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Page 9 of 15

The Skydiving Handbook - Chapter 2 (Exits)

Imagine holding your arm out of a car window as you drive down the highway. The wind you feel is caused by your speed through the air rather than by weather. Skydivers call this apparent wind the relative wind, and it is the single most important element of the freefall environment. In fact, it is the only thing you have to work with in freefall, and from the moment of exit until your parachute opens you must think of yourself as a body pilot instead of a regular person, just as when you go swimming you have to leave your land habits behind. Your adventure in the relative wind begins at the moment of exit.
There is nothing particularly complicated about exits and the techniques you use on your first freefall will be the same as those used by skydivers with thousands of jumps. Your exit makes or breaks the skydive, so we spend a lot of time practicing this part of the jump. A weak exit consumes valuable freefall time and puts you in a mental position of having to catch up, adding unwanted stress to your skydive. With a good exit you can get on with your learning and enjoyment at once, finishing the freefall tasks with plenty of time to spare. The two essentials of an exit are presentation and timing. Presentation refers to how you relate to the relative wind. Timing refers to your relationship with the other skydivers. Let's take a detailed look at these aspects of the exit.
The body position we use to maintain a comfortable, neutral position on the wind (the equivalent of floating on water) is an arch. We'll learn more about body position soon, but for now you need to think simply about arching into the relative wind. This means that your hips are pushed forward into the wind, your arms and legs are spread out evenly and pulled back, and your chin is up, creating a smooth curve from head to toe. If you imagine lying face down in a shallow bowl with your arms and legs spread out evenly, you are thinking of an arch. In this position you will naturally face into the wind.
To achieve a good exit, all you have to do is present your arch to the relative wind. Remember, we're on an airplane flying nearly one hundred miles per hour, so the relative wind is from the direction of flight. (When you see photos of skydivers they are usually presenting their arch towards the ground, but that's because they have fallen long enough to be going straight down so the relative wind comes straight up from the ground.) Once you are poised outside of the airplane, start your arch before you let go. Then it is a simple matter to open your hands, pivot into the wind, and you're flying! As you will soon learn, a relaxed arch is much more smooth, stable, and comfortable than a tense one so try not to think of yourself as falling off of an airplane. You're not; you're flying free. A mental image that might help would be learning to swim. You would be more relaxed and alert if you lowered yourself slowly down a ladder into warm water and let yourself float comfortably before letting go than if you jumped off a cliff into cold, dark surf. Think of the air as a friendly environment, slip into it smoothly as you climb out of the airplane, arch, take a deep breath, open your hands, and float off on the wind!
You will note that I didn't say "push off." Until your parachute opens, your last contact with the world of solid objects is the airplane. If you push off, you will have some momentum that will tend to make you go over on your back, just as if you stood with your back to a pool and pushed off of something solid. Just arch and face the wind.
As you leave the aircraft, the relative wind (arrow) is parallel to the ground. In a good arch with your head up, you should see only the airplane and sky rather than the ground during the first second or two of freefall.
Losing forward speed and accelerating downward, the relative wind gradually shifts from parallel to the ground to perpendicular. This transition takes several seconds. You will not be facing the ground until about eight seconds after the exit.
At no time do you look directly down at the ground. Even after the transition is over and you are falling straight down, in a good arch your head is up and your eyes are on the horizon.
The aircraft's speed is about 100 miles an hour. When you leave, you lose some of that horizontal speed and actually slow down for the first few seconds. Then gravity takes over and you gradually accelerate to 110 miles per hour. That's why there is no sensation of sudden acceleration - you only gain ten miles per hour in ten seconds!
Relax, arch, and face the wind is all you really need to do to achieve a stable exit. But remember that you are jumping with other people. For everyone to have a good exit, you also need group timing. Just as a band starts playing to a count, we'll start skydiving to a count. That count, used all over the country, is "ready, set, go!" It should be done with a smooth, even cadence. Because it's noisy outside an airplane, the count should be loud. Finally (think of a conductor with his baton giving a visual count to the orchestra) you, the conductor, need to give the other jumpers a visible count. We have you bring up your left knee on "set" and turn into the wind on go.
Combining these two elements of presentation and timing will almost always result in a smooth exit. Leave out either one, and the exit may funnel, the term skydivers use to describe an unstable formation. Leave both out and a funnel is almost a certainty. But if that happens, don't panic. An arch will fix the problem.
Incidentally, it doesn't affect your stability to dive out of the airplane. As long as you are presenting an arch to the relative wind, you will be stable. Unfortunately it takes most people a while to get used to the idea that the relative wind starts right outside the door. If you walk through an airplane door like you would a house door, you'll present your side or back to the wind and lose stability. In the water, walking doesn't work; you have to swim. Air is the same way - you have to fly through the door, not walk through.

Test Yourself
1. Skydivers on the outside of an aircraft as they prepare to exit are called floaters. The ones inside the airplane who will dive through the door are called divers. Floaters are further divided into front, rear, and center, depending on their position in the door. On an ASP level one jump, the student is the center floater, the reserve side JM is front floater, and the main side JM is rear. Why is the front floater more likely to have a problem than the rear floater if he cannot hear or see the exit count given by the center floater?
2. Novices diving out of an airplane frequently do a half roll and then recover stability facing the aircraft. What could cause this common problem?
Proceed to Chapter 3 (Flying Your Body)

By admin, in General, September 21, 2011

Becoming a Camera Flyer

They're out there every weekend - you see them with the students, following the teams, part of the Freefly revolution. And now you've decided to join them. So you want to be a camera flyer, huh? Here's a few tips to consider before you rush out and buy that first video camera.
This article is intended to be a brief introduction to some of the things you need to consider if you want to fly a camera, and is in no way comprehensive. The intent is to get you to consider the choices and options available, and to try to match that with the intended use of the camera. Still cameras, camera helmets, and technique are not covered in this article.

Flying a camera is as fun as it gets skydiving - but it can turn your fun into an expensive and frustrating affair in a big hurry, and eat away at your precious jump money even faster. What's that? You don't expect to pay for your jumps if you fly a camera?

Well, you will - for at least the first 50 to 100 jumps, until your proficiency (NOT your flying skills) with the equipment and techniques has improved to make it worth while for someone else to pay your slot. This is an additional reason to ensure that the precious money you spend on camera equipment is not wasted due to inexperience.
First, as with any major purchase, you have to know what you are going to do with it. The same camcorder may be useful for tandems, AFF, 4-way, and Freeflying, but if you don't know which brand and model that is, you'll likely end up with something that does not do what you expect.
Next, start a list - are you intending to make money or just expand your fun? There's a huge difference in between those two answers, and while one does not preclude the other, you may not end up with the right tool for the job.
If at all possible, find a mentor! Go out of your way to find an experienced camera flyer and ask for their input. Find out how they got started and why, and what equipment they bought. Ask what hard and expensive lessons they learned - any camera flyer with experience will have a few eye-opening stories for you. They may cause you to reconsider the whole idea - and that's the point. Don't expect that they can drop everything on a Saturday afternoon to help - be reasonable and try to work within their hectic schedule.
Obviously, once you've done your homework, it's time to go shopping. In today's consumer environment, there are so many choices and options available it may seem overwhelming to know who to trust and where to go. Do you buy mail order or locally? Do you get the extended warranty they try to sell you? Do you need an extra battery? What about a wide-angle lens? How wide? This is one time it really pays to have a mentor.
Personally, I tell every new or want-to-be camera flyer to be careful and ensure that their purchases are what they intend. If you're intending to shoot the Freefly revolution and make awesome head-down videos, a large 3-chip camcorder is probably not what you want to buy. Of course, if you plan on challenging one of the well-known freefall photographers for title of "Top Dog" you may wish to find the most powerful and feature-heavy camera on the market.
By contrast, if you are just intending to shoot video for fun and as a point-of-view when you fun jump, then a basic camcorder with an ultra wide-angle lens(0.42x to 0.45x)may be just what you need. Most of Sony's PC series have become very popular as point-of-view cameras, with even the seasoned pros. For freeflying, they're a dream come true, offering great features, top quality images, and a fair price all in a tiny package that is easy to use.
In between is a vast assortment of choices, manufacturers, models, and formats. With both Sony and JVC making fine models that are as small as a paperback book, Mini-DV is now the single most popular format to shoot skydiving in.
If you intend to shoot videos for hire, such as tandems, check with the local video concession to see what they require. They can also give you an idea of what sort of experience they expect, and how to get it.
If you buy an analog camera, even Digital-8, it may be hard to sell later, and it surely will not
produce the clear and crisp image you're used to seeing from Mini-DV. Analog camcorders are also not nearly as small and light as Mini-DV.

Once you've decided on Mini-DV, the usual manufacturers are JVC and Sony. There are other options, but their equipment is not as robust or well-built as Sony and JVC. They are also not as popular, and while being popular does not mean much - it does mean others have similar equipment, have experience using it, and know what works well and what fails miserably using the camera.
Both manufacturers seem to be widely discussed on some of the Internet chat rooms related to video cameras, so there is a ready source of information for those with access. I have a personal preference for Sony - but that is solely based on MY opinion.
Sony is without question the most popular brand of camcorder that is found in the sport today. Sony builds top-quality equipment that is small and light, yet packed with features - some of which are useful and some of which are useless. Overall, the Sony line has a reputation for quality and is widely used - therefore it will probably be the easiest for you to learn and understand.
The models available seem to change almost daily. In 1996, when I first purchased the Sony PC-7 I own, it was a new and radical departure from camcorder design and sparked an entire line of miniature cameras from both Sony and JVC. Most of these models have very slight differences in features and functions, and are too numerous to discuss at length here.
JVC is also popular, but many models do not offer Firewire ports (for perfect digital copies) and do not offer the same image quality as Sony.
Prices for Mini-DV camcorders have dropped dramatically. My first Sony VX-700 cost over $2000, and the PC-7 was about the same. Today, many of the PC models from Sony sell on the street for $1000 or less. I have seen JVC models advertised as low as $750.
Once you have narrowed your search to a specific brand and model (or models) it's time to decide where to buy. I always try to go to a local business and make a point to get to know one of the sales people. I make them show me the model(s) I am interested in, tell them I'm serious about buying it, and inquire about price. I also tell them I am considering buying mail order, and why.

In many cases, the local retailer will not be able to match a mail order price. However, any mail order purchase has its own risks - which often outweigh the potential cost savings. Most on-line or magazine-ad merchants have large restock fees if the equipment is returned - even if it's their fault or broken when you get it.
They may also try to charge you extra for items the manufacturer intended to be included with the basic package - including batteries! I know of at least one merchant in New Jersey who shipped me an empty box - and charged me for it. When I called to complain, I was told I'd be charged a restock fee even though the box was empty. Buyer beware, indeed.
At any rate - wherever you buy your camera, ensure it is packaged with all of the accessories that are supposed to be included. It may require a visit to the manufacturer's web site, but the effort may save you heartache later on if something important is missing.

Most camcorders do NOT include a Step-up ring that may be required to mount one. Again, do your homework and know what to expect and what you will have to purchase separately.

Personally, I always buy one extra with the required adapters.
Once you actually do purchase the unit, I recommend one more step prior to purchasing your camera helmet - read the owner's manual thoroughly! Aside from being the best way to find out what buttons do what, it is also the only place you can learn what the different indicators and icons really mean.
Knowing that may help you later, when you're on jump run at sunset for the coolest dive of the year. There you are, fat, dumb, and happy, when your camera begins to display funny codes and weird symbols, while making grinding noises and spitting out digital tape.
Next up is buying a camera helmet - but that will have to wait for another installment. Remember - this was your idea! You wanted to fly a camera, even after I warned you…
About Robbie Culver
Robbie Culver is a freefall photographer with 2800 jumps, about 1800 with cameras. Robbie's still photography has been featured in Skydiving and Parachutist magazines, the USPA Calendar, and in various industry ads. His video credits include the staff of Roger Ponce's Color Concepts at the World Freefall Convention, the 1999 Lost Prairie Boogie video, and annual dropzone highlight videos. He and his wife Brenda skydive in the Chicago area, where Brenda is an aspiring 4-way competitor and CReW dog. They can be found most weekends at Chicagoland Skydiving in Hinckley. Examples of Robbie's work and tips on freefall photography can be found on his web site, www.skydreams.net.

By admin, in General, September 3, 2000

The Skydiving Handbook - Chapter 6 (Canopy Performance)

Your square parachute is the result of two decades of design refinement. Like a glider, it can fly straight and level or turn, slow down, spin, and even stall. As the pilot, where you land and how you land is totally up to you. Practice, combined with a clear understanding of how your parachute works, will allow you to land softly, exactly where you want to, every time.
When your parachute is inflated, the pressurized air filling the tailored cells causes it to take on a wing shape. A parachute has a fixed angle of incidence, built into it by the length of the lines. The "A" lines in front are shorter than the "D" lines in back, causing the wing to point slightly down. It essentially flies forward and down on the slope of the angle built into it. This angle causes it to fly about three feet forward for every one foot down, giving it a 3 to 1 glide ratio. In other words, on a calm day a parachute opened at 4,000 feet could fly a straight line distance of 12,000 feet before landing! The speed at which it flies is about 20 miles per hour forward and 6 to 8 miles per hour down when the canopy is in full glide with the control handles, called steering toggles all the way up. The toggles are also referred to as brakes, since pulling both down slows you down.
Pulling down on the right toggle pulls down the back right corner of the canopy, slowing it down and creating a turn to the right. At the same time, the slow side looses lift and the canopy points downward in the direction of the turn, increasing the vertical descent rate. One of the most important handling characteristics of parachutes is that their descent rate always increases in a turn! This phenomenon is by far the greatest cause of parachuting injuries. With this in mind, you must take care to always plan your landing so that you will not be forced to do any major turns below 100 feet. How slow or fast you turn is in direct proportion to how far you pull down the toggle, as is the change in your descent rate - fast in a sharp turn, slower in a mild turn.
If you pull down on both toggles simultaneously, the canopy's forward speed decreases. The slowest you can go is about five miles per hour forward. Generally you should fly your canopy as fast as possible - toggles all the way up. This is because the more air the wing has passing over it, the better it flies. In fact, in sustained deep brakes so little air passes over the wing that the descent rate increases significantly. You can even cause the canopy to stall, which means it gives up flying altogether. Normally student canopies have the control lines calibrated to make a stall condition difficult or impossible to get into. Whenever you jump an unfamiliar canopy, you should always do a series of turns and practice flaring (pulling both toggles down simultaneously) above 1,500 feet in order to acquaint yourself with its handling characteristics.
Why 1,500 feet? Your CYPRES automatic activation device that deploys your reserve in an emergency is calibrated to fire at about 1,000 feet. It may mistake radical maneuvers under a good canopy for a malfunction and could deploy your reserve if you are aggressively turning or stalling the canopy below 1,500 feet! This is not only dangerous, but expensive. Recharging the CYPRES and repacking the reserve costs $170. If the CYPRES fired because of your mistake, you are the one who pays!
Besides the canopy's handling characteristics, the parachute pilot must consider the surrounding conditions. Two variables are present to some degree on every jump; the spot and the winds. Let's take a look at spotting and how it affects you.
Imagine the simplest jump possible. Let's say you are going to exit the airplane at 3,000 feet and your parachute, instead of gliding, descends straight down. There is no wind. In such conditions if you opened directly over the target, you would land on it. If we add a ten mile per hour wind, the spotter would have to determine how far the unsteerable parachute would drift and plan for the jumper to open that much further up wind of the target. Now let's say he has three parachutists leaving at ten second intervals. He must plan the initial exit so that all three will land as close as possible to the target: the first would be short of the target, the second right on, and the third would be long.
In our case, the spotter is looking down from 12,500 feet, has to guess about the wind, and has only a rough idea of how long each group will take to exit. Fortunately square parachutes are maneuverable enough to compensate for the variables. As a novice you will usually leave late in the exit order which means that for you the spot will usually be long. This can be useful, because it means all you have to do is locate the landing area and fly towards it. As you do you can think about the wind line (remember chapter one) and check for other wind indicators such as wind socks, the shadows of clouds moving over the ground, smoke or dust, and the direction other parachutes are landing. You need to do this, because the wind is the second variable you need to think about.
On a calm day, your ground speed will be the same as your canopy's forward speed - about 20 miles per hour. But when there is any wind, it will affect your ground speed. If the wind is blowing five miles an hour, you are now in a river of moving air. You don't feel like your speed changes, because your air speed is the same. But your ground speed is not. Facing into the wind, or holding, your ground speed is reduced by five miles per hour. When you turn and fly with the wind, called running, you add the wind speed to your canopy speed, resulting in a ground speed of 25 miles per hour.

Test yourself:
1. When you are crabbing (flying at 90 degrees to the wind) in a 10 mile per hour wind, what will your path over the ground look like?
2. The slowest your parachute can go is about five miles per hour in full brakes. Flying into a ten mile per hour wind, what would your ground speed be?
Proceed to Chapter 7 (Landings)

By admin, in General, September 20, 2011

Filming your first four-way team

First things first. I assume they're giving you some sort of compensation in the form of a free slot (since you're just starting out) or maybe slot plus a small amount of cash (maybe to cover pack jobs). Understand that since they hired you, they probably expect you to do certain things, only some of which you're actually going to be able to deliver because ... you're just starting out.
I can absolutely freekin' guarantee that your footage isn't going to look anything like the camera flyers at Arizona Airspeed can produce. You're just not going to do 1,000 jumps with your team this season, so nobody should expect the same results. Make certain at least the team captain understands this. If your team captain or the coach of the team expects otherwise, you may want to consider walking away right now. I'm not kidding. I saw a perfectly acceptable camera flyer get psychologically and verbally burned by his team last season because they just didn't have a freekin' clue as to how difficult "Airspeed-quality" camera flying is.
If, on the other hand, they understand where you're at in your camera-flying career and are willing to work with you, then it can be a beautiful learning experience for everyone.
Flying 4-way camera, you're not just flying the camera anymore. The team may decide you have other duties as well. Do they want you to handle the manifest duties? Do they want you to watch the clock so they can focus more on creeping? Are you going to be responsible for the spot? Will you have to dub tapes for everyone at the end of the day? This can be time-consuming. They're off in the bar having a cold one and you're in a debrief room makin' dubs for 40 minutes! Talk to them about it. Get that stuff understood so there are no surprises. Surprises cause arguments. Arguments are not conducive to good flying!
One camera flyer I know has been at it so long and has been burned so many times that he has what he calls his "List of Demands" and when he talks to a team he gives them a printed copy of it and says "That's the deal, take it or leave it." Now, since you're just starting out, you probably can't do this just yet, but keep it in the back of your mind. At least with him, there are no surprises. Just a thought.
The first day
So it's the first day of training and time to get on the airplane. Make absolutely freekin' sure that everyone knows the break-off plan. Typical might be that at 4,000 AGL the team turns and tracks while you pull in the center. (Maybe 4,500 for a newbie group.) Make certain they all understand the consequences of not tracking -- you'll eventually come down to meet them and you'll both die. I shoot my team's break-off and freeze-frame it when I dub the debrief tape just to make a point of showing which person is leaving last. I've never mentioned it in those terms, but I think it does get the point across when you see the same person not getting away as fast as the rest of the team.
Communicate to the team that's it's not only important that they turn and track, but it's also important that they do not pull high. Pulling high is where you are, not them. They shouldn't be pulling any higher than 3,000. This ensures they have separation from each other AND you.
What's really nice about 4-way is that certain things can be somewhat consistent and therefore I feel a bit more safe. You shouldn't have to worry about what the break-off altitude is for this jump, if the team break-off plan is always 4,000. Pretty simple, we're doing 4-way, break-off is 4,000 -- period, end of discussion. We can now focus on other things and not have to worry about break-off. Simple.
Same deal with most of the rest of the flow. Ten minutes to boarding the plane, check your gear, put it on and walk down to the mock-up. Five minutes to boarding the plane the team arrives at the mock-up and goes through the exit and does pin-checks. Board the plane in the same order, sit by the same person, check your camera at 6,000, do another pin-check at 9,000, handshakes at 10,000, put your helmet on by 11,500. CamEye II blue light on the red light, red light on the green light. OK, that's my routine, but you get the idea. Consistency will keep you on schedule, give you several opportunities to catch small errors and correct them.
Not all camera flyers' offices on Twin Otters are created equal! Handles come in at least three distinct flavors and steps in at least two. Placement of handles and steps varies from plane to plane even on the same dropzone and even if the A&P; mechanic was really trying to be consistent! Door frames are also inconsistent in how much they have little bits poking out that can whack into your left knee or attempt to grab your reserve handle on climbout. It may piss you off, but them's the facts. Look the planes over carefully and learn which ones to watch out for.
The exit
For a camera flyer, there are basically two parts to the skydive: Exit and everything else. Blowing the exit can make everything else irrelevant, so I'll start with that.
As I mentioned before, there are several version of handles and steps you'll have to deal with. Depending on the exact type of exit you're planning on doing, your hand and foot placement as well as your posture on the step will vary.

There are three basic exits.
Leading - leaving perhaps slightly before the 4-way team. This is the "classic" 4-way exit you'll see from Arizona Airspeed. There are a lot of timing issues involved with this exit and I'll go into some of them a bit later. When done well, it's a beautiful thing. When done poorly, it's a disaster! Try to learn this exit as quickly as you can, but I can guarantee you some spectacular disasters in the process. I do a lot of 4-way camera flying and even after three years of really trying to nail it, I still blow it from time to time.
Trailing - leaving perhaps just slightly after the team; it's also known as the peel. Almost bullet proof because you leave the airplane in your own clean air, but teams and coaches don't like it because it's difficult for them to see exactly how well they were presented on exit.
Semi-peel - also known as the 3 O'clock or 90. The team really has to launch away from the airplane for this to work and it has the same team/coaching issues as the trailing exit, but the camera flyer is a heck of a lot closer and it's very easy to see the grips so I think there are actually advantages to using this for competition, but like I said, teams and coaches might think differently. This is the exit you'll most likely see from The Golden Knights.
For each exit, it's fairly important to know exactly what to expect from the team in terms of timing and their presentation. You're a fifth member of that exit and you want to place your body in an exact location just the same as the rest of the team -- you're just not taking grips. I think it's important that you go to the mock-up with the team, find out what formation they're taking out the door and do a couple of practice exits with them every time you go up. For a leading exit in particular, find out where the tail and inside center are going to be and plan on not being in their burble right off the plane.
Depending on the team and their skill level, you could use any of the three basic exits. For coaching purposes, almost all teams will want you to give them a perfect leading exit. In reality, this may or may not be possible due to your experience level or theirs. It's definitely something to discuss with them. The team, the coach and you should understand that a leading exit is not always the best choice for competition purposes and may not always show what they wanted to see for coaching purposes either.
Leading exits
Get out on the camera step as best you can. Ideally, you'll have your left foot on the camera step and your left hand on the camera handle with your body hugging the airplane, right foot trailing and right hand maybe on top of the fuselage. At least, that's the way the boys over at Airspeed do it. Me? I can't do it that way and my guess is that depending on your body type, the handles, how much you can twist your neck and a bunch of other factors, you might need to do something slightly different too. Ultimately, your goal should be to be comfortable, stretched pretty far back with maybe just a little flex remaining in your left leg with which you can spring back off the camera step.
You may find it a good idea to have your camera sight centered on either the left wheel of the Twin Otter or maybe the butt of the tail flyer. This gives the team somewhere to go in the video.
If you can see the exit count, cool, but don't trust it. I usually watch for other subtle signs like a helmet popping under a head jam or maybe the tail flyer's butt leaving the plane. What is GREAT is if you can get the outside center to swing his left leg in time with the exit count -- of course, that's not going to work for all the exits, but it helps. Try to explain to the team that consistency on their part with the exit count means you'll be able to get them much better footage. Some teams do wacky things for a count -- I hate wacky. A nice rhythm of ready, set, go works wonders.
For the leading exit, I go on go. That is to say, right with the team. Me -- I'm a fat boy. If I leave too early, it's a pain in the ass to try to get up in a position where I can still see all the grips. You'll know you've left too early if you can see a lot of the bottom of the airplane and they're still in it! You'll know you've left too late in a leading exit when you whack into the team. I try to leave on go, pop my wings to get another slight bit of separation and then track up and over them as they fall down the hill. For me, what I want to see is the center of the formation falling below the horizon as quickly as possible after exit. As the team falls down the hill, drive up and over them. When I exit, I shift my focus from the before exit picture to place my ring-sight on an exact spot in the formation -- maybe the center grip on a Meeker for instance. Each formation is slightly different and will all call for a slightly different spot.
For the leading exits, look at the dive pool and think about how they might fly on exit. More importantly, think about how they might block your air on exit. Nice roundy thingies like Meekers aren't too much of a problem. Evil longy thingies like Monopods can be a huge problem depending on what the tail does. Some nice semi-roundy thingies like Satellites might look easy, but might have a tendency to "cut in" so that you can't see all the grips. It won't always be your fault, but you might always get blamed for it if people don't understand.
Trailing exits
In almost the exact opposition of the leading exit, don't lean back but try to stand up on the camera step and get your body high. Go ahead and put your focus on the center of the formation and don't worry too much about the count. Just keep the focus on the center of the formation and follow it down the hill. I try to think about placing my body in the 12 o'clock position just over the point flyer. Bingo, works like a charm. You don't really need to drive your body anywhere during this exit, the team will flatten out as they come down the hill and you should already be in pretty much good position. You will, however, be facing down jumprun as opposed to up jumprun for the leading exit.
Semi-peel exits
If you know the team will launch away from the plane, you can try a semi-peel exit. Almost the same as the trailing exit, but you don't really wait for the team to go by you. You leave just after the center has cleared the plane. Your body comes off at a 90 degree angle to jumprun and you may want to think about back sliding a bit under the plane.
Everything else
Once you've exited the airplane, there's pretty much nothing more you can do about the moment, so let it go. If you left too early on a leading exit, don't think about it -- do something about it! If you've left too late on a leading exit, you need to do something about it NOW! Keep working the issue until you've gotten things in hand. Keep focusing on where the sight should be, but keep working the problem. If you're going to whack into the team, keep trying to get big and maybe you'll be able to slide out of it. If you give up and put your hands in front of you to cushion the blow, you'll only speed up and hit them harder.
Your goal should be to get close enough and steep enough to the team so that all the grips are visible. If the team flies apart during a transition, you must get higher and try to keep them all in the frame. As they rejoin, come back down so they don't look like ants! A nice secondary goal would be to keep on heading. Pick a road in the background and keep the teams original jumprun heading relative to it. This let's the team and coach look for things like unintentional rotations of the formation. As you get used to flying with the team, try to get closer and steeper. As you get steeper, you'll find that it becomes a bit more difficult to stay on heading. Teams have a tendency to move quite a bit horizontally as they turn pieces and make transitions. Obviously, if you're right over the top, you'll have to side-slide, back-slide and do all sorts of chasing.
Breakoff and opening
OK, you've exited, shot freefall and it's about time to breakoff.
On breakoff (let's call it 4,000), I might give the wings a little pop and deploy as I continue to watch the team. As I said before, I usually watch to see who has left the formation last and will show that on the debrief tape just to subtly drive the point home.
As the d-bag comes out of the container, I begin to sit up and shift my ring-sight to the horizon in an attempt to have my head, neck and back in a straight line as the canopy opens. I feel that this gives the best protection against neck strains, but obviously, this might not work for you. It does work well for me. No matter what your body position, you want to get your hands on your risers as quickly as possible between the time you deploy and full inflation. An additional benefit of looking toward the horizon during inflation is that in this head level position, you can watch out for team members doing short tracks and high openings.
Individual team members probably have more than enough separation from each other, but if one dumps a little high and you maybe have a little bit longer snivel and they have a 180 opening, well, it can get interesting and you need to react pretty damn fast. Looking out toward the horizon lets you see what might be coming up to meet you, and you may even be able to shift your weight during inflation to avoid it.
After opening, look around to see who in your team is where. Give 'em a quick head count and see if there were any cutaways. If there was a cutaway, first look to see if you can spot the reserve. If the jumper looks OK under the reserve, then check to see if anyone is chasing the main and freebag. Especially watch for the freebag -- they can be a lot harder to find than the main. Make sure that at least one team member is following each piece down; main, reserve freebag and jumper. Fill in where required.
If everyone seems OK under canopy, then unclip your wings, release your thumb loops, stow your slider, turn off your camera, release your brakes and start flying back to the landing area. Since you're probably the high opener, you should have plenty of time and altitude to scan for traffic and fit in with the landing pattern. Usually, there's no need to rush and spiral down between canopies -- try to be predictable. With the ring-sight in front of one eye, you don't have the best vision so be a little more careful.
Once you've landed, if you can, go over and do high-fives with the team, but generally keep your comments to yourself. Generally speaking, you're not a judge and you're not their coach. They usually already know if they brain-locked or went low so additional negative comments from you aren't helpful. However, positive comments about really cool jumps are almost always welcome.
Wrapping up
As soon as you get back to the packing area, put your rig down, head over to the debrief room and dub the tape. You don't need to stop to talk with anyone at this point -- just dub the dang tape. Teams seem to vary on exactly what they want dubbed on their tapes, but usually I slate the first jump of the day with a date and just give them a few seconds before exit until the last guy breaks off. During competition, usually you'll slate EVERY jump. Some teams seem to like to see a slo-mo of their jump from exit to the second point, but some do not, so you might want to ask about it for team training purposes. You'd never do this for competition.
After you dub, pack and be ready to get on the next load before doing any socializing. The key point here is that the team should never have to wait for you -- not to pack, not to get to the plane, not EVER.
I have to admit that when I'm doing team training I usually don't pack -- I hire a packer. This cuts into my profit margin, but I find that I have a heck of a lot more energy at the end of a +20 jump weekend! I also have two rigs so that if the team wants or needs to do back-to-back loads it's really no issue. Having two rigs also means that if I have a cutaway, then I can continue to jump with minimal impact to the training.
At the end of the training day, typically the team members want dubs of the entire day. Ugh! Well, you can cut down on this particular chore by using one of the team members' tapes as the debrief tape during the day. I also cut this chore way down by having several VHS decks in my team room. I was able to pick up VHS decks pretty cheap ($75 each) and this also means that I never have to worry about having a back-up!
Photos: © Paul Quade

By admin, in General, August 19, 2002

Book Review: Flying the Camera - by Patrick Weldon

It would be difficult, at best, to write a complete and comprehensive guide to freefall photography. Patrick Weldon's "Flying the Camera" is the first attempt I have seen to do so, and is well worth the $34.95 purchase price for an aspiring freefall photographer. It covers a lot in a short book, and may fall just short of being 'complete,' but it sure is a great way to learn the basics. It may even save you some money by helping you avoid common 'beginner' mistakes.

By covering a complex subject in a short book, Weldon leaves a lot out - but he does so effectively, by making the information easy to read and follow. The information he leaves out is the sort that is usually more easily learned through personal experience anyhow. Most of the missing information is of the advanced or expert variety.
If I noticed one thing that detracted from the overall impression I got from the book, it would be the quality of the illustrations and photos. The hand drawn illustrations were crude, but effective, and several of the photos seemed ill thought-out. Specifically, in the section where Weldon chides the neophyte photographer to always keep the subjects face in the sun, the example photos show the subjects face half-shaded.
Nevertheless, even with cheesy drawings, the book does an excellent job of making a difficult subject into a set of tasks that are easily broken down and understood. Each area is thoroughly explained, from the equipment required to safely photograph each jump, to the proper editing technique for a tandem video. Weldon tries to cover it all and does a good job of doing so.
No book on freefall photography can avoid personal technique - and there is an endless set of variations on this. Each individual has their own style, and this comes with experience. "Flying the camera" is a great introduction, but no book can teach technique. What a book can teach, however, is method - and at this "Flying the camera" is a huge success.
It is in the specific methods and 'tricks' that Patrick Weldon shined the brightest - the book is full of useful hints that even seasoned photographers can benefit from - I sure did. But the book also had some controversial advice, and went directly against a personal philosophy - that of what to do when you open you parachute while wearing a camera helmet.
The book specifically recommends that you put your head on your chest and look down - I was taught, and personal experience reinforced - that you always look at the horizon during opening and keep your head level to your shoulders. The difference is in the details and I am certain there are many sides to the argument. My opinion is just that - opinion.
In freefall photography, whatever the technique - the method remains the same - and it really does come down to personal experience. That is what skydiving is all about, and photography just expands this - it captures an intensely personal experience and allows us to share that vision with the world.
With rapid advances in camera technology, more and more skydivers are now flying a camera. This book will not cover all of the subject areas of interest, but for a novice freefall photographer this book can provide invaluable advice and guidance - and potentially save you a lot of wasted time and money. Even where the book is less-than-perfect, it is certainly better than nothing, and Patrick Weldon should be proud of his work. "Flying the camera" fills a huge gap of knowledge and will be a great benefit to anyone interested in freefall photography.

By admin, in General, October 21, 2000

AFF Training - Level 1

Napoleon Skydiving Center: Level 1 - Free Arm
This dive is intended to be an introduction to skydiving. As such we will leave plenty of time to just arch and enjoy the experience. Concentrate on a good, relaxed arch, but don't forget to have fun. Remember to hang on to that ripcord at pull time.
TLOs

Perform a controlled exit.
Exposure to continuous freefall.
Heading awareness.
Focused awareness and attention.
Coordinated body movements with 3 practice pulls from free arm.
Altitude awareness.
Actual ripcord pull by 4000 feet.

Dive Flow

Running Description
Hotel Check: Check In, look to left and wait for a nod. Check Out, look to the right and wait for a nod.
Exit Count : On the C-128, the count is Prop, Up, Down, Arch. On the Twin Otter, it is Center, Out, In, Arch. In both cases the count should include both the verbal commands and the physical motions.
Exit: Step off of the aircraft and push hips forward, chest forward, head back, and arms and legs to "boxman" position.
HARM Check: Also called a Circle of Awareness or Circle of Observation. Heading, look forward and down at a 45 degree angle to ascertain heading. Altimeter, read the altitude on the chest-mounted altimeter. Reserve, look at reserve side jumpmaster and wait for a nod. Main, look at main side jumpmaster and wait for a nod.
PRCT: A practice ripcord touch. Arch, insure a good arch at hips and chest. Look, tilt head to the right and look down the side of the body at ripcord. Reach, in with the right hand to place it over the ripcord handle while extending the left hand one foot over your head. Touch, recover to an arched position. Check, over right shoulder.
Short Circles: Heading, Altitude, Reserve, Main. Performed throughout the dive to maintain awareness (indicated by the dotted lines on the dive flow). No nods from JMs.
5-5 Signal: An altitude awareness signal performed by the student at 5500'. The signal is given by closing the hands twice in quick succession.
Pull: Arch, Look at ripcord, Reach for ripcord with right hand while extending left hand over head, Pull ripcord, Arch, Check over right shoulder for pilot chute launch.
Primary Canopy Check: Performed five seconds after the Pull. The main canopy is checked overhead for Shape (rectangular), Spin (not spinning), Speed (floating, not falling), and Twists (spread risers and kick out).
Release Toggles: by grasping them and pulling them quickly to the waist.
Secondary Canopy Check: Slider Down, Endcells Open, Rips/Tears, Broken Lines.
Controllability Check: Execute a turn in each direction and then a flare.
Canopy Control: Locate the Airport and then the landing area. Fly back using the halfway
down, halfway back rule. Watch your jumpmasters canopies.
Setup For Landing: The landing setup consists of three legs:
Downwind: Starting at 1000' fly to the downwind side of the target.
Base: By 500', begin crabbing across the wind downwind of the target.
Final: By 200', turn into the wind and fly towards the target. Once on final, no
turns in excess of 45 degrees should be attempted.
Prepare to Land: At 50', feet and knees together, toggles at ``full flight''.
Flare:: At approximately 10', bring both toggles smoothly to your crotch, keeping
your feet and knees together. If the flare occurs prematurely, slowly raise the toggles to your stomach, then re-flare at 10'.
PLF: Parachute Landing Fall. Keeping feet together and hands in, roll with the
landing taking the force on the fleshy parts of the body (feet, calves, thigh, butt, back/shoulder).
Collapse the Canopy: by reeling in a toggle and running to the downwind side.
Field Pack: the canopy, turn off the radio and AAD, return to the student packing area
with the jumpmasters.
Return: the helmet, goggles, altimeter, jumpsuit and radio.
Congratulations

You've just made your first skydive!
Hand Signals

Level 1

Level 2

Level 3

Level 4

Level 5

Level 6

Level 7

Level 8

By admin, in General, October 29, 2005

GetHypoxic HYPEYE D Pro

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
Pricey WARNING: 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.

By DSE, in General, January 13, 2009

The Long Haul

There are many areas of this sport in which we can invest ourselves, so many avenues in which to excel. By focusing heavily on a single discipline, we are able to achieve significant notoriety in a fairly short period of time. By utilizing the superior training techniques, personal coaching and wind tunnel rehearsal, modern skydivers are able to reach significant prowess in just a few months of participation in the sport. Although the speedy gratification of our desires is tempting and rewarding in the short term, there is a larger, more important goal. We must survive.
I asked Lew Sandborn what he thought was the biggest problem in the sport today. With very little hesitation he stated that what concerns him the most is "new jumpers trying to make a name for themselves before their skills are ready for them to have that name". We want to get it all in one shot, and instantly achieve all of our goals. In a pursuit as complex as skydiving, it is impossible to get all the necessary information in a short period of time. We have to keep learning, and hope that our knowledge bucket fills up before our luck bucket runs out.
It is difficult to see the big picture of our lives from where we are at any given moment. We forget that the medals we strive so hard to achieve will not mean much when we are older. They will just represent more stuff to box up when we retire to Florida. In the end, the things that matter most pertain to the choices that we wish we could take back. Twisting an ankle today might seem like a small issue, but in fifty years from now, it will be something that effects whether or not we can ever jump again.
Picture yourself forty or fifty years from now. Are you still skydiving? Do you have pain in your joints from a bad landing? The quality of your life in the future is dependant on the choices you make today. If that wise old geezer that you will someday be could somehow communicate to you in the present-day, it might sound something like: "Stop trashing my body!"
We are insecure when we are young. We are so uncertain of who we are that we feel a need to prove ourselves at every opportunity. We think that who we are is based on our most recent performance. We go to great lengths to show the world what we can do, and often pay a hefty price for our impulsiveness. Short-sighted goals neglect to take into account anything that does not achieve that goal. If looking cool and wearing the right gear is your highest priority, you may find yourself joining the dead skydivers club before too long.
I hate sounding like an old fart. People assume that being safety oriented means that you have to be boring. Not true at all. We can have fun; we just need to keep the throttle below 100% thrust if we are to control where we are going. The long-term survivors in this sport all seem to have this perspective; whether or not they talk about it. We sit around in trailers at boogies, shaking our heads at the ridiculous behavior that repeats itself over and over. We watch people eat it in the same ways that they did last year, and twenty years before that. It’s like the message did not get out or something. The message is: "Pace yourself, this is a long journey".
On every jump there is a way for your life to end. No matter how many jumps there are in your logbook, the Reaper is watching for the moment that you stop paying attention. He is looking for the one thing for which you are not prepared. This fact does not require your fear, it requires your attention. If you are to be there at the Skydivers Over Sixty Swoop Competition, you must let go of your grip on trying to prove yourself, and stay focused on the stuff that really matters.
The real identity of a skydiver is not in how many medals they win or how stylishly they swoop. It is in how long they jump and how safely. There simply are no Skygods under the age of sixty. If you want to prove yourself, stay alive.
BG
Brian Germain is the author of The Parachute and its Pilot, a canopy flight educational text as well as Vertical Journey, an illustrated freefly instructional book. Brian is also the President of Big Air Sportz parachute manufacturing company, and teaches canopy flight courses all over the world. To learn more about Brian, or to order a book, go to: www.BrianGermain.com.

By BrianSGermain, in General, December 19, 2004