Learn to Film Super Smooth Video, Hyperlapses and more through Gimbal-film-making | Greg Hung | Skillshare

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Learn to Film Super Smooth Video, Hyperlapses and more through Gimbal-film-making

teacher avatar Greg Hung, Travel Videographer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

26 Lessons (2h 4m)
    • 1. Ronin S Intro edit

      1:48
    • 2. Ronin S Why do you need a gimbal

      2:30
    • 3. Gimbals on the Market

      2:59
    • 4. Mounting the Ronin S on a Camera

      3:55
    • 5. Setting up and Balancing

      9:39
    • 6. Testing your Balance and Autotune

      3:05
    • 7. Ronin basic controls

      2:59
    • 8. Ronin S Fundamental Techniques

      6:04
    • 9. Ronin fundamentals Part 2

      4:22
    • 10. Ronin S Special Techniques Filming night market and food

      2:32
    • 11. Ronin s monetizing on your footage

      3:20
    • 12. Ronin S Flashlight

      6:04
    • 13. Ronin S Traveling with it

      3:39
    • 14. Ronin S filming from a moving vehicle

      4:10
    • 15. Ronin S Motion Lapse

      6:23
    • 16. Ronin Hyperlapse Full Edit

      34:24
    • 17. Ronin S how to do hyperlapse

      3:04
    • 18. Ronin S motion lapse advanced

      1:51
    • 19. Malaysia and Thailand hyperlapse and motion lapse

      1:14
    • 20. Ronin S High Tilt

      1:24
    • 21. Ronin S Slow Pans and Tilts

      2:20
    • 22. Ronin S Inception Roll

      3:32
    • 23. Ronin S Orbit

      1:53
    • 24. Ronin s with a gaming controller course

      4:41
    • 25. Active Track Demo - Retention Rate

      2:57
    • 26. Ronin S Summary 2

      3:08
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About This Class

Learn how to film super smooth video and new creative shots like hyperlapses, and motion lapses with a Gimbal for your smartphone, SLR, or mirrorless camera. Gimbal technology has moved from drones to regular cameras enabling you move around freely without a tripod and film new types of videos for new applications like property video tours, hyperlapses, motion lapses, filming from a car, and more.

This course will cover techniques across a range of DJI gimbals and cameras as well as a complete workflow for editing video shot by these cameras. Will will also include a full-workflow for video editing footage shot on this setup on Adobe Premiere. As a bonus I will share a business model and the workflows to monetize on the unique footage you take. Take your video production to the next level and learn gimbal film-making and more by enrolling the the course

Meet Your Teacher

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Greg Hung

Travel Videographer

Teacher

Hi I'm Greg. I'm a South African Canadian Travel Videographer aka Global Citizen. I first got into video filming with a sharp camcorder in high school making my own short films and tennis video and editing on a VHS.  In 2011 in Simon Fraser University (Vancouver Canada) I rediscovered my love for video while filming an earthquake hiphop safety video for a Media Course. 

After I graduated from Simon Fraser University (BA Communications) in Vancouver Canada I went on to pursue a successful IT career working 13 years as an IT manager. I went onto to complete my MBA in Technology Management SFU and found my Entrepreneurial inspiration to start my own travel video business in 2011 during the DSLR video revolution. I sold my downtown Vancouver Apartment, bought an iMac, a Can... See full profile

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Transcripts

1. Ronin S Intro edit: Hi, Welcome to the complete guide for cinematic film making with a camera, Gimbels and cranes. My name is Greg Kang. I'm a Canadian videographer. My first experience using given will technology was with DJI drones. And now this company has brought gimbal technology over to our bigger cameras, like our DSLRs, mirrorless cameras. We can also use Gimbels on smartphones, as well as built-in cameras. We're going to cover the fundamental techniques across a range of different camera Gimbels and cameras setups. One example is the DJI Ronin ass right here with a parasitology x5 mirrorless camera. But we're also going to cover DJI Osmo, which has its own for k built-in camera. And we're going to cover DJI Osmo, which is a good moment for your smartphone. We're going to cover the special techniques that are available to you for each cameras setup, as well as which situation they're best suited for. Good Mozilla and do amazing new video techniques like hyper lapses, motion lapses, filming from a moving vehicle like a motorbike or truck, or even new different types of techniques like low angle shots or running gunshots. So we're going to take this a step further by teaching you how to edit the footage shot from these cameras in programs like Adobe Premiere, Final Cut Pro X. Just to take that even further, we're going to cover how you can license your video footage, the business model to build a passive income. With the amazing footage you're going to shoot from these cameras. 2. Ronin S Why do you need a gimbal: we're gonna talk about. Why do you need a gimbal for filmmaking? Most of all, it's for new filming techniques and for super smooth video. The trend these days is towards stabilisation from in your camera body in your lens. But there's nothing that could beat the stabilization that you get from gimble. Companies like GoPro are building stabilization into the cameras. Even D. J has an action camera with stabilization, but the smoothest by far is going to be from a gimbal on a drone if you've ever seen those videos and just think about how fast those aircrafts air flying. So what this allows you to do is things like property tours. You can show off Rheal states. You can show off a building, or you could just walk down the street. He can film from a moving vehicle. You can fill me fence. I've seen some music videos where they're using a gimbal to keep the action continuous but not very boring by just leaving it on a tripod and just moving it around eso a lot of different applications that you can use the skin before one that I think would be a perfect fit is for moving option things like concerts or weddings or network events where you want to keep the camera going and but showing around the rib or the events, so that helps you think about different types of shots you can get. I do want to add that because it is on basically a motorized or robotic arm that you can pre programmed movements off the gimbal and that allows you do things like that. Motion time lapses Were you pre programmed the path? You can also do things like hyper lapses. You can do basically a moving time locks, which looks pretty cool. So all these shots are not available to people without Gimbels, so it's almost like you need a gimbal Teoh. Keep up with video making in 2019 and beyond. Just as drones was a big revolution in filmmaking, I believe gimbals are definitely a step forward 3. Gimbals on the Market: in this lesson. I'm gonna talk about some of the different Gimbels on the market, and then we're gonna get into more detail on this gimbal right here, which is the de Girona in this eso The first Gimbels that we saw were DJ I osmo at least gimbels on the ground. So this had a built in camera. Uh, it could do a lot of the same techniques as this, except the camera wasn't as good. You were working with a fixed lens. You were working with the camera's sensor that wasn't as large and not as good as in low light. Now, with the trend in 2019 you have cranes and gimbals from D John, different companies that can hold bigger cameras like DS Lars and wireless cameras. So the advantage is that these lenses are more powerful. They can either zoom in. They allow more lights so I can get the same benefit that you had with the Jocz, most so filming from moving vehicles filling while you walk low angle shots. But now you're getting a lot better camera to do that with So Tony. In the past couple years that this has been available eso doing is one Chinese company that has ah, popular crane. But when DJ I released the De Girona s, that's when I started to take notice because the big advantage with DJ I is that they built really good APS that talk really well to the machines. So having used this for over a month and 1/2 I can see that the APP is really good allows you to easily do things like figure motion lapses did easily do things like camera movements. The technology is very liable. The bill quality is good and the price is very fair. S o d J Ronan s is built to whole cameras up, Teoh believe, 3.4 kilograms. So I can actually put on a bigger lens here and still be able to hold that. So it's very sturdy, very durable. Um, but it is very heavy. So that's the price you pay for this type of filmmaking. And but yeah, so D j Ronan waas, um used to be a two handed form factor, but now this is a single form factor, So it's not that bulky, but it still is pretty heavy, but allows you to do a lot with your larger camera 4. Mounting the Ronin S on a Camera: when you're ready, toe, start setting up your de Girona s year going to first attach the plates to the camera that you're going to use, and then we're going to mountain balance our camera onto the road and Gimbel. Now, for me, this was probably one of the points that I struggle with the most because a lot of the video tutorials on the Internet are not very effective for me. So let's get started. The tools that you will need are obviously your camera, uh, your running kit and it is useful to have a good coin. Okay, so this part is M four, and what you want to do is just attach it to the threatening underneath so you can start off by screwing it in halfway. Okay, so I have the plane screwed on halfway, and I'm going to use the coin just to make sure that it's tight. Next, you want amount this longer? Plaint. Here. This is a rs 002 and you can actually look at the arrow on this plate. It should be facing the lens. Eso just find a 0.2 mounted on. You could slide the scoop to find a good spot. So there's two mounting points. I'm going to choose the one closest to the lens. And again screw that in with your finger or a screwdriver, and then you can use a coin to tighten it. Okay, so mine's gonna look like that Notice. There's a ruler on the sides, so it's very flexible for a variety of setups, but the actual payload four the Ronan s is about 3.4 kilos. So make sure that's you know how much your body and lens and additional accessories way and also factor in that these plates do carry some weight as well. Okay, so we got those two plates on there. Now the last parts is lend support. So it consists of this little guy here and a screw. So simply, just he must attach it on here, and then you can just manually screwed on. You don't want to tight. Otherwise you won't be able to change your focal in if you have a zoom lens. But if you have a prime lens, that it doesn't matter. This is just to support the lens, especially the longer lenses. Um, if they're going to be moving around a lot like this if you're using the gimbal for quick, quick movements. So there we go. So we have a pretty tight fit with the mounting plate, and now we've gotta take the running out. 5. Setting up and Balancing: Okay, We've got our cameras set up, and now we're just going to take are running out. So first thing we want to do is just take this part out. This is like our tripod legs followed by the handle. This is the part. Looks like a lightsaber. Tighten their Okay, so make sure you got battery in there. You can just press the button at the bottom. I've got three bars, so probably need Teoh charge us up. There's about 12 hours of battery life, so they could just simply screw this on to the smaller screw. Okay. Make sure it's snug. Okay? So you should have your base like that. Next. We're gonna take out the rest. Okay? So you want to take the Velcro off? I'm just gonna close the bag. Clear the table. Okay? Don't lose this Velcro, because it's very useful for packing the ronin when you're traveling. Okay, so I can see that I've got some loose screws here because I just came from a trip, so just make sure that you've got the screws on, so nothing just slides off and then your next step. So this is like, step three is you want to attach this base to your foundation. So simply just angle this bottom part here to the top. He was just just see the joystick there, and joystick is going to slide in nicely like that, and then you want to lock that lock that lever. Very important. Make sure that's tight. If it's not tight, you can take it out, make sure it's in all the way and then make sure that's locked. Okay, so now we've got our base here. Now it's time to mount the camera and start to balance the road into our cameras. Set up waken. See? There's unlock and lock, and this is where you might want to stand up. So you need to press this button over here. If you need to slide it in, you can see I'm having trouble because I need a bit more space so you can adjust this camera mount. Planes here slide towards the edge a bit more. Make sure you lock it after you move it, Okay, it's in. No. So to bounce the first access, you need to hold the arm where it says ronin, and you want to hold on to your camera lens because you don't want to slide off the mount plate. But you want it to balance so it doesn't slide off. Okay? And what we're doing here is once we're letting go off the camera just to make sure its balance but our cameras still there, our hand is still there just to make sure that the camera doesn't fall off. Okay, So look in my right hand. I'm holding this access. But now, if I like go, I can see that his balance. If it's unbalanced, you can see that the lenses leaning too far, Ford. So no need to move it back. And once you find the right measurement, you can then lock it on the left side. I'll just do from this direction, okay? May need some adjustment here, so I'm gonna unlock. Okay. I need to move it back of bed. I can see it's leaning forward. Okay, so that's OK. So I'm gonna go ahead and lock this. OK? So that's our first access. You can even take a photo. You can see there on the plate. There's ah, there's a ruler there, so I can see that. Just passed. 22.1 is the right setting to balance this camera and lens set up. Okay. What? A lot of the tutorials are on the Internet. Don't tell you is that you need to hold this while you're balancing the second access is the tilt axis. So to do this, we want to be able to while holding the Roman arm again. We want the cameras set up to just stay up by itself. So it's not doing that right now. I just want to go back. So what I need to do is unscrew this. Make sure you're holding the mouth plates here. I'm always worried something might slide off, So with that loosened, just pull it up a bit and, uh, yeah, tested outs. So I've got the camera set up pointing straight up. Now, another tip here is you want to take the lens cap off because I'm mocking me fooling with the lens cap. So you want to make sure that if you're gonna be filming with an nd filter, uh, leave that own if you're gonna All of us, they're not gonna fill the lands capsule. Take that off. Okay, so no left hand holding up here and Ah, it's staying straight up. So that's what we want. I wanna lock that street in, make sure that's tight so that this screw doesn't bump into, uh, the motor. Okay, so we've got our first access there. We got the second access there, and now the last axis is to make sure that this arm can stay perfectly balance, which is is not so to do that. I'm just going to loosen that up and just make a micro adjustment, and she can see there no hands. And I was perfectly balanced. Let me just show you from another angle. See how balance it over there and all three access are now bounce. Now, when a tightness. Okay, it is possible that some micro adjustments are needed once you've balance one of the access . Maybe that through one of the other accesses out of alignments. So don't be afraid to go back and make a micro adjustment. So if things all three access our balance, that's a good idea to take a photo off the exact set up. If you're that kind of person and you can recall it, it'll save you some time. I can see here. I mean, may need to make a micro adjustment because it's leaning back. So I'm just gonna push this ford a little bit just a bit. Just a bit, okay? There we go. Even the slightest movement can throw your balance off. Another tip is to make sure you're doing this on a solid surface, okay? And now what we're gonna do just to make sure that its balance is to open up the running app and then I'm going to go use the balance feature. 6. Testing your Balance and Autotune: Okay, guys, with the Ronan app installed on your phone, you want to make sure that you've turned on the Ronan on the base, so just press the button once you should see a green light and at the top, press down once you should hear the sound, not you can connect through Bluetooth by clicking on the connect to Ronan button. And after you've done that, we can go over to configuration setting and click balance tests. But it's let the road and do its thing. And then, ideally, you're gonna want to see excellent across the pitch. Y'all on the role. If not, go ahead and turn off the ronin and then makes a micro adjustments. Try again. Make sure you're doing this on a solid surface and make sure everything was perfectly bounce. So I'm lucky here. I've got yaw roll and pitch. That's excellent. So the next thing we need to do is go over to back out of their go to motor parameter, and then you can select auto tune, so it's gonna take a minute or two. So just don't touch the ruin and world doing this. You're gonna hear some noises. 40% Okay, I got calibration success. Okay? This is also ah, good opportunity to go over some of the basic controls, uh, under all attitude or beside auto tune. And I can see that I've got a medium profile. So this is not too fast, Not too slow. There's another setting for low. So what? These are our presets. So if it's low, it's gonna be lots slower to do things like pen, which is sometimes what you want when you don't want overly fast pan. So if I go too high on the app, you can see that it's a little bit faster but more aggressive. So I'm gonna go ahead and just change it over the medium, and you can change these things automatically if you just tap on them. So these air just presets. Uh, there's also advanced settings. I don't touch those. Okay, so now that we have our own balance and our motor on iTunes, let's go over some of the basic controls for the room 7. Ronin basic controls: So now that we've balanced our Ronan, we've auto tuned it. Let's go over some of the basic controls. So for this lesson, make sure that you've got your Ronan turned on and your own app connected. So our basic controls here is that you can use the joystick. I've got the Ronin Essentials kit so I don't have cable connected from the ronin to my camera. So the joy six. Basically, if you go left, it's going laugh rights. Gonna pan rights Now goes, uh, it's gonna tilt up down till down. Okay, uh, this light over here indicates the user profile so you can switch simply by pressing M. There's different user profiles that you can configure in the app. If you go to configuration, I'll go into that a bit later. But I just want to let you know that I m allow you to change that. So going to stick to user profile one. If you want to re center simply just press on this trigger here twice. Okay, If you click on it four times, click it and four times and you hold it down. The lights are going to flash green, and that means it's entering the joystick configuration mode, so you can, ah, put the joystick around in all directions and then tap again four times and holds okay to put the camera in a selfie moon you can tap three times now if you have the flip out screen . This is very useful if you want to see what you're filming, and I'll get into that under filming techniques a bit later. Okay, lets pointed the other way. You can hold down M when you see the light yellow. That means in sport mode. This means you can be a bit more aggressive. Light a phone. Fast movements. Okay, um, getting the flashlight mode. Hold it like this. Press twice. All right. The flashlight moon is going Teoh allow you to get into low angle mode, which I'll get into been later but also allows you to film um 3 60 mode. It also loves the film. Without that bouncy looks of flashlight mooned, we'll get into a lot more 8. Ronin S Fundamental Techniques: either. In this video, I want to cover some of my favorite film making techniques with the rodent s. So let's get straight to it. Some of these require a lot of arm strength. So, um yeah, used two hands. Also, be careful when walking through crowds. And, um, if you're using a low aperture lens like a F 1.4, it's a little bit harder and trickier to focus. So be sure. Teoh, pay attention to your flip out screen. If you have one, make sure that you have a function like peeking on. So peaking will highlight in a certain color the objects or the people that are in focus. So it's a little bit easier to monitor as you're filming and walking. Okay, so this is our main position here. I have to retract or just fold up the legs here, and I like to re center the gimbal by just pressing twice on the trigger. Eso This is your standard position. And if you're gonna be filming like this, if you're just walking, you're gonna be getting a bit of a bounce to try. Try not Teoh. Be too abrupt when you're walking. Try just keep level. So one way to reduce the amount of bounce is the flashlight technique. So how I like to do it is I like to hold on the trigger and then just let let the whole stick go down to 90 degrees and then click the trigger twice again. So from this position, I like to hold on the trigger while I'm walking and I'll just go like this. Okay, so that's the flashlight technique now from the flashlight technique. There's a number of ways to do this, but I like to, uh, go down too low angle so low angle while holding them trigger. You can just let the stick down like this. And while it's in the low angle position, I like to flip up the screen if you have one, because you can then hold it like this. But you can still monitor the picture from the articulated flip out screen so I can pay attention to this and hold it like this. It was more than one way to do this, and this is just a couple of suggestions. When you're also doing the low angle technique, you want to make sure, depending on the lens that you're using, that you are getting some of the floor and there. But it's also angled up. So if it's angled up, you can also see the people walking. So sometimes the camera lens one point up. So you need to just raise it a bit, get it to the angle that you want and then leave it. Leave its at that angle, hold on the trigger. And then while it's in the resting position, you can angle the lens down lips. Just do that a bit slowly, Okay, like this. So then I can walk like this. An experiment. You'll find different techniques that work you can film on the floor like this. And then a nice technique I like to do is to go from the low floor position over to the flashlight position. So you get a nice kind of ah crane crane cinematic movement. So I found the bottom press twice to reposition it, hold on the trigger, and then just lifted up to the flock flight position. Okay, so not gonna cover some real world filming techniques. Um, especially if you're in a crowded place like a night market. Something like that. Let's just say that you want to film backwards so you can put it in selfie mode top three times. And now it's filling behind me so I can use this flip out screen if you have one. And use that to make sure that you've got stuff and focus, okay? And then you can even just top record. And you can film like this while you're walking, right? So this gives you a different angle. You can hold it up high, especially if you're in a crowd and you can just hold it up and get a really nice high angle view on. You don't need to get yourself in it. So that's just one suggestion before you can even just hold it like this, hold it up high and then tilt the screen down so that you can still see what you're filming . Okay, so those air some some of my favorite filming techniques, there are a lot more that you can use, but these are some of the fundamental techniques that I'm using with Ronan s and, ah, give it a try. There's a lot more techniques, and if I find more advanced techniques, I'll add them to the course 9. Ronin fundamentals Part 2: either this video. I'm going to talk about some of the fundamental skills Part two for de Girona, and have been filming with this for thinks it's June. So I got a good feel for the road and now, and I'll give you some of my top tips and techniques. So the first skill and you wanna master is balancing balancing the ronin and the quicker that you can balance your rodent, the become more efficient with using, and you're going to use it more. Uh, I also think it's important to master how you carry the rodent. It could be a drag because off the weight of the road in your camera. So I suggests getting familiar with the under slung mode. And so you can walk and just carry it while not folding it like this, because that could put in Los strain on your shoulder muscles. And I think it's great to get familiar with the running app because the apse very powerful . He can do things like program motion lapses. I like to do motion lapses when taking a break, maybe a coffee beer and you've got a nice table where you can just plant the ronin and just set point A to point B while you're taking a break, let their own and do the work and get an amazing time lapse. I also like to pre program the pan and tilt setting, so I've got a setting where it's got regular fast speed. I'll set that to profile. Three. I've got profile to set on the inception roll mode, Uh, and option one I'll just set it so it's very slow to pan and tilt so that I've got very and a smooth movements. You gotta be aware that when you're filming with the ronin, that sudden jerks and movements can be very distracting to the viewer. And sometimes you don't need that. And, uh, you know, when you're just filming, just try to remain as steady as possible. You can develop your own style. There's so many possibilities when you're filming with this. But I like to feel mostly with slow motion because you get more bang for your buck. More usable footage, and sometimes all it takes is 4 to 5 seconds when you're filming slow motion. But if you're foaming in real time like 24 frames, then there's more room to make mistakes When you're walking, try to avoid the ups and downs. Do the ninja walk and, um, try to keep this steady. You can also even just film without walking and then just using the joystick or making Cem uh, just moving your arm very in slow, steady movements so that allow the gimbal to move naturally in combination with the trigger to keep your focus on the target. So develop your own style. Eso those air Some tips for improving your filmmaking with the Ronan and ah, yeah, have some fun. Uh, you can use this as a tripod. You can film it static and use the joystick form or mechanical Ah, but less less Ah, room for mistakes. And sometimes maybe you just need to make you consume you late. A dolly movement. You don't need to walk her run type of thing, but the ronin is capable of that. It does have sports mode. So hope some of those tips help you to get started with the ronin. And you can check up my course for a lot more techniques. And ah, happy foaming hope you get great amazing stuff. Please, like subscribe. If you find this video helpful and ah, check you later 10. Ronin S Special Techniques Filming night market and food: Okay, let's say you're in a night market or a flea market where it's pretty crowded and you're gonna be walking. And, uh, you want your camera above the action above. The people hold the camera up high like this. It's a little bit hard to focus or see what you're filming. So take advantage of the screen tilted down, and what I'll do is I'll just hold it like this with two hands and keep an eye on where I'm walking. And, um, yeah, just make sure that you're you're still and focus and that the cameras forming what it's supposed to by using the articulating screen. Another technique is to film backwards in selfie mode. So to do this, I'll tap three times and I'll hold it above my head. So I'm not in the picture, and what I'll do is I'll just flip the screen like this camera is off right now, but I think you get the idea is that I'll just help the screen like this and Aiken monitor what I'm seeing while I'm walking forwards. But the camera is facing backwards, so something like this. Okay, so hold it high. So it's above everyone's heads will be creative. I mean, these are just a few of the techniques that I've found, but there's a whole lot more also like to film food. And to do that, I like to just leave it on the try pond, or I like to do like, ah birdseye position. So something like this, I'll hold down the trigger and then I'll just move the camera like this. If I want to monitor the auction, all tilt the screen so I can see or I'll move the camera like this. Okay. Or you can leave it on the tripod and you can just tell to them. 11. Ronin s monetizing on your footage: this lesson. I'm gonna talk about how you can monetize on your video footage with video shot with the gimbal. And, uh, one of the good reasons why of Gimble footage is good foot for this business model is because it is unique types of shots. So the business model is called stock footage, and what it allows you to do is license your video clips on the Internet. I used stock footage agencies, but they're syndicates like black Box that will allow you to put those video clips up, and you can find people to keyword them for you and distribute them to the main agencies. You can also license them directly, and I will put lessons in here that show you the work flows for different types of agencies . But the main idea is that you could form a 10 to 22nd video clip, let's say, from a car and could sell up for 60 U. S. Agency to police takes half or 70%. But that clip can continue to sell, um, over time, especially if you're shooting with four K, and you can sell them on more than one agency. So it's a great model great investment. And by shooting on this gimbal, you're gonna get shots. You're gonna separate yourself with people without these things because you can film while you're walking. You can form those low angle shots where you're walking. Uh, you can film from a car, and that's new types of shots that isn't available before. And I think businesses are always looking for a new way to stand out a new way. Tell story. So I think that gimbal footage is a good fit for stock footage. I sold a lot of the eclipse on the deejay Osmo, things like walking through coric space or filming from a car because those shots are harder to get using. Just your your hand hold video work, so check out the lessons. And you know, the top agencies right now are shutter stock upon five and Adobe stock. See can upload to those sites yourself or can use a syndicate like Black box, which will automate some of that stuff for you. Um, and give it a try Does take some time. Um, it's better if you have a larger portfolio. If you want to see some results rather than just putting tank lips up and expecting something to happen. I personally have around 10,000 clips, and that brings me regular income. The beauty off this model is that it can be done from pretty much anywhere. The downside of it is that does take some time for the results to happen. Like if you were toe shoot video for someone, you get paid quicker because that's freelancing. Eso yeah, so that's stock footage, and that's one way you can license the video footage shot with your gimble. 12. Ronin S Flashlight: either. In this video, I want to cover some of my favorite film making techniques with the rodent s. So let's get straight to it. Some of these require a lot of arm strength. So, um yeah, used two hands. Also, be careful when walking through crowds. And, um, if you're using a low aperture lens like a F 1.4, it's a little bit harder and trickier to focus. So be sure. Teoh, pay attention to your flip out screen. If you have one, make sure that you have a function like peeking on. So peaking will highlight in a certain color the objects or the people that are in focus. So it's a little bit easier to monitor as you're filming and walking. Okay, so this is our main position here. I have to retract or just fold up the legs here, and I like to re center the gimbal by just pressing twice on the trigger. Eso This is your standard position. And if you're gonna be filming like this, if you're just walking, you're gonna be getting a bit of a bounce to try. Try not Teoh. Be too abrupt when you're walking. Try just keep level. So one way to reduce the amount of bounce is the flashlight technique. So how I like to do it is I like to hold on the trigger and then just let let the whole stick go down to 90 degrees and then click the trigger twice again. So from this position, I like to hold on the trigger while I'm walking and I'll just go like this. Okay, so that's the flashlight technique now from the flashlight technique. There's a number of ways to do this, but I like to, uh, go down too low angle so low angle while holding them trigger. You can just let the stick down like this. And while it's in the low angle position, I like to flip up the screen if you have one, because you can then hold it like this. But you can still monitor the picture from the articulated flip out screen so I can pay attention to this and hold it like this. It was more than one way to do this, and this is just a couple of suggestions. When you're also doing the low angle technique, you want to make sure, depending on the lens that you're using, that you are getting some of the floor and there. But it's also angled up. So if it's angled up, you can also see the people walking. So sometimes the camera lens one point up. So you need to just raise it a bit, get it to the angle that you want and then leave it. Leave its at that angle, hold on the trigger. And then while it's in the resting position, you can angle the lens down lips. Just do that a bit slowly, Okay, like this. So then I can walk like this. An experiment. You'll find different techniques that work you can film on the floor like this. And then a nice technique I like to do is to go from the low floor position over to the flashlight position. So you get a nice kind of ah crane crane cinematic movement. So I found the bottom press twice to reposition it, hold on the trigger, and then just lifted up to the flock flight position. Okay, so not gonna cover some real world filming techniques. Um, especially if you're in a crowded place like a night market. Something like that. Let's just say that you want to film backwards so you can put it in selfie mode top three times. And now it's filling behind me so I can use this flip out screen if you have one. And use that to make sure that you've got stuff and focus, okay? And then you can even just top record. And you can film like this while you're walking, right? So this gives you a different angle. You can hold it up high, especially if you're in a crowd and you can just hold it up and get a really nice high angle view on. You don't need to get yourself in it. So that's just one suggestion before you can even just hold it like this, hold it up high and then tilt the screen down so that you can still see what you're filming . Okay, so those air some some of my favorite filming techniques, there are a lot more that you can use, but these are some of the fundamental techniques that I'm using with Ronan s and, ah, give it a try. There's a lot more techniques, and if I find more advanced techniques, I'll add them to the course 13. Ronin S Traveling with it: Hello, everyone. This is Greg Hung here in Vancouver, Canada, with my De Girona asks this video I'm gonna give me some tips for traveling with the rodent ass on long haul travel. So I'm talking about flights that air 10 hours long where you may have to go through multiple airports, multiple cities, and you want to travel with this thing now, uh, get first thing. This is heavy. And, um, when you do travel with that, you can either bring it with the casing or the packaging that came with it, which I still use, and ah, but that requires that you bring it on the plane and you've got an extra suitcase in your hand that's taking up your hand. You know, when you're going through the plains, when you're traveling through the airports, when you're putting things through security and that can add up to just being a drag on. And for my trip to Vancouver, I'm ready carrying a backpack. I might be carrying another bag and just having that hands free because I'm not planning to use the Ronan During my airport travels, I decided to transport it in my suitcase. Now there wasn't a lot of information when I searched on the Internet. Besides one guy suggesting that this battery here, you need to carry it on with you. So bringing with you onto the airplane put in your backpack because it is considered, um hi. Part battery. So this part here, I'll just disassemble it. So this part you want to disassemble and then just take it with you, just like you would with your drone and your batteries. So after you take out the battery, you're probably wondering what I do with the rest. Well, let me bring the suitcase out here. This'll suitcase here is ah, fits the ronin case, so I'm just gonna take it out. Not sure if you can see this, but Okay. The Ronan is sitting in one of these compartments way go fit all the parts into the ronin case, and this fits into a suitcase. So this is a medium sized suitcase that it was traveling with, and I think as long as you pack everything into here, put it in a hard, like a hard case suitcase. So it has extra protection. That worked out very well, and yeah, I took this part with me. And then there's still a little bit of room in your own in phone case to store some stuff, if you wanna. If you really budgeting, you know, the amount of stuff that you're carrying on the plane with you and, uh, yeah, so those my tips for traveling with de Girona nests on long haul travel a pack the actual package in a suitcase, and then bring the battery with you. 14. Ronin S filming from a moving vehicle: this video. I'm gonna give you some ideas and tips for filming amazing video from moving vehicles. Now, some countries, you may have harder access to these vehicles. Certainly in Asia, uh, there's a lot more of these vehicles around, so I mean, that's gonna be smooth video filming from most vehicles with this set up. But certain vehicles are gonna be a lot easier. So filming from a car is the 1st 1 It's a lot safer, but you don't have as much open air. So, um, you know the best you can do is roll down both windows and you have to take the risk of not wearing your seatbelt. If you wanna move from the right sign. Two left sides. I like to film in slow motion. That means that allows you to get the most more out of your footage because it is slower. Now remember filming handheld with this Panasonic gauge five at Fleming at four K 60 frames per second, and that was pretty decent. But on this de Girona in and that footage becomes a bit smoother, you can also film from a motorbike and having tried that, I would say to be very careful because there is the possibility that you are going to be weaving in between cars and people. And you can really hurt someone if you it's hit someone with this. You can also damage your cameras. So, uh, certainly do that at your own risk now, Ah, vehicle that I like to film in that gives you a lot more open space. That it's a bit safer is something from a took took. So these air available in Thailand, Um, and some parts of Asia. So they have a lot of a lot more open room. Um, and they're fairly safe. But you slow get the benefit of a move moving vehicle. The equivalent in North America would be a golf carts, I know, but they're not available to everyone. But there's some ideas for you could even do it from a skateboard or, ah, a scooter. But just be careful when you do these things. Ah, pickup truck is good because you can film from the back Now. Another tip went Filming from any of these vehicles is to use a lens with ah, higher aperture or used a higher aperture. If you use something like F 1.4. It's gonna be harder to keep your subjects and focus while you're moving you something like F four. So it's easier to keep your subjects and focus and, uh, keep the camera ballots. Make sure that it's hard until I like to put on the green horizontal line to make sure that everything's lined up. And if you're camera hasn't used peaking, which tells you that you're still got your subjects in focus because it can be a little bit hard when the cameras, when the vehicles moving to, you know, keep your eyes on things. So by having peaking on it's a bit easier. See your and focus. So, yeah, hold it still horizontally. You slow motion and use peaking on your camera and have some fun. Tried different things. Film from the back from film from the side, and you can also film from the driver's perspective. The point of view. If you're filming from a car, you can sit in the middle and you just zooming so you just capture the view out of the windshield. Tell those steps help you for filming from a moving vehicle 15. Ronin S Motion Lapse: Hey there, in this video, we're gonna cover how to do a motion lops with your Ronan and your camera. So motion lapse is moving time Lots basically pretty unique shot because of the automated movement that the road and gives it and, uh, do that. Let's go over some of the basics. So first you need the Ronan connected to your mobile device and the running up because you're gonna be programming the path in there. Next, you're gonna want to set up time lapse in your camera. Now, I'm using the Panasonic Gauge five years, so it may be a little bit different to set that up on your camera. But here are some basics. I like to set it up in aperture priority mode, which is the A. And the reason why I do that is that I don't need to adjust the aperture. It does that automatically the computer set set up, and I like to set the focus to manual. Next, you can go into time lapse mode here in the Panasonic Gauge five and then set the shooting interval to at least two seconds. If the auction is a bit slower, you can set it to three or four seconds. But that's just me. And then I set my image shot count to a really high amount. Chances are that, uh, the time lapse image count is not gonna complete before the motion lops complete. So I have it at 20. 700. I'm just gonna do a four minute motion lapse here. So after you set it up, uh, just leave it now. We're gonna go over to the Roman up. So with the Ronan app connected, we're going to head over to create We're going to click motion laps. So the first thing we need to do is set up are two points, so you need at least two points. The first point is actually already highlighted its that camera icon. So go ahead and set your first position. I'm going to point to that wall and you can see on your app that it's smooth. That circle Knicks click the one to set up the next points. Okay. And I'm gonna set that on the other side and both go ahead and press the play button just to see what that movement looks like. Okay. Play it again so you can set up to five points. That can get a little bit complicated, I think. More complicated than you need, Teoh. And you can see here that my two points are set up almost on the same horizontal plane. Um, the second point is livid. Higher. So it just depends on what you want. What path you want to set up there. Okay, so I've got push mode on. You need that. If you want to use the joystick to set up the points and the interval, I just leave it two seconds. I don't have the cable connecting the road into the camera, So I think the only setting you need to concern yourself with is the content duration. So right now I have it set up a five, and this gives you a captured time of four minutes. So when you increase that, that's going Teoh, increase the capture time. Meaning the entire motion is gonna be a lot slower. So if you want a longer time lapse, just set it higher. Usually, I do mind time lapses these days in about 10 to 15 minutes. Okay, so I've set mine a content duration nine, and it's gonna do seven minute time lapse. Next, we need to start the time lapse on the camera, especially if you don't have the cable because they're basically functioning independently . The camera doesn't know that it's sitting on a gimbal or Ronan, so go ahead and make sure that you focused your camera lens because I manual and start taking that time lapse. Hit the shutter button. You can hear it kicking off, and now it's time the press, the circle on the app so that you can begin the motion. Okay, so you can monitor the progress on the app and ah, enough, that's 1% now. This is going to take quite long, so this is a good chance to have a coffee. Have the beer. I like to just set this up. You know what, a cafe or public spot in the location that I could enjoy a drink or coffee or aside my laptop. So not, you know, just sitting there doing nothing. That's the one thing I hate about doing emotional ups or time lapse. But the motion laps is a pretty cool technique. Definitely want Teoh. I recommend you added to your arsenal and practice setting up those points, this app can be a little bit finicky. I don't think it's the most intuitive, but as long as you can get your two endpoints and set your content duration, uh, you can pull off something pretty pretty nice. 16. Ronin Hyperlapse Full Edit: hi there, So we've learned a lot. We've learned a lot of techniques to film Amazing video with the Ronin and our cameras, and now it's time to pop those memory cards open on the camera. Put it in your computer on. We're gonna learn how toe video edits and my workflow for editing these videos in Adobe Premiere 2019. I'm going to try to keep it as applicable as possible because I do know there's other programs like Final Cut Pro Acts. There's I movie DaVinci. Resolve a whole lot of other programs. But to get started first, pop on your memory cards and just dump your footage to a folder, I'm just going to show you my folder over here. Let me just move it over from Window one to win no to. So when I dump my footage, I like to just have a Grand's folder called Raw Footage, and I'll created based on the destination, something that's meaningful to you and you can see at multiple locations here. So I'm just gonna choose one, because I've got a whole lot of footage and sometimes I'll just copy the folder that my camera creates just straight onto my hard drive and I'm using external hard drives. USB three hard drives These days, USB 34 terabytes of five terabytes are becoming more affordable. And the speed is, believe it or not, it's fast enough to edit four K videos with, Ah, good powerful computer. Amusing. The Huawei May book Pro X was 16 gigabytes of RAM and a dedicated graphics card. So once you've copied your stuff over, we're gonna open up Adobe Premiere over here. And, uh, the first thing you're gonna want to do is to import your footage over to the video editor . So you see, already have some footage here. But if you don't, let's just say you've got a blank slate here. Uh, you're gonna have your import window, which is highlighted over here, and you can just simply just import footage by double clicking and then find your footage and then select open the way I prefer to do it is just, ah, find it the footage in the folders and sometimes it's easier just to put it in a list for you. I like to do just the videos. Sometimes I take photos as well, so it's mixed up so I can just filter by by type. So highlight those MP fours or dot movies. Whichever format your camera crates, and then you can drag him over into your import window. Okay, We're gonna start with an easy one. Now, Tip is to create bins if you're using Adobe Premiere so you can just click there. So that's going to create a folder. And it just keeps things tidy because you'll end up with If you do multiple videos, you'll end up with, um pretty messy imports window. Alright, so I've got something prepared here. Then expand the timeline window so we don't have enough time to cover Adobe Premiere the editor itself. But, um, this basically this area here highlighted in blue this is the timeline. So this is the same as in final cut Pro X. You're going to need a timeline to edit the footage and, um, final cut. Pro X also has an import window, and you also have the ability to take a look at the properties off these files. So that's what we're gonna do here. So I'm just gonna expand this by pressing tilde, and it's good to get a glance at the video properties off your footage. So just because you shot video with the Ronan, one thing that we didn't get into is what type of video settings or frame rates that you're recording at. For example, you can record a HD ah 180 frames per second, which isn't it create smaller files, but it's gonna be really good for creating super super smooth, slow motion shots. Or, if you're doing stock footage like I do, you may be filming at four K 24 frames per second or ultra. Ultra HD also knows Ultra four K, which is 38 40 times 2160. So it's a lure quality four K, but you can film that at 60 frames per second. So because of all these different resolutions of frame rates, it's good to get an idea in your editor to see what these falls are because you can choose , you have to make a decision here. Are you going to create an HD video? Are going to create an ultra HD video or a four K full four K video, and if you create an HD video, then those four K clips that you bring in to the timeline are you're gonna need to adjust the scaling. Otherwise, there they may have cropped borders, and, um, yeah, that's not gonna look nice. Same thing is, if you create a four k project, but you have aged eclipse. Those clips are not gonna be Hi. Hi. Rez Enough. So they're not gonna have enough real estate to full up the windows. So you definitely want to be aware off what resolution you're filming and what frame rates . So I'm looking here at the files in this high prolapse, and because they're all most of them are 38 40 2160. Just those pavilion hyper lapse here is full four K 4096 2160. So I'm gonna create the project based on the majority. So 30 40 times 2160. So let's just minimize that. Okay? So in Adobe premiere, we can create a project by simply just right clicking on select new sequence from clip. Okay, I'm just going to because I'm working on dual screen here, but I'm recording on the screen. I just got a quickly change. My layer for single screen. Okay, Reset to save layout. All right. Okay, so we've got our first clip here, and, um, in Adobe Premiere. I like to play it back before I bring it in. So you can do that by just double clicking on the clip. And you can use i N o I is the start points and always an end point. So I just played back because this is a high prolapse where I wanna start and and the clip So I want to start here. I compress I and, oh, former endpoints Crips spring the point there press. Oh, okay. And you can do that before you bring in the video clip to the timeline. So let's do that with the next one here. We've got our civilian hyper lops. Okay, Some already work with these, and they have in in l points, so that should speed things up. Whoops. Okay, so now I'm gonna bring that into the timeline. So for those of you that are not familiar with W Premier in the timeline, there's different trucks trucks with the or for video trucks with a or for audio, and ah, V one is our primary video track. And then b two b three. I reserve for texts or B roll. Okay, so let's continue on and let's see here. No, I don't want that. Chung cuts, okay? Actually, I want this to start off the project. So that spring was clip in. So another way to bring in a clip is from this source window, you can simply just click and drag just the video onto the timeline. If I wanted the sound, I can click from the picture, and then I get an audio truck there. Okay, So I want to navigate to somewhere else because there's a clip that I want. Let's just find it one Neiman so you can You can use the search area b roll that There it is. Okay. I want this to be my second clip. So let's click on that beautiful motion lapse of Chiang Mai if you haven't made it there. Definitely recommended for visit. So let's drag that in. Keeping the clips that are from a destination together. Okay, You see, right away there that this clip is cropped. Let's hit the properties off this clip. Let's just find the properties properties, okay? This isn't HD clip, so we can try something because I really want to get this clip in, we can zoom in, and, um, hopefully, you know, it's still good enough to include in the video that looks like it's good enough. Normally, I wouldn't do this because my video projectors high resolution than my clip. So I'll just leave it in there for a short while. It's just really a nice, nice clip that I want include. And what just happened there? I think I deleted it. So controls that to undo. Okay, so it's just player product back. All right, so let's just put these together, okay? You can select snap in timeline, so it's easier for the clips to stick together. And let's go back to our folder here. Okay? The hyper laps folder. So you can just click there to find the clips. So let's ah, slept another one here. See him? Paragon. Okay, I'm not do that. So we're gonna bring that in. All right? Now, do we have one more clip that we can include? Yes, we do. We've got the Chinatown Club. Okay, so I just want include all the nightlight clips together. So I see Chinatown here. So another thing is, you can switch from Listsview, which is easy to see things like the resolution, the properties of the foul. And then you can go over toe icon view, which is a nice Icahn view where you can see the visuals. Sometimes it's easier to identify the clips when it's in icon view. And, um, yeah, that's the one I wanted Chinatown. Okay, so the drag that in and then we're gonna end with our Bangkok lit, and then this is gonna be the last clip here. All right, so we've got our clips in the timeline. Now it's time to play through by pressing the space bar to check things like, you know, like the playback speed. Do you need to trim it a bit more? I just want to keep this fairly high paced. Okay, so it's timeto put in our selector music track, so I downloaded some tracks last night groups. What is going on? You and I, Okay, lets is putting detail you there. Okay, so I got to music truck selected. Let's bring that in. Let's just play this Hang up. Maybe a little bit slow. Remember to save your projects from time to time. I know what primary does auto save, but it's just nicer. You save you save your your own project. I do find that a newbie primary does crash me quite a bit, especially with these hyper lapses. That's too slow. Okay, that's more like it. All right, so let's drive that clip in and let's see here. Okay, this clip is a bit slow, so I wanna just want to speed it up a bit. So right click on the clip. Speed duration 150%. Also, the music takes a while to get started. Something's gonna trim from a bit, so get straight to the beat right away. Okay? Sometimes it's cropped in a bit. Someone's gonna select scale, the frame size. No, that's fun. All right, so my plan is is to have this. Okay, I want to transition there. It's a bit rough, so I'm gonna go over to the effects I'm going to select across the in effect or even a push . Let's do cross, assume and then just place it in between the two clips. Okay? The red line means it's, you know, it's thinking it's rendering, so I'll just leave it alone for now. In the meantime, Let's dragged the rest of the clips over and I'll remove the audio track beneath it for could just mutes this entire truck. Okay, let's just play back, Okay? So, you know, it's nice suit. Trim your trucks to the rhythm of the beat and some just gonna trim that second clip and then let's just check. Let's check the transition from the second to the third clip. Okay, a bit rough. So let's let's get a maybe across the soul. That's your strident standard transition. How about something a little bit more dynamic? Maybe, uh, Iris Diamond. Play around experiment and see what works. Okay. All right. I want to see if this is cropped in scaled a frame size. I think the only clip I might need. Teoh. Focus on changing the skills. The pavilion hyper lumps. No. Hey, it's just this one that's cropped. Okay? The reason I keep doing that skill, the frame size I just want to check. That's not cropped in. But I think all these clips were the same size as the video project. Okay, so one mawr transition. I like to do transitions when there's a change of location or situation. Let's see what this looks like. Smooth. I like that. Okay, let's save. Okay, so that's That's a nice short woman and video. So let's just produced the volume of the music. Here. Let's go to all your truck mixer. Okay, So this thing, this truck here, some music, So I'm just gonna bring it down a bit. You can see over here minus six. Okay, let's go back to effects. So I want to Just because we're nearing the end, I just wanna do it, dip to black, and then I want to fade out the music, so I'm gonna go to cross Fades. No, don't be. Premier is a little bit hard to find effects, but you can use the search if you know the name, someone's gonna drag it in. There is. Okay, let's extend that fade out. All right? We're almost done. It's time to save the product again. All right. Next thing I want to do is what we call an adjustment layer. Adjustment layer is gonna allow me to color grade or change the colors for all the clips just to give it more of ah, you know, more of a custom, more prettier. Look, Okay, so we're gonna notice the adjustment layer is on V two. So it's the way that it works is that the higher the video truck is, it takes precedence. That's going to overlay. Let's highlight this adjustment layer. Let's just make sure there are no current settings. Okay. Looks like there isn't greats. So, for example, I can, like, dial up the saturation over here with the adjustment layer highlighted, I can select to hundreds, like, really exaggerate the colors, But no, we don't want that. I'm just gonna select on her and 20 and elect to use, You know, this is gonna apply to all the clips of my project. So we're not spending a long time in each individual clip. It will just take too long. Eso see, I'm just flipping around some of the different filters they have here. This one's nice. Something in the highlight double click on that. So what that means is, this adjustment layer is going. Apply that look to all the clips that are beneath it. Okay. If you want, you can go over to Central graphics and, um, strike it over, give it a title. Usually that happens at the beginning. I was gonna do something crazy here, so I'm gonna highlight it. Select tax title here. Let's expand the source window. It's a bit small. We don't need anything this window yet. Okay, so we've got our title in there now. On a change. Fought something a bit more custom T shirts. Okay, that's nice. Let's stall it up. Yeah, like that. You can change. The colors can add some shadows and etcetera. Okay. So because I'm sharing my full workflow, I'm gonna show you how I create my thumbnails. So for the YouTube thumbnails, if you're using Adobe Premiere, you can choose a frame that you like a ser like the sun flare. No, this is just for the screen capture. I like that. I like those sun flares. So I'm gonna just bring the title over there, and, um, I can click here to just export a clip. Hyper lapse mode. Okay, I'm gonna put the graphic back there. Okay? Now we can just expanding timeline just to take a Theo high high level overview. Okay? And that's that's are completed. Project the Knicks. Last thing we need to do is export the video, so let's go export media or control em on. Our goal here is to publish the video to YouTube. I mean, that's where everyone is thes days. Okay, so we're in the export settings here on leave it at age 264 I want a high quality four k video because this is four K I like to select. Use maximum render quality on. You can either select exports, which is going to use up all the resources to create this video. I like to select que, and that's going to send it over to another program. Media encoder, which will allow you to work on the computer, continue to work on your computer while this renders it in the background. And if you using final cut pro X, this would be actually final cut pro ax handles exports very well. There is the forget what is called the compressor. You can also batch files on there, but just for a single file on final cut pro X, you can just export and does a good job of pushing it to the background. But for Adobe premiere, I recommend exporting and queuing it up to the adobe encoder. Otherwise you won't be able Teoh, You're gonna have some lagging on your computer, and then we're gonna press play now. One last thing. If you do want to publish directly YouTube, let me see if I can get this export window up again. If you're using Adobe Premiere, you can actually do that at the same time. What shall do now? So you need to log on with you, You to Prudential's. And then, you know, you cannot either do this in you tube or in the swindle here. Hyper lumps, Thailand motion laps, Dej I thrown in Travel Malaysia. Uh, footage four k. Depends what your goal is. My goal is you know, I'm gonna post this and see who's interested in the course, so I should probably add some tags related to how to how to do high prolapse. So for people want to learn how to do these shots, they can click on. They could easily find this video through YouTube search. So anyways, I've covered a lot there. Sorry if I've died, Greste, but I wanted to give you a full workflow. So to recap. But we did is we imported the footage over to our import window in Dobie Premier. So what? Whatever program you're using you you're gonna need to import next. You need to the side on the resolution and frame rate of your project. So in most cases, HD, uh, 1920 by 10. 80 p 24 frames per second is the norm for cinematic high definition or for four K In this case, I just right clicked on on the ultra four K clip ultra HD four K clip, which was three day 40 times 2160 because that was majority. And um, yeah, After that, we selected the music. We laid down the trucks into the timeline. We worked on things. We So we selected the music. We put that down, we wanted a music that was the right pace. And we try to cut the clips. According to the beat, we had the clips in the right order. We inserted some transitions were necessary, and then we finish off with adjustment layer to ply color to the entire project. We added a title and boom, we exported it. So we'll be found this useful for learning how to edit. This is a basic project, but we can get more complicated. But ah, hope this gets you started Video editing your footage with the Ronan 17. Ronin S how to do hyperlapse: hi. In this video I want to cover. How do you do? Ah, hyper laps, hyper lapses and awesome technique. It's basically a fast moving time lapse where you're actually just walking with the camera while it's taking a time lapse. And if you're using a camera like the Panasonic GH five, you can actually build the time lapse while you're waiting right after you finish taking it , rather than taking that memory card taking all those photos and doing it in the video editor. So it's a really nice technique, and you don't need a GH five to do it. But the key thing to pulling off the high prolapse is you want to set your interval on your time lapse mode in your camera to one second. So cameras like the GH five or modern Marylise cameras. They already have a time lapse function built in, so just quickly show the settings in a second. But if you have an older camera like a DSLR, maybe you need what we call a interval. Almon er. It's like a remote control you plug in and then you need to basically just configure. How often are you taking the photos so it's do heart collapse. The key is you need to do it every one second. So once you've actually set that up, start taking the time lapse by clicking start or the shutter button. Whatever you need to do to get that started in the camera. As for the Ronan, you basically just hold it with two hands and just make sure that you're not moving the camera too much. I like to just walk with two hands just like this and do it for about at least 10 minutes. If you do it, Uh, less than 10 minutes, the hyper lapse is gonna be too short. Okay, so, um, I once do that. Just build the time lapse in the camera. If you have that ability or bring it to your video editor. Pretty simple but powerful technique that you can pull off with the road and s or any other gimble combined with your camera 18. Ronin S motion lapse advanced: Now that we've covered setting up a basic motion lapse, I'm going to show you how you can create mawr endpoints to set up your third point, you need to on highlights, uh, the icon. So if you see a blue icon just untapped that and you'll see the plus icon light up. So hit that and then use the joystick to set up your third point. So I'm going to just put that towards the ceiling, and then when you're done on, highlight its go ahead and press the play button just to play it through and you can see there. We have now added the third point. Uh, if you want to delete appoints, you can highlighted, and then the garbage bin will show up, and then you can delete that point. Uh, personally, I think this app is a little bit confusing. It's not as easy as does it look, So maybe that's just me. Um, so I just tried to keep it simple and set to end points, but at least we know how you can set up more than one if you need to. So, uh, yeah, that's the motion Laps. In a nutshell. A nice technique to have in your arsenal on my recommendation is if you do it, uh, nice to do it in the cafe or bar where you can actually enjoy coffee or beer while you're doing your motion laps. Just makes the time possible. A pastor. 19. Malaysia and Thailand hyperlapse and motion lapse: no way, - Yes ! 20. Ronin S High Tilt: OK in this video, I'm going to share my technique for filming really high towers or statues, which I recently did. So the first thing you want to do is tilt your camera up. I find it helps if you have a pan on a low setting, because while I'm pointing up, what I'll do is I'll start recording and then I'll do a slow pan like this. It was pretty nice. Another thing you could do. ISS. Take advantage off any objects or trees in the foreground so that you can focus on the tower or the object. But then you can have the trees in the foreground and then with your camera, tilts it up. Hold on the trigger on, then just walk slowly while you have your lens fix. Focus on object and you can just step backwards like this on. You can also experiment with filming ceilings. Just have it pointed straight up. Make sure you're pressing record and then just hold the joystick to the right or left 21. Ronin S Slow Pans and Tilts: this video, we're gonna cover some tips for how you can smooth out your pans and tilts. Maybe they're a little bit too fast, not reusable. So right now I'm on a profile where the pans and tilts their super fast. If you want to. Just the speed go over to control settings. We've clicked motion and the setting, you wonder, just is Max be so we tapped on medium. You've got three choices low, medium or high, so I'm going to high right now. You can see it's tilting pretty fast so we can adjust that too low. We can see. But it's very slow till now. For the lowest setting is actually something that I would actually use for stock footage is a lot more smoother. You can also go over to customize if you want to set in a specific number. So right now it's on 19 and you can just adjust that to whatever you want. So something like 12 to 20 would be a lot smoother. If you actually trying to do some B roll or stock footage, we can do the same thing for Penn right now. It's pretty fast now. We're just gonna change the speed from hi over low, okay? And set that back too high. Now the Dad band Just for your information, it's the delay from when you put input into the joystick and when the ruin and will react to that, I just leave it on the default. But you can experiment with that. The settings to control the speed and the smoothing are all in the motion area under the control settings. So again, just to recap, if you want something more usable, lot more smoother footage, you can change the speeds for a specific profile so that their lower something between 10 and 20 is what I would use, but you can adjust it according to your situation. 22. Ronin S Inception Roll: everyone in this video we're gonna cover. How do you do a roll with your Ronan s? So, with a balance, Ronan s on auto tune bonus organists press left or right on your joystick over here to roll your camera. This is a very popular video on YouTube. They call it the Inception shot. So to pull this off, we can actually go in a flashlight mode by putting down the road and horizontally and then just holding down on the joystick. Then you can do it in either direction. So I'm not sure how often I'm gonna use this shot. But it is good to know that you're a ronin is capable of doing this because it's impossible to do it hand held without it being shaky and jerky. So we're gonna cover How do we pull this off? So we need to go over to our app, and, uh, I recommend changing your user mode so you can do that on the road. And by pressing M, you can see the Green line here. It's currently on to, so you can set it up on 12 or three. So I just set lineup on two and If you want to go back to the normal mode, you might just set that as one or three. So for three, if I click on em, you can see that it's not rolling. No, it's patting superfast. I go to one. It's super slow and smooth good for filming. But if I go to two and goes back to the role, Okay, so now on your we're going to go over to configuration, assuming you already connected to your own in through Bluetooth and then at the top, you can change user 12 or three. So that's where you can configure your role to whatever profile you decide to. So to set this up on her up, we are going to click on control settings. Notice that I'm on the user to profile so you can decide if you wanna set this up on user 13 or two. And on Channel three, I'm going to tap on the blue texts, change that to roll, and then on Channel two, we're gonna do same thing where we're going to select an A and then channel one. We're gonna select any as well and then tap off on that's it on then on your joystick. You can He can then move the joystick too. Rolled over. Someone's not working there because Channel three set to on a so tap roll on tap off. All right. And a from there we go. So that's how you set up the roll on your Ronan. 23. Ronin S Orbit: venue. We're gonna cover the orbit shot or power locks, whatever you want to call it. This is a shot that you're gonna pull off if you've got something interesting in the middle that you want a circle also good for signage. When you see signage pointing the different directions is pretty cool to go around it. So to pull this off on our road enough, It's good to have a profile with a slow to medium pan or tilt. And we're gonna use the natural movements off the ruin. And we're not going to hold on to the joystick or the trigger. So we're just gonna make sure that we're focused on her objects and, uh, just going to use a regular frame rate 24 frames per second. Make sure you've got your exposure on Use your Peking to make sure you've got your object and focus on. Then we're gonna hit record. We're gonna hold the ronin like this two hands and then we're going to slowly just sidesteps so in a continuous motion. Okay? So just let them the road and turn naturally. It can also experiment by doing this in slow motion with the higher frame rate 60 frames per second or higher, or even something like 120 frames and try. Do some speed ramps, See what this looks like. That's how we can pull off the or been shot. 24. Ronin s with a gaming controller course: Hey everyone, my name is Greg Kang. If you're not familiar with me, I do videos on gimble filmmaking, a lot of content creation. Today we're gonna be learning how we can use a PlayStation four wireless controller or an Xbox wireless controller that connects to your Bluetooth phone and allows you to control your DJI, Ronin Gimbal. I'm not sure if PS five controllers are supported, but we're going to cover this using a PS4 third party controller. And I'll put a link below that is an affiliate link. If you do decide to purchase it, I purchased it and I get a small commission and exchange, so thank you in advance. So let's get started. So first off, make sure your controller is connected to your smartphone. So you can just go to whichever phone that you have go to the Bluetooth features and then just added as another device. Now with this particular controller, I'll just put it up close here. You can hold the middle. Alright, my row, Ronen is acting along Kino. Go back. Alright. So this controller, we can press the Home button and this button at the same time, they put it in Bluetooth pairing mode. So those two buttons right there. And after you've heard it the first time, you don't need to do that every time you just need to hold down on the home button. And the blue light will stay on. So that means that's connected to your phone. You will need the DJI Ronan app, which is free. And I'm just going to tell you the version that I have. But there is the latest version, 2.3, I have to point to 0.1.10. So once you're at your app, you need to click on Create and then you'll click gaming controller. Alright, so we're gonna click Create. And then we're going to tap gaming controller on the bottom there. Okay, so you can see all the controls are mapped out. In order to use the photo and video mode, you will need the cable, which I don't just pointing that out, but all the other controls like changing the profile, padding and tilting. You can use that with your controller. Alright, so take a look at the buttons over there. We're just going to cover some of the functions that you can use. So if we want to pan and tilt, we use this button. So it's panning right now. And we go up and down the tilt. If we want our role, we can use the right stick. Okay. If we wanted to recenter it, we click on the bottom button. Okay. And if you want to switch profile, we can use the top button if you're using a PS4 controller so that you may not be able to see that there, but that's changing the profile from one to two to three. I'll just show you my phone. It's giving us a confirmation screen. When I do that. And then when I tried to do photo or video, it's going to complain about the cable. So that's what that message looks like. Alright, so lastly, what can we use this feature for? What's, what's the point of it? Well, I think by using the video game controller, you get really precise movement and control of the Gimbal and you don't need to be standing right by the Ronin. So maybe if for product shoot and might be really helpful, let's just say we were doing a video on this keyboard. Let's just take that text away. Or even a video shoot on the phone. You can get really precise movements. Just, just look at how we can control the movement of, of the Ronen with our joystick rather than using this little nipple on the road. And so, yeah, it's a nice feature that they have allowing us to use our Xbox or PS4 controller to control the Ronin. 25. Active Track Demo - Retention Rate: What's up, guys? It's Greg Hung here. And in this video, I'm gonna talk about different ways and video techniques we can use to help keep our attention rate in our videos. So I've been experimenting with the act of track technology with Ronan s, not SC. Ronan s just today updated. The firmware got a custom rig to put my smartphone on top off my GH five. And now I'm recording with active track on. You can see it's following me and it's a really good way, Teoh keep things dynamic. I think I actually like talking while walking so talking while walking with the road Mike connected to my iPad got links below on this microphone here. So this is nice. He gives me a bit more freedom to walk around with. Talking keeps the blood flowing, and I'm also recording this in four K video resolution. So I've got that extra riel state to crop in and crop out which a lot of YouTubers are doing in their videos. So you've got ah different look so you can cropping crop out as well as have some dynamic video going. So I'm going to see if I can keep walking and talking while the after truck follows me. So it's hard to do this with one person. So actually set the phone up and everything. And then I had someone help me just frame the box around my face of also tested walking away, going to the toilet and coming back to see if the APP remembers my face and it does. So that's really good, especially if you just want to set it up once and you have a solo set up. Active truck technology from de Girona in is really good. If you want some help tutorials on setting this up, then check out some my videos because right now there isn't a lot of good tutorials on it. Exciting tutorials. So let me help you get set up a swell. And with this technology, I'm really excited to keep my Ronan because I think it's just more exciting talking like this. I think you can really keep your audience if you try a different techniques and people are getting a bit warn of old videos where you're just talking on a tripod. So let me know if you think this technique is useful is a too distracting. Can you use it in your videos to help improve your attention rate or just have something off more of a different look? 26. Ronin S Summary 2: Thanks for taking the Kimball filmmaking course. I hope you learned a lot from the different Gimbels that we've covered in this course. We hope that it's very thorough. Like most different tools that are available to creators these days, they do give you an advantage and you know, there's a trade-off or everything. And I think the big trade off for using this is that it's really heavy. Especially you're going to take it out all day and you're traveling. It's kind of a chore to take this with you. And right now, the solutions to pack this up are pretty heavy. You can fit it in a backpack. But I worried that some of the gimbal parts are vulnerable. So for now the packing solutions are not the best. So that would be the trade-off. Or learned how to use these in conjunction with a tripod. If you do need that extra heights, you can take advantage of the automation. If you're going to be doing some self talking videos and you want more movement. But yeah, these are great additions to complement mirrorless cameras for stock footage. So I recommend that you look into that lesson where you can learn how to monetize on that type of footage. Also great for events. Having one of these things definitely as your credibility and it does look a lot more legit. If you're holding this, you definitely stand out as a filmmaker rather than someone with a DSLR that looks like he might be a photographer. My experience, I've gotten stopped a few times just for filming in public because this does get a lot more tension. So be aware of that. But if you're filming events or weddings, this will definitely add your credibility. So good choice if you got one of these. And yeah, I'm very happy with the DJI Ronin. It is an investment in your filmmaking. Yeah, I know what your purpose is. Why are you getting this thing as a free stock footage is for events, make sure it's the right fit for you. Maybe you don't need something like this. Maybe it's a give more for your smart phone. So hope you enjoyed this course. And remember, this is only one part of creating. There's audio, There's video with drones. There's a different application or purpose for different types of gear. And this is certainly going to give you a lot more freedom to walk around, to run around with a camera, to get new types of shots. So have some fun and thanks for taking the course.