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The field of view at which you start and stop is going to depend on what you like the look of. That’s the field of view in the GoPro VR Reframe plugin. Once you’ve figured out a way which best hides it for you, though, you only really need to change one parameter. If you’re having blending issues trying to mask out your tripod, suction cup mount, or whatever else the camera’s sitting on, you can always just cover it with a logo. Exporting this out to Photoshop allows Justin to create an image overlay which hides this from view in the final footage.
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Justin points it toward the suction cup mount that’s holding the rig to his car. With the GoPro VR Horizon, you can adjust what you see at the centre of the frame. The first thing to do, though, is to load your footage up into Premiere Pro. This tutorial uses the GoPro VR plugins, which come with AutoPano Video Pro, for Adobe Premiere Pro. Specifically, decent editing applications. But the desktop does offer advantages for all 360 shooters. While it’s difficult to keep up with the detail of six stitched 4K cameras, 360° cameras are starting to close the gap. The GoPro Omni practically forces the use of a desktop system for editing. The only real advantage offered with the GoPro Omni system is increased resolution. This is actually the third part of a series, but this process can be adapted to virtually any 360° camera. Plus, he’s already covered that in a previous video. It’s also not that interesting to people using a regular 360° camera, either. He doesn’t go over how all this lot stitches together, because it goes beyond the scope of this video. Justin uses the GoPro Omni, GoPro’s rig consisting of half a dozen GoPro Hero 4 Black cameras.