DSE

PIA begins in a couple more days; Mannie, Chris, Mike, Jack, Dru, and myself are packing our cameras, new DVDs, and pointing our noses west for the trip to Reno, the biggest little town in the world. At least it's warmer there than it is here. A lot is happening at the PIA Symposium, and we'll be bringing as much of it to you as possible. Tune into the VASST Channel on Youtube and catch the interviews with the various exhibitors, attendees, and unique people. We'll also have interviews with the newly elected USPA BOD members, and a few clips from some of the Symposium sessions. If you've got questions you'd like asked of the manufacturers, drop me a PM. We'll do our best to ask. See ya "there!"

The only thing consistent about Sony is their inconsistency, or consistent lack of consistency. this morning I was speaking with a Sony rep about the model numbers and he told me that Sony had gone to the 3 digit model numbers to get the camera out of other single digit product confusion. Hmmm... Really? "You sure it's not because the new Panasonic AVCHD camera is the HS100? I'm clueless as to who came first, Sony or Panny, but I was aware of the Sony model number for at least 60 days before Panny quietly leaked theirs. I have no idea what was going on inside Panny in that same time frame.

Google "Hobo Publishing." they have a step-by-step tutorial on exactly this. I think it's around 5.00.

CX100=60i CX105=50i The 105 isn't generally available in the US markets, and the 100 isn't generally available in non-US markets.

you don't need a box, you *could* mount it straight to the Zkulls system. Put the plug mate straight on the camera (I'd put some kind of rubber or cork matting between them) and you're good to go.

Anyone tried em? Got both a 620 and a 618 to try. Both are kind of hard to get into, but once on, they fit perfectly. They advertise that they're so comfortable, and the truth seems to be, they ARE. One is build for normal freefly, one is built for highspeed fall rates. Looking forward to playing with these.

The technology is there now to do it. It's not cost effective to put good/better glass in front of a video system. If web-pix that are slightly washed-out are OK with you, then yes...screengrabs or stills shot while recording video will be fine for you. If it's bigger than say...1000 x 500 pixels, the image will not be impressive.

how much will you give me to be the first to freefly with it? I'm the first to wingsuit with it, Cookie will be the first to have a box for it, if it warms up enough, I'll catch the first tandem with it too. it's a BRICK. You'll love it. See you at PIA...

I may be wrong, but isn't the Raptor your first purchased wingsuit, and the first wingsuit you've jumped in many years, Keith? In this thread Keith talks about his (Raptor) wingsuit getting the better of him, and demoing a Classic years ago?

You just KEEP rubbing it in, will ya? I CAN'T go to PR, because you beyoch's left me stranded alone at PIA. I'll forgive you just this once. You guys have a great time in PR without me, I'll be thinking of you as I'm enjoying the snow, high altitude, cold air, and the views of females heavily clad in thick puffy nylon and feathes. Oh yeah...you got that down there, too (puffy nylon/feathers).

not if you care about the new footage, anyway.

word of advice; don't let PM fly base on that one.

From Mike C./Canon national rep: ...depending on the software in your camera, you may read the file as a segmented file. Download the latest firmware upgrade and this will report the files as progressive.... In other words, I'm wrong, it's my software that is mis-reporting the media as being stored in an interlaced stream. According to Canon, this will not be the case when I download the updates for my camera (don't have the camera with me). Sorry for any inconvenience or confusion.

Brendan, with the proliferation of CMOS now making a very deep inroads with more pixels on smaller areas (RED, Dalsa, etc) do you have an opinion on CMOS making its way more deeply into DSLRs? My understanding of why Nikon quit the CMOS/electronic shutter was because of the inefficient use of sensor space. Technology has now brought us to the point where CMOS is nearly as space-efficient as CCD. High shutter speeds will always be a problem with CMOS, anything over 1/250 in video is unusable if you don't have specific controls. We have to be very careful with the EX1's and reflective light during fast pans/motion anyway.

Because if it's content downloaded from the web, the source isn't necessarily clean. My meaning was that I'd recommended the book, along with Poynton's book. Next time, I'll just say "google it. I'm not paid enough to write the novels some of the questions occasionally asked require, and this isn't a technology forum. Of course I'd appreciate you continuing to contribute to the forum, your posts *generally* are informative and/or thought-provoking.

Tape KY is no longer really an issue due to all the problems that occurred a decade or so ago, but it's still a good idea to choose a brand/model and stick with it. Higher quality tape does have higher value error correction, but doesn't mean a better picture. It just provides a higher likelihood of the picture being correctly assembled. 'Nother small trick to help assure better tape life, store tape in any direction but the largest flat part. Ends, sides, but not flat. This allows the tape to stay aligned with hubs. Not a huge deal, but every little advantage helps.

So, you shot that content yourself, you're the originator of the source? I sent you psf link data, canon specific. Not specific to the 5d, however. I'm sorry you feel your quest for information is more important than my time during travel when I don't have the software tools, don't have the camera in my hands, and really don't have the time to chase down information for you specifically. Very impressed you took the time to look at it yourself, however. I'm sure you've learned something in the process. Interlaced vs progressive alone, PsF not withstanding, is a complex subject. Next time, rather than recommending my book (along with others recommended), I'll suggest you google instead. Spend your time in Wikipedia where a good portion of the information is incorrect. Or take your data from measurebators that haven't shot a frame of actual video, just playing by numbers. Lesson learned.

What in the world is the difference between writing interlaced to tape and interlaced to solid state media??? How is writing progressive information to solid state any different than writing progressive information to tape??? Bit for bit, tape or solid state it is EXACTLY the same data. The datarate from the 5DMKII is ANYTHING but "low." 38Mbps .264 is low? Particularly in an I/P frame format? It's many times the compression of your HVX200 at 40MBps, maybe that's what you're making your comparison from? The HVX doesn't remotely approach the native/stored resolution, the level of compression, nor the complexity of the codec. That's one reason why DVCProHD is effectively dead. It's ancient technology. People in these forums (and other places, of course) are struggling with decoding full resolution AVCHD and AVC at a MAXIMUM of 18Mbps. Yet you purport that more than double that bitrate is low? And easy to decode at full resolution without transcode? What does moving to Elsinore have to do with me? I'm not discouraging anyone over the 5D. I do discourage anyone from believing it's a primary camera for general use. Maybe you know something that SMPTE engineers, DGA directors, and software developers like David Newman and David Taylor don't know. The software I've developed (AVCUpshift) has challenges with it, Quicktime has challenges with it, Neo has challenges with it, but you purport "it's easy." It's a great camera. Like anything on the bleeding edge, it requires an intentionality and understanding of codecs, workflows, and NLE/display device limitations. BTW, this is a skydiving video forum. The discussions revolve around relevance of cameras, technology, and techniques related to skydiving video and photography. Since you don't jump a camera...it's understandable you'd fail to see the relevance. You'll figure it out.

Back in the day when BASF was the oem for everything on the planet...yeah. But you know, that damn rust stuff is different today than it was then. They even improved carrier signal by as much as +4dB!! (whatever the hell that means).

It has been petitioned that I end the tech talk. So, we'll leave it that every time you wind, play, record, you stretch that plastic thing that this high-teck rust is glued to and you also move the rust around. Some brands of tape won't stretch as much as other brands/qualities. In some climates, the rust becomes more rusty. There is a little man on the tape that has the job of correcting problems. After 20 years, he wants as much reference data as he can get so he can assemble your picture correctly. If all the reference manuals aren't there, he might not be able to. Can you remember every detail clearly from 20 years ago?

if it's used tape, it may well be useless in 20 years.

When you actually start skydiving with a camera, you'll figure out why tech talk is important to some of the folks here. Believe it or not, "tech talk" helps some of us figure out why problems are occurring and how to best remedy them. But according to some, I'm merely out to sell books. If we're ever at a DZ together, remind me of this thread. I'll give you a book for free if I have one with me, as this thead sure wasn't worth the .80 that I'd have made selling one. I'd rather have a cold beer with a friendly face.

Firefighter training?

If you've been smoking prior and an incident occurs, you may be hanging the pilot out to dry as well.

Download the footage, and put it into Gspot. Temporal compression algorithms can be applied to either interlaced or progressive footage. Temporal compression=compressed over time (frames) Spatial compression=Compressed w/in each individual frame. ie; HVX200 stores data at 960 x 540 pixels, then uses conversion to expand the data to 1280 x 720) DV also uses spatial compression, but does it by elongating pixels, ie .909 Pixel Aspect Ratio/PAR. You can also mix temporal and spatial compression, ie; HDV. 1440 x 1080 pixels at a PAR of .1.333, then temporally compressed in a packet of 2, 6, 9, 12, or 15 frames.