DSE

Did SOS pull it off yet?

Daniel, How certain are you that all the various camcorders using the D link are protected against the higher voltage?

There is one other AVCHD solution for Premiere (or any other platform application) that will release at NAB next week. The developer of the app is one of the greatest in the world.... me. Stop by NAB booth SL7910 if you want a personal demo. It's easier, faster, and significantly higher in quality than the MC option, and only costs $50.00.

Very much worth repeating, IMO. Just quickly searching over there, the answer is there, plain and simple. As it is on the CreativeCOW.net too. Also worth repeating. Delivery format is rarely a consideration unless you're absolutely sure you're doing a film-out. 24p @1/48 offers serious challenges to any aerial cinematographer, which is why higher shutterspeeds are used. They're also getting full resolution, not half n' half, which makes motion estimation and smoothing easier. 60i, for *most* purposes (outside of 60p with lossless or low compression) is the best format overall, simply because from 60i, one can very easily make half-rez 60p (looks stunning with the right tools), can be cross converted to full res 30p, can be cross-converted/resampled to 24p very effectively, can be used to deliver a multi-master, and is perfect for archiving. It also can be converted straight across to 60PsF very easily and also looks great at 50Mbps MPEG2, or at 18Mbps AVCHD delivery. BTW, in another thread, you mention that you use Premiere? You can't get AVCHD into Premiere just yet. There is a new tool called AVCHD UpShift that launches in a week that will make AVCHD easy in Premiere, however...but it's more money. The issues of 30p and high motion are myriad, but the issues of 30p, crappy lens, very weak encoder, semi-decent imager, plastic body, no remote, no compatibility with many video apps, slow CPU time, half spatial, half temporal resolution all add up to "why would you want to?" for me, personally. I mentioned our YouTube channel, I'd be curious if you could tell which of those are shot at 30p, 24p, 15p, 12p, 25p, CF 25, CF30, 50i, and 60i. Yes, all of those formats are up there. The "Video for the Web" DVD goes into all these formats, and there is a high-motion car chase (we actually witnessed robbers fleeing the crimescene in real-life) that looks like absolute shit. The cameraman is a very experienced cinematographer both in the air and on the ground. Finally, even though what I've had to say on the subject hasn't given you pause to re-think, I'd recommend you either spend the money buying the ACM (American Cinematographer's Manual) or going to the local library and checking it out. Read up on temporal and spatial compression and motion. As soon as high motion becomes part of the discussion, framerate, shutterspeeds, spatial resolution (least important in this discussion), and technique all combine to make a fairly complex response. Remember that strobing footage does not encode well, as redundant pixels are what encoders love. In skydiving, redundant pixels are plentiful, yet there are thousands of horrible encodes on the web at various resolutions proving that just because the sky doesn't move doesn't assure great encoding. Shooting for the web is far more challenging than shooting for broadcast. I think I've offered about all I can sensibly offer, so if your mind is set on 30p and skydiving...then go into it knowing that you've got some significant challenges ahead of you that even members of the ACE and ASC have all struggled with on the ground, let alone the air. Either way, good luck with it. We'll all look forward to seeing your results, either on Brightcove or other UGC site.

A-there are 720p60 camcorders available. for sub 2K (not worth having, but they exist). B-You can't convert 30p to 24p properly, that one statement says a lot about your understanding of video and processing it but... says the same thing with regard to skydiving video. You've apparently made up your mind that no matter what, you want 30p. So...go for it. If half the spatial and temporal resolution work for you...GREAT! [/url]http://www.youtube.com/user/VASSTTraining[url] might help you gain a better understanding of some small aspects of video.

In neither point was either subject standing still, I choose that contained similar motion. They're two different skydives (hopefully you can tell that one tandem student is a woman in front of the hangar and the other student is a male in a big field). Happy to post video as well, but my questions still stand. Which was shot at 60i, and or what kind of small camcorders were used to capture these images? I don't think I can "trick" you, you know enough to be dangerous. *hint-camcorder small enough to helmet mount BTW, 60p is very much available, has been available, and will only become more available. Scott Campos jumped a 60p camcorder at Eloy late last year, but it's not the only 60p camcorder by any means. But 60p, like every other framerate, is a tool. A tool to be used when appropriate. 30p is a number. Without particular other components, it's just a number, just like 24p or even 60p. There is a reason the DVX 100 is known to be responsible for more bad video in the world than good video. Because there are some that are into measurebating as opposed to actually understanding, and making decisions based on actuality rather than fadism. I think the Stiletto is a really cool canopy, but it's one that isn't suitable for wingsuiting. Since I like to wingsuit, my understanding of that canopy has led me to understand it's probably not the best option for me. Why do you suppose Norm Kent, Joe Jennings, Mike McGowan don't shoot 30p most of the time?

Panasonic does not offer an AME II tape grade in a DV tape.

Wow. First person other than myself I've ever heard make this comment. Our guys all like looking o-so-cool with their red or piano black MBP's. As if carrying an MBP isn't cool enough

-Cut out all the bad stuff -Use music that makes you feel good (assuming this is your own skydive).

It would be fun to see him figure out how to conjugate verbs in Dine', so I'll go with that one.

you're very right to question this sort of thinking. The camcorder isn't shooting native P anyway, it is interlaced at the sensor. Deinterlacing adds little to no extra time in final output, and when you're dealing with AVCHD, "no extra time" means nothing in the grand scheme. When was the last time I *saw* anyone have an epileptic seizure watching 30p? Never. I don't know any epileptics well enough to be in their homes. When is the last *instance* I'm aware of? A couple months ago. Does it matter? No. The point is that the judder bothers the eye, particularly when in the hands of those who don't know how to operate it. ANYONE who claims to see the difference in quality in a YouTube or other UGC stream from a deinterlaced 50/60i source vs a 25/30p source is either a fool or a liar. At 1/8 original rez, it's impossible. Starting with "more" is almost always better. Starting with more when working with high motion is *always* better. 60p is the grail. Til then, for *most* applications, 60i deinterlaced properly is the preferred mechanism for high motion/low budget. It's how we deliver to CNN, Discovery, National Geo, Food Network. I detail the workflow in my new book "The Full HD." Which image is from a 60i camcorder? First two are YouTube rez, other two are full rez/original from NLE.

If you liked the Firebird you'll absolutely love a Phantom. Couldn't agree more. I went from a Classic to GTI, to Firebird to a Phantom, and from the Phantom to a Blade.

Wiser words in this thread have never been spoken. 30p is a tool. Kinda like my camera wings are tools. I don't wear them on freefly camera dives, and I don't wear my wingsuit for tandem camera, either. You ask which 30p camcorder I'd buy if the use was predominantly skydiving? My reply is "none of them." I prefer making informed decisions, I prefer using the correct tool for the job, and 30p on a skydive is absolutly the incorrect tool in my opinion. HD to YouTube (or other internet forum) makes zero, absolutely zero difference when it's acquired using progressive or interlaced camera formats. 30p for high motion is a bad mistake. Specific camcorder + AVCHD (only format it shoots in) ="You don't like AVCHD?" Are you under the impression that all AVCHD is equal? It's not. You probably already knew 30p and high motion can trigger epilepsy? (so can 24p).

happy Birthday, Shell...see you in a while, yeah?

I don't?? Where on earth did you get that idea? The *majority* of what we shoot is in 30p Did I suggest that there is a problem with AVCHD? For what it is, AVCHD is a very good format. It's the new DV.

You missed the point. I didn't say the Samsung was 300.00. I mentioned another AVCHD camcorder that is 300.00. Who makes the sensor doesn't matter much. You think Sony is putting in their ClearVid™ sensors or Exmor DSP in this camcorder? Nope. Sony has a low-end OEM, just like Agilent and others. Sony also makes CMOS for cell phones and barcode scanners. The HMX10 was a POS, and the 20 likely isn't any different. It didn't look nor feel any different when I was tossing it around at the CES show. But...it's not my money being spent, so if you feel it's the right match for you, let us all know how it works out!

_Carefully_ re-read my post. While the specific model of the camera was not discussed, this thread does mention, and link to images of the Samsung.

The one I saw was only a shell, no working parts. I don't believe it has an AV/D (remote) connector. IIRC, the lens face has a thread in it. It's just squared off. I'll have to dig back through my photos and see if I got a clean photo of the front. I have not seen video from this cam, and currently, its a Euro-only release.

Angela and Amahra did a phenominal job on one of mine as well. They're a great company to work with, and they're pretty fast. Angela did a lot of custom stitching on mine as well, but yours is a bit more fancy. Congrats!

A search of the forum would have provided you with answers related to this camera (based entirely on my opinion). The CMOS sensor is huge because it has to be given the quality they choose to buy. It's mostly plastic, hence the lightweight. It's got no external control. Very flimsy-feeling. Slow shutter is more or less useless at quarter rez (Sony has been doing this for 3 years). I tossed one around at CES, wasn't any more impressed than I was with the previous model. Many have come before both of us in this sport, and learned expensive lessons about buying cheap. The DGI is the only cheapie I'd consider, given that it's a "disposable" video camera at 300.00 (it's HD, AVC, etc too)

Any party in any lawsuit can subpoena tax returns. If the insuring party has any inkling that you've been working and not claiming it, or working and only claiming on your tax returns...you bet they can get their hands on your tax returns.

National Registry might be a good thing when it comes to ordering pizza....

Could you post a video of this working, please? I'd like to see how the CamEye powers up/powers down the CX7 over that cable setup.

Are you telling me that a PC has finally got an advantage on a mac? What's this world coming to? I thought that the newest FCP version could import AVCHD? I guess I should read the user manual before I believe what I read. I'm not gonna give up on this camera that easily. Like I said, I have just about any video tool or software that one could ever imagine at my disposal, so there has to be a way to make this AVCHD format useful for me. Thanks for your replies. P.S. going jumping out in vegas the sunday before NAB starts. If you have any interest let me know. Uh...PC has had advantages over Mac for a long, long time. And Mac has had advantages over PC for a long, long time. they're just tools. Apple iMovie and FCE can import AVCHD, and do so just fine. But like everything else MPEG, Apple doesn't deal with the native format. you need a plugin to import, and need to wait time for the conversion. And in the conversion process, you lose bits/quality. Apple simply sucks at working with MPEG-based content. ProRes was advertised as the saviour of this issue, but it seriously lacks. CineForm is significantly better, BitJazz is even better still, IMO. Apple's codec ability simply sucks. They know it, their users know it, and hopefully one day, they'll quick fucking around and create a quality codec for pros, or they'll quit fucking around with pro's that want to use professional codecs and allow us to use the industry-standard, supported-by-everyone-but-Apple codecs. I'm fighting a bullshit FCP DVCProHD codec hassle even as I type this, and it's expensive.

Easiest way to get the files off the camcorder is to buy a card reader (about 10.00 at most stores), and put the MSPD card in there. It'll read just like a drive. Xfer from the card to your HDD. But...if you're using a Mac, then AVCHD isn't your friend, not really. You'll need to convert to a format that Premiere or FCP will like. This takes time, and loses quality. All PC-based apps read AVCHD very, very well, except for Adobe Premiere.