The GoPro HERO5 is a lovely action camera with its built-in electronic stabilisation, but if you think it’s going to make your footage perfectly smooth, you’re in for a disappointment. No digital stabiliser currently available can make footage look good when the operator has been subjecting the camera to shocks from walking, running or whatever. A real stabiliser is a must-have for those occasions where you can’t keep the camera still. The Karma Grip has been specially designed to stabilise the HERO5.
Noise is a problem, especially with small-sensor cameras. FxFactory has a new noise reduction plug-in for Final Cut Pro X and Premiere Pro from Crumplepop. It claims to beat noise efficiently, using a simple interface. I compared Crumplepop’s VideoDenoise with Red Giant’s Denoiser III and the older Photon Pro plug-in.
GoPro is such an attractive brand partly because of the abundance of accessories and mounts. Two of the new ones that I find particularly attractive are the HERO5 Black external microphone adapter and the large tube mount.
What good is a video camera slider if it can’t provide rock-solid motion, with no vibrations? And if it does, what can you do about it? By accident I found out there are circumstances the Rhino slider EVO Carbon with its Motion motor creates footage that makes your zoomed-in subject look like a Parkinson patient. This …
Colour depth or bit depth is either the number of bits used to define the colour of a single pixel in a bitmapped image or video frame buffer, or the number of bits used for each colour component of a single pixel. Chroma subsampling is the practice of encoding images by delivering a lower resolution for chroma (colour) information than for luma (lightness). The two combine into what your footage looks like when it has been freshly recorded.
GoPro has rearranged its product range so I thought it might be a good time now to throw their current flagship camera, the HERO4 Black, a long and critical eye. In the wake of this review I’ve also planned a number of tutorials and presentations on this action camera as much has changed since the HERO3+ was unseated as GoPro’s top offering.
Your GoPro HERO3/3+/4 Black Action Camera is quite a capable camera. How you make the most of it for any type of movie to look perfect, depends on how you set it up. The secret here is to tap into the best quality the sensor and electronics are capable of. This tutorial is based on my experience with GoPro cameras from the HERO2 to the HERO3+, and takes you through the most important settings and issues.
GoPro Hero3 cameras are great but they lack a lens that you can focus and zoom as you want. But with the 2.7K capability, there's a trick so you can virtually zoom in on areas of your scene, provided that you work with Final Cut Pro X and your sequence or timeline is no bigger than 1080p.
Keeping your GoPro HERO3/3+/4 steady is no small feat without some sort of a stabilisation platform. You can buy a gyro-driven gimbal, but that’s expensive. A Steadicam Curve is another, less expensive alternative, but what are your options if you’re somewhere you can’t get either of these? If you’re happy enough to have with you a Dinkum Systems 1/4in ActionPod and a nylon cable tie, you can make your own rudimentary stabiliser.
Your GoPro action camera is quite capable despite its fixed lens and small form factor. It has a spot meter that performs well. You can use that if the subject in the centre of the video frame is too bright or too dark when light metering is set to its standard setting. This tutorial teaches you how to set spot metering and what to look out for.