9:00 am - Shooting with Your HDSLR
Colin has been working in this industry as a designer, as an art director, as a photographer and an instructor for over eighteen years, so I can't think of anyone more qualified to be teaching this class. So colin, great to have you here again, and we've got some great toys to look at and some fun stuff, so with that I'm going to throw to you, sir. Well, thanks, jim appreciate the introduction and it's, great to be back here, creative, live and thank you for coming out today. So today, video and motion graphics in photoshopped this is fun. A lot of people haven't with their feet in this is you were saying just yet because there's only really in cia six that a lot of these tools came into photo shop. A lot of the video editing, I mean, it was video in previous versions of photo shop, but it didn't really do what it can do now, plus there's a lot more it's a lot easier to use along with the power and flexibility now, just a premise right off the bat, you know, why do video and photo shop...
is a question that I get a lot and you know, well, why does photoshopped video isn't isn't photoshopping imaging program is not for editing photographs, and yes, it is betterthan also do a lot of other things now one of the things I recommend that I like to use video in photo shop for is for photographers for example who are really very familiar with photo shop already know how to use all the tools they know what they love it and like you know, I I just want to get in some video here I'm not ready to learn for me a pro and after effects in facts after face completely intimidates me so you know what what am I going to do so so photoshopped this great very entry level is very easy to get in and decent things I've also heard people compare it with premier pro up sort of premier elements and I was actually thinking about there's like no it's not really it could do what premier elements khun do but it can also do what aftereffects elements could do if such a thing exists so it doesn't just have the power of being out to get a video also has a power of motion graphics and photoshopped being you know the world's leading image editing program in its incredible program from working with images the fact that we could make the move is incredible the other thing that it could do that after face can't do is a connective li work with three d and move the three d around and actually animate the three d now aftereffects ccu khun do three d because it interacts with cinema forty through a center where um so that's that's kind of like a different thing, but you also kind of working through that pipeline where's the photo shop it's quite simplified and anyone can jump in without having to have, you know, a phd in emotion graphics so you'll see that we're going to start up the video of partner and we're going to move into the motion graphics later on. But as far as the video we can bring in out footage and stuff from a cameras from a dslr cameras from our iphones, whatever and edit it right there inside of photo shop you don't need to be super technical, you don't need to understand codex talk to do this any other thing you know if you're doing episodic television you know use premier proteome other stuff is not designed today you can do some pretty good stuff from photo shop but just understand what the limitations are. So for your average photographer that wants to put together a little video maybe ah waiting for target for once but a little wedding video together lou engagement video or, you know a business owner wants to put together a video and so much in graphics as a little promo and stuff like that it's fantastic, you know? Well, so be really well, so having said that, why don't we start up talking about shooting in shooting the video in the dea so I'm not going to get super death because there's other courses on that you know, it's just not a film making class we're just going to be talking about how to capture on your your camera so something happened a few years ago cannon came out with the five d mark two and it changed the world it was a revolution, a dslr filmmaking revolution so to speak, of up to that point we were shooting with camcorders with very, very small sensors and a very because of that we couldn't create a shallow depth of field we had these tiny little pinhole lenses that we're working with and we were able to create consumer video and it was a big gap between consumer video and professional video you know, the professional videos were using aerial exes and, you know, and then now you know, the reds the reds were kind of just on the horizon at that time and, you know, one hundred thousand plus dollar rigs and then all of a sudden cannon came along with the five d mark two and something happened was actually talking to a friend when damien at cannon and he was telling me a story so hopefully the story I'm telling is correct if it's not please don't don't sue me, but but there's a guy that you've all heard all vincent life array and he's actually being here in creative life in fact, he was the very first creative life instructor from great he came in sort of a few months after we started, but he was very one of the early ones, but definitely the first one to show he was our first video instructor. Ok, all right, so the first video instructor so basically, what happened is cannon had this camera that they didn't they kept it under wraps, you know, is the five d mark to and what they decided to do a support video on there, and I thought, you know, someone who can? I thought, you know, it's a good idea, let's support video, they had no idea that cannon warms they were about to open and how much they're going to change the world because being able to shoot video with, you know, the mirrors clothes. But if you pop inside of this massive size sensor, I was going to change everything because of the size of the sensor, you were able to suddenly create professional quality video on what you were able to create, a very shallow depth of field and just, you know, something that you couldn't get on consumer camcorder, the other thing is, attach these lenses, you know, the time you know, the outlands is with the best ones you could get they can made they now make cinema lenses which are much more expensive but you know attention these out lenses with you know, just high quality lenses with different types of lenses and equipment to the camera was suddenly raised about completely because now you've got super good quality lenses and a big sensor and suddenly you're able to create really quality professional video so at that point robinson so that cameron is like that's cold can I borrow it? Can I take it and they were like no first I said, no, this is the prototype you you cannot borrow and somehow he talk someone into it or he stole it or whatever this the story goes that every legend now I guess s o he took the camera and I guess you know what? Tendons blessing and they're like, you know, make sure you take care of this thing you know, be really careful it's the only one with god and so he comes back with footage of he's got a strap on the outside of a car again down the road is good on skateboards he's jumping all over it and you know, a helicopter yeah it's running all over the place and and he made a short from court I think it's reviewer revere or something he made the short film put up on youtube became a sensation on basically birth dslr filmmaking, you know, for, you know, for persimmons and consumers, although, you know vincent is a professional photographer, very good photographer that aim, I saw what it did is it just, you know, change the world, and people saw that took off, and then then the camera came out, and then they started using it professionally, people I rodney childers who's from new zealand as well, you write me and he he was the director of photography for twenty four a ll the season's twenty five actually directed a couple of episodes as well, really nice guy, and he used the five d mark to for some scenes in twenty four was also used for the final episode of house on one of the ending seasons back then and in another guy who inspires me a lot is shane hurlbut and shane was the director of photography for terminator salvation and just on the side there you think he hates it when I bring this up? But he was the one there was ranted on by christian bale, if you remember the big christian bale ran, you haven't, you know, getting you to look at it, you'll get a good life, but it was shames was being rented up, but then that wasn't his claim to fame, you know, this kind of fame is actually an amazing director of photography really amazing filmmaker great with lighting and working with cameras and to really appreciate that look at some of his short films. But anyway that he did the film active ella and you know what? You came out, I think last year, but it was obviously filmed if you use before it came out and on active allah, he used a whole bunch of this is the mark three, but he used the mark two and he used a whole bunch of those on that movie. And in fact, I have a picture here, me holding his rig that's me, they're holding shane shades rig there. This wasn't an I d and and you can see somewhere in there, it's a five day mark two and, you know, there's a lot of extra gear. There's a red rock, micro stabilization reagan, that box on the front he's got a you know, anton power battery pack he's got a monitor, you know, different things like that on there too kind of help, but at the heart of it is, you know, the previous version of this camera. And so one of the things you know that shane got really excited about is the fact that this camera is so light it's, so maneuverable and disposable I mean you know for the average photographer it's like ok this is not disposable this is a few thousand bikes but you know when you're working on a major motion picture of a million the dollar budget multimillion dollar budget these things have throwaway compared to you know the you know the brand of panavision lens is costing you more than what you know one of these cameras are so so they put them inside cars they use them for crash cameras you know so they put them in the vehicle and crashed them they dig holes in the road and drive over the top of them I think you used twenty something of these in the movie that put him on a beach and said the media was made with real navy seals and live fire so that was the thing about that there wasn't oh it wasn't muzzle flashes I mean this was really ammunition and he said several of these cameras was shot to pieces you know some of them you know the went right through the censors but they were able to salvage the cars I mean it was cars that were in the you know, the car they drove into the river they dug it out their cameras all covered in grime and unusable but the car they were able to pull the footage job so so you know citizens a lot of things you can do with these kind of cameras that are super cool now not all of us are going to be making major motion pictures maybe some of us responding maybe some of you watching are going to make the future major motion pictures or maybe some of you just want to, you know, film you know, your son playing soccer or maybe you know, you wanted to corporate video or whatever it is the fact of the matter is that you've got the tools in your hand out this camera is, you know, a little bit more money then say a seventy you come by seventy relatively cheap and essentially do the same thing with it on dino nikon shoots video I don't know, you know, people talk to me about details of the force and look at me like I actually wouldn't know what that is I have no idea what I go on models are just because I don't own any nikon so I can talk about cannon, but I'm sure you know there's a lot of nikon equivalence out there, so I'm not, um saying that nikon cameras and so many cameras and all good is there great campuses just just happens to be the one that I own and the reason I should cannon is because my father shot cannon and so then I started buying can accessories when I was using film on and my film camera was a tenant camera and I'm a commercial I was using a canon camera and so I started buying lenses and accessories and when I switched the digital I got the very first digital rebel that came out. It was my first canon digital and my accessories worked for a little while. Um that is actually still working on the same lines of work, but I always grew some of that equipment and started buying nuclear um on that note, let me just give you a little camera buying a piece of advice because when you buy cameras, if you've got a certain budget for a camera, the temptation is to go out and get, you know, a really good body maybe if the kid lands or are good body with cheap, nasty lens and it's like, you know, I'm gonna focus on the camera, you know, let me no no pun intended to get the camera now that's that's really not the way to go about it, the way to go about it is to get the camera that does the job and invest in the glass and pissed in the lenses. So, you know, I got when I got the digital rebel at that time think ten d was out because I wanted to buy the team to use right by the rebel I bought the rebel and instead of spending money on glass I've still got my seventeen forty I've still got my seventy two hundred I've got a bunch of lance's you know, I saved up both the owl lenses uh back in those days on and attached them to my my rebel and then later on, you know, upgraded and I both the five d when it first came out then I'm both a five d mark to now I have the five d mark three and guess what? I'm still using a lot of the land says I'm using us still the same lenses that I used back of my rib and so the question is if I'd spent the money back then on the ten d versus the rebel instead of getting the lenses, what do you think the ten being would be right now be a paperweight and I wouldn't bet using I'm still using those same lenses and you know and the and the outlands are a little bit more expensive, but they're really good quality lenses and you know, you take care of them, you know? They say the last your lifetime um I don't know if the last me a lifetime, but I'm definitely I get my money's worth out and get a lot of years usage out of these lines is so you know, it's just a little tip I would I would do this I just, you know, get the best camera you can afford while still giving yourself a budget to get the lenses because the land is a really where it's at and having said that you know what the speaking of lenses when it comes to dslr you can see I have a zoom lens here but one of the things you don't really want to do is zoom your lands while shooting video that's a really newbie giveaway when you see this assume because you know it's very difficult to get a very smooth zoom on the lands I mean you know having said that doesn't mean you can never do it you can break the rules and you can do it when you get really good but typically speaking I don't zoom with the lens and if you look it you know the really high endless is they don't zoom some of the you know really good lenses you get from here the zeiss lens is a fantastic and a lot of film making shock with prime lenses and I have a couple of prime lands is here and when I say prime it doesn't mean that their prime quality it just means that they have a prime focal length there fixed and this one here this is an eighty five and if one eight you know this one here is a fifty mil which is a great portrait lance as well and this is one two now toe by these kind of lenses and a one two or one a it is expensive I mean for example this one two to eight this is over a thousand dollars um these lenses here just a few hundred barks so you know the reason the reason for that is because you can this is you know, his list glass so that these things have so many pieces of glass in here the if you rip up this open to be so many lands is in there and that someone can support all the different focal lengths and um it has to correct for every single focal and so there's a lot of stuff going on here these air a lot simpler and because they you know they can put a bigger appetite because it doesn't have to support is many different focal it's so you know, so how to use it is immature feet and if you look at you know, any movie set or you know the tv said you see the big movie cameras you don't see them zooming the lenses in and out you see them, they used ali's so they fixed on a stable platform you know, on on a dolly rail and just and it's moving you're moving in thai camera and moving the entire camera back so that's something to think about too is when you move your camera you know there's this different times of movements this static movements and dynamic movement static movements are when you're sitting on a tripod and um and then you're just goingto move your camera in certain ways or you are shooting platform you know, you could be on a crane you could be on yeah, just just like a simple tripod or you could even be handheld as well you could have a steadicam rig this different ways, but think about when you move your camera rather than zooming in but the land's think about zooming in with your fate or if you've got you know, like I said, you've got a dolly or, you know, stuff on kickstarter or, you know, you could even I've seen people skateboards, I mean there's all kinds of things when I say dolly, you don't have to invest in, you know, make a thousand dollar reagan and you can make your own and there's all kinds of gear out the other people are coming up within themselves, you know, shopping cards now shopping carts that it is our favorite in high school, you go so, you know, so think about moving in and moving it out and just think about when you move the camera moving very trying, get a very smooth and slow don't like resident and rush it out um other things about like if you use this camera you move it side to side too quickly you get a thing called rolling shudder and the rolling shelters because of the c mar's chipped away the chip works is one of rights to the car it doesn't just go bowman right? It starts from the top to the bottom of the trip and writes it like that so what happens is if you move the camera it writes the top and in as you're moving the camera too fast by the time we get to the bottom of the sense you've got two different parts and then you see the jello kind of effect inside your footage your problems seen that and that's from moving the camera too quick, so there that in mind of u s shooting was one of the limitations of using a cmos sensor, so just move it gently you can get a writ of the that affect using after brexit premier they have ah, what stabilized filter in there and in it has a thing called reduction for the uh but I just called rolling shutter removal starts early in the day and takes me several cups of coffee to get all the correct terminology, although today we're not gonna be doing after a brace of premier bed if you're creative cloud subscribe and you're going to edit your video and photo shop and you have the open premiere after picks was something open up for the warp stabilizer and and it's something that can actually help you get rid of a shaky footage so maybe just running video through their gets were adobe median kota and then bring it back into photos up if you got those problems of course prevention is better than cure if you keep that in mind just move your camera like every very gently the other thing is of using a tripod don't use your bald head um you know you're bullheaded does your what you used to shooting with photography because I'm predominately speaking to photographers today and and designers and you know of course you know this is gonna play filmmakers as well but two photographers who have your you know your you know you get so set up and you you know it's bull head or your pistol grip of whatever it's not gonna work for video because those heads are not designed to be moved washing those heads designed you lock it in position you open it up you move in you composer shot you lock it down you take your shot so a florida head is actually what youre seeing soon seen it before and cheap and nasty little consumer things you see a best buy you've seen the little try positive the low handles on them that's an example of a you know I really truly level fluid him and so all the fluid hit is is you can actually buy ahead that will go on your existing tripod if you want for just get the whole set up you have to spend a lot of money just get whatever you know suits your needs and in pardon me is designed for a smooth motions you could listen that little handle any khun turn it very very slowly and it will move very smoothly and you can film while petting and penny is moving side to side so the other things to bear in mind too is you know, because I know I've been talking about camera movement and I think I just wanted to cover that because a lot of the time when people talk about editing and in foshan they don't necessarily talk about the house move the camera the other thing is try not to move the camera having told you how to move it uh you know it's very different and what you would think because one of the mistakes that photographer will make is that a target is used to composing taking pictures no I don't want shooting video awesome so I'm just gonna like just pan around get everything over here down there over there and maybe the whole love zoom in on that and out they go and you know when we'll do it the first time I grabbed a video camera we all do it don't we you know and it's funny because you know what I call a filmmaker you know go around like this way stop moving it. Um now rather than moving the hearts of your viewers you're gonna move their stomachs and if you do that if you ever watched that footage and you put it back on the tv come much more than two or three minutes you start getting nauseous you know it's it's like watching cloverfield blair witch project e I was so sick during that way there was a little thing that was starting to come thankfully it's dropping off the whole shaky cam was kind of becoming a very popular thing and I think I was watching a movie it was a really good movie too bourne identity the third one they decided they were going to do the shaky camping and I get the shaky cam for the movement you know, when we were got action scenes because I could see adds to the action but they were interviewing, you know, and the guy's just talking to another guy you know, it's an interview shot and a camera's shaking is going in and out in and out of focus and I'm like, wow, all this equipment that's the best you can get but the thing is they probably went in post in mayoral shake any reasons but we'll just hand held it um and I couldn't watch it in the theater I had today I watched and enjoy the movie on dvd on a smaller screen that on the big screen and couldn't watch it just made me nauseous. So having said that when you are shooting video, think like a photographer and that sense frame your shot, and then let the camera stay still and let that action happen in front of the camera. If I could give you one tip that will make your film making better that's it lead the action happen in front of the camera, just frame it, leave the camera there and let it happen. And the other thing, too, is when you shoot a video, you're telling this story and I'm not going to get too much into the filmmaking cause that's not what this class is really about, but I think in a series of shots don't think about, you know, take trying to get one continuous camera moving, because there are certain examples where a fantastic, you know, good fellows is an example of this one camera move, which is amazing, but most of the time, if you watch much of film watches, just a siri's of shots, and each scene is made up of a series of shots, so you take the shots, you make the scene, so what you want to do is think about each shot how the shot's going to add to the story plan the shot think about it where if someone's going to be walking where they're coming in, where they're going out and actually take time and plan what you shot you're going to be, you know, if you're using people in there, obviously if you're documenting something, you can't control it so, you know, just recorded but then when you cut it and edited later, which is one of the things we look at a little bit here is thinking in shots and just take a short, sharp like maybe even more than ten seconds I mean, cut to the neck shot because people get bored really fast watching hours and hours of footage of, you know, people work around the video camera if it's not essential, cut it out uh, good example, you know, when you watch the cut scenes from movies it's like, wow, how could they delete that scene? How could they cut that out? Think like that be ruthless if it out it's and don't cut it out, so keep those you know, even sometimes no more than three seconds if there's not something interesting happening and then shot don't include a new video it's better to have a twenty second video that's really compelling than a three minute video that's boring so, you know, keep it shorter, shorter's always better. I mean, think about it if you watch you go to the movies, you watch a trailer, right? And any watching a trailer for maybe that's, nothing more than a couple of minutes if you hadn't done it and you go when you get home and it showed the whole movie, but given what I don't need to see the movie now, I've seen the turbulent so they were able to tell the entire story in a couple of minutes. So, you know, and and that's a major motion pictures. So really, the cutting of jimmy's birthday cake or, you know, peter's first haircut is not that interesting that you want to watch the whole thing in its entirety. It just cut a little bit, you know, a little bit and then show it, you know, so a little reaction, like, maybe the cake, for example. You know, you kept that tape. You said the cake, teddy, you sew him blind out there, you know, the, uh, the candles and in, you know, and then you so you know, one of his friends shoving it in space, and here we go. That was the video was fine, you know, anyway, onto enough about the philosophy of filmmaking because like I said there's other people out there that will teach that much better than me but I just want to give you those just simple tips because I think is really important this's a foundation just real basic stuff when you shoot with the camera what sittings you're going to use uh you know the sittings we've got a lot better as far as quality and I'm not just going to talk about the file format because there's so many different types of file formats on different cameras by the predominant ones are the abc hd which is I think panasonic uses I think sony uses I know for sure penicillin uses it uh abc and trump that was that was very common um h two six four eight six four is the defective tow standard it's it is mainly a delivery for man but you know a lot of cameras shooting you know and especially a flavor of quicktime as well inside of quick time you could do ht six four um and you'll see it everywhere and we'll be editing will be spitting it out to six for in fact the library when exploits it does that your iphone that's what it does your mobile phones use h two six four youtube used to use flash but he slowly moved over to eighty six form because of the flash not being supported our mobile devices um and of course it'll be flesh can work officially sixfour files um when you watch a blue right maybe that's eighteen to six for so pretty much every video that you see these days is you know or h doc to six four to be more accurate but I just call entity sixty four this is quicker and easier to say I don't think that is kind of like a requirement think of that is like a j pig you know, high quality pig or inequality peg depending on the compression that you're watching right now you're watching this creative live you're probably watching on eighty six for kodak right now that's uh that's what streamed? So so the camera sittings in here when you shoot your video cities you know you've got options, you know, you can look in here, we could shoot talk about the size you could shoot sdi which would be you know, I wouldn't bother with that any more unless you're going to be delivering a very, very small um pretty much everything is hd, you know, and you know, the two main sizes and hd is you've got seven twenty and ten, eighty seven twenty is, you know, seven hundred twenty up and twelve eighty across, so ten eighty is one thousand eighty pixels high and nineteen hundred twenty pixels across so that's that's what? So when people say you know some twenty or ten eighty that's what they mean there's two flavors is progressive and intellect the analysts but not most people don't use in the least anymore analyst is pretty much gone on in placing is when you would if you've seen the video you know the old tvs you know you would see the scan lines in there and with the interlacing that was a way to get over file compression and and what they would do is they would deliver one half and they never deliver the other half so big odd frames and any even frame so you know, if you see the upper and lower that's what they called him, my friend lower and in basically those would flick a very quick and you hear refresh rate of maybe, you know, sixty kilohertz that means that sixty times a second it's flashing between those two so that I doesn't actually see the interlacing it actually just blurs it altogether. But you know, if we look at all the tvs step, you see that flicker and in particular, you know, if you shoot a video and you put in front of the delays footage, you'll see their line scan lines going down because it's a different frequency, so you know, if you wanted to shoot in a lace footage you would have to make sure you are running at the same refresh rate not talking about the frame right just to refresh rate of that you know, you know, in a license pretty much dead now because of progressive progressive is using better technology more along the lines of j peg and compression like that to compress those files down. So you hear the term coding code? It simply means compressing decompressing that's what kodak stands for so what it does is it or coding and decoding so what it does is it takes the footage and it encodes into compressed bowman now in order to view that you have to decode it I know it sounds difficult, but in this all happens behind the scenes so your cameras, your tvs, your blue ray players, your computers all have decode is in and that's why? Sometimes if you go to watch the music's a code it's missing and you get a download the kodak is just a little piece of software that the codes, the footage so I just want to let you know that people out there in the chat rooms are already coming up with ideas of things that they're going to shoot us, that we have cayenne who's in new orleans who did you cooking videos? We have people shooting their cars, we have ah, someone with seven kids who's decided to start shooting the kids s o a lot a lot of really a lot of really good stuff you know elvis used to should cars oh no kidding yeah um in fact if you have a car that was shot by all this can like shot by officers with a lot of money somebody's shooting guns okay so apparently you know, I totally thought that had to make a joke you know good people have been working on the satellites getting body work done and if found bullet holes in them that of being bugged over and they traced the back in front of the elvis actually shot that carson and of course they pushed the bog alan and repay the car of the bullet hole in it increases the car's value by one hundred times something like you know you get jimi hendrix guitars not worth anything unless it's smashed yeah still with a lot of money but you know you get a smash one on its way so so anyway so let me you know I apologize for the technical little bit of the beginning but you know, I think this is a foundation that we should lay before we get into everything else. Um another thing about the camera you want to think about? Okay? What frame rate frame rate what is free my okay well moving pictures is what video is moving pictures we call it movies is basically it's a siri's of still frames I'm shown in succession if you've seen those little flute flip books you know when you get them like that I'm sure you've seen everyone seen stuff like that you know walt disney and all the early stuff in animation and how they managed to animate the same thing it's a succession of frames that is shot one after the other and in play bank at a certain speed the standards today are twenty four frames per second for movies you see in the cinema except unless you know jackson shooting sixty frames per second but but the basic standards twenty four frames per second and thirty frames per second for video now they're not necessarily registers at that the register at twenty nine nine seven and also twenty four is twenty three point nine seven and it has something to with the cycle of electricity because you know, american electricity is cycling at sixty kilohertz whatever, which is where they came up with that and so the little fraction is a derivative of it that didn't cause interference on demand in europe. You know, we got powell it is somewhere around twenty five frames per second. If I'm correct, I haven't worked a powerful s o n t s e is, you know, the american standard, so most of the time we're thinking we don't talk about the nine seven even though the camera might record in that were thinking about thirty frames per second twenty four frames per second so if you want a cinematic a look you know the holy grail of dslr video is twenty four frames per second ten adp so you're shooting a ten eighty no having said that things were studying, you know there's the whole four k thing I'm not going to get into that right now, but the thing is right now everyone's starting to move into four take is ten adp is not enough anymore, you know? You know I mean, if you sit you know, too close you could see the pixels and, you know, that's true, I if I goto store and I what I bought like my television I built my tv is sitting there was like because I'm used to working on high resolution monitors all the time and I'm looking at them all the time when I was looking at the big tv, I couldn't go to a certain size because I could see the pixels in there I can see these people this is just not it's not good enough, so either I had to sit from a certain distance from the tv where I wouldn't see the pixels in my living room being a certain size I had to go for a certain size tv that I couldn't see the pixels on it now we're four k this is no way you're going to see those pixels and typically with ten adp you're not going to see the pixels on you know the latest tv sets anyway and you're not gonna be streaming on the internet of four k right now so I would say, you know, for the majority of the cases are four k's wonderful it's a great standard but ten adp is probably to be more than enough for most people even seven twenty it's gonna be more than enough for a lot of people when you're streaming online so just think about that because when you start shooting at these resolutions you are building up like massive file sizes really quick so anyone expected frame rates twenty four thirty frames per second the uh there some cameras that should hire frame, right? Sorry, buddy, you got to go pro here and this thing will actually shoot up to four k but it won't shoot at twenty four frames I think was like twelve francs per second. It could do right now is this a gopro hero and has a great camera? This one will shoot one hundred twenty frames per second at seven twenty and now why do I want to shoot faster than thirty friends per second? Why would you want to shoot sixty frames one hundred twenty francs per second simple for slow motion the faster the frame right when you play a back at thirty frames side shooting sixty frames per second and then I play a bag at thirty frames per second we'll just what you're seeing it at half speed, but you're seeing it we can slow down and software, but the quality of actually captured at that speed is better or you should add one hundred twenty friends to second you could slide down a quarter speed or you know, if you have the phantom camera and we can shoot thousands of frames per second and you slay that down and literally freezes motion and planet earth is a really good example of this great white shark in south africa and this great white comes out crabs this seal and is shooting it over a thousand prints for second, you can see this shark coming up and the entire circus airborne when this tie great white is out of the water, I mean it's amazing, you know, I couldn't touch of that on this camera like that, but so for all purposes you're going to be shooting at thirty frames per second or twenty four french second most of the time now when we're talking about platforms to since I was talking about the gopro took about this for a minute, this is the d j I phantom and this is a quad copter and I've only had this just for a couple of weeks now, so I'm still a little bit of a newbie when it comes to flying this thing, so but I tell you, it's, addictive and it's a lot of fun, so what I do is I have a gimbal I didn't bring it with me, but I have a gimbal and I can actually attach it, and it comes with an attachment to well, you can put the go pro in the bottom, so I put the practices the hero three black edition, and it'll actually mount here on the bottom on a gamble and in with the gimbal, it will stay stable when this moves and it electronically does that, and then I can also move the gamble up and down so I can fly around captured footage with this. This is really cool, and these air, about seven hundred barks to nine hundred bucks from our list for this, depending on what you know, you had accessories, the gimbels, about another six or seven hundred bucks, but this thing can really can fly connects like here tells me I should connect with six satellites and you wait for this thing glows green and you get six satellites on there and you can take off, and this is a great shooting platform. You can use it for you know as a dolly you can move it around people just don't get too close because that blade will hurt and you can for dolly shots you can move it around and you can also get out of ahead and you can fly in and you can do overhead shots or you can really get up there and get some pretty decent height with this thing and the cool thing about having this satellite there's two things about a one is if it's windy you can switch it on a certain mode where we'll actually lock the position so if it's windy will compensate for the wind and it will stay stable to you know make it a little shaky on the camera but the other thing is if you lose it which I've had a couple of this's where I almost lost is like way off in the distance and I'm isa committal towards me or is it going away to sweat a little bit causing about isms shut off the controller it will have a fly home come home so when it loses a connection with the control of what it would do is it will go to either up or down to sixty feet and will hover and will return to his position and then it will come in and land so that's kind of fun now in theory I mean I've heard just stories I've heard some people you know it's worked perfectly and and other people you know have have lost these so because so don't don't rely on the you know, come home device and that's actually you can see these eh d j I hyphen innovations dot com and let me show you a little going to say a little footage that I did on here a little video you're not necessarily most gentle landing better than I could do I think s so you know, I've got about a month to get a lot better so hopefully ok, I've learned a lot from that one of the things I would do differently is giving kimmel down a little bit so I don't get the blades in the shot and you might have noticed in a little bit there was a little bit of that rolling shutters that it happened in the little jello effect um and you know, that could be a development could fix that, but but that was my first flight so azzam saying I was just kind of experimenting with them and he had it just over, you know, two weeks now so I haven't had a lot of time to really get good at it yet but on also been preparing for this class yeah that'll be out these final day long go how high does it go? I don't know exactly how high it goes videos they are on youtube where people have experimenting with it to see how high it goes, and one is really interesting. They took it up there, and I mean, it was way high, the battery lasts about ten minutes, maybe a little less, and these people got to the point when it went up so high they couldn't see it anymore, and on day we're bringing it back in, and then they lost sight so they had to use the come home device, and then then I get back and even switching back to many of control take control back over once they saw what they got a visual and they were down to about a minute of battery and a better was starting to die, and then they literally tryingto force it into the ground, and I think in the end, they almost get it down and it crashed because the battery died. So s o, I'm not sure exactly how high it was that I mean, it was pretty high. I forget that I don't want to say that, no, because I don't want him get a run, but I mean, what where I was that on that video was pretty up there, but that wasn't anywhere near as high as it could go all right that's amazing hey, so gem oh, photo would like to know could you tell us the brand of gimbal that you use the gimbal I'm using is actually the one that comes with the zen as in zimmer okay eyes the one that has made by d j there's other gimbal you can get out there that that one is the only one that I've used so far and as I say, I'm just starting to use it so yeah it's great fun and adds a lot the cool thing about the gimbal too, as it gets rid of a lot of the jell o because if you look on the mountain here it's got little rubber feet here so it kind of gets rid of some of that warping because of you'd strap it straight to the thing you get a very jello looking kind of effect. So anyway, that's that's, that's the fun stuff and you know, I hope and in the coming months I'm going to get way better, but I got some cool stuff that russell sent to me that one of his friends shot of senate cruz and flying in there and getting all the surfers and I mean this and this guy's really good he was getting him very close to the way that you could see surface like spinning around this stuff, just amazing footage and russell actually getting some really cool stuff right now doubt that does it. So I get a little bit of catching up, so you know these these are the different things you can shoot with, you know, with the go pros, but you're only a few hundred bucks, they're not expensive. You know, I've also does some footage of this where I strapped down in front of the car because we have, you know, official cafe. We've been using these for a while and, you know, I did a tour. We did a promo for a toy last year, summer tour, and I stripped this suction cup that on in front of a car, and I was driving within the speed limit. Just say that and and it stayed and stayed on the front of the car and actually got some pretty good, stable footage. The other thing is, if you don't have these, you can still you can use an iphone. She died from video and put it together.