Use the ProTune setting where the flatpass color space will make your highlights and shadows much better and easier to work with when color grading. Turn off your wireless – you don’t need it and it drains the battery. #1 Be picky about your GoPro camera settings This is what I found, as told by people much smarter than myself (specifically Robbi Serrini and Johnathan Paul, with help from Shane Hurlbut and Toby Oliver) And I wanted to find out how to make the GoPro drone footage look like it wasn’t shot on a GoPro. With the (even more) lightweight Hero4 Session, I suspect a lot of indie filmmakers will start saving up to add a drone to their gadget arsenal. Which is why you want to use your GoPro sparingly and integrate the footage with your more standard, cinematic shots. That’s fine if you’re an extreme athlete documenting your downhill snowboarding skills, but if you’re a visual storyteller you might be looking for a bit more finesse. The not so great thing is that more often than not the GoPro footage looks, well, like GoPro footage. The best thing about GoPro – from an indie filmmakers perspective – is that these tiny cameras can be mounted/submerged/thrown/abused in ways you would never dare with a, say, RED or ARRI camera, for incredible action shots that low budget filmmakers previously were only allowed to dream of. But how do you integrate that delicious GoPro footage with your cinematic shots for a seamless viewing experience? With GoPro having announced their Hero4 Session model – essentially a smaller and lighter version of the familiar Hero4 – it just got easier to cram epic shots into unlikely spaces.
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