Want more from your DJI Osmo Pocket 3? Professional filmmaker and YouTuber Hugh Sweeney has the answers
YouTube and filmmaker Hugh Sweeney delivers some pretty nifty tips and tricks if you're looking to upgrade your DJI Osmo Pocket 3 footage(Image credit: Hugh Sweeney / DJI)
Filmmaking and photography YouTuber and all-around gearhead, Hugh Sweeney, has released an excellent video on how to transform your DJI Osmo Pocket 3 footage into something special. And Hugh's talking from experience, given that he's a professional videographer with plenty of experience using the best cameras for video.
The Ireland-based content creator is evidently a fan of the Pocket 3, citing its "great-quality video (…) relatively decent dynamic range (…) great autofocus" and "super steady footage" as its major plus points. And I couldn't agree more. The handheld video camera fared extremely well in our review, where we praised its bigger display, ability to produce crisp 10-bit video, and 32-bit audio.
But the DJI Osmo Pocket 3 is a powerful little camera. And if you want to make the most of it, you'll need to dig below the surface, which is exactly what Hugh’s video helps you do in the below video.
DJI Osmo Pocket 3 - Why does your footage look so bad? 10 tips on getting great cinematic footage. - YouTube
He begins by broaching the Osmo Pocket 3's fixed, 20mm f/2.0 lens, stating: "I'm sorry to say guys, but the digital zoom on the Osmo Pocket 3 just doesn't cut it for me." He proceeds to talk about barrel distortion diminishing faraway subjects. His solution? Get closer to the subjects you're shooting so you can fill more of the frame with them.
He then talks about auto exposure. The Osmo Pocket 3's auto exposure evidently uses a Matrix / Evaluative metering system, where it exposes for the whole frame. This means it can really darken subjects in a bid to properly expose the sky – especially problematic when vlogging. Hugh's solution is incredibly simple: frame less sky to force the auto exposure to better-expose subject details. Or position yourself so the available light is hitting your face.
The third tip relates to dealing with the Osmo Pocket 3's fixed focal length, and that's composition. Obviously the art of composition is a video in and of itself, but his top tip when vlogging is to frame yourself on either side of the frame, as opposed to centering yourself. Good tip Hugh!
Hugh holds a mini rig that he put together for the DJI Osmo Pocket 3, so he can use an iPhone as a field monitor (Image credit: Hugh Sweeney)
He then goes on to talk about the Osmo Pocket 3's horizon-lock mode, with the tendency being to have the horizon scything through the center of the frame. He suggests positioning the horizon line on the top or bottom third of the frame, to create a more pleasing composition.
It's nice to hear a pro content creator talk about more accessible kit. And despite Hugh's background as a professional videographer, he's not above using a selfie stick. Despite the Osmo Pocket 3's excellent image stabilization, he uses a selfie stick to help reduce "bounce" when walking and talking. But he also uses a pro-grade carbon fiber monopod to replicate a crane shot, which is sure to boost your production values.
There are plenty more extremely useful tips on offer, and it's well worth watching the video to find out how to get more out of the deceptively simple camera. Be sure to check out his excellent channel!
Mike is Digital Camera World's How To Editor. He has over a decade of experience, writing for some of the biggest specialist publications including Digital Camera, Digital Photographer and PhotoPlus: The Canon Magazine. Prior to DCW, Mike was Deputy Editor of N-Photo: The Nikon Magazine and Production Editor at Wex Photo Video, where he sharpened his skills in both the stills and videography spheres. While he's an avid motorsport photographer, his skills extend to every genre of photography – making him one of Digital Camera World's top tutors for techniques on cameras, lenses, tripods, filters and other imaging equipment – as well as sharing his expertise on shooting everything from portraits and landscapes to abstracts and architecture to wildlife and, yes, fast things going around race tracks...
