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News

    Adam Mattacola of Avalore Freefly

    According to his bio on the Avalore team page (www.avalorefreefly.com), Adam Mattacola, apparently began jumping in 2004 at my local drop zone, Sibson, near Peterborough in the UK when he was still in his teens.
    I don't remember him.
    Back then I had 200 jumps and thought I was the right royal shiznit.
    Who was I to look for the new AFF grads to jump with? Pshhh puh-
    LEASE! I was too busy making sweet 2 way head up jumps and trying my
    best to look like I knew what I was doing by colour coordinating my
    free fly suit colours I had on order. I had just got my C and was
    strapping a camera to my helmet. I was WAY too busy to deal with the
    likes of this young scrote!
    Fast forward a few years and an almost quick blink of the eyes later,
    and the same guy is hot off the presses, having just rolled off the
    newly awarded Euro 40 way HD record and the 11 way Brit HD record
    days before his 22nd birthday and he has also been garnered the austere title of UK Senior FF champs 2005 with his Avalore team mates. So is a record holder AND champion. All in the space of a few years since he first started. Accomplished at the sprightly age of 21, a full decade younger than me.
    "Hmmmmm", I pondered to myself this week, "how in the sweet name of
    Buddha, Allah, God, Jah and Jehovah did this guy get SO good SO quickly?!"
    Am I bitter? Of course not! That would be infantile. It's all love in
    this sport (especially when I might run into the young hotshot at
    some point and want some coaching off him!).
    Seriously though, Adam is obviously one of what I like to call the
    "new breed", one of the "rising stars" and all that other names
    that people call those very talented, young people who seem to progress so quickly in their given sporting discipline. I was curious to find out how he had managed to do it, in such a short space of time, and share his insights with the members of the skydiving community, old and young alike, so that we could possibly learn something from him, and shine some light on an obviously very talented flyer.
    So without further ado, I decided to find out just what the hell this guy
    had been up to to progress so quickly and do so well for
    himself in such a short space of time.
    Enjoy!
    Name: Adam Mattacola AKA Killa Cola

    Age: 23

    Occupation: Airkix wind tunnel instructor/ Coach; AFF Instructor and
    Skydiving coach

    First skydive (date and location): Tandem skydive Sibson August 2004, AFF Seville August 2004

    Years in sport: 3

    Number of jumps: 517

    Number of mals: 0 :-)

    Kit: Vortex2 Hurricane 120, PD120 with CYPRES

    Describe yourself in one sentence: determined, loves a challenge,
    loves to get laid and a little crazy.
    Background:
    I did a tandem jump in August 2004 at Sibson, I had always wanted to jump out of a plane since I was little....I've always been a little thrill seeker and who loves to do something new...in my head not many people have done skydiving and it scared the majority. I like to be
    different. After we'd jumped that was it, I was hooked - no fear in me
    at all and I had a big cheesy smile on my face which I could not wipe
    off for days. As soon as I landed I went to the internet and booked the AFF!!!! I knew this sport was for me.
    AFF in Seville 2 weeks later out of a small Cessna with instructors
    Alex and Jonno (thanks guys). Levels 1-5 I passed first time without a
    correction signal and with instructors letting go (no tunnel time at this stage).
    So that night I suppose you can say I got a bit ahead of myself and
    thought this was an easy ride and went and had a few beers.
    But stayed out late and only had a few hours kip like you do and went to the DZ knackered. Level 6.....spin flip twist spin spin flip twist all the way down. Hmmm shock to the system. Maybe this is not such an easy ride after all. Repeat Level 6 and yes it was a repeat - literally! ....spin flip twist spin spin spin. Instructor said go home have some rest and lets finish the course tomorrow.
    Went home had a kip then practiced on my bed all night. I soooo wanted this license. Then the next day I passed all levels and was one happy bunny. Jumped at Hinton. Got into freefly at around 50 - 60 jumps because it was something new and everyone said how hard it was.... I love a challenge, I love to learn something new and hard! I then went to Sibson and started to jump then had a Russia trip to Kolomna, it was great. 84 jumps in 2 weeks. Halfway into Russia I was still rusty in my sit and it took me along time to get to the base. As soon as I got there it was time for break off! Damn! Everyone started to mock me and I was like, "Come on... I only have 70 jumps!" So I decided "I WILL GET THERE BEFORE BREAK OFF!". So, out of the plane and zoom - but I didn't take into account stopping. Straight through the base. "Oops!". My nickname is "Cola" due to my last name and then they just added "Killa" as I tried to kill them all... hence "Killa Cola".
    A lot of the jumps were 2 way sit with Dylan and now I can freefly.
    (it's better to learn in smaller groups I think). After 200 jumps my buddy "Big Al" AKA Heman recommended me to Airkix to be an instructor. Thanks to him I got the job. I was an electrician before and was happy to leave. Weeks went on and everyone raved about how fast I picked up flying. I just thought they were being nice. A couple of months in and I was there flying around with the top flyers and then all of a sudden they were asking me how to do things. It was one big hit the first time it happened. The legends asking advice from me, all in just a few months! I competed in the World Challenge 2007 wind tunnel comp with Michi from Bedford. We came fourth, only 2 points behind Babylon, who were third. Avalore at this point, were looking for a third member as one had left. They asked me whilst at Airkix. I wanted to compete and get experience but had no money. Avalore has good sponsorship and let me trial for them at Lillo in Spain and they were happy with me. I am now a member of Avalore by spending next to no money - I'm very lucky.
    I then wanted to be able to teach anyone, so I did my AFF instructor
    course at Lillo so now I can teach from complete beginner to advanced
    headdown and can now pass on my knowledge.
    I heard about the Euro record and was desperate to take part.
    It represented something new and challenging and something not many people can say they have done. The biggest I did before that was 7 way head down. I went from the trial straight into a 20 way. Wow! I was buzzing. Got onto the 30 way record attempt out of 70ish people who turned up for the trials. Deep inside I was exploding with excitement but trying to stay cool about the whole thing. We completed it first time. Then it went to 36 people, then up to 40. Then as a fun jump/British record jump we did an 11way - 3 points. Now, when I get the chance, I will train with Avalore for the Nationals and hopefully we will do well. Alot of other good teams are out there. I now do coaching for all levels of skydiving too. A lot has happened to me in a short space of time - sometimes even now I have to step back and take a deep breath and make sure I'm not dreaming as all of this has happened in the space of working at Airkix within 1 year!
    What's a typical day like for you:
    Wake up to a cheesy tune as an alarm on my phone, so I can't help
    but smile even though I'm tired. Hot shower then turn it cold for a few
    seconds just before I get out. Wakes you up. Go to Airkix to work, give
    experience and enjoyment and share the sport I love with hundreds of people, and see them smile from ear to ear. Chill out when I get home, then do 'the thing I'm learning' at that particular time. I always like to be learning a new skill from learning a different language to playing piano or guitar or another sport. Then either go to bed or maybe go on my laptop and look at certain pages on the internet which I can't say about in this interview and...well...you know the rest!
    Who do you look up to in the skydiving world and why:
    I look up to every high achieving competitor as it takes a lot of commitment, hard work and motivation to be in a team. I also respect a lot of students due to there determination by not quitting when they come to a move they struggle to do.
    Best jump you have ever had and why:
    I think maybe the pants jump I did in Russia. Seven of us in just our
    boxers and all not really very experienced. It was basically naked bodies flying all over the place out of control with the great expressions on their faces - so much fun but we froze our bollocks off!
    Favourite type of jump right now and why:
    Has to be a chasing dive with buddies, without trying to lose one another. It's true free flying as you fly at all angles and positions like eagles, carving tracking and belly/ back flying (which I feel are also important areas to be good at) and quick directional changes. Tracking also has to be one of my favourites as I can't do it in the tunnel, and there is so much to do in tracking, so many angles and different speeds.
    How have you managed to progress so quickly in such a short space of
    time?
    Tunnel time for sure is the quickest way to learn skydiving
    skills. It disciplines you to do everything on spot with a coach
    right in front of you and if you hit that wall, you don't want do it again so you make yourself do it right! I always pushed myself and never let something beat me because it was too hard to do. I believed in myself and after I flew I watched back over my flights and made sure I understood how the wind works with your body instead of just flying and being able to do it without actually understanding WHY. That's the way to do it, making sure you understand why things happen. Being relaxed is a also a big part of flying, so if possible you need to be sure you're not sexually frustrated. Trust me it affects your flying!
    Favourite coach you have had coaching from and why?
    The Airkix tunnel instructors.... a friendly, helpful bunch who have
    time for their students and they are very good at what they do.
    What makes a skydiver experienced?
    Attitude to the sport, safety wise, is very important and that's for both while under canopy as well as in freefall. Also, not knowing HOW to do something but more importantly, WHY it happens - that's the way to learn. If you understand "the why", it is better then doing it a million times and not understanding it. Some people with a couple of hundred jumps have better knowledge of the sport than some guys with a 1000 jumps.
    What would you change in the sport if you could change any one thing?
    Make it cheaper and be able to jump from a higher altitude.
    Where do you see yourself in 10 years?
    I really don't know...I can see myself still in this
    sport for sure, but I think mainly just coaching and passing on knowledge I have gathered over the years. I tend not to plan the future - I'm more of a guy who goes with the flow and whatever is around the corner, I've just got to make the most of it. You only live once!!!
    Greatest non skydiving accomplishment:
    4th in the Bedford World Challenge, but if you count that as skydiving
    related then most probably being in a dance video doing breakdancing.
    Favourite quote:
    Make it happen and live your dream - life is only as good as you make
    it.
    Freefall or canopy ride?
    Freefall - you share the experience with alot more people while it's
    happening.
    Swoop, or straight in?
    Swoop - it's challenging and it's something new to learn, but it's also very dangerous if you underestimate it.
    Jump numbers or experience?
    Experience - if you have the knowledge and understand it, its better
    than a bit of paper saying I've done 2000 jumps.
    RSL or no RSL?
    No RSL - could be a situation where it would not be best if reserve come out straight away.
    AAD or no AAD?
    AAD for sure just make sure it's the right one for what
    you are doing....if you swoop - make sure you have a swoop CYPRES.
    Fun jump or training:
    Fun jump - no pressure and makes it easier to enjoy every moment of
    the skydive
    Noddy or Big Ears:
    Noddy
    Steak or Tofu:
    Steak... rare
    The journey or the destination:
    The journey - the destination may not turn out to be as good as you
    thought, but getting there is one big adventure and you have no idea how its going to work out.
    Sex or jumping:
    Got to be sex, as it is free......well for most people
    anyway...sex while jumping would be interesting!
    Money or fame:
    Money. Fame could lead to no privacy. Money will take a lot of worries
    away.
    Many thanks to Adam for taking the time out to answer these interview
    questions!

    By admin, in News,

    Skyventure Wind Tunnel for Montreal

    14R1400. Sound like something out of a Swartzenegger movie? Its not exactly extraterrestrial, but as Simulators go, this one comes pretty close. Montreal businessman and investor, Alain Guerin, has embarked on a groundbreaking wind tunnel simulation project in Canada, involving a 1400-horsepower, energy efficient recirculing tunnel.
    14R1400 is 14 ft in diameter, the first cylindrical flight chamber with four 350-horsepower fans.
    The foundation for Skyventures' $6 million green wind tunnel, a below-ground 100 ft long plenum installation is to begin in September, followed by erecting the 70ft tall frame. The project is set for an April 2008 completion date.
    56-year-old investor, Alain Guerin owns several businesses as well as an accounting firm and lectured as a professor at the University of Quebec. Unlike most Chartered Accountants, Alain has a penchant for adrenalin-based sports. In the infancy of his skydiving career he found hitches getting through his certification which lead to revolutionary ideas.
    Alain says: "I needed a way to hone my skills in a safe, stress-free environment and every answer I found pointed to Skyventure."
    The design is like 'freefall virtual reality', offering skills honing for skydivers on all levels of experience. Unlike previous designs, the wall-to-wall airflow reduces the danger of falling off the column of air.
    Alain and his partner, Pierre Beaudoin have selected three locations in the greater Montreal are which will eventually be narrowed down. Skyventure Montreal will be constructed near a fully equipped shopping mall complex with movie theatres, restaurants etc.
    "Our mission is to provide the Quebec market with the most advanced, efficient, safe, reliable, powerful and realistic skydiving simulator in the world. More specifically, to become the most sought after, fun, exhilarating experience for the local population, the tourism industry, corporate groups and skydiving enthusiasts." adds Guerin.

    By admin, in News,

    Iran's first Skydive Centre

    Iran's first skydiving centre also open to fairer gender
    PAAviation recently opened the world's first Muslim skydiving school in Tehran. In accordance with Islamic regulations, a team of female instructors have also been employed to facilitate local women's' enjoyment of the thrill of skydiving.
    Iran has one of the youngest populations of any country in the world. (Tehran's population clocks 14 million alone) and being Iran's only skydive centre the demand will be significant.
    The political and historical significance of this event extends to the center's exclusive use of a brand new Britten-Norman Islander aircraft, the first western - made plane supplied to Iran since the Islamic revolution.
    PA Aviation provides British and European instructors with full international certification to ensure their students are trained in a safe and highly professional manner.
    Sky-dives are pre-booked. A private villa with pool has been allocated as accommodation for jumpers and transport will be provided.
    Jumps typically take place from an altitude of 10000feet with freefalls of 300kph.
    A professional skydive cameraman is available to shoot the jumps, upon request. The drop zone can be viewed at the following address:
    http://www.aii-co.com/en/azadi.asp
    The centre is approved by the Iranian sports federation, Iranian Civil Aviation Organisation, Iranian women's institute and the Iranian ministry of culture.

    By labyrinth, in News,

    Livin' on the Edge - Literally.

    About 2500' feet above the floor of the Grand Canyon.
    Tied in with 5/8 rope, bits of aluminum and steel cable holding five cameramen in place on sheets of ice/soggy snow, we're shooting the Performance Design Factory Team (PDFT) as they become the first terrain swoopers in the world flying inside the Grand Canyon. The Factory Team are the most experienced and talented athletes in the skydiving world, having won world event competitions as a team and as individual athletes.
    Our task was to shoot in places no camera has ever accessed, and this project was a techno-marvel at every twist and turn in the several miles of dirt road (and sometimes virtually no road) it took to arrive at shooting locations.
    Unable to physically scout the area, Global Positioning Satellite (GPS) systems were used in conjunction with specific areas that were discovered, chosen, and mapped out using Google Earth Plus by the Factory Team members. None of the five jumpers had ever been in this remote area far from the beaten path of tourists. Satellite phones were used for general and emergency communications, as there is no cellular coverage (or power of any kind) on the site. Base camp was established at the Cameron Trading Post on the Navajo (Dine) reservation in north central Arizona with a 2.5 hour drive to each shoot location. The nearest airport is Tuba City, AZ to the north, and further to the south in Flagstaff, AZ. The video aircraft based themselves out of the Tuba City airport.
    The shoot is in a remote area, miles from the nearest power outlet or electronics store, temperatures are hovering just below freezing at noon, and zero/single digits in the early morning and late afternoon. We needed cameras that would be capable of moving 120mph and manage fast exposure changes from bright sunlit sky and clouds to the dark recesses of the Grand Canyon, that could manage the cold and wind. No stunt nor camera setup could be rehearsed, as helicopter time is exceedingly expensive for this no/low-budget project.
    The stunts the skydivers performed were dangerous enough on level and familiar ground. Flying wings of nylon and string at speeds approaching 100 mph while skimming the rocky soil for distances of up to 150 feet, then at ground level, executing a nearly upside down barrel roll only a couple of feet from the edge of the Grand Canyon would be considered an extreme act of athleticism. Place cameramen with shoulder cams directly beneath them that need to avoid the canopy pilots, and the canopy pilots need to avoid the cameramen; even the slightest strike could easily kill the canopy pilot and toss the tethered camera operator over the edge.
    Due to the budget, location, availability of crew, and the speed that setups had to happen, we chose to use HDV camcorders on this shoot. The Factory Team was already prepped up for the HDV format, as they currently all fly Sony HVR-A1U camcorders on their camera helmets. Each member of the team flies a camcorder to shoot POV, while team photographer JC Colclasure flies over, under, and around the team to capture an overall perspective from the air. All aerial camcorders are fitted with Raynox HD wide angle lenses, while the helmets are fitted with CamEye and Brent's Sights camera indicators and sight rings.
    Four Sony HVR Z1U, three HVR V1U, and eight HVR A1U camcorders were used on the shoot, plus two Canon XLH1 camcorders used for long shots using a variety of lens lengths. The lighter camcorders were critical, as they needed to be quickly rappelled into the canyon strapped to our backs, quickly set up on canyon ledges when positioned by helicopter, and able to be flown on lightweight jibs over the canyon.
    Dave Major aka "Clem", a Hollywood stunt coordinator and stuntman managed the harnessing and safety tie-downs; Jack Guthrie, a DZO (Drop Zone Operator) and safety officer oversaw all safety aspects of the shoot, managing the cameramen on the rim of the canyon and the cameramen flying in the Cessna 185 aircraft and helicopter. Each on the shoot was required to wear a harness at all times, and be secured from at least one point for each shoot position. Cameramen Matt Wimmer, Joey Allred, Dave Major, Jack Guthrie, and boom operator Benjamin Bressler are all accomplished skydivers, some with great BASE (Building, Antenna, Span, Earth) jumping skill, which was of great benefit when consistently 2000 feet from the ground. The Performance Designs Factory Team all wear Skysystems or Wes Rich camera helmets, Bonehead ShuVue (foot camera mount), and belly cams to capture a variety of air-to-air angles. Shannon Pilcher, Ian Bobo, Jonathan Tagle, Jay Moledzki, and JC Colclasure are all not only world record canopy pilots; they're all very accomplished aerial camera operators, and have flown for a wide variety of television broadcasts as aerial camera persons.
    We used lightweight tripods with Bogen 516 and 526 heads were used on a variety of sticks, but at all times, the kit was kept exceptionally light. The tripods were used for the long ground-to-air shots, as the lenses were fully extended, and needed to be kept tight on high speed objects, virtually invisible to the naked eye. Upon reaching a preset altitude of approximately 3000' AGL (Above Ground Level) the pilots would pop skydiver smoke, allowing them to be more easily seen and tracked. We also used the Gorillapod camera grippers/mounts, wrapped around rocks, scrub, and lighting poles to capture unique angles without being seen on in the frame of other camcorders. Audio Technica wireless and microphones were used mounted to KTek Graphite boom poles. We chose the wireless system as both receiver and transmitter were battery operated, and the KTek Graphite pole was chosen for past performance in exceptionally cold environments such as the Sundance Film Festival and various snowboarding competitions. Aluminum boom poles become loose, and are exceptionally cold to hang on to for any length of time.
    Gear planning easily became the greatest apparent hurdle. Being as remote as we were, batteries were critical for lighting, sound equipment, camcorders, wireless systems, radios, and satellite phones. For this reason, we choose to carrry four LitePanels and lightweight stands, we planned on weighting the stands with stones slung in canvas bags. Water could not be carried to the cliff ledges for reasons of weight and safety. Stones were also chosen to weight down the jib assembly used over the edge of the cliff. RedRock Micro MicroFocus' with 18" whips were used for tripod mounts on both dolly and tripod setups, adding in speed of focus during pans. We also needed to be assured of on-site monitoring, and Adobe/Serious Magic DV Rack HD served the purpose quite well. Cameras above or on the rim in sunlit areas were fitted with 4X4 polarizing filters for shooting against the sky, into the sun, and for intensifying colors against the sunlit canyon walls, causing the parachutes to brightly stand out.
    Other challenges were picking up great field audio. Everything in the canyon echoes and rolls, and distances ranging from over a mile to mere feet made levels a challenge to control without using automatic level controlling. We didn't want to allow auto control, as the noise of the helicopter constantly triggered auto-level controls boosting noise as the heli flew farther and closer to our microphones. We used Audio Technica 4073 mics for rim-edge placement, hanging microphones off the rim into the middle of the canyon to capture the crack of opening parachutes and the sound of rushing cloth during wingsuit jumps and canopy deployments. We also wanted to capture the very distinctive sound of swooping canopies at high speed, both at near and far distances. For the near distances (less than five feet), we used Audio Technica 4053 hyper cardiods to block as much helicopter noise as possible.
    Camera operators are staged at three points in the canyon. Covering the landing area, in-canyon flight and terrain stunts required helicopter placement, as the bottom of the canyon and mid-points in the canyon could not be rappelled or fast roped, and while we could have BASE jumped into the bottom of the canyon, extraction still required heli time. At many points, the cameraman had to free-step from the helicopter to small rock areas, due to the helicopter not being able to set down in small spaces. This added to the importance of highly portable camera kits. The overall scale of the canyon is not to be underestimated. For this project, we all underestimated the scope of distance, and even though we had our longest lenses in place, shooting 2000 feet even on a rock-mounted and weighted tripod could become an exercise in hunt and peck to locate the skydivers when they were 5000 feet in the air moving at exceptionally high speed. There were occasions where we were separated by as much as 8,000 feet between the exit point and landing areas.
    We set each camera to capture a specific range of action, given the speed at which we had to capture the moving canopy pilots. The canopy pilots gave very accurate space limits within which they'd be flying, but no aerial stunt or precision flight could be predicted to specific marks due to winds. However, once near the ground, the canopy pilots flew their wings within millimeters of mark points. Cameras set to capture at full extension, super wide, tracking, and fixed closeups were designated prior to the jump/stunt. This makes for a wide selection of camera angles for the multicam edit, offering anywhere between 6 and 14 camera angles per stunt. VASST infinitiCAM in Sony Vegas 7 software was used for cutting dailies to get a glimpse of what we had in the can each night. Ultimately, we brought home more than 100 hours of footage between all of the camcorders on the shoot, in four locations over 6 days. Logging was managed with the Sony Media Manager for Vegas, allowing us to mark all dailies, access similar scenes, search by logged keywords, and create stunt folders.
    On site storage for dailies was captured to Western Digital "MyBook" 500GB external drives, connected to a laptop via 1394 connection. Only key scenes were captured for immediate review at various angles, to save time on the ground.
    Mornings started before sunlight, and the shoots ran straight into night, squeezing the last moments out of the golden hour, to create as many romance shots as possible. During one late afternoon stunt, the winds at 4000' AGL were significantly different than winds measured at ground level, and winds generated by the cooler air in the canyon. The canopy pilots were significantly blown off course by rogue winds, causing them to not only miss their pre-assigned marks, but put them at risk of not being able to generate enough drive to fly over and subsequently into, the Grand Canyon area. This added risk cost us a few camera angles since only two of the canopy pilots entered into the sight picture and frame boundaries. These sorts of challenges are common when working with unpredictable high speed sports, and camera operators need to be prepared to improvise if anything is to be captured at all.
    At the end of this segment of a much larger project, everyone was exhausted from the long hikes carrying gear, shooting in very cold conditions, and the long hours. As skydivers often say, "we had fun and no one died." That sums up the project quite nicely; we had a great time under adverse conditions, captured some incredible footage (have *you* ever seen a parachute fly upside down at ground level?), and put to bed the second segment of one of the most exciting chapters in this forthcoming feature-length project. For me personally, the greatest part of the entire experience is hanging out with my heroes in the skydiving world, learning new canopy techniques, and the opportunity to join my videocraft with my passion for skydiving. From my viewpoint as a videographer that skydives, , these two weeks have been similar to hanging out with Spielberg, Cameron, Coppola, or other great director. Except these guys fly.
    The great achievement wasn't just that we succeeded in capturing a once-in-a-lifetime experience, but that we pulled it off using small format gear, easily carried and packed from point to point in short periods of time, trying to pace the flights and lighting .Thanks to the light weight and maneuverability of the small-format camcorders, livin' on the edge may be dangerous, but missing the shot was never a worry.


    All photos in this article shot by Justin Carmody, Performance Designs photographer using Canon 5D and a bag of lenses. Screen captures from Sony Vegas 7.
    Additional video camera assistance and aircraft piloting from David Major, Michelle Knutsen, Jack Guthrie, Debbie Zimmerman, Mannie Frances, and Ryan Crissman.

    By admin, in News,

    The Transfer of Ownership

    Most of us have no idea what amazing feats we are capable of. However, when we face life's challenges we are able to achieve personal breakthroughs that can result in permanent change. Leaving the perceived security of an aircraft in flight and leaping into the clear blue, arriving safely back on mother earth, creates a perfect opportunity for such an experience. A first jump tandem student can shatter self-doubt, conquer long-held personal fears, and can sometimes be launched into a journey of self-discovery. I have had the honor of being the trusted host of many such experiences as a tandem instructor: a mother who nearly died during childbirth living her life to the fullest while her baby girl looks on; a close family member conquering a fear of heights she had allowed to control her since childhood; a young man with a crippling disease busting through the limits imposed on him by social stereotypes; and many who are completing yet another item on their "list of 100 things to do" in their lives. Each one of them are real people who not only achieved a significant personal transformation, but taught me a little about myself as well. Some of you may be smiling and nodding your head in agreement; for those of you who aren't familiar with this experience, I hope this article will result in significant personal rewards for you as well.
    The journey toward what I call "the transfer of ownership" starts at the introduction. I ask my students why they want to make a skydive - nearly every student will eventually tell me something that I can use to make their experience more personal, and sometimes one of the most significant experiences of their life. At that time, from the student's viewpoint, the lion's share of "ownership" of this skydiving experience belongs to me. After all, I am the one teaching them how to be my partner in the air for those few short minutes, emphasizing the simple things they can do to help make our skydive as safe as possible, and calmly addressing the inevitable flurry of questions that come from the doubt surrounding any first-time experience. Eventually, my students trust me with their life - although it may go unsaid, they all know that is ultimately true.
    Sometimes a student can be "high maintenance." Kay (not her real name) is my best example. The wife of a local doctor and mother of a young daughter, Kay was introduced to me by her husband. As our conversation progressed, she found out that I am a part-time skydiving instructor, and I asked her to join me for a tandem jump. Her body language was unlike any I had ever seen; she began to withdraw from the outside in - something serious was going on in her heart and mind that I thought would surely keep her on the ground.
    Shortly afterwards the torrent of questions began . . . she researched the risks of skydiving on her own by reading internet content including dropzone.com incident forum posts, USPA fatality reports, and soaking in every over-hyped reality TV segment involving a skydiving incident. Between personal conversations, phone calls, and emails she must have asked me over a hundred questions - some of them very difficult to answer. I could have easily become frustrated, but the reality of the situation was that I really wanted Kay to make a skydive; I would answer every single question if it meant there was still a chance she would jump. To keep me sane, I repeatedly imagined seeing the joy on her face after landing. After all, that was the place both of us were working so hard to reach, and it motivated me to keep answering all of Kay's questions.
    The day came for our jump, and our pre-jump training and ride to altitude was filled with increasing fear on her part, eventually manifesting itself in physical shaking after I hooked her harness to mine. Despite her obviously being incredibly scared, she never once stopped moving forward toward the door. I asked her if she was ready, and she nodded her head. Exit and free fall were uneventful, and after the canopy opened cooperatively at 4500 feet, her demeanor was surprisingly calm. I could tell she did not like heights by the way she kept leaning her head back, but she continued to respond to all of my gentle instructions.
    After a smooth seated landing I unhooked her harness and she began to sob loudly, which I realized was an emotional release of years of pent up fear of flying and high places. After she calmed down a bit and I pulled her to her feet, there in front of me was the real life expression of joy that I had imagined to keep me focused through months of questions. At that point came the transfer of ownership - I directed her attention to the blue sky above, and explained to her that this entire experience happened because she chose to rise to the challenge of an opportunity to conquer her fear. She had indeed trusted me with her life, but more importantly she had trusted herself to do something she knew would be one of her most fearful yet critically important experiences. This was not about me at all - it was all about her. Now that I had painted that clear picture for her, full ownership of the experience was hers alone.
    I found out later in a letter from Kay that her first husband had been killed in an aviation accident nearly fifteen years before, and since then she had been deathly afraid of flying. Somehow she recognized skydiving as an opportunity to confront and conquer that fear, and knew that she could trust me to be means to that end. The letter, too personal to include verbatim here, is one of the greatest personal rewards I have received in 22 years of skydiving.
    You see, even though you the instructor are the one with the ratings, the high degree of skill, the confidence in the process, and literally in charge of every student skydive, in the end it is all about the student. Through their trust in you they briefly place their lives in your hands because most of them know that although skydiving is a calculated risk, on the other side of that risk lies some sort of unseen benefit that can empower them in ways they never imagined. Now before you lies the choice of arriving for work at the drop zone to haul human cargo for hire, or to arrive in expectation of whose life you might be able to change, along with the possibility that yours might change a bit in the process. There are many more souls out there like Kay, for whom the breakthrough of a lifetime is just one leap of faith away from becoming reality.
    John Hawke is an active duty U.S. Army Sergeant Major and part-time Tandem and AFF Instructor at Raeford Parachute Center in North Carolina.

    By admin, in News,

    Adventure Volunteerism

    Imagine throwing a weekend supply of backpacking gear out of an airplane, then jumping out after it and hiking around the desert for a couple of days. That's what the nine students in Airdrop Assist's Basic Boot Camp did in December, at Skydive Arizona. Why did they do this? It was to train for future remote-area humanitarian expeditions with volunteer organizations like Remote Area Medical and its "RAM Airborne" team.
    The Volunteer Training Course
    Of course, this is not all they did. The desert airdrop and hike was preceded by two and a half days of training activities, in the classroom and in airplanes. There were prerequisites too, in order to ensure a basic incoming skill level, including: a USPA-B or equivalent license, a 150 jump minimum, basic first aid certification, navigation skills, outdoor living, and more. Instructors covered old, sometimes forgotten, skills plus new ones; including: spotting, landing accurately and softly under a low-loaded wing, packing round parachutes, and preparing cargo bales for airdrops. In the short 4 ½ day period, students covered a lot of ground, during 12-hour days, and wanting more.
    The first course of this type was held in March 2006, where another nine students got to experience the thrill of pushing out cargo, jumping into remote sites, and testing their hop and pop skills. The revised syllabus maintained the core content of cargo bale handling but included a more physically challenging aspect, including a 12-mile hike with full backpacks, a 1,300 foot climb against the clock, and outdoor living for the duration of the course. Courses are planned to be held at least twice per year, roughly in March and December. The dates may vary, with the next one scheduled from March 9-13, 2007, and all events are posted at www.airdropassist.org/schedule.htm
    Humanitarian Aid - At Home
    Airdrop Assist is a newly-formed nonprofit school, aimed at meeting the gap between volunteers and the rigors of remote-area volunteerism, among other things. Given the fact that the majority of Americans are overweight, a person's ambitions may not meet the standards imposed by a harsh environment; some people have it, others need to work toward it. This school is here to bridge that gap. The potential volunteer is someone who savors the outdoors, accessible only by airdrop in some places, and who is willing to endure hardship while providing humanitarian aid to those in need. It is a privilege to be in the position to provide care for another person, and an adventure when you add skydiving.
    Airdrop Assist seeks to train volunteers who can provide a wide variety of humanitarian aid; this aid begins at home, with local volunteerism. In addition to remote-area aid, local drop zone care is another area of concern. Work is being done to create a higher standard of safety on the home front. As part of this, the well-established "Wilderness First Responder" training program is being proposed for this fall, at Skydive Arizona, geared towards skydiving-related injuries.
    In coordination with members of drop zone operations, such as Skydive Carolina and Skydive Arizona, we are seeking ways in which to establish training and certification programs, along with practical protocols and procedures, which proactively deal with emergency care during skydiving activities, through a network of volunteers.
    In addition to the Wilderness First Responder training at Skydive Arizona, Skydive Carolina has been actively developing procedures and protocols, for medically and non-medically trained members of their drop zone, to use in the event of an emergency. The goal is to develop a globally acceptable program, which can be adapted to the distinct needs of differing drop zone operations and skydiving events. Both of these programs are under development and are seeking ways to increase support and to research ways in which to make the training, protocols and procedures effective at drop zones worldwide.
    More Information and More Ways to Join
    Volunteerism with Airdrop Assist and Remote Area Medical, a.k.a. RAM, are not limited to airdrop activities in foreign countries. RAM holds medical clinics year round, focused around Knoxville, TN. For more information on this and other clinics held by RAM, go to www.ramusa.org
    Airdrop Assist also offers many other opportunities to get involved. Being a new nonprofit organization, all skills are needed, in order to make the school a success. This is an exciting time in skydiving and enthusiastic, creative volunteers are in high demand - in the air, on the ground, and over the internet. Also, for anyone who has an old skydiving rig, or other gear, an easy way to get value out of it is to donate it! Let Airdrop Assist find a way to put your gear to use, towards a humanitarian purpose. For more information, contact Airdrop Assist at [email protected] or visit our website at www.airdropassist.org.
    Students:

    Marc Bucaro
    Kyle Ewing
    Anne Helliwell
    Raistlin Majere
    Paul Maresca
    Matt Oakleaf
    Victoria Smith
    Jaap Suter
    Alex Volk
    Instructors:

    Bryan Burke
    Karen Hawes
    Larry Richardson
    Rene Steinhauer
    Volunteers:

    Stuart Pearson
    Gabe Restine

    By admin, in News,

    Para-Gear Photo Submissions For Catalog #72

    Para-Gear is interested in photographic submissions that you may have for the 2007 - 2008 Para-Gear Catalog #72. We have taken the time to briefly describe the format and certain criteria that we look for, in order to help you to see if you have something worth submitting. We have included examples of previous catalog covers for your reference.
    http://www.dropzone.com/cgi-bin/gallery/imageFolio.cgi?direct=Article_Photos/Para_Gear_Covers
    Over the years Para-Gear has used photos from all of skydiving's disciplines. We do not have a preference as far as what type of skydiving photo it is, rather we look for something that either is eye-catching or pleasing to the eye. In light of the digital age, we are also able to use photos that in one way or another may be less than perfect and enhance them, removing blemishes, flipping images, altering colors, etc.
    The following are preferences. However what we prefer and what we get, or choose, are not always the same. If however we came down to a choice between two photos of equal quality, we would opt for the one that met more of our preferences. We typically prefer that the photo be brighter. In the past we have used sunset photos and even a night jump photo, although by and large most of the photos are daytime. We like the subject of the image to have contrast with the background. Subjects that are wearing brighter more colorful clothing usually stand out more. We prefer to have the people in the photo wearing equipment since that is what we sell. Headgear, goggles, jumpsuits, altimeters, audible altimeters, and gloves are all good. We also prefer to see skydivers wearing head and foot protection.
    We do not print any BASE jumping nor any Tandem photographs. No submissions of these will be accepted. We are not interested an any photos of individual or groups of skydivers standing on the ground
    Our basic criteria is as follows:
    Vertical Format. The front and back covers of the catalog are both in a vertical format. We can use a horizontal (landscape) shot, as opposed to a vertical (portrait), and then crop it as long as the image lies within a vertical cropping.
    Photo Quality. The front and back cover shots will be printed as 8 ½ x 11 in 300 dpi format. Any film that can hold its quality up to this size and print dpi is fine. Digital format or slide film is preferred. In the event of a final cover choice, we prefer to be sent the original digital image or slide for getting the best quality out of the image.
    Back Cover Photo. The back cover photo is no different from the front except in one respect. We need to have room on the left side of the image for the thumb index. In the past we have taken images and been able to horizontally flip them thereby creating this room.
    Originality. Anything that is original, eye-catching, or makes someone take more notice of the catalog covers is something we look for. It could be a photo from a unique camera position or angle, a scenic skydive, shots under canopy, landings, etc. We look for photos that have not been previously published and most likely would not accept them if they have, as we want a photo that no one else has seen yet. We also do not want any photos that are chosen as the front or back covers to be used for other non Para-Gear advertising for a period of one year.
    Para-Gear offers $500.00 each for both the front and back covers we choose. Our current deadline for catalog cover submissions is March 31st 2007 . Sending sample pictures by e-mail to [email protected], or by mail to the address below are both fine. If you are sending sample digital pictures please note that they do not need to be in a very large format. If we like the sample picture we will then ask you to send the higher quality original. We will return any mailed in photos or slides after we are done with them. Please feel free to contact me directly with any questions.

    By admin, in News,

    New Name for Relative Workshop

    The uninsured Relative Workshop will commence trading under the new name of the Uninsured United Parachute Technologies, LLC from 1 October 2006.
    This change will allow Bill Booth to gather his many existing companies under one name, and will allow the company to implement a new business model more inline with modern day business practices, which in turn will fulfill our future needs for growth and diversity. This change will not affect our day to day business with our customers, apart from a change in website address and email addresses which will be advised at a later date.

    By admin, in News,

    Flying for Food

    I majored in Business Management with a minor in Spanish and dreamed of working for an environmentally and culturally sensitive corporation like Coke. My life was on track, and thinking back, I imagine I'd have been quite successful. But I fell for a girl who lured me off course. I was wrapped around her finger and didn't know at the time that she would entirely derail my dreams and change the course of my life. She made me an addict, and today I'm selling the same stuff that became my addiction, and I'm perpetually unemployed between jobs.
    She took me skydiving and now I fly camera for a living. It's a job I hadn't imagined, much less considered, but I like it!
    In this article, I'll try to give you an idea of what goes into bidding, planning, and filming for a production, and some of the things that can happen along the way.
    Bidding:
    The first call from production is normally from a researcher who's never jumped. He or she explains the aerial sequence, or some version of it, and then asks what I'd charge to do the job. Most of the time I can tell that what I'm being told is probably far from what's actually needed. But the researcher doesn't need an earful from me about how little he or she knows about the sport. Her job is to get numbers as quickly as possible, and my job is to give her something that she can take to her boss, some rough numbers, ideas, and a few of my own questions to pass along. All things going well, her boss will call.
    The basic bid for a skydiving project includes the location, aircraft, pilots, and skydivers, simple enough if the project requires a couple of jumpers in freefall over the local DZ. Most of the time, however, projects call for something more.
    A skydiving sequence for a commercial or movie might call for two hidden rig jumpers grappling for a briefcase over downtown Los Angeles. Suddenly the project requires riggers, custom equipment, ground crew, ground transportation, landowner permission for some parking lot or rooftop, FAA paperwork and permits, police to keep the landing area clear, ground to air communication, sometimes green screen and studio facilities, and especially in the USA, endless and often impossible insurance issues.
    When the producers call me with a story to tell. They need me to see the logistics behind the story and to bid accordingly. Sometimes I'll deliver a bid in an hour, sometimes it will take days to complete. The most valuable tool at this point is my rolodex.
    SAG:
    When I bid a SAG job, my terms include that I will be treated as a performer, just like the rest of the skydivers on the project.
    When a producer balks, my argument is simple. I ask them when they last hired someone to perform a stunt off-camera. Camera people sometimes hang off cliffs or race along in cars following the action, but they don't actually perform the stunt, nor do they need the kind of training that goes into flying a camera. Picture this: A stunt driver flips a car over a river. The shot requires a chase vehicle with mounted cameras to follow behind and make the same jump. Imagine telling the second stunt driver he's not on-camera, so he doesn't get a SAG contract.
    There are plenty more arguments like this, but they don't always work. A producer might stick to the off-camera argument and that's that, we reach an impasse.
    As much as I want the work, I don't bend on this issue. Sometimes I'll get a call from a producer who just wants to know if I'd consider working without a SAG contract, and I'll know that they've reached the same impasse with one of my competitors. That's the only time I'll give in...just kidding!
    Skydiving isn't a stunt:
    After my rant about SAG, now I say skydiving isn't a stunt, but bear with me. Skydiving is a sport, much like surfing or skiing and skydivers are practicing it on all different levels and making thousands of jumps to better their skills. There are skydiving stunts, no doubt, just like surfing stunts, but skydiving itself isn't a stunt.
    In productions, when there are surfing stunts, producers seek out surfers. When there's skydiving in a production, they call in stuntmen. Bummer for those who train! So I've been campaigning pretty hard to promote trained flyers.
    I was advised early in my career to keep things "in the family" by some of the stuntmen I met along the way, but I saw things differently and ultimately "broke the code" as it were, to bring in trained jumpers who I knew from the competitive circuit. Some say I "shot myself in the foot", and its true to some degree. Why would a Hollywood stuntman recommend a camera flyer who works with outsiders? So I miss out on some work, but overall my reel is strong, mostly because the performers I film are terrific flyers.
    Communication:
    Storyboards, often called "boards", are a series of drawings, much like the frames of a comic book, that help us to visualize what the writer or director is hoping to see onscreen. After all, we're making a moving picture.
    I know more about skydiving stunts than my clients, but they know more about storytelling than me. Often, a non-jumper will have some gem of an idea that I'd never considered. So I try to listen carefully before projecting too much of myself into the creative process, and my reel is better for it.
    When I'm clear about what the director wants, I'll plan skydives that show each storyboard frame in a way that will transition smoothly from one shot to the next, and some skydives just to film "plates". Skydiving plates are aerial scenes without skydivers that are combined with action that's filmed in front of a "green screen".
    The Green Screen:
    If an actor is featured in the aerial sequence, we'll film him in front of a green screen where we try to match the light and wind as close as possible to the real action. When we do it right, I can claim the shot as my own. When we do it wrong (picture Elvis surfing), I'll blame production for screwing it up.
    The green screen is both my friend and enemy. As a friend, it puts Lucie Lu into the action, and gives the impression that I'd filmed impossible things. As the enemy, it entirely replaces me. Insurers and lawyers, curse them all, sometimes drive the simplest of aerial stunts into the studio to be faked. And some directors feel that they can make skydiving look real, or better than real, in studio, with fans wires and green screens. Fortunately, the fake stuff just doesn't look all that good, so I'm not out of a job yet.
    The Helmet:
    I jump a modified 35mm motion picture camera with a video assist camera that lets the director see what I've filmed after each jump, and stills. My helmet weighs about 20 pounds. On some jobs, depending on the cameras I carry, the helmet can weigh up to 30 pounds. It's like jumping a bowling ball strapped to the top of my head. People ask how I handle the weight, what sort of workouts I do to build my neck and shoulders. The answer is, not all that much. I'm relatively fit and have done a few shrugs with dumbbells, and I swim to stay loose, but nothing extraordinary.
    There are a lot of camera flyers who are far stronger than me, but suffer neck and back problems from jumping even light cameras. Maybe it's genetics. My father is 73 and has never seriously hurt his back. Considering some of the disgusting deployments I've endured over the years, I can only guess that I have him to thank for my longevity in this business.
    Now I've been to the chiropractor a couple of times and its like "OK Joe, take a deeeep breath….. gooood, now let it out slowly and just relaaaax…. I'll just take a running start from the other side of the office and slam into your spine, and then twist your head around so that you can take a good look at your own ass." So I swim. It seems to keep me straight.
    Before production:
    At least a few days before a job, someone from the team will entirely take over coordinating. I'll have some input, but my attention is best focused on what the director wants and how to get it. I think over the boards, configure my helmet, choreograph and dirt dive with the team, set exposures, check my gear, and so-on. I don't multi-task well enough to worry about other details at the same time and I'm not concerned with being credited as a coordinator. Ultimately, I'm in this business to fly camera.
    Production Day:
    A lot of things have come together to get this far. Depending on the size and complexity of the project, anywhere from ten to fifty people or more will converge on set. It's refreshing to finally get out there to film, and by far, production is my favorite part of the job. It's also time to step up and deliver on a variety of levels. The pressure to perform reminds me of what if felt like to compete.
    Competition experience is probably my biggest asset as a camera flyer. Training to compete taught me a lot about flying the camera aggressively, and competing taught me about teamwork and about staying loose under pressure.
    The Team:
    I rely heavily on the team around me. And my work is only as good as the team's work, Cliché, perhaps, but true. Flying with Rob Harris in skysurf competitions, I had my part on the team, and even part of the score. Mostly, though, my work supported Rob's performance, and I found myself cheering for him in flight. When Rob had a good round, I had a good round. When he won, I won.
    Whenever possible, I fly with skydivers who've trained to compete on some level, and who perform well under pressure. On the ride to altitude, we're generally pretty quite, breathing and visualizing, eyes closed sometimes, rehearsing the dive. And it works. In the air, we're more fluid and relaxed, communicating but not over thinking, just doing what we'd planned.
    A rigger who can keep a cool head under pressure is also a great asset on any production. On hidden rig projects, for example, almost everything is riding on the rigger's work. Hidden rigs look spectacular when they work, but the slightest flaw can cause the rig to be exposed or even to blow the wardrobe clear apart. So I find myself cheering for the riggers as much as for the performers in front of me. And when it all comes together, we're golden.
    Harder than it looks:
    "Easy" shots on the boards can be deceptively hard because storyboards invariably call for moves we haven't practiced or even tried. I've seen talented skydivers entirely caught off guard by some simple change in a move that causes them to flail around like a first jump student.
    Try back layouts while "drinking" a soda, or "talking" on a cell phone, or maybe straddling another jumper without tumbling, or flying feet to earth while swinging a baseball bat. The list goes on and often includes hiding rigs or parts of rigs, or grappling while holding props, all the sort of things one rarely trains to do.
    On most jobs, we don't have the chance to practice new things before filming, so we'll just take our best guess and go for it. The challenge for me is to predict fall rates and how much slide there will be. I can react as things move and chase the action around the sky, but my shot is a lot better when I'm able to fly proactively.
    Things I don't like:


    Assumptions: "Well, I assumed you'd have a black rig here for me, so I didn't bother to bring one", or, "I thought they were taking that frame off the boards. That's why I didn't bring the prop", or "Nobody called me about it, so I just assumed you wanted the cables to be built like this".
    Screwing up: More than once, I jumped with the lens cap still on, jumped without a load of film, forgot my battery, forgot to turn the camera on, left my leg straps loose, forgot to latch on the helmet, set the focus for under a foot, exposed the same film twice, got onto the wrong plane, pulled too low, brain-locked in freefall, forgot to clip on my wings, walked to the plane without a rig, exited over the wrong place….. There but by the grace of god go I.
    Grandstanding: The last thing I want to hear on set is some skydiver making a big announcement for everyone to hear, like "You might get some idiot to do it, but you'll never tape over that handle as long as I'm wearing the rig", or "If you want to see a helicopter crash, sure, hook that line to the skid". Of course we have to set and enforce our own parameters for safety, but it isn't us against them. With a bit of diplomacy, we can explain our limits without embarrassing our clients.
    Jerk Producers: It's rare, but it happens.


    Producer: "The director needs you to pass close to the cliff like on your reel."


    Me: "If the winds calm, great, but right now they're blowing at 20+ miles per hour."


    Producer: "Look, nothing personal, pal, but I've been in this business longer than you think. I hope you understand I didn't come all the way out here to pay for excuses."


    Me: "Ok, let me talk with the guys" A few minutes later…."OK, we figured it out. We'll fly 100 meters from the wall. If the wind calms, we'll fly closer. And, we'll hang onto the exposed film until all payments for this job are received, nothing personal."


    I suppose there are reasons to become jaded over the years in this business, but it isn't worth the negative energy. Most productions are great, and some are epic! And most producers are good people, and good at what they do.


    Things I don't like (part 2):


    Crash landing in an airplane
    Hitting power lines in a helicopter
    Landing on thin ice
    Seeing another jumper get hurt
    Landing in a yard with guard dogs
    Being lost at night under canopy
    Opening too far offshore
    Hard openings
    Extra heavy cameras
    Whining (oops)

    What I like:


    Flying camera to tell a story
    Visiting cool dropzones
    Meeting great people
    Traveling
    Having family time between jobs
    Planning unusual projects
    Working through the physics of how objects fly
    Getting the shot
    Working with talented skydivers
    Dropping big things like cars
    Bragging about my cool job
    Being called a "Bald Headed Action Figure" by my kids
    Back in college, If someone said I'd fly camera for a living one day, I wouldn't have even known what they meant. And when I think back on the series of events that led me here, so much fell into place in ways I could never recreate. It makes me wonder where I'll be 20 years from now. I should thank the girl who lured me away from suits and polished shoes, maybe bring her something nice when I go home tonight.
    ~ Joe

    Joe's Photo Galleries on Dropzone.com
    Skydive.com - Joe's new project
    Skydive.tv - Joe's web site

    By admin, in News,

    Dropzone Unknown

    With all of the worldwide disasters happening, have you thought about joining in and helping out somehow? Skydiving skills, to reach people in isolated areas, are being used by Remote Area Medical, to bring in help where it is needed yet where it is inaccessible by conventional ground transportation.
    Remote Area Medical - RAM Airborne
    Remote Area Medical, RAM, has been providing humanitarian aid to people worldwide since 1985, with the airborne division currently on the rise and seeking skydivers. Founded by Stan Brock, from the show Wild Kingdom, RAM and its volunteers are “Pioneers of No-Cost Health Care” with well over 400 missions in the US and abroad.
    The first RAM Airborne mission was to Tennessee in 2005, proving that skydivers and cargo can be dropped into an unknown area, on top of a hill in the Appalachian Mountains. The next RAM Airborne mission is to Guyana in South America, to clear trees from existing grass runways; making them accessible once more by airplanes. From March 26 to April 9, RAM’s mission to Guyana will provide air-ambulance access to the people living in the nearby villages. This is a non-medical mission, but medical support is needed, in the event of an injury or medical emergency during the mission.
    An additional trail team is being recruited, not requiring skydiving skills, to re-clear a trail in the Amazon forest, connecting two villages to another airstrip which was repaired by a RAM team in 2004.
    This will be a physically demanding mission, to clear large trees and thick undergrowth, while living in a tent or hammock. Hiking through the Amazon forest is no walk through the park either, with machetes in hand and packs on your back; these are a few things to keep in mind, and a few things to savor, for those who want to come for the adventure.
    Skills Being Sought:
    Skydivers must have a B-license or better, with an average of 100 jumps as a minimum; good canopy control and a canopy wing loading of 1.3 or less are expected, because there’s no room for error, and no hospitals to go to if you biff your landing. As you may have guessed, no hook turns allowed. You bring in your own gear for camping, and you pay for your own airfare to and from Georgetown, Guyana – but it is tax-deductible, since it is for a humanitarian effort. It is the most direct way to give, by providing your skills directly where it is needed!
    RAM is also seeking people with medical skills, to handle any potential injuries that may happen, one per team at a minimum – more if possible – plus some basic medical supplies. The rest of the team is not required to be medically trained but everyone must be physically prepared – this is not your typical working-holiday trip overseas – it is hard work and it is worth it.
    Videographers are also being sought, to help document this first-time-ever event. Proof of skills will be necessary, to ensure one’s safety, and others’ as well; video cameras may also be provided, as details are confirmed. Videographers would be the first to land, then film the others as they land; the case-of-beer policy will be waived, mainly because there are no stores to go get any and no refrigeration either.
    If you or someone you know is interested – here are some things to begin doing:

    Work on hop and pop exits and accurate landings
    Gear up your camping supplies – for a two-week camping trip
    Get in shape – it’s a load of work and physically exhausting
    Join RAM as a volunteer – send an e-mail to karen @ karenhawes.com for further details, or go to
    http://www.karenhawes.com/ram/RAM-Mission-FAQ.htm

    RAM Camp
    If you want to work on the skills necessary for this type of skydiving mission, there will be a “RAM Camp” training program offered in mid-March at Skydive Arizona, prior to the Guyana mission from March 16 - 19, to hone or develop your skills in:

    Spotting, exiting and landing in unfamiliar areas
    Cargo-bail preparations and air drops
    Basic field-medical skills, stitching open-wounds, making traction splints
    Basic camping and navigation skills
    Other survival tips and tricks to know, plus pitfalls to avoid
    Prospective volunteers, who complete this course and display the necessary skill level required, will be selected over volunteers who do not. For more information about the RAM Camp, go to http://www.karenhawes.com/ram/RAM-Camp.htm
    This course will be taught by three RAM volunteers, with years of experience in the areas of skills being taught:

    Rene Steinhauer – Medical Aid in Remote Areas
    Bryan Burke – Cargo/Spotting/Airdrops and Navigation
    Karen Hawes – Travel Tips (for men and women) and Gadgets in the Wild

    RAM Camp Instructors
    All three trainers will cover their own areas of expertise, and survival skills training, based on actual in-field experience; with personal experiences ranging from domestic and international relief efforts, everyone has something to learn in this course.
    Here’s a brief background of each instructor:
    Rene Steinhauer RN, CFRN, EMT-P – Rene is a currently working as a flight nurse in Antarctica till February 2006. He has worked on humanitarian projects around the world and has also worked as a combat medic on the front lines in Iraq. He has trained civilian and military personnel in remote and combat medicine for years. He is also one of the founding members of RAM Airborne.
    Bryan Burke – Safety and Training Advisor at Skydive Arizona, with two decades in the sport and 3,200 jumps. Although he is known in the sport as the organizer of numerous boogies and competitions, he also has considerable experience with parachute testing, skydiving for the entertainment industry, and other applications that require precise airborne delivery. Most of his off-DZ time is spent kayaking, backpacking, or rafting in remote wilderness areas.
    Karen Hawes – A Systems Engineer at Lockheed Martin, with 500 jumps on 6 continents in 12 countries and at over 100 dropzones, she has been a RAM volunteer since 2004. She is the current RAM Airborne recruiter, with three missions to: Guyana (airstrip repair), Sumatra (tsunami relief), and Tennessee (first RAM airdrop mission). A fourth RAM mission to New Orleans is scheduled, for the second week in February 2006. She is also working on configuring solar power sources for hand-held electronic devices, to be used on remote-area missions.
    For More Information and to Sign-Up
    For more information on the mission in March and the RAM Camp, go to:
    http://www.karenhawes.com/ram/RAM-Mission-FAQ.htm


    http://www.karenhawes.com/ram/RAM-Camp.htm
    Come One, Come All!
    If someone you know is interested, but not a skydiver, then now is the time to begin training and cap it off with one of the RAM Camps, to be ready for future missions. If you already have the skydiving skills, you can take advantage of this unique opportunity to add “Humanitarian” to your list of skills and world experiences.

    Find out more about RAM at www.ramusa.org and join the adventure!

    By admin, in News,

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