PharmerPhil

Yes I could edit 70 in a day (that's less than 10-12 hours editing including breaks). But that is irrelevant as I can't do 70 jumps in a day. The most I have ever done is 18, and I edited everything before leaving. A more typical busy Saturday is 12, and this is fairly common. Again, my edits take only as long as it takes to view and hear the finished product (typically 7-8 minutes). Any quicker and I would forego actually seeing what the customer sees. (BTW, I don't think you can get a good mix of audio levels without hearing the actual audio. You can monitor audio with an NLE system, but again, you'll have to actually listen to the finished product, not just look at rubberbands). I do have to finalize the disc when I'm done editing, but I have two burners in parallel, so if I am backed up on editing, I can be doing the next edit while the previous DVD finalizes. If I am on the next load, I'll meet and interview the next tandem student while the disc finalizes and grab it before I go back up in the air. Agreed. I know I'll be forced to go that route in the future, and I actually look forward to it. (I would be nice to look forward to higher tandem compensation at the time...) Hopefully it is a friendly argument, but hell,...I'll buy beer regardless... (When are you coming back to New England???)

You should be able to buy a used Panasonic or Videonics board dirt cheap these days (way less than your target). We are probably the last industry using these things, and older wedding videographers off-load these things often on e-bay. I like the Panasonic boards, MX-12, MX-10, AVE-7 and AVE-5. To me the Videonics are cheap feeling, non-intuitive, and require a separate audio mixer. But lots of tandem videographers use them and are happy, so what do I know. BTW, you cannot edit a video any quicker on a NLE system unless you are willing to hand the customer a video you haven't seen and heard yourself in real time...and even then, most folks take way more time editing NLE versus good old analog despite the hype. I have a Dual-quad machine with 10 gig RAM, dual monitors, and a flock of hard drives, but when editing tandems I still use a Panasonic MX-12. IMHO, you can do a better edit on a NLE system (and I think that's the best argument for using one), but I see lots of videots do a worse job on their NLEs, and many would be better served learning better shooting techiques than learning more advanced editing systems.

I have never jumped with bailout O2, but I routinely jump with on-board and use a short canula tube that stays in my helmet, looped over my ears. I leave it in and disconnect it at the back of my helmet right before climbout, and have never had the wind in freefall "unseat" the canula from my nostrils. That being said, I would NEVER trust it to give positive O2 delivery at the altitudes you're looking at. During the Everest jumps they used open face helmets and real, positive pressure masks with open face helmets. There are some photos of the camera helmet set-ups on Wendy Smith's web site.

Very good points. Mike Hawley in New England does many of these presentations to non-skydiving pilots and might have some good material to use. Additionally, if you must publish these types of photos, and if you like your pilot, you should probably Photoshop out the tail numbers and avoid putting dates on photos like this. You could get a pilot fired (or worse).

What they are referring to there is encoding videos for the aforementioned uses (i.e., iPods, web, etc.) when outputting from those programs, not inputting. You wouldn't want to convert to h.264 before editing.

This is a great little piece, but I don't think it is really designed for converting into editable formats, or for a NLE workflow. It is more designed to compress videos to relatively small h.264 files that are easy to watch/stream on the web, iPods and the like. Of course, you can do the same things with Quicktime Pro, but this is a hardware solution that should speed things up, particularly for slower systems.

I never really added it up because it would have scared me too. But the major stuff is off the shelf (Vapor helmet, cameras, sights, etc.) so you could do that math. Hypoxic has a good package price on the Hypeye, sight, and sight hardware that saves some money. I already had the HC-5, flash and audible, but I did get an XTi off of e-bay to use instead of my 20D because of it's lower weight, and 1/2-inch less width (fairly critical when both cams are on top). In addition, I probably spent a couple hundred on carbon fiber sheet stock (don't know if I bought that at the best price), and $25 every time I turned around for stainless hardware, connectors, etc. And you have to factor in replacement drill bits and saw blades as the CF really chews through these. But keep in mind the price of the helmet system itself will be amortized over many, many years. Even if/when cameras and technology change, this helmet will be easy to use or adapt. Much more so than helmets or boxes dedicated to a particular model or style of camera.

The flash is mounted to a sled. The sled can be mount to either the bottom of the vertical mount, or on a T-bracket that puts it on top of the camcorder when the SLR is mounted vertical. It is a little ironic that the vertical mount with flash is the widest arrangement, but it is still relatively compact, and this is probably the least used set-up. However, if I want I can also mount the DSLR vertically with flash sans video camera, in which case the entire set-up would be inside the top plate (see attached).

Sky Systems Vapor Wes Pro Helmet After eight years on my old set-up, it was time to put my head into a new helmet system, and I just finished putting together my new SkySystems' Vapor Helmet. I had a couple of goals for this helmet. 1. A more modular and flexible system. At various times, my last helmet held four different video camera models, six different still cameras, two different flashes, and a variety of lenses. I wanted to not only make it easy to swap out equipment in the field (i.e. film to digital, horizontal to vertical, flash, etc.), but to future proof the helmet for whatever unknown equipment I will end up adding in the future. 2. Getting all the equipment up top. I wanted to move the still camera off of my forehead. This not only gets the weight more centered over my spine, but also makes for a clearer field of vision, particularly when I have my flash extension cord on my SLR. This is one reason I went with the Vapor helmet. The Vapor has the most real estate of any commercially available helmet. It has a very wide carbon fiber plate that comes from the factory over-sized so you can customize its length and width for your needs. I built a series of carbon fiber plates to house my current cameras, and built-them on a system of custom, interchangeable quick-releases ala' Wes Rich. This system is more flexible as far as positioning than commercially available quick release plates, the plates are lower (the bases are built out of 4mm CF), and they have less snag hazards than the traditional gap you get next to a commercial quick release. All the plates can be attached to any mounting position, and all positions are on 3/4-inch centers (yes Wes and Matt, they really all fit and in any position). In the photos of the stock set-up, either the video camera or the SLR can still be moved outboard another 3/4-inch if I need to accommodate something new or larger in the future. Both the shutter trigger and the Hypeye Mini are on mini-plugs to reduce wear and tear on the camera ports, and to allow for quick changes of cameras. I use a blow switch which is inside of the helmet. I can mount the DSLR plate either horizontally or vertically, and I can attach the flash in either orientation (the plate for the flash also fits the 580EX whenever I get around to upgrading). I also have a simple plate for my film SLR which I still use on many tandems (this plate can't be used vertically), and another plate ready to go for any other SLR. I built two HC-5 plates, one for use with my Raynox HD-5050PRO, and one for my Raynox 4500 which I use for tandems. In reality I could just remove the 5050 lens and put on the 4500 in a pinch, but the dedicated plates have supports under their respective lenses to keep them more secure and snag-proof. The Future? Well I haven't even flown it yet, but I'll be taking it out for it's maiden voyage at the Z-Team 64-ways at Z-Hills this month. As mentioned, it is a modular system, and although the plates are somewhat camera specific (not totally), similar plates could be built for any future equipment I need to add. You'll notice that when the SLR is mounted horizontally next to the HC-5, it overhangs the helmet by about an inch. I also noticed that the new CX100 is about an inch narrower than my HC-5. Hmmm... I also took my older Vapor helmet (with a narrower top) and tried it with my HVR-V1U and it fits perfectly, so that may turn into my special projects helmet. A big thanks for the technical support from Doug Park (SkySystems), Trunk (Hypoxic), and Matt Hoover (this forum). And thanks to Wes Rich for his inspiration.

You don't have to register to look at dropzone.com, just to post to it. That's the way most forums are set up.

Additionally, I don't think you can use AVCHD files on an older Mac. I believe you need an Intel Mac. Somebody correct me if I'm wrong, but I think the Powerbooks (as opposed to MacBooks or MacBook Pros) use Motorola processors, not Intel, and hence won't work with Apple's current AVCHD compatible software. In answer to your first question, yes you can get stills from newer video cameras, but they are pretty poor quality compared to a DSLR. Also, the 10D is pretty old and is large, heavy and slow (burst rate and writing to card) by today's standards. If you are looking to save money and still get decent stills, you may want to hang on to your TRV20 for a little while longer (which you can use with your older Powerbook) and get a smaller, lighter still camera like the Canon XT. Then get a newer HD (that's hi-def, not hard drive) video camera when you have more computing horsepower to deal with it.

The main reason we don't offer an HD delivery is that I am the only videographer at my DZ that currently has the capability. Although we work for the drop zone as independent contractors, to the customer, we are all part of the same business, and we keep the products we deliver consistent from one videographer to the other. It's the same reason I mentioned earlier it would be difficult to have some offer digital stills and some film. If we offered and sold an HD package, it would cause huge headaches (and possibly hard feelings) if either the customer had to wait for one videographer to be available (if he or she is even there that day), or if one videographer scooped the next video even if it wasn't their turn in rotation. In my opinion, it would have to be a DZ decision to offer it across the board, and if you want to work as a videographer at the DZ, you have to have the capability. BTW, as far as sales options, I think it is great to offer people upgrade options, but you have to be careful about offering them downgrade options. Yes the customer prefers a choice, but you have to balance that with the business's objectives, which is to maximize sales (the customer would like a free videos choice too, but we obviously don't offer that simply because the customer wants it). The combination of a lower priced option, and an untrained salesperson, will usually lead to customers opting for the lower priced package more often, resulting in the business leaving money on the table. We went away from the "video only" or "stills only" options several years ago, and like a previous poster mentioned, it didn't change total number of video customers. It just raised the overall gross income to the DZ and jumpers (and simplified things as well). In our market, none of our competitors offer a video only package any more, and that may be a different dynamic in other markets. I also suspect that for most videographers in our area, it simply wouldn't be worth doing a video only or stills only jump. Tandems with both don't pay much, and it is marginally profitable to the videographers anyway. But again, offering someone something better (i.e., HD or online videos) is, IMHO, a good idea.

We offer DVD and stills package only, no option of one or the other. We technically still have a VHS/stills package on the books, but it is a loss leader, and we hate it. It is rarely sold, but if it is, it is fairly easy to upgrade the customer right after they land and before we edit. We all shoot film and never get complaints, but I think it would be a big problem if some shot film and some shot digital. I think we have one more year of film (I love film because I hand them the roll in the landing area and I am done with that part of it. 10 minutes later they get their DVD, and I'm off to the next customer on the next load.) Everyone edits analog. I shoot HD, but we don't offer an HD delivery (i.e. Blu-ray). Overall it is a very consistent package from one videographer to the other. The biggest difference I see in sales rate is who is working manifest. We have a couple girls who are just clerks ("Do you want video? No? Okay."). And we have a couple (skydivers) who really sell it! One of our TIs (who is also a videographer) does a real great sales pitch if needed while gearing up his student, and he has a real good sell-through rate. If needed, he will often offer that we will film both exits and landings if it is a couple, kind of a two for one. Once I videod a bachelor party jump he sold. Eight exits and one freefall (the groom to be). Man I was long...

Yeah, this is way better than a real camera helmet. What was I thinking... Tell me again how this "tape" is going to keep lines from getting stuck under that plate in a violent opening (assuming it is still even there after freefall)?

Quite simply, yes. But I guess it depends on how much you value your time, and what your solution to the problem is (keeping in mind you don't even have a solution yet). I have made/modified enough camera helmets and similar hardware that I look at it and make an educated guess that doing my own design work, acquiring materials, and doing the labor required is likely to take the better part of a week, and will probably not be as good as one of the options I listed. Personally though, I love this stuff, so I am curios what solutions others come up with. Necessity is the mother of invention.

First off, good for you for recognizing this as a hazard. I have seen people actually jump things this scary (and worse), and you are right to avoid that at all costs. That being said,,...man, that's a big overhang. It looks like you are trying to possibly mount two cameras side-by-side. And while admirable, I really question your choice of helmet for this. The amount of time, effort, and materials you will sink into making this safe(r) would (IMHO) be better spent on a separate dedicated camera helmet like the Sky Systems Vapor or the Flat-top Pro. I have filled many smaller gaps using either a hand-shaped pieces of plastic, or, for smaller pieces, hot glue (which dries fairly hard). You could form some sort of small PVC tubes like you mention, but you would have to contour them to fit the curve of the helmet so there is no smaller, sharper gap (bench grinders are great for this). But making something like this easily removable would be tough. Additionally, if you fill only the corners and not the field, you could still get lines or slider stops stuck underneath, so it certainly wouldn't be "snag-proof." Again, if it were I, I would get a larger, dedicated camera helmet, and use a quick release on both helmets to swap the video camera between the two helmets depending on your video needs. But I'm sure that's not what you wanted to hear. Just my too sense,...

That's all it comes down to for me. There are plenty of free places to post videos that don't require yet another password to simply view them.

Ditto. Don't understood why it requires registration, so I never bothered.

It is only slow on import (in some ways it can be faster while editing depending on your computer). But unfortunately, you cannot simply use a Windows machine to import the files. It isn't really the file import itself, it is that during import the Mac transcodes the file to a different format. It actually changes the file it to an intermediate codec (usually either AIC, or Pro-RES). That's what takes time. Because of this, how much horsepower you have can make a difference on import speed. Once it is in one of these formats, the editing is very quick. Howard, I'm curious what CPU and RAM did you have for your example?

Vice-versa. I think you mean Vegas isn't available for Mac.

I don't usually cruise this forum, but came across Chip's page and had to pipe up. I worked with Chip for a while at Skydive Pepperell. Anyone who has worked at a DZ for any length of time has usually seen his fellow "carnies" have a bad day every so often. But if it ever happened to Chip, he never showed it. He always came to the DZ with a big smile and a great attitude (and man he could sell the videos). I think the last time I saw Chip was in 2007 when he came to do a Tandem Ratings course at Pepperell. Attached are a few pictures from then with Chip on the "other" side of a Tandem. Blue skies Chip...

I am guessing that you have a free-fly style helmet, which may make it tough. Everytime I have mounted a flash, I have mounted it horizontally. If you use an off-shoe cable, it should have a threaded screw in the bottom (1/4-20 thread). I always used that, with some sort of fabricated bracket to secure the front of the flash to with a strap. But if you don't have a flat surface to mount it to, it could get complicated. I recommend you look at the Post your Camera Helmet topic, and look at all the pictures for ideas. But in the end, you may find you have to have a helmet with a flat top, and be a good fabricator to make it safe and secure.

A good rule to live by...

Enough reason in my mind to go with the full-size lid. Particularly if you're looking at the 40D. That, a flash and a video camera is a lot of stuff, and I just don't see a down side to going with the wider mount. Yes. I am currently moving all my stuff to the top of a new Vapor. Forehead-mounted cams (I have a 20D, similar weight to a 40D) definitely get your attention on opening.

I notice much smoother video when I have been drinking heavily. Maybe my brain turns to jelly, and that better damps the vibrations......