 So everybody thanks for being a nerd and clicking to watch the extra footage from the hyperlapse video. This is, uh, oh, I'm Ryan Manning. We should say who's here. I'm Ryan Manning. I'm John Logo Marciano. I'm Tom Connors. I'm Jimmy Shelton. Jimmy is the person who was on the glide cam in this video and I'm the one that was on the hyperlapse. So we just wanted to talk about how crazy hyperlapse is. Like the way it's the way that hyperlapse stabilizes is like, so like it knows my gyroscope and my phone knows where my hand is right now. And then it's like, oh, see, you're kind of janky and rid and choppy when you're moving around. I'm just going to make that smooth for you. Cause I know where your hand should have moved to be smooth as opposed to like warp stabilizer or any other image stabilizer stabilizer that like looks at the planes in the image and sort of tries to figure it out after the fact. It's pretty crazy. It's only, it only is a exists for like the phone right now. Yeah. You can see what right there. I like to point out that that shot is like really hard to do really hard. Yeah. So Jimmy, this is, this is a glide cam and Jimmy on the glide cam and then it was warp stabilized and you could see it sort of like pulsing there. And that's something you would never get when you're using. Yeah that's something you would never get when you're using like a hyperlapse because you don't have to actually, yeah. Like when you use warp stabilizer, it can be tricked if something. So I think what it was doing in that shot was actually latching onto Sam's body instead of the scene, which messes up a background. Yeah. And that happens all the time with warp stabilizer. Where I like what we're looking at here. That's Ryan by the way, in the, in the blue. Yeah. That's me guys. Um, so you can see like even this isn't low light at all in this shot and like you can still sort of see the weird blurry things from when I. It's still like more passable than what warp stabilizer will do to some shots. Yeah. Which is like, I would see warp stabilizers are kind of messing up in this shot. But yeah, so I'm just trying to show you like what my hands did and then the shot that came from it. So that's how I moved. So like when you use hyperlapse, you still have to look like an idiot and have like a weird face. Like it's not, it's not like you can just casually shoot, but you have to sort of still get into it. But like the results are pretty crazy when you do get into it and act. You still try to be as stable as you can. Did you guys film this shot with the C100 on the glide cam? No. Because I'm pretty sure it would fail really hard with all that detail happening. Like there are. Yeah, there's no way. There are like lines to track onto, but I'm pretty sure the feet moving, which completely destroy that shot. And having to run up the stairs and then land. Yeah. It's a hard shot to hit anyway. So like, yeah, the fact that like warp stabilizer could work in the dark, it doesn't need something to look at to track onto. All it needs is like the like motion from your, the gyroscope, which is crazy. But like you were saying the other day, when it's in the dark, it also has to use a really wide shutter or a slow shutter rather. And what happens then is when it does stabilize, you get motion blur that gets stabilized. And so it's like kind of the telltale when you see some blurriness happen and the frame doesn't move. Do you have anything like that? Where it's like locked off shot and then it's just blurry? Yeah. Uh, maybe. Cause that's the stuff to me that's like a dead giveaway. Yeah. And like what they're going to have to. It's so insane. It's insane. The only thing that like that ruins this for me is that it's so deep. If there was somehow to make this somewhat shallow, like you can do on like a C300 or C100. Oh, well that's the thing. The only reason this is a problem is because like the phone's camera isn't that great. Yeah. You put this, you put this kind of stabilization technology into any like C100 or larger camera and you're going to get the same results, but a better camera. I know. And it's going to put me out of a job. This is crazy. This shot when I saw this, I was like, holy shit. This technology is crazy. So like I was shaking so much on this shot before it was like shaky as heck. Yeah, I mean these kind of shots, you could do these classic like. You look like a creep. Yeah. I don't know if I've seen this shot. I don't think this was in the video. Oh my God. Are you kidding me? That's great. That's great. That's insane. Oh yeah. This is weird too. Like if you shoot in a car or something, it's actually, it's stabilizing to like the earth and not necessarily like the taxi you're in. So like the taxi jump like. Whoa. Jump around. That's great. The street stays stable. So like that's a crazy effect. You can do some, there's, because it's like a new kind of stabilization, there are lots of like weird quirks that we could, people could figure out. Do you have any of the videos that you shot, the Havana? Oh no. Yeah. If you like, if you lock onto somebody's face, like get really close to them and focus on their face and then just like, just zoom in and out really fast, like with your arms, just like pushing it out. It looks really weird. It's a, it's a weird thing. I mean, maybe I'll put it in. How's this going to go? I'll throw it in after this. Oh yeah. This is crazy. So like I was running full speed here. This is like the shaky version. I was going full speed, one handed. We don't have an alternate angle of how it was running, but I was running full speed on this and I think this is where you actually. Oh my God. I mean, it's not great. You see it breaking down. But there are moments where it's like passable. Right there is a moment that's passable. Yeah. There's like a. I'm not sure if I would still use it. I wouldn't use it. In one of our videos, but like. Sure. But like. I mean, I'm a kid riding like a motorized unit. Okay. So here's like. Well, if this is your kid riding a motorized unicycle, I'd question your parenting. Yeah. I mean, this is markedly better. Oh yeah. Yeah. I think once you get to like high speeds and very shaky, you can't really use it. Especially when you go to like one hand and you have to run the like tilting of your hand affects it so much more dramatically than a glidecam would. Tom, was this you doing this? No, this is me. No, this is me. This is great. Um, but yeah, then, then like, like kind of, it was kind of shaky. I put warp stabilizer and it fixed it. So like this. Even like warp stabilizer gives it like this kind of surreal bend to the image, which I don't think hyperlapse is even doing like hyperlapse. It does at times, but it's more like a sharp, like you'll notice that it feels like a sharp twitch rather than like the bending. Yeah. Like that might also have to do with that winning smile. Yeah. This is crazy too. Like I'm. Anyway, listen to this. Go try this. It's wild. Just run really fast with it pointing at your face. Wow. That's the main thing in my mind. I still don't know what it's doing because like my mind is so used to it having to track onto the image. So I don't even know why it's doing it that way. It's it just knows where it is. Like imagine it re imagine the phone moving like shitty. This is actually, you can see why like hyperlapse will never like solve all the problems. And this one, because like, there's some weirdness on the fence here. Watch when I, Tom asked me to like jump up and down. It's a little bit, but it's now that's weird. It's weird, but it's an effect I haven't seen before, which I think is really interesting about this. Um, but like, Jimmy, just imagine like you see all these banks and stuff. Just imagine that your phone knows how you, how you moved through the space, but then it goes back through it and sort of adds like, does the opposite move. Right. Like, um, have you ever in illustrator drawn like a crappy janky line and then there's like the thing that says like, smooth it all out. Like it just smooths out your hand in space. Like imagine it going back through the exact same shot, but smoothing out all of the points, which is actually like a much easier thing to process than going through and analyzing the footage. Yeah. The speed, which is also amazing to me because of how long it takes to stabilize footage in premiere to how quick hyperlapse is able to do it. I look, cause it doesn't have to do image processing. It's just doing spatial taking the data that already exists. We should look this up before we did this, but, uh, we've heard about a thing that goes into a little dongle that goes into like the hot shoe on a professional camera that would collect the same kind of data and then using software could correct, say for like one of our C100s or a 5D or something. So that that's super interesting. Somebody is making a device that is just like a gyroscope that would, I guess, have a third party app that you plug the data into and then your footage, and then it would do the smoothing this way. This is wild. Yeah. This is like this. I was on a bike. I was riding really dangerously. Oh, yeah. But then anyway, that was crazy. I was riding on a bike and shooting and it was really janky. Here's like, I was like, here's like shitty like concert footage and like, you can see my hand is shaking. I was doing like sort of a fake tracking move, like a fake jib move. But it's pretty, it was pretty dark. And you'll see like, there aren't a lot of, even for being this dark, I don't see much of the blurring. You might see it every once in a while on the amp light. You could see like it's sort of blurring, but it's pretty smooth guys. I mean, the unfortunate thing though is that you're still using a phone's camera. So yeah, that is the unfortunate thing. Even though the motion looks great, the exposure just isn't good here. Right. And like, that's going to always be the problem. But like, it's just, it to me is like the hope of this for the future is crazy good. And like Jimmy said, it does feel like my job will get like taken away soon because all of a sudden this computer will take over what we do. What if GoPro had this built in? Yeah, I mean, no joke. We, I had the contact to somebody at GoPro and I was like, why aren't you guys doing this now? Like right now? Because that's been like the biggest problem with GoPro is that it's shaky. And like, how hard would it be to put a gyroscope into the GoPro? Not hard. It would be hard to be to put a gyroscope in any camera. Like this, this technology is like the inevitable future of all cameras. The stabilization the way we used to do it will still be around, but it'll be completely secondary to this kind of stabilization. You can get away with so many more bumps. Yeah, it's great. Basically, well, I guess the other thing though is that you need to be rolling then at a resolution that's much higher than you need to do it. Well, you need to be like, like the future of this is really, really high shutter speed. This is a good example of bad warp stabilizer. Yeah, warp stabilizer fucking up going in and out. Like it's terrible. Warp stabilizer is cool, but this is why warp stabilizer is going to die. Stuff like that. Well, all right. I guess it's over. That was an abrupt ending. But thanks, Rhonda. Yeah, Rhonda. Thank you. Thanks for watching. See you later. See you next.
 So everybody thanks for being a nerd and clicking to watch the extra footage from the hyperlapse
 video.
 This is, uh, oh, I'm Ryan Manning.
 We should say who's here.
 I'm Ryan Manning.
 I'm John Logo Marciano.
 I'm Tom Connors.
 I'm Jimmy Shelton.
 Jimmy is the person who was on the glide cam in this video and I'm the one that was on
 the hyperlapse.
 So we just wanted to talk about how crazy hyperlapse is.
 Like the way it's the way that hyperlapse stabilizes is like, so like it knows my gyroscope
 and my phone knows where my hand is right now.
 And then it's like, oh, see, you're kind of janky and rid and choppy when you're moving
 around.
 I'm just going to make that smooth for you.
 Cause I know where your hand should have moved to be smooth as opposed to like warp stabilizer
 or any other image stabilizer stabilizer that like looks at the planes in the image and
 sort of tries to figure it out after the fact.
 It's pretty crazy.
 It's only, it only is a exists for like the phone right now.
 Yeah.
 You can see what right there.
 I like to point out that that shot is like really hard to do really hard.
 Yeah.
 So Jimmy, this is, this is a glide cam and Jimmy on the glide cam and then it was warp
 stabilized and you could see it sort of like pulsing there.
 And that's something you would never get when you're using.
 Yeah that's something you would never get when you're using like a hyperlapse because
 you don't have to actually, yeah.
 Like when you use warp stabilizer, it can be tricked if something.
 So I think what it was doing in that shot was actually latching onto Sam's body instead
 of the scene, which messes up a background.
 Yeah.
 And that happens all the time with warp stabilizer.
 Where I like what we're looking at here.
 That's Ryan by the way, in the, in the blue.
 Yeah.
 That's me guys.
 Um, so you can see like even this isn't low light at all in this shot and like you can
 still sort of see the weird blurry things from when I.
 It's still like more passable than what warp stabilizer will do to some shots.
 Yeah.
 Which is like, I would see warp stabilizers are kind of messing up in this shot.
 But yeah, so I'm just trying to show you like what my hands did and then the shot that came
 from it.
 So that's how I moved.
 So like when you use hyperlapse, you still have to look like an idiot and have like a
 weird face.
 Like it's not, it's not like you can just casually shoot, but you have to sort of still
 get into it.
 But like the results are pretty crazy when you do get into it and act.
 You still try to be as stable as you can.
 Did you guys film this shot with the C100 on the glide cam?
 No.
 Because I'm pretty sure it would fail really hard with all that detail happening.
 Like there are.
 Yeah, there's no way.
 There are like lines to track onto, but I'm pretty sure the feet moving, which completely
 destroy that shot.
 And having to run up the stairs and then land.
 Yeah.
 It's a hard shot to hit anyway.
 So like, yeah, the fact that like warp stabilizer could work in the dark, it doesn't need something
 to look at to track onto.
 All it needs is like the like motion from your, the gyroscope, which is crazy.
 But like you were saying the other day, when it's in the dark, it also has to use a really
 wide shutter or a slow shutter rather.
 And what happens then is when it does stabilize, you get motion blur that gets stabilized.
 And so it's like kind of the telltale when you see some blurriness happen and the frame
 doesn't move.
 Do you have anything like that?
 Where it's like locked off shot and then it's just blurry?
 Yeah.
 Uh, maybe.
 Cause that's the stuff to me that's like a dead giveaway.
 Yeah.
 And like what they're going to have to.
 It's so insane.
 It's insane.
 The only thing that like that ruins this for me is that it's so deep.
 If there was somehow to make this somewhat shallow, like you can do on like a C300 or
 C100.
 Oh, well that's the thing.
 The only reason this is a problem is because like the phone's camera isn't that great.
 Yeah.
 You put this, you put this kind of stabilization technology into any like C100 or larger camera
 and you're going to get the same results, but a better camera.
 I know.
 And it's going to put me out of a job.
 This is crazy.
 This shot when I saw this, I was like, holy shit.
 This technology is crazy.
 So like I was shaking so much on this shot before it was like shaky as heck.
 Yeah, I mean these kind of shots, you could do these classic like.
 You look like a creep.
 Yeah.
 I don't know if I've seen this shot.
 I don't think this was in the video.
 Oh my God.
 Are you kidding me?
 That's great.
 That's great.
 That's insane.
 Oh yeah.
 This is weird too.
 Like if you shoot in a car or something, it's actually, it's stabilizing to like the earth
 and not necessarily like the taxi you're in.
 So like the taxi jump like.
 Whoa.
 Jump around.
 That's great.
 The street stays stable.
 So like that's a crazy effect.
 You can do some, there's, because it's like a new kind of stabilization, there are lots
 of like weird quirks that we could, people could figure out.
 Do you have any of the videos that you shot, the Havana?
 Oh no.
 Yeah.
 If you like, if you lock onto somebody's face, like get really close to them and focus on
 their face and then just like, just zoom in and out really fast, like with your arms,
 just like pushing it out.
 It looks really weird.
 It's a, it's a weird thing.
 I mean, maybe I'll put it in.
 How's this going to go?
 I'll throw it in after this.
 Oh yeah.
 This is crazy.
 So like I was running full speed here.
 This is like the shaky version.
 I was going full speed, one handed.
 We don't have an alternate angle of how it was running, but I was running full speed
 on this and I think this is where you actually.
 Oh my God.
 I mean, it's not great.
 You see it breaking down.
 But there are moments where it's like passable.
 Right there is a moment that's passable.
 Yeah.
 There's like a.
 I'm not sure if I would still use it.
 I wouldn't use it.
 In one of our videos, but like.
 Sure.
 But like.
 I mean, I'm a kid riding like a motorized unit.
 Okay.
 So here's like.
 Well, if this is your kid riding a motorized unicycle, I'd question your parenting.
 Yeah.
 I mean, this is markedly better.
 Oh yeah.
 Yeah.
 I think once you get to like high speeds and very shaky, you can't really use it.
 Especially when you go to like one hand and you have to run the like tilting of your hand
 affects it so much more dramatically than a glidecam would.
 Tom, was this you doing this?
 No, this is me.
 No, this is me.
 This is great.
 Um, but yeah, then, then like, like kind of, it was kind of shaky.
 I put warp stabilizer and it fixed it.
 So like this.
 Even like warp stabilizer gives it like this kind of surreal bend to the image, which I
 don't think hyperlapse is even doing like hyperlapse.
 It does at times, but it's more like a sharp, like you'll notice that it feels like a sharp
 twitch rather than like the bending.
 Yeah.
 Like that might also have to do with that winning smile.
 Yeah.
 This is crazy too.
 Like I'm.
 Anyway, listen to this.
 Go try this.
 It's wild.
 Just run really fast with it pointing at your face.
 Wow.
 That's the main thing in my mind.
 I still don't know what it's doing because like my mind is so used to it having to track
 onto the image.
 So I don't even know why it's doing it that way.
 It's it just knows where it is.
 Like imagine it re imagine the phone moving like shitty.
 This is actually, you can see why like hyperlapse will never like solve all the problems.
 And this one, because like, there's some weirdness on the fence here.
 Watch when I, Tom asked me to like jump up and down.
 It's a little bit, but it's now that's weird.
 It's weird, but it's an effect I haven't seen before, which I think is really interesting
 about this.
 Um, but like, Jimmy, just imagine like you see all these banks and stuff.
 Just imagine that your phone knows how you, how you moved through the space, but then
 it goes back through it and sort of adds like, does the opposite move.
 Right.
 Like, um, have you ever in illustrator drawn like a crappy janky line and then there's like
 the thing that says like, smooth it all out.
 Like it just smooths out your hand in space.
 Like imagine it going back through the exact same shot, but smoothing out all of the points,
 which is actually like a much easier thing to process than going through and analyzing
 the footage.
 Yeah.
 The speed, which is also amazing to me because of how long it takes to stabilize footage
 in premiere to how quick hyperlapse is able to do it.
 I look, cause it doesn't have to do image processing.
 It's just doing spatial taking the data that already exists.
 We should look this up before we did this, but, uh, we've heard about a thing that goes
 into a little dongle that goes into like the hot shoe on a professional camera that would
 collect the same kind of data and then using software could correct, say for like one of
 our C100s or a 5D or something.
 So that that's super interesting.
 Somebody is making a device that is just like a gyroscope that would, I guess, have a third
 party app that you plug the data into and then your footage, and then it would do the
 smoothing this way.
 This is wild.
 Yeah.
 This is like this.
 I was on a bike.
 I was riding really dangerously.
 Oh, yeah.
 But then anyway, that was crazy.
 I was riding on a bike and shooting and it was really janky.
 Here's like, I was like, here's like shitty like concert footage and like, you can see
 my hand is shaking.
 I was doing like sort of a fake tracking move, like a fake jib move.
 But it's pretty, it was pretty dark.
 And you'll see like, there aren't a lot of, even for being this dark, I don't see much
 of the blurring.
 You might see it every once in a while on the amp light.
 You could see like it's sort of blurring, but it's pretty smooth guys.
 I mean, the unfortunate thing though is that you're still using a phone's camera.
 So yeah, that is the unfortunate thing.
 Even though the motion looks great, the exposure just isn't good here.
 Right.
 And like, that's going to always be the problem.
 But like, it's just, it to me is like the hope of this for the future is crazy good.
 And like Jimmy said, it does feel like my job will get like taken away soon because
 all of a sudden this computer will take over what we do.
 What if GoPro had this built in?
 Yeah, I mean, no joke.
 We, I had the contact to somebody at GoPro and I was like, why aren't you guys doing
 this now?
 Like right now?
 Because that's been like the biggest problem with GoPro is that it's shaky.
 And like, how hard would it be to put a gyroscope into the GoPro?
 Not hard.
 It would be hard to be to put a gyroscope in any camera.
 Like this, this technology is like the inevitable future of all cameras.
 The stabilization the way we used to do it will still be around, but it'll be completely
 secondary to this kind of stabilization.
 You can get away with so many more bumps.
 Yeah, it's great.
 Basically, well, I guess the other thing though is that you need to be rolling then at a resolution
 that's much higher than you need to do it.
 Well, you need to be like, like the future of this is really, really high shutter speed.
 This is a good example of bad warp stabilizer.
 Yeah, warp stabilizer fucking up going in and out.
 Like it's terrible.
 Warp stabilizer is cool, but this is why warp stabilizer is going to die.
 Stuff like that.
 Well, all right.
 I guess it's over.
 That was an abrupt ending.
 But thanks, Rhonda.
 Yeah, Rhonda.
 Thank you.
 Thanks for watching.
 See you later.
 See you next.