- [Jake] What does home really mean?
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(woman screams) (water rushing)
(water splashing)
All right, before we get into the content,
can you just punch that thumbs up button right away?
Because this hair grown so much and it's getting wild!
Aaand... It doesn't deserve a hairdresser.
(Jake laughing)
I'll leave the hair dressers out of this.
So Anna and I recently just got back from Sicily,
where we had the pleasure of creating our recent travel film
using the Insta360 One R expert edition.
Now, for those of you that have no idea
what the Insta360 One R "expert edition" is?
Basically it's just a 360 camera and a 1-inch MOD.
We used these two tools to create that entire film.
And today in this video,
I wanted to give you some tips on how you can go
about creating better 360 or travel films
using your action camera.
So, let's get stuck into it.
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Looking back on the Sicily film,
I think my absolute favorite shots in that video
were our 360 time-lapses.
Now these are so easy to create
if you have a 360 camera,
any particular 360 camera?
It's so simple,
just mount the camera.
Make sure that you have some form of telescopic pole
so that the render looks good
and make sure you also elevate the camera
so that you can see what's happening above you,
whether it's the clouds or maybe there's ocean,
just so you can see the world moving around you.
But I think what's so simple about this
is when you create a 360 time-lapse,
you have so many infinite possibilities
when it comes to rendering,
and I think that's the part that I love the most.
Our specific settings on the One R
were 5.7K at 5-second intervals.
Half an hour is a good amount of time
to be able to see what's going on.
If you do have a little bit more time on your hands,
I would recommend experimenting with 10-second intervals.
And if you use the 10-second interval,
also be aware of
what environment you're in.
Like if you have loads of clouds,
like one of the final time-lapses
that we caught here in Taormina,
the clouds were just beautiful.
They were just moving at such a beautiful rate.
360 time-lapses were unbeatable on this trip,
and so simple to create.
It's just a matter of setting the camera up
in a fixed location and giving it time.
When it comes to rendering time-lapses,
there's a variety of options.
In this specific case,
I went about this two ways.
The first one was just taking two fixed points,
and rendering from point A to point B.
And that's maybe where some people questioned,
"Which gimbal did you use?"
It's not a gimbal,
it's just the render of the camera moving
from left to right, or right to left.
And the second was simply creating that tiny planet effect,
which is again,
rendering from point A to point B.
And point A being a linear shot,
to point B being tiny planet.
The next little idea that I wanna throw out there
is thinking about using the 360 MOD
for point of view style content,
rather than the 1-inch MOD.
Now, yes, you can use the 1-inch to create
a wide angled shot,
but it's definitely nowhere near as wide
as what you can get on the 4K MOD.
But also, it's nowhere near as wide
as what you can get with 360.
That's something that we ran into a problem that we ran into
when we were creating this type of content
was we were using the GoPro bite mount.
Just because it's a bite mount
specifically designed for point of view.
But the problem with this
is that because we're capturing 360 content,
when the camera was here mounted in the bracket,
this little piece here
kept like obstructing our render.
So when I started to render the content,
I was like,
I kept seeing this fall into the top of the shot.
To work around the GoPro bite mount,
we just used another GoPro mount essentially
to use that as a bite mount.
In that way, when we created the render
of the point of view style content,
we didn't have anything obstructing the front,
and we could get a much wider perspective,
and we can use a lot more of the shots.
Something that I would recommend doing
if you are thinking about different types of shots
and you just have the 360 MOD,
or you just have a 360 camera.
(upbeat music)
If you guys are enjoying this video so far,
make sure you punch
the thumbs up button. (computer noise beeping)
And if you have any questions about
the Insta360 One R expert edition
or just the One R itself,
feel free to drop them in the comments section below.
This is the first time that I'd ever shot on the One R,
the first time I'd ever used the one 1-inch MOD.
So there's probably a whole heap of stuff
that I haven't shared,
or there may be questions specific
to the showcase that you'd like answered.
And I'll do my best to either respond to your comments,
or make a whole another video on this camera.
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Next area that I think is super important to focus on
is mounting.
Now, we had a lot of fun mounting the One R
to a lots of strange places,
but one of the most effective shots
that I think we were able to capture
with this camera was mounting it
with an ND filter on whilst we were driving.
It managed to retain a lot of the information in the shot,
gave us a lot more dynamic range,
'cause we were shooting with these big burning flares.
But also putting the camera so close to the wheel,
gave a whole new perspective
to add into that driving montage.
Now you see when we created that montage,
we had the camera one mounted by the wheel.
We had the point of view shot,
which was literally this camera in the mouth.
We also had a shot where Anna held
the camera up, outside the car.
Playing around with mounting is what I think
is the spice of these cuts of travel films.
It's definitely something that I have a lot of fun with,
and it's something that I think creates more dynamics
and more energy within my travel films.
On this specific film,
we had a lot of fun with using this suction cup mount.
So this suction cap mount, we mounted one.
I think I had the best shot in the entire film,
besides the 360 time-lapses
was the surfing shot of Anna dropping in onto the wave.
Now, all I did was simply mount the 360 camera
to the front of my standup paddleboard
or the center paddleboard that I was borrowing
in San Vito Lo Capo.
I didn't even know that I would get that shot.
I was just paddling, hoping to get some waves,
not really even sure what the camera was capturing.
And then when I looked at it in post-production,
that's when I saw her come so close to the board,
drop in and get that shot.
Super unpredicted,
it just happened because we had the camera mounted
to the board and it was with us
whilst we're performing the action.
So mounting is major key
if you wanna get some really fun shots.
Or I'll put a link to all of these mounts,
as well as Insta360 One R Twin Edition,
if you are looking for a new action camera
in the description.
All of these mounts,
you can just click on the links down there.
If you wanna learn a little bit more about
some of the locations that we filmed out
specifically in Sicily,
there's a link up here to Anna's video,
where she explains pretty much everywhere where we filmed.
I'll also put a link to it in the description.
But to create some of those shots
where we were both on the scooter,
I had mounted the 360 camera to the helmet.
Now this is the Unicorn mount,
this specific poll.
A bunch of people have asked me,
"How do you get those shots?"
Insta360 sell this on their site,
link in the description below.
Super simple,
all we did was use the sticky mount,
like this to the helmet,
put the Unicorn mount on like this,
and have the camera above.
Voila!
Now, caveat. (Jake laughing)
It looks ridiculous,
it's called the "Unicorn" mount.
I'd go close to calling it the "dick-head" mount.
One of the reasons why this Unicorn mount is so effective
is because of its length.
It creates 8 to 10 centimeters,
which enables the camera to stitch out
anything close by in proximity,
and gives you a really nice render.
It's like having a sphere in the sky.
That's not to say that if you had mounted the camera,
just so tight onto a helmet
that you wouldn't get cool shots,
because one of the best shots I think
that also we able to capture was the paragliding shot.
Now, that was just quite simply mounted
on one of these little sticky mounts on the helmet.
And yeah, be careful in regards to the axis of the camera.
We had it sticking just straight out,
and as Anna moved ahead while she was on the paraglide,
we were able to capture some pretty amazing shots.
One thing I would note is
if you do have the camera completely flat,
you would be eliminating one of the lenses
when it comes to rendering.
So I try to create,
I just made it perpendicular to the helmet,
and was able to capture both
what was happening in front of her, above and behind.
Lastly, in terms of this 1-inch MOD,
and any of the diving or underwater content that you saw,
everything we did capture was on this 1-inch MOD,
and we use the dive case.
There is a specific dive case for the 1-inch
as well as the 4K.
So if you have the 4K MOD
and you have the dive case for the 4K MOD,
you will need to upgrade to get the bigger dive case
if you have the 1-inch MOD.
Kinda sucks because you need a dive case for both,
but if you just have the 1-inch, then it sorted.
You just get the 1-inch dive case MOD.
But yeah,
one of the things that we also found super effective
with this dive case,
was using these tiny little...
I guess they're absorbers, they're like water absorbers.
So you just have these little pieces of...
I don't even know what they are,
it's just some kind of cotton or fabric,
which just slides in here.
When you've got the camera in there, just like that.
And it just absorbs any moisture
that may be floating about in the air,
maybe floating about when you're on the boat,
when you're setting the camera up into the case.
That way, we eliminated any water in the lens,
and we've managed to get the cleanest shots possible
with the 1-inch MOD.
Now also,
if you are doing any dive shots with the 1-inch,
I will recommend using auto ISO.
When we had our ISO set to say 400,
or if we specifically changed our ISO,
we noticed that as we dive,
and as we freed out,
as we moved about the water,
and as the lighting conditions changed,
the camera wasn't so great at picking up the changes.
Because it wasn't on auto, it was set to an ISO.
So basically as soon as it locked on to the light exposure,
(Jake blows air)
the shots sucked. (Jake laughing)
So anyway,
the next tip that I think is really important
for those of you that are interested
in improving your travel content
is to review your footage.
Now, I know this camera doesn't have
the biggest back screen.
So basically what Anna and I would do after each shot
is we would just open up our phone,
sync the camera to the phone,
and just have a look at how the shots played out,
whether the lighting was good.
I think this is super valuable for those of you that just,
more interested in improving your cinematography.
Making sure that you can tick off your shot list,
if you have got a specific shot list.
And lastly,
it's knowing that you've got the shot in the bag.
There was a number of times on this particular adventure
where we would go out and shoot a shot specifically
like that opener of Anna walking through the
walking through the field
with the beautiful Mount Monaco in the background
in San Vito Lo Capo.
That specific shot,
we went and shot it on the Thursday.
I used an ND filter and the shots just looked really bad.
It's whether I didn't have the ND filter screwed on properly
or the light.
It just didn't look good.
So after reviewing the shots on the phone that night,
we went back and re-shot all of that content
the following day just using the regular like a glass.
So this is just a little screw-on piece of glass,
which goes over the 1-inch MOD.
There's no ND, it's just the mod picking up
however you've got it programmed.
We would just use auto for a lot of our lighting.
It was sunset, the light was beautiful.
We just let the camera do its thing.
And I think that's one of my favorite shots
that we captured throughout that showcase.
And something that I think looks way more detailed
because it's the 1-inch sensor,
it's the biggest sensor.
Then, it looks more professional.
It looks like a DSLR.
It looks like a mirrorless shot.
And I think that's the power,
and the reason why I love the versatility of this product,
having that sensor.
When you have the 1-inch sensor,
it also changes the depth of field.
Now, if you're trying to create point of view content
with a 1-inch sensor,
it doesn't look as good because
this 1-inch sensor has a minimum focal length
of like 70, 80 centimeters,
which means nothing is in focus
until it hits 80 centimeters. (Jake laughing)
So, anything that's within that 70-centimeter range
is essentially out of focus.
It starts to pick up focus from 80 centimeters onwards.
If you're filming someone, tracking them,
walking through a field,
the lighting conditions are beautiful,
you will nail the shot.
But if you're trying to create POV content,
like I was trying to do in this particular shot
where I was setting the camera up,
you'll notice that in the background,
you can see the ocean, the water, it's in focus,
whereas the camera isn't quite as in focus.
Pros and cons with using the 1-inch,
that's where this combination
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of 360 and 1-inch worked super well.
You know, you can get the versatility of picking up
those beautiful low light shots, those cinematic shots.
But then, you can get that immersive content
that every action camera, filmmaker dreams of.
Whether it's 360 content,
whether it's time-lapses,
whether it's point of view,
lethal.
Anyway.
Guys, thank you so much for checking out today's video,
if you have enjoyed it, please punch the thumbs up button.
If you'd like to know more about the Sicily travel film,
you wanna check out some more content from Sicily,
link in the description below.
If you're interested in any of our presets or lots,
they're also linked in the description below.
Thank you for sharing this doc,
and I'll see you guys in the next upload.
Peace!
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