CineGear Fly-over with a DRONEFLY.COM and GoPro Hero3

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The big CineGear event was this past weekend out in LA – I wasn't able to go and I didn't see any significant news out of the event (if I missed something, please let me know!) – but Thomas Roberts (@TRStudios) did tweet this morning the video from David Newman and the DRONEFLY.COM folks and thought it was cool enough to share…

CineGear Fly-over

[tentblogger-vimeo 67509097]

David Newman

only have a minor credit on this one. I did the post and it was my SD card as they was going to fly without running the camera (see what we would have missed.) There are such amazing moments in here, the light was perfect and the stability of the Zenmuse H3 2D amazing. While I would have preferred the HERO3 be set to Protune with CAM_RAW, the 1080p60 at Medium FOV was ideal. I used GoPro Studio Premium 2.0 (out soon,) to remove the slight fisheye, crop to 2.4:1 and convert to 24p.

Shot: GoPro HERO3 Black Edition

Mode: 1080p60 Medium FOV

Aerial Platform: DJI Phantom + Zenmuse H3 2D Gimbal

Pilot: Taylor Chien of DRONEFLY.COM

Post: GoPro Studio 2.0 (beta), fisheye removal, 2:40:1 crop and

speed change to 24p, color is as shot.

Music: Kevin MacLeod

Some Q&A from the vimeo thread:

Oceanus PLUS 11 hours ago
I really liked this, David. Great choice of music.
The only thing I'm wondering about is the amount of distortion that becomes super evident on the pan movements. A ultra slow pan would help in this regard. But an interesting effect, if not overdone.
I liked the colour tone. I can imagine in protune it would have even been better.
Nice work.

David Newman PLUS 10 hours ago
There is no “distortion” here, not in the sense I think you might be suggesting. This has had the fisheye look removed, and this is what any super wide rectilinear lens would look like when panned. Fisheye has a different look, itself not distorted, just a different projection of the same information. The GoPro HERO3 lens is extremely wide, so I selected a medium FOV (still quite wide) so that a rectilinear remapping was practical. The wider the lens, more esthetically pleasing some fisheye look is, and the less suitable rectilinear is, this sequence is right on the edge, it is perfect for the linear moves, but it is starting to look like an effect in the pans. If I put a 16mm lens on a Canon 5D, it would look just like this. HERO3 images look so amazing uncorrected, precisely because the image scientists designed the lens curvature perfectly for its super wide FOV.

Oceanus PLUS 9 hours ago
Thanks for that explanation David.
I was referring that significant, for want of a better word, “bulging effect” on either side of the frame, which became apparent during the pan. It does provide for a dramatic look.
I guess one would have to be careful not to over do a good thing, methinks.

David Newman PLUS 8 hours ago
That is the artifact of a standard wide angle rectilinear lens, whereas a fisheye lens has the “bulge” in the middle. The only way to correctly present super wide images is on a OmniMAX screen (Planetarium domes) so you see the image with the same field of view (FOV) that it was captured. When you view this image on on a laptop or desktop computer, your screen is likely only taking 30 degrees of your FOV, yet we are presenting over 100 degrees of the world's FOV in that space — there are consequences (artifacts) for this image mapping. Cinematographers get to choose this artifact through lens selection and with some knowledge of the screen shape and size it is to be presented.
But yes it is a cool look if used appropriately.

via Cine Gear Fly-over on Vimeo.

(cover photo credit: snap from the video)

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