newshooter12

I believe this one falls under the "Blue Laws" category matt

Just had a co-worker go missing Wednesday night 6-7 pm ish... only took a few hours (11 pm ish) for his wife to contact the station. He's not like that to be un-accounted for or have his cell phone go to voice mail. This afternoon i got word that State Police found him... suicide matt

if i'm not mistaken the reason i got for the nylon bolts is so that if you do have a snag it is more likely to come off rather than cause an entanglement. Personally i'd rather it fly away on its own than take my head with it matt

ok... i'm sitting here with a 23G XDcam Disc wondering why a triple layer disc is only 51G ?? what is the reason that the 23G single layer disc doesn't turn into a 46G double or 69G triple layer? matt

it'd be really nice if someone would proof read their pages for them. that and add some information about capacity... as in... how many minutes of video fit on an 'x' sized memory card. matt

a few edit programs that i know of... final cut i believe and higher end avid products will edit NTSC and PAL together. the problem being that the avid Express that i know will do it can only edit it in a PAL Project or Timeline. That doesn't help us in the U.S. So basically unless you get your PAL footage converted to NTSC before you put it into your computer it's pretty useless in this country. except for watching it on your camera. Don't you just love non-universal standards like Never The Same Color and PAL?!?! Matt

$2.47per tape plus a flat fee of $5 for shipping so getting more makes more $ense where i buy them

the fit and finish of that box looks amazing

the biggest problem with trying to get good... aka... not like a tin can audio. out of a consumer camera is that they all have auto gain for their audio. if your camera has some form of input you can get around that by getting a small audio mixer to plug inbetween the camera and the mic (or mics). then just ride the audio levels yourself so you can cut out the ambient noise(s). if you want that option on the run there are a handfull of manufacturers that sell through bhphotovideo.com and make smalle 2 channel mixers that attach to the bottom of your camera and have the mic level control knobs on them. matt

Jimmy - Next thing you know Pat is going to buy one and then I'll end up with one I really didn't want to spend the money this coming season Seriously though... the part about your tapes not working in all cameras well could be head clogs in the camera, or more likely missalignment of the heads after a while so that the tapes recorded in one camera don't play back quiet perfectly in a newer camera where the inner parts haven't been bounced around by a bunch of openings. What are the tapes doing? Playing like? matt

I've never had a problem with my lexar cards sorry to hear about your problems. what camera are you using it with and what make/model of card is it? That said i've never had any problems with the San Disk cards or Ultra Cards i've had and used either. some just seem to transfer faster than others. matt

it's not so much sony that is failing... it's the hard disc. a solid state version would work much better IMHO.

reverse engineer the position for yourself. hook up your camera to a TV so you can see where you are pointing. get to the position you want to film from regularly. center the TV in itself and then work with the sight in your hand until you find a comfy place. then loosely put the bracket and sights together, repeat the sighting with the TV, but have someone help you put the mount where it wants to go. then tape it down. check out where it'll swing to when you rotate it 90 degrees out of the way. then fine tune it by repeating the process. until you're sure where you want it. drill the holes and mount it. then put it back together loosly with your helper and figure out the sighting... have your helper get it tightened down snug. then mark the excess post. dissassemble. cut the posts and smooth them out with a file/grinder/sandpaper... then reassemble with your helper. and go check it out in the air.

somebody has a new project for the winter... lol. in all seriousness that one is HUGE looking and some of the others don't seem to have wide enough beams to cover the formations well. matt

there are a handful of new sony cams that were recently announced. you may want to wait to see if you can catch a price drop on what you're looking at.

sure... but what's so 'taboo' about talking about equity?

what parts do you mean are "taboo"? i'm in a union, but not THAT union... so i'm just a bit curious where the double edged blade cuts this subject. understanding where things are is great... though hard when you're dealing with finesse or 'taboo' matt

i'm really thinking most people use different 'standards' (ie... DVCAM or HDV) and 'hardware' (ie... PC-***, etc...) interchangably... so disscusions get confusing. it sounds like most people realize when you buy the broadcast version of equipment you're getting a lot more, but penny-for-penny consumer/prosumer equipment that is coming out can be a great deal considerin what we do with it in skydiving. matt

for lack of a better way to describe it it's the part closest to the wires on the stereo mini-plug type switches from conceptus.

the connection for the 200 is a three wire setup right? one neutral (goes to the ring on the conceptus switch), second wire focuses and meters (goes to the center on the conceptus switch), then the third fires the shutter (goes to the tip on the conceptus switch). you've got your options of colors and i'm not 100% that the colors are consistent from switch type to other types, but it's still a three wire right? so you shouldn't have much trouble figuring out the combination out of the 6 possible ways to do it. a solution i've seen for a friend or two is... use the wiring pattern from the canon switch which is here. attach your MC-30 (or better yet MC-22 which i believe will work for you) leads to the appropriate poles on a 3/32" female connector. plug in the conceptus switch. put your camera in constant focus or run it in manual focus, put the shutter to constant. then you should constantly be focusing and metering whenever the camera is on and the switch is plugged in... then just fire the shutter whenever you like.

depending on the conditions... light conditions, etc... the camera may have had difficulty focusing or choosing the correct exposure because of the moisture. so it may have shut down too far and gone dark. that's my guess, but it sounds like more then just moisture. matt

thanks... that link with the wiring for canon's plug was all i needed. matt

Yes... i've looked and searched. Here's what I need. The info that Conceptus says they send with each stereo switch. Why: I'm planning to wire a MC-DC1 knock off plug to a female stereo 3/32" plug so that i can use the normal MC-DC1 end, a conceptus switch, blow switch or some other switch in the future without having to solder each time i switch it. I know the wiring colors from Conceptus that they put on their website, but they don't tell you which wire goes to Ground, R2 or L1 on the stereo plug. Can anyone help me with it. Jimmy if you're reading this... it's what i want you to do so you don't have to cut and hard wire a new swith each time your tongue switch breaks. So you'll be able to just plug in a factory fresh/backup tongue switch. matt

i've had great luck with B&H as well... so far a used nikor 16mm f2.8 lens and a refurbished D70... plus a bunch of new stuff. matt

well... it's definitely a smear [as in your example] on my mini-dv (SONY DCR-PC350 with what i thought was a CMOS sensor, but can't find the info online now), my work camera is a Sony PDW-510 with 16:9/4:3 Switchable Power HADª EX CCDs & it never smears, and the D70s has no smears with it's CCD. i know what a lens flare looks like... is that close to a refract? matt