Nice video Luc! To respectfully add to the conversation on tips for hard mounts: 1) turn off lens stabilization when on bumpy roads, it will ruin your footage by distorting and warping the footage to try and compensate for the micro-vibrations. 2) Try and use non stabilized camera bodies (FX3 and R5c are great) 3) Adding a top mounting point to the camera helps stabilize longer lenses 4) If it’s too shaky, wide lenses show less vibrations and you can always stabilize in post with better results than lens stabilization. Thanks for sharing!
Love your channel, but there are some unsafe practices here I’d like to point out for anyone watching. This is not only for the safety of your gear, but everyone on the road. 1. Suction cup mount rigs should never be attached to glass only. You should always include at least 1 body panel if the glass fails. 2. You should ratchet strap your rig to a body panel, and not a suction cup. Suction cups lose suction over time, and again, if glass fails, nothing is saving your rig. Cinemilled makes a product called Gutter Straps that will secure it to your wheel wells, hood, trunk, or you could use regular ratchet straps and go through your cars door jams. Not throwing any shade. There have been many accounts of suction systems failing and going into traffic.
Great info, thanks! I’ve personally never had them fail, but that’s absolutely not to say they can’t…I would also not do this on the highways, which I should have definitely made more clear! Appreciate the feedback!
@@LucForsyth I'm super appreciative for this channel, and glad my comment didn't come off the wrong way. I'm currently in an Atlanta hotel after weather delays coming back from the start of a 6 month Honda Motorcycle documentary. Watching your channel has been a resource for this project!
8:31 Also... when using a magic arm... even for just a GoPro make sure the weight of the camera is on the RIGHT side of the magic arm main joint. Not the left. One bump and the joint will loosen. Just like C-Stand etiquet. Weight on the right of the joint. It will self-tighten on bumps instead of lossen.
A hack you can do to fight the jitters is to film at a fast shutter speed. Stabilization in post works way better with sharp frames than frames that are blurring in all directions from the jitters. Then you can add a motion blur in post to simulate having a 1/48 shutter speed. It's a hack, so I'd really only use it if the jitters make the footage unworkable.
Really valuable video, Luc - thanks. I’ve had great success on cars using the DJI Action 4, and the Insta360 GO3. Because they’re so light, and their stabilisation so good, I can mount them with just a single or double suction mount, and still get great results.
Appreciate the video, especially how to un GoPro a Go Pro. The issue I run into is that the cars I am racing with are so much closer in real life but Go Pro pushes everything away. Premiere has some tools but not to my liking. I am stuck with smaller lighter rigs and cameras due to regulations and convenience. All this said, I am still on the initial learning curve for what you are describing but you’ve given me something to aspire to, thanks!
This is right on time as I'm working on a film similar to the movie , Locke (only in that the whole movie takes place in a car) so this is a great help
I missed the brand and pack of ND you used for your GoPRo. I Hate using mine too and these may help me find ways of using it when a main camera isn't an option.
i would've turned off the IBIS and then stabilised in post or lived with the bounce for the gritty feel (if it works for "a story"). personally can't stand that warping from the IBIS / and/ or rolling shutter. appreciate the video no doubt though, thanks for sharing
Nice. One really big game changer for me when it comes to driving shots has been incorporating a gimbal setup, it doesn't help with stability as much as you'd think (it does help but micro jitters are still a thing) but the main benefit has been the ability to adjust/reframe shots on the fly or get more dynamic moving shots. I've had really good luck with a Ronin RS3 Pro for this as a good middle ground between weight and functionality, but you could probably scale down to something like a pocket osmo if you wanted to get a better than Go Pro result on a similar scale. Granted my favorite solution for driving shots is still mounting a gimbal to a jib in the back of a chase vehicle pickup truck, but that's going to require a scaled up crew to make it work.... and ... ya know ... a pickup truck... and a jib.
@@LucForsyth When mounting on the same vehicle I use a similar suction mount setup to what you're using (not sure what brand the one I was using was an ancient kit from the 90's that the station I work at had laying around when I started working here) basically three magic arms and high power suction mounts going into a ball head base, used the ronin expansion base kit to mount onto the triopod head and relocate the power grip/controls to reduce weight on the rig, then used a ratchette strap and a few safety chains to further secure to the car body. For the jib in a pickup rig I went from the expansion base to a Kessler pocket jib into a Kessler hercules tripod which we ratchette strapped to the back of the truck, then made an operator seat and some makeshift seatbelts in the back out of some more criss crossed ratchette straps. We've also done one (that was probably the easiest to use for a 2 vehicle setup in traffic) where we just ran a jib upside down from the roof rack of a van (secured with hose clamps) and attached the gimbal to the end of the jib, not as versatile as the pickup truck solution because the jib is motionless but the operator (me) was able to sit inside the back of the van and operate the camera so it worked better for highway speeds. Could also flip the jib around to shoot the driver in the same vehicle pretty easily (cam hanging off front) but we didn't really need that angle for what we were doing. Most critical part of either of the two vehicle options was a good communication solution for all the drivers and the operator. We had both drivers and myself on a party line via our cell phones, when I was in the back of the truck we used an old motorcycle helmet (full face shield) to cut down wind noise and make sure I could hear/talk to the drivers. Most of your control over the setup comes from being able to control where the vehicles are moving compared to one another.
Nice, this beats that time I made a yt short where I taped my dji mini 2 to the roof of my car 😅 Also, you're putting a LOT of faith into the Sony's mount for holding up that heavy lens.
As someone who is into both cinematography and cars I wanted to add that those suction cups and your haphazard way of using the wipes and rag will absolutely destroy the paint with micro swirls and marring. No it wont go through the paint, but it will require paint correction. A reasonable alternative is to suction to glass surfaces only. It isn't always possible for the shot you want, but glass is much harder than paint.
Very cool. The GoPro wasn't as terrible as I thought it would be. I have one. Used it once. But I did like the GoPro shot on the roof of the car filming the other camera. It would have been cool without the other camera looking at the road and through the sunroof at your hands driving. That was interesting. I had a shot looking through a windshield at a women in the driver seat with a salesman on the outside of the car. It looked great because I had the H&Y ND/polarizer combo. Saved the shot. Not often needed but necessary to have. Great work.
To get some idea of how much GoPro footage will never look like your other footage, watch The Hobbit. Those were the best color graders in the world working with the best software in the world and it still looks pretty jarring.
the desolation of smaug came out 10 years ago. i dont think its a very fair comparison to pit a camera on par with the galaxy s4 with cinema cameras. the gopro 12 with log and a good grade can actually look pretty nice, see waqas qazis video on gopros
Hey! Thinking on getting one but I have a question on rigging - wouldn't it be better to have a baseplate with a dual rod system and a lens support to reduce forces on the mount of the lens? Still watching the video but decided to write to not forget! Fucking love your content! ❤
Hey! Yeah, probably would help, but for my work (docs with small crews), I often just need to be as fast as possible so I try not to build things up too much…it all depends on the kind of shoot and how much time you have!
This is really unsafe advice here. You should always strap down these suction cup rigs. Run it around the bonnet, it's really easy and simple. With roof rigs you can open windows a bit and run the strap around the roof. Very surprised that you didn't know that!
nice setup , but still i will not feel very confidant putting a multi thousand camera and lent on car , specially if is my only camera probably opt for cheap dslr and cheap 50mm or 35 still go pro will cost abaut 500 , and you can get used dsrl for same price and have better footage ,
Step one: good bicep strength Step two: wild disregard for your own gear’s safety (it’ll be fine!) Step three: hang out the window and pray to your god of choice 🙏
@@LucForsyth fyi I use them for digitisation of artworks, so they have to be extremely color accurate, and the ones I use are. Honestly I don't think there is really that much saving in buying a cheap one to have to deal with color shift. that being said I bought some cheap light polarisers, from amazon, a4 sized, not so sure I will be using those, but there was an order of magnitude in saivings, and were nice to experiment with polarising the light.
![Shooting Moving Cars + Audio | CAR CINEMATICS [EP. 4]](/img/1.gif)
Nice video Luc! To respectfully add to the conversation on tips for hard mounts:
1) turn off lens stabilization when on bumpy roads, it will ruin your footage by distorting and warping the footage to try and compensate for the micro-vibrations.
2) Try and use non stabilized camera bodies (FX3 and R5c are great)
3) Adding a top mounting point to the camera helps stabilize longer lenses
4) If it’s too shaky, wide lenses show less vibrations and you can always stabilize in post with better results than lens stabilization.
Thanks for sharing!
Great tips!
Love your channel, but there are some unsafe practices here I’d like to point out for anyone watching. This is not only for the safety of your gear, but everyone on the road.
1. Suction cup mount rigs should never be attached to glass only. You should always include at least 1 body panel if the glass fails.
2. You should ratchet strap your rig to a body panel, and not a suction cup. Suction cups lose suction over time, and again, if glass fails, nothing is saving your rig.
Cinemilled makes a product called Gutter Straps that will secure it to your wheel wells, hood, trunk, or you could use regular ratchet straps and go through your cars door jams.
Not throwing any shade. There have been many accounts of suction systems failing and going into traffic.
Great info, thanks! I’ve personally never had them fail, but that’s absolutely not to say they can’t…I would also not do this on the highways, which I should have definitely made more clear! Appreciate the feedback!
@@LucForsyth I'm super appreciative for this channel, and glad my comment didn't come off the wrong way. I'm currently in an Atlanta hotel after weather delays coming back from the start of a 6 month Honda Motorcycle documentary. Watching your channel has been a resource for this project!
8:31 Also... when using a magic arm... even for just a GoPro make sure the weight of the camera is on the RIGHT side of the magic arm main joint. Not the left. One bump and the joint will loosen. Just like C-Stand etiquet. Weight on the right of the joint. It will self-tighten on bumps instead of lossen.
Haven't watched this yet, but if the video is as good as the thumbnail, I'm gettin the popcorn!
I can only hope, as that thumbnail took AGES to get right!
A hack you can do to fight the jitters is to film at a fast shutter speed. Stabilization in post works way better with sharp frames than frames that are blurring in all directions from the jitters. Then you can add a motion blur in post to simulate having a 1/48 shutter speed. It's a hack, so I'd really only use it if the jitters make the footage unworkable.
Lot of great info. Thanks for sharing.
Really valuable video, Luc - thanks. I’ve had great success on cars using the DJI Action 4, and the Insta360 GO3. Because they’re so light, and their stabilisation so good, I can mount them with just a single or double suction mount, and still get great results.
That's great. I've used GoPros because it's what I have, but I've heard good things about the Insta360 action cameras. Thanks for sharing!
Love the tips Luc, this is something to try, maybe just for fun or to understand the better way to use it for work, when in the future we'll need it
Appreciate the video, especially how to un GoPro a Go Pro. The issue I run into is that the cars I am racing with are so much closer in real life but Go Pro pushes everything away. Premiere has some tools but not to my liking. I am stuck with smaller lighter rigs and cameras due to regulations and convenience. All this said, I am still on the initial learning curve for what you are describing but you’ve given me something to aspire to, thanks!
Here for the car content by Luc!!!
I left GoPro for the Insta360 One RS and so far don't regret it a bit.
This video I everything I needed thank you
This is right on time as I'm working on a film similar to the movie , Locke (only in that the whole movie takes place in a car) so this is a great help
Perfect timing then! I’m comfortable risking my gear, but just make sure you’ve got safety backups!
I missed the brand and pack of ND you used for your GoPRo. I Hate using mine too and these may help me find ways of using it when a main camera isn't an option.
this is the best explaination of a polarizer i've ever heard lol
i would've turned off the IBIS and then stabilised in post or lived with the bounce for the gritty feel (if it works for "a story"). personally can't stand that warping from the IBIS / and/ or rolling shutter. appreciate the video no doubt though, thanks for sharing
Oeeeeeh gear. Signed up to your course dude! Lovin it.
Glad to hear it!
Great video,for budget shooting with the exception of the Go Pro.Maybe suited for adventure seekers but that’s about it.
Merci Luc ! Très utiles ton vidéo 🎥
informative content Thanks Luc.
Nice. One really big game changer for me when it comes to driving shots has been incorporating a gimbal setup, it doesn't help with stability as much as you'd think (it does help but micro jitters are still a thing) but the main benefit has been the ability to adjust/reframe shots on the fly or get more dynamic moving shots. I've had really good luck with a Ronin RS3 Pro for this as a good middle ground between weight and functionality, but you could probably scale down to something like a pocket osmo if you wanted to get a better than Go Pro result on a similar scale. Granted my favorite solution for driving shots is still mounting a gimbal to a jib in the back of a chase vehicle pickup truck, but that's going to require a scaled up crew to make it work.... and ... ya know ... a pickup truck... and a jib.
Very cool…did you suction mount it, or what was the rig like?
@@LucForsyth When mounting on the same vehicle I use a similar suction mount setup to what you're using (not sure what brand the one I was using was an ancient kit from the 90's that the station I work at had laying around when I started working here) basically three magic arms and high power suction mounts going into a ball head base, used the ronin expansion base kit to mount onto the triopod head and relocate the power grip/controls to reduce weight on the rig, then used a ratchette strap and a few safety chains to further secure to the car body. For the jib in a pickup rig I went from the expansion base to a Kessler pocket jib into a Kessler hercules tripod which we ratchette strapped to the back of the truck, then made an operator seat and some makeshift seatbelts in the back out of some more criss crossed ratchette straps. We've also done one (that was probably the easiest to use for a 2 vehicle setup in traffic) where we just ran a jib upside down from the roof rack of a van (secured with hose clamps) and attached the gimbal to the end of the jib, not as versatile as the pickup truck solution because the jib is motionless but the operator (me) was able to sit inside the back of the van and operate the camera so it worked better for highway speeds. Could also flip the jib around to shoot the driver in the same vehicle pretty easily (cam hanging off front) but we didn't really need that angle for what we were doing. Most critical part of either of the two vehicle options was a good communication solution for all the drivers and the operator. We had both drivers and myself on a party line via our cell phones, when I was in the back of the truck we used an old motorcycle helmet (full face shield) to cut down wind noise and make sure I could hear/talk to the drivers. Most of your control over the setup comes from being able to control where the vehicles are moving compared to one another.
Suuuuuuper excited for this course!! 😍
See you there!
Loved this style of video, out and about testing gear!
Was fun to make, glad you liked it!
Nice, this beats that time I made a yt short where I taped my dji mini 2 to the roof of my car 😅 Also, you're putting a LOT of faith into the Sony's mount for holding up that heavy lens.
Gotta have faith! In the type of work I do if I didn’t put gear in harms way I’d never what I need…just have insurance!
I put myself in harms way by doing the old school "hanging out the window" bit 😅
My favorite part is when you had the gopro mounted to the hood filming the A7 mounted to the hood filming you.
As someone who is into both cinematography and cars I wanted to add that those suction cups and your haphazard way of using the wipes and rag will absolutely destroy the paint with micro swirls and marring. No it wont go through the paint, but it will require paint correction. A reasonable alternative is to suction to glass surfaces only. It isn't always possible for the shot you want, but glass is much harder than paint.
3M clear film for carpets also works really well on cars with delicate finishes
Very cool. The GoPro wasn't as terrible as I thought it would be. I have one. Used it once. But I did like the GoPro shot on the roof of the car filming the other camera. It would have been cool without the other camera looking at the road and through the sunroof at your hands driving. That was interesting. I had a shot looking through a windshield at a women in the driver seat with a salesman on the outside of the car. It looked great because I had the H&Y ND/polarizer combo. Saved the shot. Not often needed but necessary to have. Great work.
Loved this, thank you so much!
To get some idea of how much GoPro footage will never look like your other footage, watch The Hobbit. Those were the best color graders in the world working with the best software in the world and it still looks pretty jarring.
the desolation of smaug came out 10 years ago. i dont think its a very fair comparison to pit a camera on par with the galaxy s4 with cinema cameras. the gopro 12 with log and a good grade can actually look pretty nice, see waqas qazis video on gopros
This is very true!
Really good tutorial!
As always. Top video. Your wonderful rich sound of your voice. Is it lavalier or?
Very cool! Thanks Luc.
Thanks!
Hey this was a great change in content type from you, great info, thx
Thanks, it was a fun one to make…but cold
what does dp mean?
The music … 😳
Hey! Thinking on getting one but I have a question on rigging - wouldn't it be better to have a baseplate with a dual rod system and a lens support to reduce forces on the mount of the lens? Still watching the video but decided to write to not forget!
Fucking love your content! ❤
Hey! Yeah, probably would help, but for my work (docs with small crews), I often just need to be as fast as possible so I try not to build things up too much…it all depends on the kind of shoot and how much time you have!
This is really unsafe advice here. You should always strap down these suction cup rigs. Run it around the bonnet, it's really easy and simple. With roof rigs you can open windows a bit and run the strap around the roof. Very surprised that you didn't know that!
Hella nice thumbnail and of course vid;)
nice setup , but still i will not feel very confidant putting a multi thousand camera and lent on car , specially if is my only camera probably opt for cheap dslr and cheap 50mm or 35 still go pro will cost abaut 500 , and you can get used dsrl for same price and have better footage ,
Step one: good bicep strength
Step two: wild disregard for your own gear’s safety (it’ll be fine!)
Step three: hang out the window and pray to your god of choice 🙏
Haha, these are all very accurate, though maybe not as much #1
Man just use the best polarisers and there won’t be any color shift. I use bw, for instance.
This is true!
@@LucForsyth fyi I use them for digitisation of artworks, so they have to be extremely color accurate, and the ones I use are. Honestly I don't think there is really that much saving in buying a cheap one to have to deal with color shift.
that being said I bought some cheap light polarisers, from amazon, a4 sized, not so sure I will be using those, but there was an order of magnitude in saivings, and were nice to experiment with polarising the light.
Finally First 🥳😂
Awesome💣🫡
first hahaha