How to Film Driving Scenes Practically: Cars and Cameras

1. Introduction: In this course, I'm going to show you how you can film car shots. I'm going to show you how you can mount your cameras to the inside and the outside of your car. I'm also going to take you through how you can fake it. If you don't want to take the risk of mounting your cameras to your car, then you can fake it. But I would definitely recommend shooting it. So, stick around, watch the episodes because I'm going to show you how you can film driving shots with your cameras and your car. Filming people in a moving vehicle is probably one of the most logistically difficult things you would do as a video creator, because there are so many different things that are out of your control. If somebody is driving a car, then you've only got a specific amount of room to work with. You can sit behind them, you can sit in the opposite passenger seats, you can sit in the front passenger seat. But unfortunately, sometimes you just can't get the right angle, it never look quite right. In this course, I'm going to run you through a few different options and a few things to keep in mind when you're making videos of somebody in a moving vehicle. But before we get into that, let me please just introduce myself. My name is Chris Brooker. I'm a full-time video creator and video editor. I have been thrown into the deep end, I have been forced to film music videos and the whole video has been based in a car or they want a car scene, they want to have the camera mounted in really interesting ways to get really amazing shots and that has thrown me into the deep end of trying to figure this out. Let me run you through everything that I know about filming car scenes. 2. Film it? Or Fake it?: First of all, you first just wants to decide whether you want to shoot it for real so place a camera in a moving car or fake it. Now, there's pros and cons of both. Let's start with shooting it for real. The main benefit of shooting it for real is it looks real. If you mount the camera onto the car and you frame this up correctly, it's going to look real because this is real. The problem is though, there's a lot that goes into filming moving cars and you also really have to think about safety. Is the camera going to get in the way of the person driving? Is the camera going to fall off and cause damage to the vehicle, somebody else, or somebody else's vehicle? Of course, there's quite a few logistical difficulties when it comes to actually filming a moving car. That's all of the cons. Now, when it comes to faking it, you can either place the car onto the back of a truck and you can move the truck and you can mount the cameras onto the truck. This means the person in the car is not driving, which means instantly they don't have to think about driving the car. They can act and they can give you a great performance. Of course as well, if the cameras and the car are on the back of a truck, you've got more flexibility and freedom on where you put the cameras. You don't have to map them to the bonnet. You can have them on a tripod on the back of a truck and you can have everybody harnessed in and it feels a bit safer. The problem with this though, is you do require a big filming truck, and these are big, expensive and you typically going to need permits to get away with something like this. That unfortunately for most people is out of the picture. The next way of faking it is to shoot it on green screen or with projections. You can either place the car in front of a big green screen and you put green screen just behind the windows and then you can change it later on. Or you can have a big projection so you could put the car into a studio and just project a video in the back film from the right angle and with a little bit of camera trickery, you can make that look right. The benefit of that is it is much safer because nobody is driving. Unfortunately, this one can be quite difficult to get right, especially when you're shooting a daylight scene because there's so many reflections on the windows and because projections can look fake. Unfortunately, this one can be difficult to get that typical look that you're looking for. You will notice on a lot of high-end Netflix shows or other big high-end movies or series you will notice they do use this technique quite a lot. That is because it is much safer to do so. But of course, this requires access to the right equipment, the right lighting, and this can get very expensive and very difficult. Let's begin running you through how to shoot this practically. 3. Mounting Cameras Inside the Car: If you've decided to shoot this practically, the first way of filming is to mount cameras to the inside of the car. This is a GoPro Hero. I think this is the sixth or the five, and then with this, I can get a suction mount. I can stick this to the window on the inside of the car. I can put the GoPro into this mount, and then all I have to do is just angle this up correctly, stick this to the dashboard, and then this is going to film. Now, the great news about using a GoPro is it has a very wide field of view. This means I can mount this in the middle of the windscreen and it's going to pick up not only the driver, but it will also pick up the passenger as well. However, I could also change the field of view on this camera that I shoot a little bit tighter or get a really tight shot. I'm only focused on one person. Now, the beauty of using small, lightweight cameras like a GoPro with a small suction mount like this is, one, they're super light, and two, they're really small. This isn't going to cause too much of a distraction to the driver. Because if you had a really large camera mounted, it's going to block a lot of the view and you might end up causing an accident because you didn't see something. Whereas a camera of this size, if you mount this out of somebody's eyeline, and you have this in a safe space, you can get the angle that you're looking for and you can still get a really awesome shot without distracting the driver. Now, the problem is with cameras like this is, yes, they do work and they will look great in most videos. But if you're looking for something a little bit more cinematic, then unfortunately, a small suction mount like this is not going to do the job. If you're going up to something like a Sony a7S Mark III, for example, then you're going to need a suction cup, which is a little bit more heavy duty. As you can see, this is a much larger suction mounts. There's a protection cup on the bottom, so I'll take that off and this is the suction plates. What I would do is, I will mount of base plates onto this or I'll mount clamp onto this and then I could mount a larger camera onto this. Again, I could stick this to the inside of the windscreen, I can mount that down, angle the camera to where I want it to go, and I would then get the shot that I'm looking for. Now, these are great because they do stick to the windshield and something like this does have a really strong grip. Now, of course, I would definitely recommend using the belt and braces method, which is a term for just having a backup plan. Maybe add some wiring or a cable onto the camera so that doesn't completely fall off. If it falls, is the suction fails, then the camera fall and the cable will catch the camera. Of course, because this option is bigger and bulkier, this might cause more of a distraction. But this does give you the option of using heavy duty cameras. However, the problem is so far, we've seen everything is mounted to a suction cup and the problem is, if the car is vibrating because this is connected to the suction, because this is just hard plastic and this is hard metal. Unfortunately, it's not going to soak up any of that vibration. If you're going down a particularly bumpy road, unfortunately, it means the footage is going to be shaky, vibrating, and it's going to be completely unusable. That is why you can get something like this. This is a gimbal for the GoPro, so that means you could mount the stabilizer to the inside of your car. You might need this heavy duty suction cup in order to do that. But you could map the GoPro to the inside of the car using the stabilizer, and this means you're going to get that really smooth footage that you've come to expect from your videos. Of course, this is getting a little bit bigger and that means unfortunately this becomes a little bit more distracting again. However, that's probably the options that I would go for filming inside the car. I would use a suction cup on the window and use a small one if you've got a GoPro or a small camera. If you want to go up to a mirrorless style camera, then you can use a larger suction cup. But unfortunately, if you have something like an FS7 or a Red, unfortunately, I don't think one suction cup is going to hold. This is where we need to go outside of the car. 4. Demonstration: Mounting a DSLR Camera Inside with One Suction Cup: When it comes to mounting a larger camera, like a Canon 5D for example, so a digital SLR, you've got two options. You can either go for one large suction mount, and with this large suction mount you can get a clip, and you can just screw this clip onto the suction mount like this. Then we can just mount the bottom of the camera in to this arm like this. Then essentially all you need to do is just stick this suction cup onto the window and you can mount the camera upside down, and that's going to give you the most secure hold. Let me show you how to do that. To mount these camera in, I'm just going to place it against the window, and we're just going to push in on this locking mechanism here. Now as you can see, that should be locked in. Now with that locked in, we can just get rid of this, we can move this up here. Then we can grab the mount, we can grip this on to the suction mount like this. Then we can just screw the bottom of the camera into the arm like so, and then you can just rest this like this. That is a great way of mounting your camera. Now, if you wanted to get rid of vibrations from these shots, then I would definitely recommend just pushing the camera down on to the dashboard. Make sure it's pressed up against the dashboard, and then that should help to get rid of any vibrations. It's also going to add an extra point of contact onto the camera and therefore make it more secure. Alternatively though, if you did not want to go for this option, you could go for the stage option. You could mount this stage onto the windshield, so you would put one suction cup up here and then you can put another one on to the door. Then all you need to do is mount in one of these railings between the suction cup and the stage, and you put multiple points of contact so we've got one up here and then one over there. Then you just mount this stage in somewhere around here, and then point the camera in whichever direction you are looking for. But that is how you mount your larger camera inside of a car using these larger suction cups. 5. Mount Cameras Outside the Car: When it comes to mounting your camera to the outside of the car, there's a lot that you have to think of, but let me first just begin with the smallest cameras and then we'll build our way up. Again, you could actually use this same mounts for your GoPro and you could just stick the camera to the outside of the car. Just make sure that you clean the parts of the car that you're going to be sticking this to. Make sure it's not greasy, make sure it's not dirty, because if there's dirt between the suction and the car, unfortunately, this might slip off, and if there's grease it's going to be the same thing. Make sure you clean the car in that area, make sure it's not greasy or dirty. Then we're just going to map this onto the car, make sure that it's firmly secured down. Then I would always definitely recommend having as extra safetiness as well. I use these ratchet straps here. Now, these are very big and very heavy duty, so I probably wouldn't recommend that for this smaller GoPro, but I would definitely recommend having some cable or a smaller strap just to make sure that it doesn't fall. Then of course, if we are moving on up, we're going to want to have a more heavy duty suction support mounts for the outside of the car if we want to have those bigger cameras. Here we have three suction mounts, and this means we have three points of contact with the car. It means, if one of these suction mounts slips, the camera is not going to go flying. You could get away with using two, but personally I find having three is going to give you that peace of mind, because it's not very likely that three suction cups will all slip. I'd definitely recommend having two or three suction cups if you can, and then you connect all of those up to a mount. This is what you would call the stage. As you can see, you've got your base plate on the top of the stage, and then you've got these sections here, and this is where you feed a poll through here, and this connects up to the suction mounts. Essentially, you've got the stage here where the camera lives, and that's connected up to three suction cups. Now you want to make sure that the system that you're buying supports the weight of your camera, never exceed the weight of the equipment that you're using. I believe this says it can take a camera of up to around 10 kilograms. If I was using a camera any heavier than that, I would want a more heavy duty system. What I do when I'm mounting this to the bonnet, for example, is I make sure that they are mounted to the flat part of the bonnet, make sure it's not over any curves or any lines in the body work. Then make sure they are all wide apart from each other. If all three are very close to each other on the bonnet, then unfortunately, if one slips, it might slip into the other one and that could cause that one to come loose and that could cause the last one to come loose as well. You want to make sure these are all really wide apart from each other as wide as they can go. Then once you've got them all mounted in, you want to mount the stage in, put the camera on, and then you also want to make sure that you have some form of foam padding or protection for the car. Now, this stage in particular does have rubber padding at the bottom, but as you can see, there's quite a lot of metal. If you're hiring a car, you're using a friend's car or you're using just your own car, you don't want to be damaging the body work. Just placing something like this underneath this stage here where the camera and all of this metal lives, that's just going to help you to protect your body work. Then, of course, once you've done all of that, you want to mount your camera on and you want to frame your camera up. Of course, once you've mounted the camera, then we want to go ahead and secure this end with some straps. Now, these are ratchet straps, and these are really great because they can tighten. As you can see, [NOISE] I've got this mechanism here. What I do, there's two halves of this, you've got this here, and you've got this here. This is the strap and then this is where it secures. In order to secure this in, I feed one-half of the strap through, feed it back through [NOISE] and then I can tighten that down. Then once that's tight, that will not go anywhere. Now, this is just a piece of mind thing. If you've got all the suction mounts mounted correctly, then chances are this isn't going to go anywhere. But if you've got these ratchet straps secured onto the mount, it means if for some reason these do slip, that's not going to go anywhere, because safety is the most important part of this entire process. If you're driving down the road and your cameras slips and falls off and hits the car behind, you're going to cause a massive accident. Having these straps there to just catch the camera in case it does happen to slip, is super important. Of course, as well, don't forget to strap down the camera. Because so far we've strapped down the suction mounts, we've strapped down everything attached to the car, but the only thing holding down the camera at the moment is just this small bit of plastic on the base plate, just this one little dial here. It's always worth grabbing another ratchet strap or you can just grab a big piece of elastic cord and just wrap it around the camera and the bottom of this stage, because that's going to give you that extra piece of mind. Then once you've done all of that, you should be in a safe position to turn the camera on framer, get everything looking the way you want it to look, and then just start filming. Of course, as well, you don't just have to mount this camera to the bonnet. If you wanted to you can mount the camera and place all of these suction pads onto the side of the car. Generally, what I do in that case is I put two suction cups on the bonnet and I put one on the side of the car, and then mount the stage at an angle just off the side. This enables you to get some really cool and interesting angles. But again, make sure that the suction mounts, the stage, and the camera are all safely secure and strapped down. 6. Dealing with Reflections: One of the difficulties of filming moving car shots when you've got the camera mounted onto the front of the car is filming through the windscreen. Now, this isn't a problem in the evening when it's dark because you're not going to have to worry about bright reflections from the sky. But the problem is, when you're filming in daylight, chances are, because of the way the windscreen is angled at a 45-degree angle, you're going to see the sky reflected down in the windshield. This is where we have one of two different options to play with. First of all, we can get a circular polarizing filter. A circular polarizing filter is just a screw-on filter, you can screw this onto the front of your lens, and if you turn it, you'll notice it will cut reflections away from any windows. If you are shooting through a window, my first step is to grab a polarizer, screw this onto the front of your lens, and see how much of a difference that makes. Now, sometimes depending on where you're filming and the intensity of the light and the reflections, this might not be enough. This is where we need to think about blocking off the windshield. The problem is, with this though, this requires even more mounting and this can get a little bit crazy. Essentially, what we want to do is have a cloth or a screen angled up from the top of the windscreen, and that's going to stop the light casting down onto the windshield. The problem is, with this though, is you're going to need rails mounted off from the top two corners of the car. This means you need even more mounting equipment, you need grips or you need suction cups, and then you need a big piece of black cloth over the top of the windscreen to block that light from hitting the car windscreen. Now, if you watch any behind the scenes of any high budget TV series or films and they're doing a driving scene practically, you'll notice they've got a big black cloth at the top of the window. This is because they're blocking off that reflection. Unfortunately, this option is getting a little bit too expensive and a little bit too high-end. That option definitely works and it's definitely the recommended option. But the problem is, again, if you're on a public road, you've got a car strapped to the front of the car, you've got two big poles sticking out from the top of the car, you got a black cloth to block the reflections, it's all getting a bit much so I would definitely try the polarizing filter first and foremost. But if that's not quite cutting it and it's not removing the reflections in a way that you want them to, then I would recommend filming on a cloudy day. When you've got that harsh direct sunlight bouncing down onto the window, it can be very difficult to get rid of those reflections. But when you've got a very soft, gentle light from the clouds coming down, you can very easily cut those reflections using a polarizing filter. If you are worried about reflections, film on a cloudy day rather than a really bright sunny day, or just block this off using a black cloth. But that can get a bit expensive and a little bit crazy. 7. Dealing with Vibration: Once you've been driving around for a short while with your camera mounted onto the bonnet, you'll notice you're getting some really awesome footage. But the problem is if you're driving in any particularly bumpy areas, you'll notice you're getting quite a bit of vibration in your footage. The best way to smooth that vibration out is to use a gimbal. Now, this is the Manfrotto 300XM. The reason why I love this gimbal is because it is modular. You see, this would be too much to mount onto the front of the car in order to get a driving shot. What I love about this particular gimbal, is I can take the handle off. Of course, most gimbals you can do that. However, this specific gimbal has a battery in this part of the gimbal. I can take the handle off, and this means I'm left with this part of the gimbal only. This has its own power source in here, and I can mount the camera onto here. This means I can mount this gimbal onto the stage, so I can put the two together like this. This means I've got a fairly low profile on my stage. It's not a really high gimbal, it's a very small gimbal. This means I can use the gimbal to smooth out any vibrations I might be getting. If I was using the gimbal in conjunction with the car mounts, I would make sure that as well as the car mount being strapped down, I would also make sure that the base of the gimbal is strapped down. Get a really solid base plate for the bottom of here, make sure it's securely mounted in here. As you can see, you've got a bit here which I can mount a strap around, and there's also a bit here that I could put a strap around as well. Make sure it doesn't get in the way of the gimbal, or the motors, or anything. But just make sure that you've got this part of the gimbal strapped down as well. Then also make sure that you strap the camera to the top of the gimbal, because you don't want to mount the gimbal and then the camera flies off the top of the gimbal. Make sure the camera is also strapped into the gimbal just in case. Now, the beauty with this gimbal is because this is modular, because this splits in half, this also has its own power source. This part of the gimbal has a power source, and this part of the gimbal has a power source, so the actual gimbal. The great news is when I make an adjustment on the handle, it makes an adjustment on the gimbal. If you had a wireless monitoring system, so you're using the Hollyland Mars X for example, and that's transmitting a signal onto a monitor, you can make adjustments while sitting in the car with the person. You could be in the backseat, you could be monitoring what it looks like, and then if at any point you wanted to make a camera move, or if you wanted to pan and tilt up to the sky, or face it forwards, all you have to do is just turn it around with the handle. Of course though, if you do happen to use your gimbal to grab these call shots, then it's really important that you set the motor strength on the gimbal to strong, or ultra, or one of the higher options. Because if you have a light motor strength, it means as you're driving along, the wind is going to be hitting the gimbal and it's not going to be very stable. If you've got that set to ultra or high, somewhere up there, it means it's going to fight the wind quite nicely, and you'll get your nice smooth shot. Of course as well, you don't just have to mount the gimbal onto the bonnet, you can mount this onto the side of the car using the same techniques. 8. How to Film from another Vehicle: That is the process that I would follow to film somebody on the car. This is how I would put cameras in the car, on the car, make sure I get all of those angles. But of course, you're going to need wider shots of the car as well. This is where you can film from another vehicle. Typically what I like to do is have two cars. I've got the talents car. That's where the actor, the talent they're going to be. They're going to be driving and doing their performance in that car. Then we'll have a separate car in front. You want to make sure that the boot is open, or if you're filming in a van, make sure you can open the van doors out. Then essentially you're just going to sit in the boot or sit in the back of the van. Make sure you are securely strapped in, and make sure you're using a harness system, if you have access to one. Then you can go ahead and hold your camera out of the back of the car or the van and then film as you're moving along. Alternatively though, if you didn't want to do this option and you wanted peace of mind and you just wanted the camera to do this, then you can have a very similar setup to what we have, but rather than mounting it on the front of the car, we can mount it onto the back of the car. Now, of course, that is all a very low budget version of doing this. You can spend a ridiculous amounts of money getting crane arms for your car. You could get a really cool system at the back where you can dip the camera up and down. There's so much and there's so much potential with car filming. But if you're at the lower end, then you just want to be paying attention to the suction mounts and attaching a gimbal on as well. Just make sure whatever option you go for, just make sure you're being safe. Make sure you're not doing this on any busy public roads. If you are filming on a public road, then make sure it's very quiet, make sure there's not many people around, and make sure you've spoken to the local authorities in the area to let them know what is happening. Or alternatively, if you can, if you do this on a private road, or private land, that's going to be so much safer. That brings me onto the next video, and that is safety. In the next video, I'm going to talk everything safety, and talk you through everything that you need to know and need to pay attention to, before you start moving the car with the camera. 9. Safety: If you're filming a video and you've got cameras mounted to somebody's car or you're in the back of another car with the doors open or the boot open and you're filming them from there, you want to pay very close attention to your safety. Because it doesn't matter if you get an amazing shot, if you're putting your life or your safety or somebody else's life or safety at risk, then it's not worth it. Make sure everybody is safe. First of all, you want to make sure that everything has a safety net. If you've got a camera mounted to the outside, then make sure you're using the straps to secure this camera down. You don't just want one option, you want to have multiple options. If something fails, you want the safety net of knowing something is going to catch it. If this slips and the camera falls, the ratchet strap has got that pinned down and it's not going anywhere. You can then successfully cut, slow down, stop the car, and then get the problems solved without the camera bouncing off along the road and potentially hitting somebody else's vehicle. Of course, when you are mounting cameras onto your cars make sure the driver's view is never blocked. Because if you mount a camera directly in front of the driver and they're having to look past the camera to see where they're going, they might cause an accident. They might not see somebody and they might hit them. They might not see a car lose breaks and they'll run into the back of the car. There's so much that could go wrong when you're blocking the driver's view. Make sure that the cameras are at a safe point, a safe angle, and make sure that safety is always your number one concern. Of course though, if you did want to get that angle, then try your very best to push the camera far down the bonnet and zoom in, or just lean it over the side a little bit. You want to make sure they can clearly see what they are doing. Of course, if you're on a private road, you have a little bit more flexibility but you always want to make sure that they can see what they are doing. This is why smaller cameras like GoPros and GoPro mounts are brilliant because these are very small and very non-intrusive. A massive package with three suction cups, a big stage, a camera, and a gimbal-mounted onto the car. This will give you the best look visually, but it's probably the least safe option, so make sure when you're making these decisions, ask yourself, do you need all of this? Or can you get away with a smaller camera just stuck onto the winder? Of course, like I've already mentioned if you do have cameras hanging off your car and you've got people filming you from other vehicles then film on quiet roads, or if you can't, film on a private road. Because you're not going to have to worry then about traffic or any other people being in the way. With all of these said and done, the number one thing you want to pay attention to is your safety. You're not holding the camera, you're sticking it onto the front of a car, so this means you want to make sure that everything and everyone is safe. Safety is your number one priority here. It doesn't matter if it's a really awesome shot, if it's causing a risk or possibility of any danger, then it's not worth it. Make sure everybody is safe, that's your number one priority. Then focus on getting some really cool shots. 10. Fake it: Filming practically requires a lot of bits and bobs. We've got suction mats, we've got camera stages, we've got gimbals with wireless control, we've got wireless monitoring. Filming practically can look really awesome but the problem in film and practically is there's danger. There's risk and there's a lot that can go wrong. So faking it rather than filming it for real, it's probably the safer option. The only problem is it requires more time and more artistic direction in order to get the perfect look. There's two ways that you can fake it. You can get a green screen or you can use projection. Let's focus on green screen first. You want to part the cost somewhere completely controllable. So you want to make sure you're in a studio or you're in a car park. When I say controllable I mean you can control the lighting because if you're outside and the sun is jumping between cloud and sun, it means the lighting is going to be constantly changing. This means the lighting on the green screen is always going to change. You want to try and make sure that you get a soft even look on your green screen. Then once you've got your green screen mounted and you've got your car parked in somewhere where you can control the light a little bit more, then you want to go through and follow all of the usual green screen advice. Move the green screen a few meters back away from the car or the subjects. You want to change your shutter speed to 1/100. You want to put your camera onto a tripod. Then you want to just make sure that you're getting nice even lighting. Then of course you can just go through, do all of your action, get all of your different angles, and then it's up to you in the edit to find footage filmed from a car or a moving vehicle and then add that into your green screen footage. This can look terrible on a low budget. This can look really good. But 9/10 times, this is not going to look incredible. This is where using projection is really handy. Using a projector to film your footage works similar to green screen in the sense that we need to be somewhere controllable. We can't use a public car park for this now, we can't use a sheltered car park or anything. We need to be in a studio for this. If you could get into a studio that can blackout, that would be the best option. Then from here, you want to light up your scene and you want to place a projector just next to the car. Then you want to project a video filmed from a moving car onto one of the back walls. Now, you want to frame up your shots. Because we're not doing green screen here, by the way, you can go handheld or be on a gimbal but you just want to get in nice and close. Make sure you can see that video in the background and then you can film your footage. Of course, as well, the beauty here is you can use multiple screens or you can use multiple different projectors to project onto the windscreen, onto the back wall, onto different parts of the car and that's going to give you a really nice look. Of course, though the problem is with this option is you need a studio. You need to be able to drive a car into a studio. You're going to need fancy lighting to get the looks that you're going for and it does get very complicated and very expensive. So faking it is probably the safer option but unfortunately, it is also the expensive option. That's why studios like Netflix go for this option because it's safe and they've got all of the facilities there to get a really convincing and cinematic shot without having to actually place a camera onto a moving vehicle. Even though faking it is probably better because of the safety point of view, if you're on a low budget filming get practically, is probably actually the better option for you. You just have to make sure though that when you're filming it practically, that everything is completely safe. 11. Outro: Thank you ever so much for watching this course. Filming with moving vehicles can be a challenge. There's a lot to think about because there's a lot that can go wrong. But I honestly believe if you put the time and the effort into getting this right, filming moving vehicle scenes can look really cinematic, and it can add so much production quality into your video. The reason why these look good is because it's giving us a perspective that we're not used to seeing. When we're sat in a car, we're sat in the car, and we look at the person from the side. We're not used to seeing the point of view from the end of the bonnet, looking back into the car. It gives the audience a new perspective and it makes the video feel more expensive and it increases the production value. Driving shots are definitely really good. If you can pull them off safely, they can look incredible. Just make sure you're paying very close attention to the safety and the well-being of your crew and everybody else around you. Driving shots are definitely worth it. If you are thinking about doing some filming with a car, then just make sure you follow all of the tips in this video and just go and have some fun filming your really awesome driving shots. Again, to round this up, to conclude this, if you don't need all this extra [inaudible] then don't worry about it. Just get a small suction cup, and mount that to the inside of the car. It'll be completely fine. But if you do want to get cinematic than just mounting all of this stuff on and paying attention to all the tips will give you some really great footage. But there you go. Thank you for watching this course. If you are interested in learning more about video production or video editing, then please do consider checking out one of my other courses because I have over 15 courses available now. But if you're not interested, that's completely fine. Thank you ever so much for watching this course. I really do appreciate it. Hopefully I will see you on the next course. See you there.