take a look here. >> Continuing the look pun, we actually have some motorcycle shots and this is a good use of this lens to really get not just our rider, but his surroundings in and I like this here, we could really see what's happening as he's getting ready to ride. You know, let's go to a shot when he's on the open road.
And now we're seeing a really wide angle view as he looks forward and this is kind of nice, you know, we get the bike in the shot and also a whole bunch around it and then earlier when he's out there riding I mean I think this is a pretty good shot here. We're really seeing him, there he is as he's coming up on the bike and now he takes off. You know, this is nice to see the rider. Both handle bars and all the things around them. >> Yeah, and especially when you couple it with sort of the lens correction sort of to tweak it so it doesn't quiet not have that action camera look so much.
It's a really a flexible system and again it's you know, a specific look that you might be going after, but I think you're right Rich it's a, it's definitely an interesting shot and I kind of dig it. Yup, and here it is in our gym shoot where we had a really big location. Now this case it's a little dark, but let's get where they're actually in the shot. There we go. And we're able to see a whole bunch of folks doing things. So if you're trying to get a good angle coverage there, we're seeing. More than 180 degrees there Rob. >> Oh yeah it's crazy. I mean you'll notice that of course that that column right there's a little bent but once again we can just straighten that out really quick with one of the lens crush effects.
>> Yup. I'll just drag hat over. Now depending upon how much you adjust that it may go in there and that's a pretty big adjustment. But it fixed it and remember you have the ability here. To adjust how much it scales to, so we can actually twirl that down a little bit maybe I don't want to compensate quite as much. So, we can pull that in at a subtle amount there and that looks like it fixed it pretty well. There's a little bit of curvature and obviously you're going to lose some at the edges. >> Yeah, it's a push and for when you're adjusting the curvature of the ending. >> But, it's pretty cool to get that wide angle view and sometimes, like in the case here of these riding shots.
I kind of like that feel. I mean, look at that open road. You really feel like you're on the front of that bike there. >> Yeah, and I think after you, you know, sort of stabilize this a little bit, add a nice grade on top of it. This could be used for a wide variety of purposes. Music videos, promos, you know, doc work. You just gotta, once again it shows you sort of the versatility and the sort of awesome images the GoPro as a sort of relatively affordable action camera can get you and it's quite amazing. Now, this is just a teaser.
The good news is, is that the GoPro Ecosystem continues to evolve. We keep seeing new improvements, new additions. And, on upcoming shows we'll always explore the latest. Because, I think the GoPro's really taking the world by storm. It just opens up so any things for so many different types of production. For Video Gear Weekly, my name's Rich Harrington. >> And I' Robby Carmen. >> Thanks for joining us.
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