![]() ![]() Worse, those slightly weird angles made the video feel like I was watching a 90s first-person-shooter game. I tried it while mounted on my handlebars and it was very noticeable how warped trees and buildings looked as I passed. You will absolutely not want to use this one for everything, but for certain shots it should be a go-to. Well, HyperView is essentially that but for the new, taller sensor and it’s a bit bonkers. It’s a bit intense, but does make first-person shots feel faster and more immersive. Way back in 2013 the company introduced SuperView which shoehorned everything on the sensor into a 16:9 aspect ratio. Keeping things frame-related, there is a new “digital lens” (which is GoPro’s marketing language for Field of View) called HyperView. Something I would have avoided if I was recording in a fixed FOV like 16:9 from the start. For example, I did a short intro to camera using the front screen to frame myself, but when I was choosing the aspect ratio I wanted to punch out later, I realized that I was filling the screen so had to settle for a weird crop. If there was a negative, you might find yourself having to think backwards. Either way, the Full Frame feature improved both videos and the fact I could frame each of them differently definitely got me thinking about other cool things I could do with this. The mobile version still turned out better than if I had to crop it out from a 16:9, and of course there was no loss of resolution, but this particular shot didn’t end up being suitable for portrait. The landscape clip came out pretty good as I was able to cut out a lot of pavement and focus on the subject. I rode past some interesting scenery and then punched out a conventional 16:9 edit and a mobile-friendly 9:16 version. I tried it out by mounting the camera on my bike perpendicular to the frame (turning the bike into a dolly of sorts). This feature has a lot of potential, especially if you’re not really sure what shooting mode to go for. ![]() Alternatively, you can kinda set and forget, and then just frame the shot after the fact. Both with completely different framing if you wish. With Full Frame, you can shoot once and pull a 4K,16:9 video out for YouTube and then a 9:16 version for TikTok, for example. It’s more of a tool for shooting absolutely everything and then “punching out” the aspect ratio you want (or more than one) after the fact. The second, and probably bigger advantage to the taller sensor is the ability to record in “Full Frame.” This isn’t a camera mode per se – although it can be used as such if you like 8:7, 5.3K video. Both DJI’s new Osmo Action 3 and the Insta360 offer similar horizon lock features, but GoPro’s is available in frame rates such as 4K/60 and 2.7K/120, whereas DJI’s, for example, tops out at 2.7K/60. If, like me, you’re just prone to wonkily mounting your camera you can really just forget about all that now. If your activities involve a lot of tight corners or literal body spinning this can be used for creative effect. Horizon-leveling was already pretty good on the Hero 10, but now it’s absolute. In fact, this new, taller sensor is what enables two of the main new features: First is 360-degree horizon lock in Linear mode (up to 5.3K/30). Instead you have more pixels to play with. ![]() Despite the move up from 1 /2.3 to 1 /1.9 those extra megapixels don’t seem to have really translated to improved low light performance (accordingly there’s no such claim). The shrewd among you will have spotted that this means there is a new sensor and it’s core to some of the other new features below. There’s also 10-bit color across the board. Similarly, still images receive a boost from 23-megapixels up to 27. SuperView is now available right up to 5K60/4K120 (previously 4K/60 was the max). As usual, though, there are some extra shooting modes. ![]()
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