How to Turn Off the Fisheye In Gopro 4
This long-known brand has actually replaced the name “action cameras” with its name. Studying previous GoPro camera models, we have repeatedly seen that there is every reason for this. Despite the small dimensions and weight, the camera has functionality, often incomparable with the capabilities of competitors. Many components that work without conflict, giving high resolution without loss of reliability. an almost beyond achievement in household appliances.
This is not to say that every new revision of GoPro does without any roughness. Some flaws or design flaws, of course, do happen. For example, such a feature as a potentially dangerous overheating of the camera. Or an incomprehensible situation with a video having a 4K frame size. the 12 fps frame rate available in the previous model of the camera looked rather like a mockery. Finally, there is a noticeable delay in transmitting the video stream over Wi-Fi to the mobile device. It would be interesting to know if the new, fourth GoPro model got rid of these shortcomings. Or maybe it has acquired yet another, yet unknown characteristic features?
- Design, specifications
- Video / Photography
The completeness of the camera will depend on the chosen type of delivery, but we got the device with the following set of accessories:
By the way, there is no remote control as standard. And again, unfortunately. in our kit there was no mount for a standard tripod head, and therefore again had to take on the glue gun. However, this is not difficult.
Externally, the camera does not differ in any way from the previous model. the same microphotographic form factor, and the same microscopic display without backlight, located in front and not behind or side, which would be much more logical. Although, there is simply no place for such a display either from the side or from the back. the case is narrow, and the battery compartment is located behind. But still uncomfortable.
Apparently, in order to make the design as light as possible, the engineers do not want to make hinges or at least a rubber foot for the cover, which covers the interface block, where the memory card slot, Micro-HDMI video output, and Mini-USB port are located (I wonder why not Micro? ) This cap still runs the risk of being lost in the very first days of camera operation. However, this plug still does not play a protective role (if yes, then it is very scanty), so before testing we removed this cover and put it in a box with accessories. There she definitely will not get lost.
The button, which was previously responsible for turning on Wi-Fi, now has a logical function to activate the settings menu. Apparently, wireless communications are not used often by owners of action cameras, which indirectly indicates the inconvenience of this technology. precisely, about its inconvenient implementation, when connecting to a mobile device — a tablet or smartphone — takes considerable time to establish a connection and launch the desired application. over, controlling the camera via a smartphone is very difficult to organize in traveling conditions: a mobile device is useless in bright light, it needs to be held still and neatly, make sure that your finger does not accidentally touch any area on the display, etc. be in the cold?
However, holding this button for a long time still activates or deactivates the camera’s wireless adapter, the operation of which is indicated by a blue LED. Recall. to save battery power, it is not enough just to turn off the camera. It is also necessary to monitor whether the wireless transmitter is turned off, which can operate separately from the camera, taking the battery charge. This is done so that the camera can be turned on or off remotely. Apparently, such functionality should be used only when the network adapter is connected, when the camera is powered from a stationary source.
Because the built-in battery is not designed for long-term operation without constant monitoring of the charge level. The battery lasts only 47 minutes of continuous video recording in 4K 25p mode with Wi-Fi turned off. The included wireless transmitter with video broadcasting reduces battery life even further; in this mode, the battery lasts only 27 minutes when recording in the same 4K 25p mode. There is an opinion based on previous experience that such power consumption is the result of a still crude camera firmware. And therefore there is an iron need to immediately update the software of a freshly purchased device.
During operation, the camera heats up seriously, just like the previous, third model. So, in half an hour of continuous video recording with Wi-Fi turned off in 4K 25p mode, the camera body warmed up to 55 ° C on average, and the temperature in the area of the liquid crystal display was 68 ° C at all (shooting was carried out in a room with a temperature of 22 ° C, the camera worked without boxing). It is interesting to what temperature the device would have warmed up had it been placed in a waterproof box, and would shooting have been done on a clear day somewhere on the equatorial coast?
The main technical characteristics of the camera are shown in the following table:
- 47 minutes in 4K 25p mode with Wi-Fi turned off
- 27 minutes in 4K 25p with Wi-Fi on
- Micro HDMI
- Mini-USB 2.0 (multi battery charging)
- Wi-Fi IEEE 802.11b / g / n, 2.4 GHz
Video / Photography
GoPro traditionally has a huge selection of diverse recording modes that differ in both frame size and frequency. There are serious doubts about the need for so many modes, because the current situation resembles a meaningless race of megapixels, only in a different hypostasis. For engineers and marketers, on the one hand, a fantasy prize, but on the other hand, crowds of perplexed users. Which. especially the un-savvy. is damn hard to decide on the mode they need.
You can visualize the difference in detail and the nature of the picture, which some recording modes give, using the following still images and original videos:
So which of the modes will be considered preferable? Also do not dare to call a descent? Well, there is reason to go deeper and sort it out.
Let’s start with the statement. The first mode, 3840 × 2160 25p, for good reason looks “native” to the camera in question. Take a closer look: neither distortions striking you in the eye, nor any difficult to explain artifacts. In contrast, the recording mode of 3840 × 2160 23.976p not only differs by a larger viewing angle (respectively, and by a stronger fisheye effect), but not everything is alright with the resolution. It was as if a scaling program walked through the picture, and they did it not particularly neatly.
The same thing, but to a much greater extent, applies to slow-motion recording modes with an increased frame rate. Here, matrix scanning with line skipping is clearly used. do you see "ladders" on inclined wires? The same "colander effect." The early cameras suffered from such a defect, they suddenly learned how to shoot video. they learned how to do it, but only the photomatrixes were too multi-megapixel for video shooting, and too slow. So developers have to contrive with skipping lines when removing information. Simplified, it looks like this: we read one line, skip two, and in the remainder we have an n-fold increase in the read speed. But the lines are missing because there is no information from them, and so far they only know how to programmatically restore missing information in fantastic Hollywood series. To smooth, to somehow retouch on the fly, to “blur” the ragged edges. that’s all that can be done in harsh reality. And the result of such work is given above.
Video: How to Turn Off the Fisheye In Gopro 4
As a result of reasoning, we must admit: the very first one with a frame size of 3840 × 2160 and a frequency of 25 per second looks like an ideal mode for shooting. If 4K shooting is not of interest, then please. 1920 × 1080 50p mode. We must pay tribute to the developers: a smaller frame size is obtained not by simply cropping the full frame, but by softly interpolating the image size. This is easily verified by shooting a test table (more precisely, one of its sections, since the strong geometric distortions of the camera’s optical system do not allow the entire frame to be filled in with the table). We will carry out such a survey, while changing the viewing angles.
We proceed to the Full HD-mode, and examine the results of shooting not only with different viewing angles, but also with different frame rates. Here, I had to abandon the average viewing angle (medium), since with this parameter shooting with a frequency above 50 frames per second is impossible: either wide (wide) or narrow (narrow).
But with Full HD, everything is not so simple. You can see that the maximum resolution here is 900 lines, and this value is somehow maintained in any shooting mode, with any viewing angle and any frame rate. While the vertical resolution is highly dependent on the shutter frequency and viewing angle: the maximum possible 850-900 vertical lines are obtained only when shooting with a standard frame rate (50p) and a wide viewing angle (wide), or with a small viewing angle (narrow ) and any frequency.
So, here it is, an intermediate conclusion: to get the maximum resolution, you need to shoot in one of the following formats:
- 3840 × 2160 25p
- 1920 × 1080 50p Wide
- 1920 × 1080 50-90-120p Narrow
Other modes that have a small frame size, we do not consider as morally obsolete.
With viewing angles in the camera, as always, is a serious confusion. They are closely related to the current recording mode, and it’s quite difficult to find a common system. Instead of these searches, we will give still pictures from videos shot in a particular mode with a certain viewing angle, and in a couple to them we will add a screenshot of the tablet’s display on which the video stream is displayed. By the way, you can see that in some screenshots of the tablet instead of the video stream there is a black screen. this is not the author’s mistake. The fact is that when recording in a format with a high frame rate, broadcasting a video stream is impossible, although the camera control functions work.
Indeed, a fair amount of confusion with these viewing angles. However, earlier we already concluded in what format and at what angle you need to shoot. We assume that now we have just consolidated the material already covered.
The next test, which, fortunately, has recently become meaningless, is dedicated to finding a rolling shutter (for more details, see the material Video rolling shutter. defect description, examples, explanations)
There is not even a hint of a rolling shutter, which is not surprising. the matrix in the camera is quite new, fast.
With a static picture, the camera, as we have already seen, is in full order. But this is an action camera, and it’s an elite one, advanced in every sense, and generally speaking. Unfortunately, the coding quality of a large amount of movement of the device is no different from that of other devices, not only extreme cameras, but any. Despite the fact that the device in question encodes 4K video with a bit rate of 60 Mbit / s, and that every 13th frame is a key, scenes with active movement look at still frames as follows (red lines are vectors indicating the direction of movement of groups pixels):
What’s the matter? Yes, the fact that video, unlike photography, is customary to watch not on a pause, it happened over the years of cinema. But there are plenty of ways to complain about them, and even more so for us.
In order to minimize the loss of clarity of objects in motion, it is necessary, firstly, to provide a greater amount of light so that the camera does not underestimate the shutter speed, and secondly, less “wind” the camera. Yes, these platitudes are known to the edge, however, they must be reminded. Occasionally.
The picture looks a little better if the camera is stationary. So, it is impossible to consider the numbers of oncoming cars. there is not enough light in the frame, which is why the camera sets a slow shutter speed (we will consider this moment separately, a little later). But the number of the car, which moves ahead in the same direction, can be discerned even at such a distance. True, before this they should at least be wiped with a rag. But this is the problem of the car owner.
Finally, the most considered difficult scene to encode is falling water. Note that here the camera copes incomparably better than with active movement and shaking. Still images from movies shot in different modes can be seen below.
Without surprise, we observe traditionally magnificent camera automation that correctly sets the white balance in a variety of conditions. Also, everything is in order with the camera and with focus, despite the underwater shooting.
The next key point to consider is shooting in low light. The camera, despite the fact that shooting is carried out with a high frame rate, reduces shutter speed to 1/25, which ultimately results in a waste of extra frames, or rather, their repeated repetition in the video stream (the original movie was shot in 1920 × 1080 120p mode)
It would be interesting to compare the result of shooting at night in automatic mode, and with the activated option Protune, which is theoretically designed to expand the dynamic range.
This comparison shows two significant differences: a slightly different working white balance, and a slightly larger amount of color noise in the frame shot with the Protune function.
The photographs taken by the camera are distinguished by excellent detail, and with some processing, which. albeit partially. eliminates geometric distortions, these photographs can be used on a par with the photographs obtained and more serious devices. With one difference (someone is beneficial, someone is not). the complete absence of even a hint of the existence of a threshold of depth of field. Here, all objects located both near the camera and on the horizon will always be in focus.
By the way, the interval photo mode, as well as the serial shooting mode, has not disappeared from the camera.
As we have already said, the side button on the camera body, despite the changed icon, still plays the role of a wireless adapter switch. to do this, you need to hold it pressed for several seconds. Then you need to activate Wi-Fi on your smartphone or tablet, run the proprietary application, and drive in the “default” password “goprohero”. If you have already used the camera before, then you need to reset the Wi-Fi settings. This is done cunningly: you need to turn on the camera, press the side button, wait for the wireless transmitter to activate, and while continuing to hold the settings button pressed, press the button located on the front of the camera body. Only now the menu section appears on the display, allowing you to reset the settings of the wireless adapter.
When connecting for the first time, the application will traditionally ask you to give the camera a Wi-Fi network name and come up with a new password.
Further, serious difficulties awaited us: of the six tested Android devices, the live broadcast picture appeared on only one of them, while the other five displayed a blank black screen instead of the video stream. Perhaps this is some kind of flaw in the Android application, probably related to the huge and unpredictable park of such gadgets. In the case of the "apple" products, everything is different. an iPad that accidentally appeared at hand unquestioningly displayed live video broadcast from the camera.
In conclusion of this chapter, we mention a small delay in the transmission of the video stream in the live broadcast mode. it is no more than a second, and the distance at which communication continues to be kept at the very least can reach 50 meters, depending on environmental conditions, the presence of obstacles and other Wi-Fi. Fi networks.
And by the way, you should not save on memory cards: if you use them with speeds of at least grade 10, this will help to avoid many difficult to explain errors: camera freezes, when only removing the battery helps, a long response to button presses, a long finalization of recorded videos and photos and so on Further.
The next update of the model of the camera under consideration can be called undoubtedly successful due to one most important factor: finally realized the possibility of shooting in 4K with a "normal" frame rate. A higher frequency in 4K is already implemented in some filming machines, but they have, to put it mildly, a slightly different form factor and do not belong to the miniature action class of gadgets. Other parameters have not changed significantly, which is obvious from the testing. It is hoped that the new, fourth model, if it receives a slight increase in the price, it will be commensurate with the number of working innovations.
In addition, based on the information that we have received over several years of studying the development of the GoPro camera, we can predict the directions in which developers will move on. This is, firstly, a further increase in frame rate when shooting in 4K. the existing hardware filling allows this quite well. Secondly, the communicative aspect will be improved, in particular, the NFC chip will be added and the mobile application will be improved. Of course, I would like to have even more “human” communication. a normal LCD display, albeit a miniature one. But, unfortunately, the dimensions of the camera, and its form factor itself, are unlikely to allow equipping this device with a screen. The optional snap-on external display will remain the only way to see the picture without using the uncomfortable camera-smartphone bundle. It should be noted that in the “younger” GoPro model (Hero 4 Silver) there is still such a display, however, the characteristics of this device are far from the record values of the considered device, which leads the GoPro line of action cameras.
We also recall the parameters that, provided that the current form factor of the device is preserved, will not change in the near or distant future. This is the resolution and photosensitivity. The first factor is already the physical "ceiling", and sensitivity is the prerogative of the class of cameras with large optical systems. Which, of course, the action camera can’t relate to.