DSE

Same thing-- HUGE HUGE HUGE difference. You are comparing a private function to the USPA Nationals. Keep apples with apples and oranges with oranges if you are going to reach for those comparisons. OK, change up the parameters. (hypothetical) Say I walked on to SDA during Nationals last year and wanted to put up windblades. I volunteered for four days of the event and spent several hours before the event. I want to put up a windblade, but didn't ask in advance. I'm volunteering for what effectively worked out for the whole event, including several thousand dollars in gear. Should I be permitted to put up a windblade on SDU's property? Keep in mind, I'm not a competitor, but I've put every bit as much time and money into this event as most competitors, certainly as much as any pickup team does/did. I am entirely positive I could not. Again, I understand people being upset/angry/bothered by the new position of USPA/Spaceland, as it doesn't seem to have been communicated very well (if at all, prior to the announcement of Nationals). But...in the world in which I work, this sort of thing is entirely common. Minor differences, but the size of the events are similar, memberships are similar, etc. I'd like to better understand where the actual tort lies vs what people *think* is wrong. Is there actually a stipulation in a sponsorship contract that says "Sponsored jumper will perform XXXX at events" vs merely using, displaying, and talking about their gear in public settings? If so, I can see where there might be some interference issues. Otherwise, I'm not quite understanding the actual vs virtual problem?

You mean like a Sundance Media Group or VAAST windblade? If so, are you going to volunteer again? I did volunteer again, but likely won't volunteer again. At the 2008 Nationals, Mark Kirschenbaum and I spent a lot of time devising a system through wihich; -Captured all competition content, regardless of format, resolution, or camera (except for one very old DV cam that had a problematic firewire port). -Transferred simultaneously to OmniSkore -Backed up the data so when OmniSkore or the DVD burners failed (as they did numerous times) the video flyer didn't need to come back and recapture, we simply recalled the data -Archived all the media for USPA so that any jump at any time could be reviewed, or used for creating a DVD of jumps (I still feel USPA could generate a small revenue stream by releasing a DVD of winning team jumps) -Provided instant access and output to the news media. Ed Scott came to me on multiple occasions asking for content to go to Good Morning America, etc. It took minutes to generate blanked media for broadcast, and despite the miserable web connection in Eloy, we uploaded nearly 1TB of broadcast content seen on ESPN, CNN, GMA, etc. -Overall generated a significantly more efficient transfer of media whether it was PAL, NTSC, HD in all its flavors, and even a horrible little MPEG4 (similar to a GoPro) making it so competitors didn't have to give a second's thought to what cameras they were using. Total cost to USPA and/or Skydive Arizona=Zero. Sponsored by Hypoxic and VASST. As far as where the windblades were denied, it doesn't matter where or when. Suffice it to say that there have been two events at two DZs where I was not permitted to fly a windblade because my company wasn't a sponsor. I see the *reason* for folks being up in arms, but don't see entirely how it negatively affects anyone, other than being able to hand out lit, swag, etc if their sponsors aren't part of the national sponsorship. I sorta doubt it'll have much, if any, impact on the Nationals at all, although this probably should have been brought to competitors attention earlier on. I don't know about other sponsored jumpers. I'm sponsored by a few companies, and it's not in my sponsorship agreement that I have to do anything other than "promote the image of the related product." None of my sponsors require I fly their flag, hand out lit, swag, etc. I'm also not a competitor, so it may well be different. What I'd like to know, is if indeed a team can't put up their packing tent with their team/sponsor logos on it, what is being provided in its stead, if anything? I wrote to my RD asking this question, haven't heard back. I think it unreasonable for a team to not be able to use their normal packing quarters regardless of what's screened on its side, simply because it's part of the team identity. Flying windblades...a little different. Handing out swag, definitely different. A slight shift on the same story; Go to any trade event or sporting event and set up shop handing out your swag; you'll be removed from the premises even if you're a competitor or member of the trade guild. PIA was the same way; they had people walking the floor to make certain no one was selling/demonstrating their product/wares without being a PIA member. Granted, it's slightly different, but in fact, this practice of protecting sponsors, memberships, etc is nothing new; it's just new to this event. Since BBarnhouse is commenting on this thread; What would occur should I show up at Eloy with my VASST or FlockUniversity banner and put it up during say...the holiday boogie? Perhaps there was a wingsuit event and a lot of Flock University people were there, or VASST sponsored a breakfast for three days...would our windblade be allowed?

I have been told I can't fly my company windblade on a DZ where I was doing significant amounts of volunteer work for the DZ during a competition. On more than one occasion. We were told that the windblade space is like "floor space" and that we'd have to pay money to display our logo. It's not new, but it's the first time I've seen it in print.

So much for my mastery of engrish. You said it well. You can have compression as high as 55:1 in a stream that is say....12Mbps, or you can have compressions as low as say...35:1 in a 24Mbps stream. Which one do you think is harder for the CPU to read? Keeping in mind it's VBR, and content-dependent...the answer isn't so easy. Bitrate is constrained to the max, but as you found, low light and noisy content can be hard to decode. If there is a lot of redundancy to frames, it's easy to decode ie; clouds and a small skydiver. Perfect point to pitch my "Full HD" book. It has pitchers and tables, and even drawings for the cavemen. Even Jarno could read it.

Nothing wrong with the HMC150, nor the XDCAM EX, XDCAM HD, or any other HD camera that shoots 30p. Temporaly, 30p (25p in your case, which is even worse) simply can't carry the day. To an untrained or unfamiliar eye, perhaps it cuts it. To the majority of the world (again, it's a BROADCAST SPEC to not shoot fast action in 24 or 30p, partially because the content and the strobing may combine to trigger epilepsy. It has in fact, done exactly that. 25p coupled with a rippling logo presenting the 2012 Olympics has spawned a lawsuit against a Brit broadcaster. 25p/30p cannot shoot smooth fast action, as there isnt enough temporal information even at a high shutter speed (although that *can* help). But, maybe my experience over the last 30 years, the ATSC and EU, the NAB, SMPTE, and NAPTE are all wrong and we don't understand....anything is possible, I suppose. Matt, the content is equally responsible for the ability of the CPU to decode AVCHD footage. Not having seen Saskia's footage, I'll assume it's heavy clouds with just subject movement compared to your footage being a changing landscape and subject movement. These cams are mostly VBR, so yours could be peaking the bitrate while hers is not. Just a guess. But yes, the higher bitrate/higher compression *usually* means more CPU cycles and is more difficult to decode. If it's a lower bitrate but lesser compression, it will generally play more smoothly. Also, be SURE that you're using project settings to match the media. Old AVCHD camcorders shoot 1440 x 1080 while most of the new ones shoot 1920 x 1080. Be sure your project settings match the media, or it will be a low decode.

You disagree with which? That due to Kell you get a more saturated image when downconverting from 1080i to 720p? or That 60i is a better acquisition rate for fast motion than 30p? or That 720p is a great delivery format for the web? If you're suggesting that 25p is superior to 60i for fast acquisition, it's patently clear you've never made a comparison. There is a reason that both the ATSC and EU don't accept 25 or 30p for sports acquisition. Fear of lawsuits related to triggering epilepsy is only one reason. It looks TERRIBLE. Everything we shoot for broadcast is shot in 24 or 30p. Except sports. With 60i or 50i, you have 30 or 25 more opportunities to capture motion, which is double what you get with progressive acquisition. If you're shooting 50p or 60p, then the motion is terrific, assuming the bitrate is high enough to manage the content and data rate. It's not an opinion as much as it is a well documented and supported position that for fast motion, 50i/60i are superior to 24, 25, or 30p, even with very fast shutter speeds. Additionally, you can't slo-mo 24, 25, or 30p well because there isn't enough frame information to do a clean slo-mo. BTW, .mov is merely a container and bears zero relevance to the quality or lack thereof related to picture quality. It's like suggesting that a brown paper bag is superior to a white one. They're both just bags, the contents of which could be garbage or gold.

Epic!!! more epic is that Rigger has around 12,000 tandem jumps.

Deinterlacing is part of the process of downconvert from 60i to 30p. Trust me on this one, you DON'T want to be shooting 30p. 60p, yes. 30p, no. Your skydiving footage will be jerky as hell. There is a reason that BY FAR the majority of acquisition in this world is still interlaced. Just as there is a reason that virtually all broadcast is interlaced. Small pipe still can carry big picture with interlacing. Your rneders aren't smooth from your laptop? Something wrong there. Never heard of Vegas (or any other NLE) not being able to render a file that is smooth on output. If you mean "not as fast," well, that can be expected when downconverting. Go fly the Panasonic HMC150. It's AVCHD, shoots 30p. You'll hate it, guaranteed. Shoot same cam in 720p60, you'll love it, but now you're lower in resolution and can't go up. 1080i converts very nicely to 720p, and the render time on most machines is very reasonable. And the image is great. Unless you're delivering on Blu-ray, there is no reason to NOT downconvert to 720p, as its the best format to submit to YouTube, Vimeo, etc. If you are delivering to BD, there are techniques to turn 60i to 60p and then 30p from there.

Down convert 1080i to 720p. Via Kell, you're gaining chroma stability and sharpness anyway. No, your lenses won't take full advantage of the 15mp, but you'll still have a significantly better image. It's not like the camera just ignores that information...Take your lense to the store, shoot some pretty plants and high detail, you'll like it. Promise.

That you're a mean, onery badass that wants everyone to know how chuffed he is. I got red and silver. Means I'm bright and sunshiney, with a tad of intelligence thrown in. Damn, that's weird about the mirroring vs a flip. But I'll love not capturing tape any more.

Congrats! I hope you bought three? Two for 3D and one for backup?

mp4 part 10 and h.264 are the same thing. Bitrate is the key. Neither camera is locked into a bitrate because they're avoiding the AVCHD moniker/compression, which is based on mp4 pt 10/h.264. Macroblocking is small blocks of pixels that 'square' up or create pixilation due to compression artifacts, or the camera not being able to keep up with movement, high contrast, or combinations of both. It can be particularly ugly in low light.

I just realized you're using VMS, not Vegas Pro...Yes, you can burn an authored DVD from the timeline, sorry. Use the Make Movie icon.

you can burn a data dvd without architect, but if you want a menu/VOB dvd, you must use an authoring tool such as Encore, Architect, etc. Sounds like some admin controls are on your boot drive (and it's ALWAYS ALWAYS a bad idea to use the boot drive for any video (and really for anything but your OS and applications). Vegas doesn't set controls, it only obeys them, so... Also, are you running antivirus? Generally, its a good idea to kill any antivirus running in the background while rendering/editing video.

have been posted.

Yeah, what he said. +1. Great read, too.

Thank you for finding/sharing that article.

If everyone followed my example, the healthcare deficit would expand exponentially. Come to think of it though, "breaking your pelvis" is all the rage. Or, you could follow my example and get back in the air five months after you broke your pelvis and ACL. On second thought.... don't. Ian truly is a skygod. I wanna be like him when I grow up. Even though I am old enough to be his father.

The Seattle grunge look died with Nirvana. I vote for high contrast colors and designs that make it look like you're going fast.

I've heard they have laws in PR about exposing your batwing in public.

more like grammar Nazi's. "Due tale" is as appropriate as "do tell."

The fireworks setting merely limits the dynamic range of the camera so that the fireworks retain color vs being a white blast against black. As mentioned, use an IR or microlight to light the jump. Just be careful to not hit anyone's eyes. There are quite a few night jumps shot with external lighting as well, but I'd suggest that's a bit more complicated than you probably want to go.

you can also extract 1.9MP stills directly from the CX100 camera after the jump when looking at the video. It's about the same thing and might give you some better accuracy or determined frame.

To add a little to what has been said here (Phree and Mtn are correct), it's a myth that it's all about megapixels. It's about glass optimized for imager size, codec, and bitrate for video, and imager size matched to glass for stills. We still haven't hit convergence where one camera will work for both purposes. We're getting there. Couple more generations, we'll be there as buffers grow larger and image processing gets faster, and storage devices get faster and fatter.