skydance1954

Even, for that matter in my own home. I've got a DVD player that works just fine on commercial DVD's, but I can't play mine on it. However, my son has a slightly higher quality DVD player, and my DVDs play just fine. So I guess we're going to have to go with a better player next time. Mike Ashley D-18460 Canadian A-666

I've also had a problem of DVDs not playing right from time to time. So on the hunch that perhaps the labels I was using might be the problem, I removed them from a disk that was having trouble. Nothing changed. However, when I took that disk and placed it in another, slightly higher quality DVD player, it worked just fine. Could be that some DVD players simply have trouble playing burned DVDs. -Mike Mike Ashley D-18460 Canadian A-666

Same thing happened on my TRV-9. Tried the magnet thing, and that didn't work. I've since retired the poor old thing from jumping when I replaced it with my TRV-27. The pin is still in the 9 though.......... Mike Ashley D-18460 Canadian A-666

I'm thinking in general, not. If there is a special big event where I'm hired as part of a team to film the event, then maybe. I've put a lot of money into my setup, and this is what I do exclusively. Giving up the RIGHTS to the pictures would be a very bad idea. Imagine this: you're on a dive that you paid to go on, and you get 'that one shot' that is going to be your signature for the whole season. You could sell it to everyone on the DZ, and make the cover of both Parachutist and Skydive magazine. But the DZ owns the rights. Two things might happen: you sell the photos and the DZ takes, or tries really hard to take both profits and credits, or you don't sell the pictures 'cause you don't want to deal with the issues. Both situations suck. I'm doing the work, I made the investment, the pictures belong to me. Mike Ashley D-18460 Canadian A-666

Mario, you da man! Thanks very, very much! One more year down. Mike Ashley D-18460 Canadian A-666

jmfreefly is right, there is no perfect lens for this. This particular argument is going around an endless tree at our DZ. I use a .65 for just about everything, including tandem. The reason I do this is because my primary video is done on 4-way, and the .65 allows me to "stay close" in the video even during exits that sometimes are less than optimal. It also allows me to fill up the screen with the 4-way while not having to be in the formation, or dangerously close. Although, I DO have to be damn close to do that. Anyway, as it applies to tandems, the .65 also allows me to "stay closer' on exit, and I can back off the tandem if the instructor is uncomfortable with me being close, and still get a really good shot of the student. It also has, as mentioned, a much less distorting effect. On some rare occasions, I do use the .42 for tandems. Usually if a friend is coming along for the ride, and I need a wider field of view to get them in. Most of the other tandem vidiots here use either the .42, .35 or the really wide .2. I think one may even use a .15 from time to time. But that requires really close flying all the time to get a decent shot. If you have trouble staying right on the button 6 inches from the student's face, don't use that one. Experiment with both, and see what works for you. Based on your original post, though, it sounds like you might want to try the .65 for a bit. Mike Ashley D-18460 Canadian A-666

Would you happen to have the 4-way dive pool from that year? or any other years for that matter? Mike Ashley D-18460 Canadian A-666

Is it the medals that make teams jump? In a manner of speaking, yes. Just take a look at the history of 4-way in general. It was actually on the decline in the early to mid 90's as other exciting things like board flying and freeflying were coming online. Then came the NSL, and it changed everything. It's even had some small effect upon USPA, however, the inertia mentioned in other posts is very hard to break. New teams have formed all around the country, and more people are doing 4-way than ever before. Why is this? Two reasons: the first one is obvious, it is now possible for someone new to actually get an "attaboy" (read medal) from his peers, and more importantly, show the respected leaders of their respective DZ's that they now have a clue. Second reason is less obvious at first. When you are a member of a team, regardless of division, everyoneone watches your video. Senior teams and coaches can pick out the "diamonds" from the new people, and if they are persistent, can track their progress. This allows younger jumpers to prove that they both have the drive to stay for the long haul, and that they can get better. Without the separate divisions, the explosion in 4-way wouldn't have happened. The NSL way of doing it, specifically has done more to build it up than any other organization. Look at Canada: once upon a time they were the 4-way kings. Yes, I know it was a long time ago, but bear with me. There is only ONE meet a year, and that's the Nationals. So you train all year, spend all that money and blow your wad in a day. Then it's all over for a whole year. And for the longest time, they only had one division, so the weekend warriors had to fight it out with the pros. They now have multiple categories, but still only one meet a year. The result: a much reduced 4-way population today over what it was in the 70s and 80s. I mean, why try to compete when there is NO CHANCE of placing? Is this a healthy attitude? Probably not, but it is human nature. And just for the record, I agree that allowing competitors to move down a division is just wrong. Hey, how about allowing someone on a PRO team to participate in a Rookie team this year? He could be a "player coach". They'd kick butt, wouldn't they? Mike Ashley D-18460 Canadian A-666

You'll like the FTP, and you'll also find that you will really never need to buy another helmet. I've had mine for 4 years, and I have no complaints about it. Still looks as good as the day I bought it, still fits exactly like a glove. The helment NEVER moves on my head. I've gone through two video cameras and two still cameras in the time I've had it. I suspect that I'll run through several more. With the available real estate on the helmet, I am confident that I can mount just about any camera/flash/accessory combination known to man. The only limit is the strength of my neck. I'll probably end up bequeathing this helmet to my kids, 'cause it'll sure as hell outlast me.... Mike Ashley D-18460 Canadian A-666

Just to stir the pot, 'cause I can, if you'd bought an iMac, then the cable would have come with it, and you'd not have this conundrum. -Mike Mike Ashley D-18460 Canadian A-666

Dude, you may not be that old, but the fact that you've got the move on file is awesome. Would you happen to have a copy of the 1988 pool? I've been trying to amass a complete set. Mike Ashley D-18460 Canadian A-666

Or, if you happen to have an iMac, it already comes with iMovie software and a firewire cable to import the video into the machine and edit it. If you want to get very fancy, then you can purchase Final Cut Express, or Final Cut Pro and really go to town. -Mike Mike Ashley D-18460 Canadian A-666

Fair enough. And yes, two cameras is more than enough. But there have been a few rare occaisions when I wish I had a second video on board. It REALLY sucks when you think you've got the shot of the year, only to find out: The camera turned off 10 seconds out the door That "little bump" you felt turned the camera 30 degrees to the right You neglected to take off the lens cap The Cam-eye shorts out or does "something" to turn the camera off You left your battery on the ground The auto focus is set on the dirt on the wide angle lens, instead of the formation You turned the camera Off on exit, instead of on. Of course, even with a second camera, all of the above could happen to both. And wouldn't that be a bitch? Start out with just the one camera, then add the second when you're flying comfortable with it. Enjoy. Mike Ashley D-18460 Canadian A-666

You better, 'cause after I have this one, it'll be another 19 years before I have my next one. (I hope) For the record, it has been exactly 2,835 jumps since my last cutaway. And counting........I'd really like to make it to 3,000, but we'll see what the malfunction gods have in store. This is why I pack my own stuff. Mike Ashley D-18460 Canadian A-666

Without a doubt, the Flatop Pro is the best. Yes, it is very expensive, but well worth it. When I started this, I had a ProTech with a plate on top and a PVC ring site. Worked sorta OK, but I didn't know that at the time. There were vibration issues, and eventually, sighting and fitting issues as the helmet lining wore out. When it came time to upgrade, I spent the whole summer saving money for the helmet, a cross-hairs ringsight, and a digital camera. I was blown away at how much improved the videos were, almost immediately. Yes, the digital format vs the 8mm format was a dramatic change, but the absolute rock-solid base that the camera now had, along with the comfort, and versatility were all first class. The advertizing says it will be the last camera helmet you'll ever buy. And they are right. As you grow into more complex video work, you'll change cameras, add more cameras (video and stills together), and possibly add things like flash units. The flattop can handle all of this and more. So you can save a couple hundred now with a less expensive helmet that has more restricted use, and then duplicate the expense down the road for more functionality. Or, save the money now, purchase the Flattop, and never have to worry about it again. Decide on what kind of camera flying you intend to do, then choose the best tool for the job. If you're freeflying, then the flattop is not the tool. If you're doing professional grade videos with multiple cameras, then yes, the flattop is what you want. I've had my flattop now for 5 years, and it's just as good today as it was when I first got it. I can change cameras every year, and it does not matter. I can carry two video cameras and a still camera without a problem. I could probably even carry a 35 or 70MM movie camera if I wanted to, but there is no way my neck could take it. If you're flying video now, keep what you have and save the money. You'll be glad you did. Mike Ashley D-18460 Canadian A-666

I think it's probably coincidence. I've got over 1500 camera jumps, 1400 of those on a Stilletto. I've yet to cut away the Stilletto. (I've probably just jinxed myself, now, too.) In fact, all my cutaways to date have been on F-111 canopies with no cameras on board. Mike Ashley D-18460 Canadian A-666

You mentioned that you're just considering different options right now. So let me add some food for thought. First you need enough experience in flying to ensure that you can follow the subject matter wherever they may lead. A skydiving formation, whether it's RW 4-way, or a big way, or freeflying, NEVER sits still. The best videographers just make it look that way. As such, you must be up to the task of staying with them without even thinking about it. With less than 500 jumps or so, only very exeptional flyers can do that. And the proof is in the videos. In addition to that, you develop a sort of "tunnel vision" to keep the subject matter in frame. You don't have the luxury of looking around to see what's happening when things don't go according to plan. So your awareness must be higher to be able to "look around" without moving your head. So your flying relative to your random subject matter, framing the picture, keeping the sun at your back, making sure you're not in the traffic pattern (if it's a big way), and paying attention to the altitude. If you have a still camera, you're also concentrating on taking the shots at just the right moments. NONE of those shots can be done twice. If the still shots are meant to be staged or artistic, like, say a sunset shot, then you're working the technical aspects of the camera, and the flash on top of all the above. is this advanced stuff? You bet your ass it is. And that's exactly what you're doing too. Camera gear, ring sights, associated flash units, camera suits and such can be very dangerous if not mounted and operated properly. It can also be dangerous if you have ANY stability problems at pull time. You absolutely cannot pull unstable. Nor can you deploy a "lazy throw". Pilot chutes in a wing suit burble can be very unsettling at best, and develop into something very,very bad at worst. A friend of mine on an early video dive in his career deployed his main through the wing, resulting in an un-cutawayable horseshoe. He deployed his round reserve into the mess and survived. A VERY lucky man. In my opinion, it is also unwise to fly a really small canopy heavily loaded with an RSL with camera gear on board. Spinning malfunctions can easily get caught on deploying reserves, and have done so. Once you've gotten past all of the above, and you're producing good videos, you'll then have to learn how to edit them. Which then requires some additional equipment. Some of the posts have mentioned a lot of the gear you'll need in the air. On the ground you'll also require a decent computer with some video editing software. Oh, and finally, when doing video, no camera, still or video, lasts forever. You'll have to accept the fact that every 2 - 4 years the camera equipment will have to be replaced. They just simply wear out. When I first started flying a camera, in 1993, I thought that a simple Protec, an 8mm Sony and some home made wings was all I needed. I had over 2000 jumps at the time and figured I had it in the bag. I found that I could do "compitent" tandem videos, but that I really lacked something when trying to do anything else. There were all kinds of other issues. When looking at those videos today, I just cringe. I found that like everything else, when you get quality gear, things improve dramatically. But one still needs the flying skills and the awareness to use them. So keep asking questions, do several hundred more "fun" skydives, honing your skills with the goal of flying a camera in mind. Determine what kind of video you want to do. Tandem? RW? CRW? Freefly? Each of these has specialized tools that fit the job nicely. Then start buying the gear to get the job done. Start with video, then when that becomes second nature, add on the still camera. And make damn sure that you check your gear FIRST, then check your cameras. Enjoy. Mike Ashley D-18460 Canadian A-666

That can also be true with professionally done prints as well. I've seen many a photo fade when exposed to the sun for long periods of time. Go to just about any DZ that has photos on the wall dating back to the 60s and 70s. Those pictures were not always that faded. Mike Ashley D-18460 Canadian A-666

I'm currently using a Canon i850, and it is an awesome machine. Quality is excellent, definitely a professional look, it's VERY quiet, and capable of borderless printing up to 8.5 X 11. HOWEVER....... The print cartridges are somewhat expensive, and if you print a lot of photos, you'll go through a lot of them. But that's probably true of any printer. The good news about the cartridges is that Canon uses the same type in many different models of their printer lines, so they should be around for a while. Mike Ashley D-18460 Canadian A-666

There's a real good chance you'll see me and my whole clan there. Can't miss this. It's a treat to see how everyone cleans up for one night a year! -M Mike Ashley D-18460 Canadian A-666

After several years of videos varying in length from 1 1/2 hours long down to about 25 minutes, we've found that there's an "ideal" window from about 40 to 50 minutes that the majority of people find acceptable. It is possible to push it towards an hour, but not longer. However, having said that, you've also got to have something engaging for them to watch. The action has to move forward fairly quickly. A series of jumps from exit to opening does not a year end video make. You'll also have to cater to your audience. Don't show a video of nothing but freefly to a group of CReW dogs or vice-versa. Keep it fun, and cover as many of the DZ highlights of the season as you can. Oh, and make sure you get at least one shot of yourself. There's no need for the vidiots to be invisible. -Mike Mike Ashley D-18460 Canadian A-666

Well, well, well, I'm amazed that song is still making the rounds. It was originally written way back in 1978 by Al Miller. A T.O. area jumper at the time. I know, 'cause I was there. It was printed in both Canpara and the SPCO newsletter. Ah, for the innocent days of the '70s again, but with current gear..... Mike Ashley D-18460 Canadian A-666

Allow me to provide a dinosaur's point of view: My first 4-way meet was out of a small door beech in 1975 with belly warts. It was a freeflown exit in those days, and the pool consisted of a series of random points that the team built, backlooped, and built the next point. Kind of neat in a way, but very much the creation of the stylists who were in the majority of the time. Then came a series of revolutions in the sport. Safe piggyback rigs, smaller main canopies, big suits, little suits, booties, ground to air video, creepers, air-to-air video, fully sponsored teams, and finally, the tunnels. Every one of these steps improved the quality of 4-way as we have come to know and love it. And, most of these steps had various teams at the time complaining that the teams that got these improvements first had an unfair advantage over those who did not. Point being: the field has NEVER been fully level. And so what? I look around at the new kids coming up today, and I see them doing 4-way at a level that took me and my peers over a thousand jumps to do 20 years ago. And they only have 200-400 jumps TOTAL. This is without the benefit of a tunnel. With a tunnel, this can be improved very dramatically. But, they also have all the other technologies available to them. No one questions the advantage of having air-to-air video today. But in 1980, we had a lot of people that were unhappy with the teams that did. Some teams even tried to have it banned due to "unfair competition". But I digress..... Ultimately, I've seen 4-way grow and improve, with more and more people doing it all the time. The tunnel makes it even more appealing, because teams can use their available dollars more efficiently. Will this hurt DZ's in the long run? I think not. Just the exact opposite. One still needs to practice the hill, and you can't do that in a tunnel. Tunnel work is great for the last 23 seconds of the jump, but you need to jump in order to get every exit, and every block worked out sub-terminal. So a balancing act is required. And for me, I wish I could be 21 again, and start today, 'cause with all the technology available, I could be a hell of a lot better at 4-way a lot sooner, and that means having more fun, longer. So where's the downside of that? Other than the money, of course. -Mike Mike Ashley D-18460 Canadian A-666

Well, if the object is to slow down 4-way, then maybe they should put interlocks back into the pool. Mike Ashley D-18460 Canadian A-666

Age now=49 Age then=19 >sigh< Mike Ashley D-18460 Canadian A-666