DSE

The storm has a better glide than the Spectre, and neither one of them are about the glide. The Spectre is a great canopy known for soft openings and easy to sink in. The Storm is a bit more playful, aggressive, and also easy to sink in, but definitely is not a canopy for newer jumpers. I have both in a couple of sizes, and jump the Storm 50:1 compared to the Spectre.

Get with Chris W. He can show you the proper exit technique. Box man exits (especially in your Caravan) are not ideal.

Not likely. Interaxial distance is too wide, and more likely is that the lenses won't be exactly centered. It'll give people a headache to watch. It'll look pretty tho (aside from the right-side snag concern).

FWIW, the guys that make the Ninja have amazing customer service. The BMD crew are great too, but I kinda like the CS of Convergent. BMD are finally getting a great USA crew together. Their Australian crew/reps can't be beaten, IMO. They're the L&B of I/O.

from what format are you rendering? Two what format are you rendering? What are your project settings?

Yes, they output 4:2:2 uncompressed 8 bit over the HDMI output. I cannot tell you if it's a clocked/stable output, however. I believe it probably is. I still have an HC5, but no ninja with me in Utah.

Because that's not how wingsuiters do things. It's usually more important to demand who/where vs why/how. There are other DZs considering banning wingsuits, and not all of them in the USA. Wingsuits at their best, create unique issues for DZ operations. Toss in stupid people that "are free no matter what, dammit" and it affects us all. It's easier to point a finger vs participating in a solution.

Watching Jon Devore fly his, and watching what he can do with it next to a V5...it's pretty sick.

Pen tool (P) or option while on the clip. Add two node points, and drag one down. Those transitions are really long, FWIW..and the way they're blending, suggested FCPX. Are you using a transition? or just the stock crossfade?

Based on transitions, I'm going to guess this is FCPX, not Pro? In FCPX, each clip has its own volume control. In a lengthy clip, you can select a range, and then pull audio up/down within that range without splitting the clip (in the background, FCPX is splitting the clip, so be aware when doing complex mixes and moving clips around).

Jumped with the Canon C300, but not the 500 (similar form factor/weight). Jumped with the Sony F3, but not the 5 nor 55. They specifically did not want the initial ship protos to be jumped. If raw isn't needed (snobbery note here, "raw" is a word, not an acronym, and therefore shouldn't be written as "RAW") then the F55 is a great low-cost/high end camera. All of them are terrific cameras for specialty use, but of course, not cameras for day-to-day use. That said, it seems Norman jumps his RED on most everything he does these days. Absent the Dragon, the RED just isn't all the rage any longer, but the attractive entry point (approx 27K$ vs Canon/Sony approx 32K$) keeps the Epic rockin for many opportunities. All that said, don't discount Black Magic with Convergent....

all slots are now filled.

You mean you weren't? :)

There are at least 5 articles solely dedicated to what one needs to do prior to flying a camera, and there is a forum filled with this information as well. Some people will never be 'ready' to fly a camera; saw one today. They have over 1000 jumps, but couldn't manage the distraction of the camera in the aircraft nor in the sky. Wanting to capture every knuckle bump, hand-slap, and yee-haw on the plane, they dislodged someone else' reserve handle in the process of moving around inside a Caravan. On exit, they jumped up "to get a better angle of her friend's exit" and damn near hit the tail. In freefall, went low while backflying to get the deployment shot. In short, know what you're doing in all aspects of your jumping and discipline before adding a 'flight recorder.' Know your EP's in/out. I've come to the belief that anyone that hasn't had a cutaway probably shouldn't be jumping a camera yet, but others will find that extreme (I hadn't had a cutaway when I first put on a camera rig, and had nearly 1000 camera jumps before my first chop). Be able to fly non-contact slots with groups. Learn to have a good idea of altitude without an altimeter/audible. For example, move your wristmount alti to your chest. It'll feel different. So will a camera jump. Stay on your belly. Having a cutaway on your helmet is great, but you'll also want to add it to your EP practice/process before you add the camera. Learn to track well (camera doesn't mean you'll always be opening high/in the center). Learn to control your canopy without toggles (up high, where you might be fiddling with a camera or wings). Learn to identify/minimize snag hazards. Learn the camera functions well so you're not messing with them on the plane. Know the width of the lens at various settings so you will know how far/close to fly. These are just a few things brought up in the camera forum sticky.

http://www.dropzone.com/cgi-bin/forum/gforum.cgi?post=4464777;sb=post_latest_reply;so=ASC;forum_view=forum_view_collapsed;;page=unread#unread One GoPro updates thread should suffice.

Fair point. 500 jumps in this sport is still tourist status anyway, but it sure didn't look that way 3500 jumps ago.

This is because you're shooting HD. If you want a system set up for accessing SD to read files from the camera, either the system needs to have HD setup, or set the camera for SD. The AVCHD format requires that the file be placed in the AVCHD/Stream/Private folder. This cannot be changed.

How do you figure 200 jumps is "random?" 200 jumps once defined "expert" skydivers, and until just a few years ago, was the benchmark for D license holders.

For my use, they're commercial projects. For at least one other owner, it's acquiring footage that *might* be used in future commercial projects (stock is always sellable). There is at least one guy jumping one 'for fun.' The ROI is _definitely_ there if you are in the business. That said, the EX1 is one I more commonly used until recently. much cheaper in the event of loss, less overhead for computer systems, and a lot less setup involved. But also a lot less quality on the output side, even if shooting to a Ninja over 4:2:2.

Never too old...This man has been around for a while, but didn't start til he was in his late 60's. He's also in pretty good shape.

You can bet that nearly every camera used for broadcast/film/production has been jumped at least once. REDs are jumped most every week. HDSLR's are regularly jumped. However...taking these cameras into the BASE environment might not be a good idea unless one is very experienced with them from balloons with base rigs. Canopies open differently, weight may create balance issues. I don't think I'd want a RED or the 3D cam (attached) on a BASE jump, but I don't know much about aerial cam for BASE, either.

We have a person drop out of the PFC course on May 24-26, so there is one slot open. Skydive Elsinore Must have current USPA Coach rating Minimum 100 WS skydives

Similar setup. Holds a few dozen wingsuits, two rigs, coupla helmets, sleeping bag, clothes, and extra fuel for those cross-desert rides to faraway DZ's. Bike has 130,000 miles, trailer approx 25,000

"Instructors who look as if they just got out of bed, ripped or dirty jumpsuits, staff arriving late, foul language within earshot of students, sexual innuendo or inappropriate jokes about death, the list goes on. We've witnessed it, yet we're not surprised by it. The expression "It's skydiving" is the blanket phrase that's thrown over this behavior. Let it be made clear, It's NOT skydiving, it's a mentality." Worth repeating. Too bad more DZM's don't 'get' this. Some DZ's accept the poor behavior fun jumpers demonstrate to tandems and AFF students, yet wonder why they aren't seeing the turnover from first time jumpers to regular fun jumpers isn't occurring. Provide a class staff, a class experience, and be surprised at how much better business becomes based on word of mouth, Yelp, Facebook, Twitter reviews.

no longer live, but still there as a re-cast.