Helmet cameras

[JGarcia 0]

I think that Phastasphuk has hit the nail right on the head when he says

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Is it possible to install some kind of connection that enables the camera lens to be disconnected with just a slight amount of force from the wire running to the camcorder?
I'm no techno geezer knowing lots of stuff about digital or analogue signals and connections, but surely there must be some solution that can be applied

So here it is:

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I would be happier if the camera's cable plugged into the camera rather than being permanently attached. It would be more convenient as well as safer. Unfortunately, it isn't. I can disassemble the camera to see if I can ease breakaway or possibly rig a plug. Another option is to carry a small wire cutter with me, possibly mounted near my cutaway handle. Ideally, I'd thread the wire through the wire cutter, like the cutter assembly on my AAD.

Go to your local RadioShack or similar store and get a mini jack (male and female plugs). Cut the wire that connects your lens to the recorder at the point on the base of your neck. Connect (solder) one end of the severed wire to the male jack, the other severed end to the female jack. Now you can have a very quick way to completely jettisson the helmet without having to worry about crap flailing behind you if you have to get rid of your helmet.
I definately agree that your set up is less prone to snagging than 90% of professional cameraflyer setups...including mine. However, the main concern here isn't the snagging, it's the ability to quickly AND completely jettinsoning the stuff that's causing the snag.
I use a similar jack set up that connects my camera's shutter release to a tongue switch, all contained within the helmet (Bat-Rack, by BoneHead Composites). I used the jack system so that I could QUICKLY (1 minute or so) change out tongue switches--in case one happens to short out I could quickly detatch it from the shutter release and put on my backup tongue switch. It took 10 minutes to do all the soldering so you don't need much prep time...and this would be FAR more convenient and more realistic than having to carry around a wire cutter with you in freefall. Remember, Keep it Simple.
Try this, and you may have best of both worlds. Good luck!!
--Jairo

Low Profile, snag free helmet mount for your Sony X3000 action cam!

[MarBrock 0]

Thanks for the advice. Sounds like a plan I can accomplish. I'm glad I dropped into the discussion. If I seemed a little defensive at first, that's only because you guys are so offensive.

[Deuce 1]

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I used the jack system so that I could QUICKLY (1 minute or so) change out tongue switches--in case one happens to short out I could quickly detatch it from the shutter release and put on my backup tongue switch.

Well, this one happened to our video concession owner Sunday. The switches are so durable and simple, it didn't occur to me to be ready to switch it out.

I have the disconnect for my camera-to-helmet soldered up all permanent, but not on the other side to the tongue switch. I got the stuff from Radio Shack.

I'm curious how many wires hook up to the lens of MarBrock's set up. Two? More?

I know the old-timers carried VHS decks on their chests, and those ran cables to cameras on helmets, I borrowed a suit a while back that had the velcro attachments for that stuff.

Good luck.

[JGarcia 0]

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I'm curious how many wires hook up to the lens of MarBrock's set up. Two? More?

I would guess that he'd have 3 wires going through the cable: +, -, and ground.

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Did you get that commercial gig? Are you rich and famous? Can I get your autograph?

Well, they've postponed the shoot for a couple of weeks...logistics and hurricanes postponed our first 2 attempts. Hopefully the project will get picked up soon. I can still give you my autograph though!
--Jairo

Low Profile, snag free helmet mount for your Sony X3000 action cam!

[Deuce 1]

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I can still give you my autograph though!

Eloy, baby! Eloy!

[MarBrock 0]

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I would guess that he'd have 3 wires going through the cable: +, -, and ground.

The cable contains three wires, one red, one yellow and one black. I think you've hit this nail on the head. Thanks.

[Zlew 0]

Another option is to carry a small wire cutter with me, possibly mounted near my cutaway handle. Ideally, I'd thread the wire through the wire cutter, like the cutter assembly on my AAD.
***

lol....just when i thought the sport was moving forward....
ROLL TIDE ROLL

Z

[mark135 0]

wow! seems this thread has broken into 2 themes. ejection and systems.

im no jennings or mcgowen (sp) so ill just let you know i have a little over 700 jumps, 350 are camera jumps.

I use a protec. laugh if you want but its cheap, fits tight on my head and is easily ejected. I have cut off the chin strap and sewn that to the two straps near the snaps. one tug and bye bye system.

my still system is jacked in at the rear of my helmet (hand switch) and will easily unplug at 10-15 pounds of force. as long as the helmet fits good, a more expensive one wont shoot better video.

I use a trv11. It has all the features i want and are readily accessble (sp) somthing i cant say for the more expensive trv's. my still is a canon rebel x i picked up at a pawn shop then promptly doubled my expense when i purchased a 22-55 mm zoom lens. I have it taped down at about 23 mm. my sight is the basic orange disc. I had a concentric sight but sold it as i do not look through the sight but merely use it as a referance point. i shoot where i look.

this setup shoots excellant quality film. suitable for televison. the rebel shoots film suitable for magazines. i would like to know what a more expensive setup would do for me.... no really. am i missing somthing?

as far as makes of video cams go its sony all the way. a friend has a trv17 that was attached to paramount superlight. an unstable deployment caused a riser snag on his ejection handle. bye bye helmet. after finding the system we were able to watch the film of its descent from 3,000ft. the helmet didnt fare so well. this same trv was promptly mounted on another helmet and worked perfectly. there was also a pro trac in the helmet and terminal velocity for this system is 64 mph.

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"It seemed like a good idea at the time"

[MichaelBess 0]

I use a protec. laugh if you want but its cheap, fits tight on my head and is easily ejected. I have cut off the chin strap and sewn that to the two straps near the snaps. one tug and bye bye system. ***

There is nothing wrong with wanting to get by with what your budget allows. If your budget allows only a Protec then that is what you will have, at least you are doing video.

As for your statement about fits tightly... Not so. It may fit well, but low-density foam will not allow you to lock the cameras to your head no matter how tight you have your helmet and chin cup. You need (at minimum) high-density foam to fully isolate the cameras to your head. Protec by design has a medium density outer liner (the white part) with a low-density inner liner (the yellow-ish part). If you have a very large head the yellow is much thinner and will work better but in my opinion not good enough to end up with professional results. As the air hits the cameras (especially when filming 4 way with a steep angle) it has leverage against that low-density foam and it WILL compress thusly camera movement / shake will occur. This is the main reason that most folks that have a Protec will eventually dump them. There are other reasons like a better engineered system will have the cameras mounted much closer to your head (both front and top) and thereby reducing leverage. Enjoy your Protec but I guarantee if you continue doing lots of videos it will eventually be replaced.

***
this setup shoots excellent quality film. suitable for television. the rebel shoots film suitable for magazines. i would like to know what a more expensive setup would do for me.... no really. am i missing something? ***

Yes, if your requirements are low end video (less lines of resolution) processed through a single CCD chip then the end quality of your video will be less. If however you wish to shoot better video you could step up to a "Magapixel" CCD chip camera (such as the PC series) or go all the way to a three chip (3 CCD chips) to process the colors much better. If you do a simple test you will see it.

Shoot the following cameras on the same settings, at the same time, at the same subject, side by side: 1) your TRV-11, 2) A PC 100 or 120, 3) A PD-150 or VX-2000.

Then Display all three videos on a quality monitor (something capable of showing you what you are missing).

The increased quality of the video will be obvious to see.

As for your Rebel, better optics produce better photographs period. Your Rebel is a fine camera but no where near "Professional" quality. It's all about the lenses and quality therein. If you want the next upgrade (I'm still talking film and have not even mentioned digital stills) read up on Medium format cameras (such as the Pentax 645), look at the size of the negative. This will answer your own question. Yes the better the camera the better the potential is for a better photograph.

Michael