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What's one of the best parts about being a video professional? All the cool gear! In this weekly series, Rich Harrington and Robbie Carman team up to discuss the latest and greatest equipment for video production and post. They talk about the newest cameras, like the Blackmagic 4K, pocket cinema cameras, and GoPros; accessories and adapters that will make your shoots run smoother; and the great tech being invented every day. And because they keep both cost and quality in mind, you'll never have to worry about blowing your budget or compromising production value. Come back every Friday for a new tip.
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In which one of my gripes, but I know it has to be a compromised when I'm using a GoPro, is the lens, right? >> Right. >> Because it's not like, you know, we have interchangeable lenses, I'm going to put a 1.250 millimeter prime on my GoPro. We're kind of banking that, hey this is kind of the GoPro look, it's that wide-angle, yeah, we can adjust a little bit in software. I have to deal with things like barrel distortion and all that other >> Right. >> Mambo jumbo. It would be nice to be able to get my GoPro lens to do different things and we have an interesting solution here.
This is from >> Yeah. >> The guys that let us or. And this attaches to the front of the GoPro in a similar manner to some of these other sort of lens adapters. And tell us what this one does. >> Well this one is essentially an anamorphic adapter, so if you didn't think the GoPro was wide enough, this actually helps you get to an industry standard at an adapter of a 1.33. >> Yup. >> And essentially, it's going to give you a wider screen image. Now. This may seem strange, because you might think the GoPro's plenty wide but this is doing more of a cinema type ratio, it's a little bit of flexibility.
>> Wait, now just to be clear 1.33 sounds like it is actually not as wide, right? But you have to imagine, you have to remember what an anamorphic adapter is doing. >> Yeah. >> It's sort of squeezing in the images that you'll then stretch back out. >> you, this is sort of a combination of a shooting technique with then a post production correction. We'll show you some before and after footage as we're taking a look here. It's interesting, you know, you'll bring the footage in it's a little bit stretched, and then you can pull it back out, either using the GoPro software, they do have geometry controls in the GoPro software studio, we got a whole title on lynda.com on that, or you could use any editing tools.
This is pretty simple. >> Yeah, and the thing I like about this is that there's a distinct. Look to anamorphic footage that some people just really love. I mean, think of classic movies that have been shot with anamorphic lenses. >> Yeah. >> And the detail that goes into it. Now, I've got to tell you, this is not going to be a, you know, ARRI Master Prime anamorphic level adapter here, all right? This is, you know, It's got its limitations. So just, in terms of, you know the pixel peepers that are out there, think about in terms of, chromatic aberration and, you know, all those kinds of things.
Not perfect. But it gives you a real good creative option when shooting out with the GoPro. >> And I think they did a nice job. It's a solid metal frame. It's a good element inside of there. And I was very pleased with the results on the footage. It just gives you some flexibility.
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