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Full 1080p high bitrate GoPro Hero 3 Black Edition footage now available for download

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#21
Simco123

Posted 19 October 2012 - 12:51 PM

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Small sensor aside it looks promising. Highlight roll off and DR much better than GH2 or GH3. I like to know how well it handles lowlight?

#22
Marty Powa

Posted 19 October 2012 - 01:32 PM

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How much of an effect does the lack of image stabilization have on this camera? The Sony Action Cam includes it, so I'm wondering why GoPro chose not to.


Huge difference. Just check out every Sony vs Gopro on youtube. Image stabilization is the start point. These cameras are made with extreme sports in mind, not for filming our cat eating. And gopro, once again, failed at delivering a real difference, when it had the chance to do so. I can't buy the sony cause of their shitty waterproof-fogging-case and lack of mounts...and neither the GH3. I already filmed a lot with a hero2 without stabilization (helmet motorcycle) and speeding up the video things get really, really, really shitty. Good job gopro.....

#23
Bandido

Posted 19 October 2012 - 02:50 PM

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I love small cameras with big picture quality. I own a Panasonic TM700 (60fps), a Panasonic GH2 (Hacked), and 2 Gopros. Each one of these cameras has an unique feature that make it ideal for a specific job. But what these cameras have in common is that they are probably the smallest cameras with the best picture quality in their respective categories. They are stealthy and extremely affordable. You can capture images that would be impossible to capture with bigger cameras. The beauty of the Gopros is that after you select the settings, all you have to do is push the shutter button and forget about it; then you can concentrate in your "dangerous" activity. You can give it to anyone and not worry about the person’s ability to operate the camera. Gopros are perfect "crash cams" because of their size, price and build quality. For narrative jobs I would use my hacked GH2.

I would like the Gopro people to make a special "spycam", with better sensitivity for low light, low noise, and night vision, that can be controlled from anywhere in the world via your phone, tablet or computer. A black and white mode with lower resolutions for time-laps would be a welcome addition for surveillance operations (sd cards fill up fast at 5mp).

#24
jacanaproductions

Posted 20 October 2012 - 04:02 AM

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I call BS on 4k. If you look at their 1080p, I mean really look at it with a res chart you'll see it's probably not even 720p. Love the little camera but 4k, I think not. And they also promised to upgrade the codec on the hero 2 and we've not heard didley about that yet .

#25
sanveer

Posted 20 October 2012 - 01:43 PM

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I call BS on 4k.


what is BS on 4k?

#26
mdebono

Posted 20 October 2012 - 02:28 PM

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Any idea when it will be available in Europe?

Wedding & event cinematographer
C100 & A7s shooter


#27
Bruno

Posted 21 October 2012 - 02:41 AM

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And they also promised to upgrade the codec on the hero 2 and we've not heard didley about that yet .


Didn't it come out last week? In fact, I think it's the same free upgrade they now have for the GoPro3.

#28
colela

Posted 22 October 2012 - 10:54 PM

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...you can hook a mike to it! : http://gopro.com/cam...5mm-mic-adapter

#29
colela

Posted 22 October 2012 - 10:57 PM

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... and composite video out! : http://gopro.com/cam...ies/combo-cable

#30
FilmMan

Posted 23 October 2012 - 01:54 AM

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http://www.fxphd.com...ne_gopro_hero3/

Cineform-Protune + GoPro Hero3 & Post

By Mike Seymour - Posted on Oct 18, 2012
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This week the GoPro Hero3 was launched. This new camera is really amazing, for its price, its performance, its resolution and its incredible ability to allow camera to go literally anywhere.
But the mid-week launch did somewhat overshadow the amazing advances from the week before that the CineForm division of GoPro announced, namely log output, with 24P at much higher bit rates. (Not to mention remote control from your iPad!). And now with the Hero3 these specifications have jumped again. While much of the popular press may focus on the jump to 4K, we wanted to flag the incredible shift from being a ‘straight to YouTube’ camera to a camera that now also offers a very real alternative for those wanting to intercut GoPro footage – a pipeline that assumes there will be grading, that there will be post, and outputs from the camera in a format that lets you maximize both.
Below is a summary of the key points – for more watch this week’s fxphd BKD class 02- which shows GoPro Hero3 clips and grading – thanks to our good friend Director, Stu Maschwitz, who filmed with the Hero3 the morning after the launch on San Francisco Bay. ( Stu will no doubt be separately discussing the grading of GoPro 3 footage at www.prolost.com). Thanks also to GoPro’s Senior Director of Software Engineering (p.k.a. CineForm CTO.) David Newman. David is an expert in video compression, image processing and a self professed ”3D/stereoscopic/multi-cam geek”.
Now we should start by saying that those who love shooting and immediately posting, this workflow is an alternative, nothing has been lost. But for those of you who have even had to match together a bunch of cameras from a bunch of different colorspaces and gammas – that included GoPro – the world just shifted in a very pleasant and unexpected way.
Here are the key highlights of the Protune format and CineForm in general:
  • The Protune is still H264, 8 bit but now allows 24P (23.98) recording
  • The Protune encodes around 35MBps on the Hero2 and a whopping 45+Mbps on the Hero3
  • The colorspace is NOT locked in – with CamRAW mode – in post the native colorspace starts with a wider gamut than either AdobeRGB or sRGB – why do I care? – better grading.
  • The Protune is a log file – with automatic lookup LUTs – why do I care? – better grading.
  • The file does not spend valuable bits trying to make the highlights roll off – as this can now be done in post as you grade and convert from Log. Why do I care? It ekes out the most detail in the highlights
  • The blacks are not crushed
  • There is significantly less sharpening applied
  • There is less noise reduction applied
  • It uses the full YUV 0-255 code range to push as much to post as it can
  • It has automatic and now manual white balance – so you can for the first time lock in a white point in camera, but then vary it in post
  • Due to the maximum encoding nature of Protune – the WiFi is turned to black during record time – since it can not make a Protune file AND a low res WiFi feed to your iPhone and iPad simultaneously
  • In Protune, you can record two hours on one 32GB SD card.
To access all this wonderful new power you need only to use the GoPro Software. We tested it with the GoPro Studio Premium and it works like a charm. The software works with a ‘sidecar’ style database based on a unique ID in every clip. This is familiar to anyone who has worked with .r3d files and then adjusted them in RedCineProX, as it is very similar. But CineForm is easier to use than Red files.
The cdb or color database allows you to immediately adjust a huge range of grading parameters in a processed CineForm codec clip and immediately, without further rendering or even linking, play the quicktime – in realtime – with the changes. This happens in the CineForm decoder in your laptop or desktop – so it is up stream of say FCPX. A change to the look file or cdb will immediately take effect, but the file is NOT tagged as having been modified – so FCPX and other apps require no relinking. The system is fast, powerful and frankly damn impressive. The range of adjustments is vastly more than a CDL but the concept is similar.
GoPro bought CineForm and for a while this was only visible to users as a way to help GoPro solve stereo. While CineForm maintains a mandate to work with as many cameras as possible (most recently this meant offering workflows for the new Black Magic Camera), the GoPro Hero3 camera is the first time we have seen the CineForm group influence the actual GoPro camera internally. In other words, it has taken until now to see the influence of visionaries like David Newman and the team on the GoPro camera itself – after seeing the workflow of around the Hero2 and now Hero3 – we can only hope for more in the future.

#31
GMaximus

Posted 09 November 2012 - 02:52 AM

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http://provideocoali...o_hero3_part_2/

NICE
What the 2.7k 30fps mode would look like, i wonder

#32
Bruno

Posted 11 November 2012 - 05:05 PM

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http://wideopencamer...-2-update-link/

Cinematic and GoPro shouldn't really be used in the same sentence... It's great for what it does, but 4k is very relative in this case, and when people talk about better highlight rolloff, I seriously don't know what they're on about!




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