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Everything posted by DSE
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You can edit AVCHD on any Intel-based Apple system...but it's converted. So, instead of using 12GB per hour, figure approx 40GB per hour for Apple systems. it's converted on the fly, and newer systems import reasonably fast (no where near as fast as a PC, because there is no conversion). HERE is just one of many standalone converters, which are a tad faster than Apple's own system, Voltaic is another system, but it's slightly slow. You can also batch convert, which is a good idea if you've got a lot of files (say...you're doing your tandem vids at the end of the day instead of having the student stand by). AVCHD is so easily managed on the PC side of your Mac that my company is officially going to discontinue our AVCHD conversion software as of the end of Feb, now that everyone reads it natively. Some are still faster than others. *if* speed is your main concern (speed doesn't affect quality), then I'd seriously consider running Boot Camp and XP or Vista 32 on the Boot Camp partition. You'll be stunned at the speed difference. Promise.
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That totally depends on how you fly (quite a few backflyers at our DZ) and your workflow (I usually have 15 minutes sometimes less to edit and burn a DVD on my pc/laptop, can´t yet do that with AVCHD, . then you're using the wrong application. Several of us ingest, edit, and output to DVD in minutes, significantly faster than you can: -Remove tape for edit deck (or sometimes camera from helmet) -Capture (real-time/Seven mins of tape equal seven mins of capture time) -Edit (no auto-location or filing with tape like there can be with MPEG from AVCHD) edit-failed to mention tagging/geotagging, metadata that will soon be available in-camera for consumers, the pro AVCHD systems already offer it. -Burn to DVD -store archive -AVCHD is smaller than DV -AVCHD is direct to DVD compatible for HD -AVCHD camcorders all record SD, and some record 4:3 as well as wide. AVCHD is the new DV. Might as well get familiar with it, cuz at some point, everyone has to. Very shortly, you'll see a tutorial on EXACTLY how to do this quickly, painlessly, and without much input from the editor, where the capture/editing/delivery process is faster than most people can pack (three minute packers not included, void where prohibited, certain restrictions may apply). Rather than toss away the camera/format, maybe look at what application you're using as the problem instead. it's like a tractor-trailer. Matching the weight of the trailer with the horsepower of the truck is fairly important. Critical, actually. Media management is easier with Flash-based systems too. And...tape is dead. Sure, you can still buy the HC9, and can still buy (and will be able to buy) DV tape for a while still. But...there are those that feel speed is much more important, and in an in an intelligent, reasonably new computer, there is simply no way, no how, that a tape-based camera system can beat a flash, Xpress card, or BDPD system. Not even by a close margin. Not even on a laptop. BTW, we're editing a 3 hour project even now, that is easily 90% AVCHD. 300GB worth. That's a lot of AVCHD. Scotty Burns just bought a 600.00 "junker" machine that manages AVCHD very quickly, very easily, and *all* of his footage is AVCHD, a mix of 1920x1080 and 1440x1080. It's all about understanding the format, the workflow, and setting up the system accordingly. Which BTW, is part of I'm teaching at PIA in a couple weeks.
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T'is the same glass on this cam as the MC1 has. Decent stuff.. I think with some coated foam you could fit it in the box. I would not put "nasty" foam that degrades and granulates around it; foam granules are like sand in the zoom and other buttons.
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Depends on the use. Tandems? A CX12 (did just buy one yesterday). Freefly? An HC5 if you can find one. If you can wait til May/June, PROBABLY one of two/three cams. TG1 for anything non-professional if you promise to be careful with it, along with a Cookie box for even if you're not entirely careful with it. Hard to fit an adapter ring to it though...
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Looking for a high-rez photo of the freefly pud/handle if anyone can help. It's fairly urgent.
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Remember when you were a child, worried about crossing the street? Like that long-past feeling, this too, shall pass. Just wait'll you see a canopy 50' away have an off-heading opening cutting towards you. That'll make your hackey fear shrivel up.
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No...Chuck Norris did the devil's first Flight Course; Scott taught Chuck. OP, if Scott isn't around, I'll be in Eloy the second week of Feb, and the last week of Feb; pm me if I can help.
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If speed of edit/delivery is part of the "standards" process, then IMO, you want camera ops shooting the same things regardless of skill. Example; you have a mad skills freeflyer that shoots every angle up/down/sideways and the student isn't always in the shot during transition, but overall, the video isn't bad. You have a bellyflyer that can shoot below/above/side angles, never once losing the student, and he has a set series of angles. Both students are on the same load. Student A wonders because she's upside down, out of frame for a second, and only has a super-fast deployment shot compared to student B. Additionally, Student A's freefly monster likes to hear himself speak. He goes on for 2-4 minutes looking at camera, speaking to the student through the camera and occasionally showing student as he talks to camera. Student B gets a "template" walk up, interview, brief B roll, walk to aircraft, in-aircraft interview, jump, and post-jump interview. Student A solicits a person to come to the dropzone and they end up specifying they want Student B's camera flyer because Student A's camera flyer was so talky, and totally into his own voice. Editor can't stand the first camera flyer, because there is no consistency; he talks for 4 mins for the ladies, and talks to the camera for 30 seconds for the guys, making the video a bit harder to drop into a template. The above are true stories and the names have been omitted to protect the participants, right Chris? Standard shot sequences are the staple of any high-turnover event video flow, in or out of skydiving. IMO, leave the overtly creative stuff to the fun jumps and year-end reel.
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Tape is graded by where it is cut from a roll, not by the roll itself. Closer to the middle is one grade, farther out is another, based on how evenly the particles are spread. You should only be noticing DROPOUT differences, not picture quality differences. AME II is graded from the center of the roll, and uses a different emulsing process. I know little to nothing about the chemical side (I know a couple guys here have it down cold) so mostly am parrotting. I've seen few dropouts in 16-error track media with AMEII, and it's the only thing we use for high-priority (but even then, it's backup-only).
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He does, and there is a "Norman Kent" suit model, designed by Norman for Firefly.
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I only did a webinar for Sony/Panasonic on AVCHD this time around.... We have a lot going on here, and I was grateful to only have to do this from our local studio. First CES floor I've missed in a LONG time. The "in/out urge" sucks, but strangely enough, PIA holds more priority than CES, but more on that in a couple of weeks. I only attended a private pre showing of a new Canon vid cam (and saw some sweetness from the 5DMKII) but didn't get to stick around for the actual floor show, and spent time kissing up to the Sony guys to keep the relationships sweet over the next year. ....a lot of skydivers were seen in my webinar presentation, 'specially a bunch of folks from Sebastian. It's always funny to hear the comments about "squirrel suits" and this year there were a lot of questions about sugar gliders. I didin't realize they'd become so popular. With Exmor being now released in all consumer cams from Sony, and with Sony not OEM'ing IS from Canon for all models...most of what I know was released is announced for y'all to see. Exmor is da' bomb. Low noise, high sensitivity, great dynamic range, and now that volume is up...they're CHEAP. And...dunno if it's true, but was told that we can expect prices to actually be lower than pre-announcement prices due to scheduled manufacturing runs and consumer expectancy. I hope this is true. Many were expecting to see a lot or at least a number of higher bitrate cams...it obviously didn't happen. Faster cards, wireless SD cards, and some new crappy mini-MPEG4 cams showed up, but since I didn't walk the floor, most of my knowledge of what came out is from the same sources as some of you here discovered, plus some "top-secret" podcast stuff from manufacturers. Still under NDA on those for some stupid reason. Canon has some sweet new cams, still OIS. Panny has a single new cam that I think is decent, but the glass I saw a month or so ago didn't impress me...Canon has it going on if they didn't have such an aggressive OIS. Sony released a couple EIS models, and I have not been permitted to jump with them. However, the MC1 (which a number of people saw at Sebastian this past month) really did do well, and expect to see more in this vein from Sony Broadcast. A couple of years ago, I mentioned here that AVCHD was gonna take over DV...it's complete. No one announced a DV camcorder that I'm aware of. There are two people active in this community that were on the floor; I talked to one and he sent me some vid from a camera I thought was promising. It wasn't. Sony still rules the roost, IMO...I'm waiting for one of their new products to arrive that is exclusive to a major chain; if it does what I'm told it does...we'll have a new ace up our sleeve very soon (mid summer/August). The product was not shown on the show floor. If you'll be at NAB, I'll likely be able to arrange a private showing. BTW...remember last year when I commented on OLED? What a difference a year makes. Saw my first real "video Tshirt" too. Creepy. Anyway...sorry to disappoint!! But I did give you some fluff n' puff in this post, right?
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AME II is a tad more expensive, but overall, it's a better tape. Maxell, Sony, JVC, Canon all have AMEII-labeled tape. AME=Advanced Metal Evaporated, has a higher carrier signal (means it is less prone to dropout) and is allegedly more resistant to effects of time. AME used to be exclusive to data storage tape/DLT backup systems. Now, some manufacturers are only running high grade due to the cost of multiple coating runs. I don't know who is OEM'ing to Sony/Canon/JVC anymore, but at the high level, it all comes from the same master roll.
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Gemini Media or Mediarightgirls.com has similar stock...
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Get Hypoxic HYPEYE D PRO Remote Camcorder Indication and Control System Settle back with a cup of good coffee as this is going to be lengthy; the product does a lot more than meets the eye! I received my HYPEYE D PRO controller and expansion in the mail today; I was overjoyed. I knew it would be a good product, as I already owned two HYPEYE MINI camera indicators. Just in case you ve been in the air too long, don't fly a camera, or simply haven't paid attention to technology, the camera control protocol known as LANC or (Local Area Network Control) is not a part of the crop of new camcorders being issued by Sony (or Canon). LANC is a tape-based protocol, and none of the new camcorders are tape-based, but rather are Hard Disk Drive (HDD), DVD, or Flash memory-based in design. Tape is very much on its way out, and will not exist as a common format in the foreseeable future. Absent a LANC controller, camera flyers struggle to start/stop the camcorder, not to mention the lack of an indicator usually mounted on a ring sight to indicate the status of the camcorder. True, a small mirror might be mounted on an altimeter to view camera status, and of course, camera flyers can cut large holes in their camera boxes for access to on/off switches and record switches, so it s not as if all is lost with the disappearance of LANC. But it is terribly inconvenient for most of us. Sporting a rubberized/weather proofed recessed button, this unit is solidly built. Early camera switches were fairly unreliable and affected by riser slap, high humidity, water, or the camera helmet being laid upon the ground and accidentally triggering the camera button. None of the above has any impact on the operation of the Get Hypoxic HYPEYE D PRO (damn, that s a long name) camera controller, due to the way it s built. Designed to be mounted either inside or outside the helmet, the switch housing offers a threaded hole in the back of the unit allowing for an included nylon screw to mount it to the outside of a helmet or other mounting surface. Even though this may expose the switch to a riser slap, the nylon screw should break/release in an entanglement. The switch housing is identical in size to the pre-formed port found in many camera helmets, allowing for a .65 to be drilled, allowing for a flush switch on the outside of the helmet with the bulk of the switch housing inside the helmet. Double stick tape or gaffers tape (not included) can be used to secure the switch to the helmet or mounting chassis. That s not all, nor is it the only way to be mounted - more on that later. I used the Expansion kit to set up my own switch access that is smaller than that of the HypEye, but it is not weather resistant like the HypEye switch. The switch housing has two rubber inserts for accessories available for the HYPEYE D PRO. The first is a female 3.5mm jack that allows for a debrief cable to be plugged into the helmet/switch directly, thus eliminating the need to remove the camera from a camera box/housing, or from a mounting plate in order to view the video. The debrief cable will likely be essential for any team camera flyer or AFF instructor wanting to debrief a jump. Not only is removing the camera from the helmet a pain, but also wears hard on the camera and box, this allows additional wear on the camera and helmet to be avoided. Techno-geeks will probably install a female 3.5mm jack in their helmet so the debrief cable doesn't need to be plugged into the HYPEYE D PRO switch housing too. I've already seen one team using the debrief port on an LCD monitor in the aircraft as they climbed to altitude for another jump, again saving the hassle, time, and potential error involved with removing the camera from the housing or helmet. If your last camcorder came with a four-contact 3.5mm cable (has yellow, red, and white connectors on the end) you won't need to purchase the HYPEYE D PRO DEBRIEF CABLE. The other rubber plug is an access port for the HYPEYE D PRO EXPANSION CABLE KIT. This is the kit that got me really excited about the unit because it adds so many features to the HYPEYE D PRO. In my opinion, this is what makes the HYPEYE so spectacular. The Expansion Cable Kit is optional at a cost of $29.00 USD. So what does the Expansion kit add? A plug that connects to an L&B; Optima audible altimeter. This allows a separate set of LED s on the HYPEYE indicator to flash when the Optima is triggered. The indicator will flash slow flashes at the first altitude set in the Optima, faster flashes as the second altitude is reached, and very fast flashes when the final altitude is reached by the Optima. This feature isn't only for the camera-flyer; deaf skydivers will find this feature very useful. Unlike the L&B indicator which is fragile and stiff, the HYPEYE indicator is on a flexible cable and can be mounted any number of ways to suit the users desire and need. Bite Switch input. Yup, the Expansion Kit allows owners to plug their existing 2.5mm bite switch cable into the system, triggering stills from a video camera. Some cameras can only shoot 3 stills during a jump, but camcorders like the Sony CX7 or HC5 may be turned into a still-only camera, allowing for reasonable quality stills to be taken with these small HD camcorders. External Switch/Remote Switch connection. This allows the rubberized nipple switch found in the HYPEYE housing to be bypassed and the system controlled by a third party switch. This is what I've done with my system. All electronics are mounted inside the recesses of my BoneHead Flat Top Pro helmet, and I've mounted my own softswitch on the side of the helmet. This is useful for custom buttons, but also would allow a pilot to trigger an exit camera or similar. Zoom Memorization. Ever gone on a jump only to find that the zoom button had been moved, and everything was blurry, deeply zoomed, or both? This feature tells the camera to be zoomed in at a user-defined point. This will hopefully reduce the number of absolutely ugly vignettes found in so many skydiving videos, allowing users to slightly zoom in past the point of the lens adapter rings. Remote on/off of camera functions. Imagine this; you re in the door of the aircraft ready to jump, and notice that you've forgotten to turn on the camcorder. The count begins as you yell WAIT! With the HYPEYE D PRO, pressing the switch will turn on the camera even if the on/off switch of the camera is in the off mode! (this is camera model dependent, and won't work with all cameras, but it s great with the CX and SR series cameras) A audio/microphone input rounds out this system very nicely. If the camera is in a typical housing, the internal microphone is buried, often under Neoprene or other material designed to securely hold the camcorder. An external microphone isn't only helpful, but essentially necessary for tandem interviews in this situation. Or you can just connect your ipod and burn to DVD for your 4way team with no post production work at all.Here is where users will find a weak point in the HYPEYE system; the installation instructions for the Expansion Kit recommend placing a dab of glue on top of the connector. After a quick call to Get Hypoxic I learned this was to prevent years of vibrations from inadvertently dislodging the cable. I needed to either use a hot glue gun or fingernail polish to create a bead on the cable once installed in the switch. It wasn t difficult, but I wondered why a swage or something similar wasn t molded to the otherwise well-designed cable. It would save users the headache of finding a glue gun or borrowing fingernail polish from someone. I used the hotglue, it was easier. See the GetHypoxic website for very detailed photos and instruction on how to achieve this. What's to love Weatherproof, recessed nipple button Audio/ Line-Level Microphone input Audible altimeter connection Super-bright LEDs Debrief port Zoom memory Bite Switch ready/input Remote control of all camera modes The camera connection side of the system is an AVRemote S cable system exclusive to Sony camcorders. What makes this unique is that these right angle cables will fit inside of most camera boxes where a straight connector absolutely will not. It s obvious that Get Hypoxic designed this connector and its slim profile, as the Get Hypoxic name is molded into the cable connector, as it is in the Expansion Kit fantail. The indicator side of this unit has several micro LED s in it. These indicate a number of different functions depending on the mode in which the camera is operating. Ready/Standby is indicated by a blue LED, Record indicated by a red LED, and warnings for batteries, sleep, error, or tape end indicated with a yellow LED. However, double-clicking the switch will put the camera automatically into different modes. Want to switch from video mode to stills only mode? No problem, just double-tap the HYPEYE switch. Wanna go from stills to playback? Same action. What's Not So Lovable: Big round cables are space-killers in tight helmets Zoom reset is slow Requires tools and additional adhesives for certain setups like the Expansion Kit Debrief port is part of switch, making it inconvenient for in-helmet setups PriceyWARNING: THESE LEDS ARE BRIGHT! Users may find them too bright if they're mounted close to the eye such as in a ring sight configuration. Using a Morse code-like tap sequence, the LED s may be dimmed in five different levels. (Out of the package settings are at the most dim preset) Military users will appreciate the exceptionally dim light in those covert training ops, and night jumpers will appreciate not being blinded by the camera flyer s indicators as well. These same LED s will also indicate altitudes triggered by the Optima, if the Expansion Kit is part of the setup. Be aware that the batteries in the Optima will affect the brightness of the altitude indicators. Camera status indicators are not affected by the Optima battery level. Speaking of military users, Get Hypoxic has said that they ll soon have an armored, aluminum billet version of the HYPEYE available at a higher cost. (comes stock set at a low brightness level, for your protection) There are some things I wish were different. The HYPEYE uses a very high quality silicone-covered rounded cable. A flat cable would have been more appropriate given the very tight confines of most helmets, yet it should be mentioned that flat ribbon cable is very expensive and not terribly durable. The molded fantail/distribution point of the Expansion Cable kit is also somewhat larger than I would have liked. In my Tonfly CC1, it took significant effort to keep the cables from impacting how the helmet fits, but it is possible. As my TonFly helmet does not have a ring sight (used for wingsuit camera) I appreciated the very stiff plastic in the indicator side of the HYPEYE D PRO. The user-programmable zoom depth is slower to get to zoom point than it should be, yet this is camera-dependent, so not really GetHypoxic's fault. Cable size aside, I feel this is one of the best-designed tools available to camera operators in any sport application where space and control are considerations whether they re using tape-based HDV camcorders, newer DV cams, or AVCHD camcorders. Congrats to Get Hypoxic for presenting a very well thought out, fully-featured product that skydivers can actually use, that seems to be very tough (I have only 22 jumps on my system). This tool is 110% real as far as I m concerned. It s hot, not hype. Get the Hypoxic HYPEYE D PRO Remote Camcorder Indication and Control System at Get Hypoxic or most skydiving gear outlets. HYPEYE D PRO-$99.00 MSRP PRO Expansion Kit-$29.00 HYPEYE D PRO Debrief cable kit-$10.00 The Hypoxic Hypeye D Pro is also available on Amazon: Hypoxic HYPEYE D Pro Remote Camcorder Indication and Control System.
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Mentioned in the READ FIRST post at the top of this page.
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Why is that?
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I'm speaking on Digital Media on the Dropzone, and Wingsuits on the dropzone, both are mostly aimed at DZO/DZM's, but anyone should walk away feeling like they received new (hopefully useful) information.
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Contact tonfly at Sales@tonfly.com, attn Giovanni.
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For cross reference, it could have been worse.
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Anybody willing to pick me up from St. George airport?
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There is a dramatic difference in terms of sharpness (lines of resolution) The Century is quite a bit higher than the Royal, Cookie, Waycool. Get someone to chop ya' off at the calf? Seriously, if you're looking at a .5...look no further than the Century, as it has the highest resolutiong (but still isn't a full 1080, let alone 720), and is low profile. It's even slightly lower profile than the lenses offered by any of the skydiving lens companies. Looking forward to seeing Royal and the others step up to a better grade/grind of glass.
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Your first 2009 jump was from a...
DSE replied to maxmadmax's topic in General Skydiving Discussions
You owe me a keyboard cleaning! Or do you know Skittle's story? -
Would the USA ever adopt the metric system, realisticly?
DSE replied to rhys's topic in Speakers Corner
You mean they're not? I just know I'd be smarter if I hadn't had to spend all that time learning metrics back in the 70's. -
that Caravan is the UGLIEST aircraft I've ever seen. Sandblast it, paint it back like it was, please?
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Sounds like you're using Vegas Movie Studio rather than Vegas Pro? Audio is rendered separately from video, and if you don't have a registered DVD Architect, the AC3 plugin won't show up. That's five versions old, so I'm a little hazy on whether the AC3 decoder came with Architect or Vegas at that point. These days, they're a mated pair and you can't get one without the other.