PharmerPhil
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Posts posted by PharmerPhil
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QuoteNo, you will not be spanked at the editing table. The HD camcorders can all output SD as well, so if you're using older analog gear, it's the same.
It's not exactly the same. Yes, the HDV cams can output SD whether you shoot HD or SD. But if you shoot in HDV and then down convert in camera, there is a lag when going from slow-mo to full speed (ie. a couple seconds of freeze frame), and when re-winding the tape, what you see isn't what you get. i.e. the scene jumps many frames from what it was displaying in rewind and what it plays when you go to play mode. If you're shooting to edit on the fly on older analog equipment, shooting HDV will be a pain IMHO. But if you just use a HDV camera and record in SD for those systems, it acts just like the older SD camcorders except it looks better and is 16x9. -
I highly recommend going HD, whatever the media. For $100-200 more, you can get a used HC-5 (HDV) that records in either HD or SD. If you are using an analog editing set-up, you'll probably want to use SD, but at least you have the resolution upgrade path for no add'l dollars. If you ever want to shoot HD, you can mix HDV well with whatever any other HD videographer is shooting, and either way (HD or SD) you will be shooting 16x9 which is also the future (I don't think the 109 does 16x9, but I may be wrong).
The HC-5 is a wider camera than the PC-series, but if you are going top-mount anyway (good move IMHO) that doesn't matter, and it is shorter than most of the PC-series cams as well which is a big plus for top-mount.
Just my too sense... -
QuoteNope, I've since converted the case for other uses and have the foam sitting around if I fly to a boogie/event...
I have taken to using a nice camera bag to haul the glass and bodies around in and then carrying the helmet in my freehand, I also use the same bag for taking the camera's with me on hikes and around town. The bag is just so much more practical
Ditto, ditto.
I have a Pelican (I think 1650, not sure), but I ONLY use it for my helmet now when I am flying. And then I still carry the actual cameras in a LowePro bag on board (CompuTrekker AW). The Pelican is just too much for back and forth to local DZs. Right now I am in Florida for two events (Team Elite and Kaleidoscope), and I drove so I could carry multiple rigs, cameras, printer, DVD burner, etc., etc. Even for this trip I left the Pelican at home. It was last used on a flight to carry my tripod, AC cords, tools and asst. stuff for a non-skydiving video shoot. Great cases, but IMHO you don't always need them.
P.S. I have three LowePro bags for stills and two Petrol bags for video cams. I wouldn't check them as luggage, but beyond that they are highly recommended. -
QuoteWhy would they change the way their camera wroked to ALWAYS go back to default settings? It annoying as fuck.
Because they're not making them for skydivers, simple as that. These are designed for consumers. If your average mom and pop somehow get the camera stuck on manual anything (because they're skydiver son was holding the camera at the family outing maybe?), it will revert back to a point and shoot, which is how 99 percent of these are used anyway. No more customer returns because "the HD video looks fuzzy."
Personally, for tandems, I don't give a hoot. I change my foscus setting three times for each tandem jump anyway (and the "Spot Focus" mode on the newer cameras make this easier). If the camcorders had always done reset focus, it would have just been part of your procedure and no one would have even cared or complained. -
If it were I,...
I would fill in the space between the top plate and the helmet before I jumped it. I could see how a line could easily get trapped and wedged in that groove. -
I'll take this one.
Welcome to the video forum. There are a couple of things that will help you with your questions. First, I recommend you fill in your profile so people what know your experience level is, what experts may reside at your home DZ, and what kind of jumping you do. Be prepared for the recommendation to be "don't fly video" if the people here don't think you have the experience to add more risk to your jumps.
Second, do a thorough search on this forum for the subjects you are interested in FIRST. The questions you are asking have been asked many, many times before, and any opinions on these subjects have already been expressed (ad naseum). Rather than make others do the work for you, use the search function (top right). If you do this you will have a lot more knowledge, and any remaining questions will be better received.
Lastly, if you have never flown video before, no one here will recommend you start with tandems. You will discover the reasons quickly if you do a search.
Also, read, read, read the sticky at the top of this forum. Good luck! -
Quote(esp. important when working with blue/green screen.)
I'm kinda curious how much green screen work you are doing in freefall?
FWIW, most people refer to HDV cams as HD. No it isn't uncompressed HD, but who the hell is jumping that stuff?
As far as a previous post goes, I have both the A1U and the HC-5, but I hardly jump the A1U anymore. The A1U is a great camera, but for most freefall there really isn't that much difference except the HC-5 is smaller and lighter. -
QuoteIf you're so determined that 'the show must go on', do your camera work a favor and put your back to the offending scene.
This is good and basic advice. I would add offending words and actions by others at the DZ to the list of things to avoid.
I usually caution fun jumpers around me during landing that "the camera is rolling," just so that a lot of normal DZ talk doesn't end up on my final edit while I am getting the first reaction of the just-landed-first-time-jumper. I also caution tandem catchers to keep from walking in-between me and my student/customer ("keep the camera lane clear!").
However, I have had many fun jumpers do inappropriate things on tape. Everything from mildly annoying camera geeking, which doesn't really add anything positive to the "paying" customer's video (c'mon, who's paying for this video?), to fun jumpers--whose exit I tape right before my tandem goes out the door--making obscene gestures right before exit. You can't expect every jumper at your DZ to totally understand what you are trying to accomplish, but with coaching you can help keep other jumpers from either ruining your video or making your editing life more difficult. -
QuoteOk back to the OP does any have suggestions on mixers that are reasonable in price
Unfortunately, any reasonably priced analog mixer is definitely old-school discontinued product. I don't know who other than freefall videographers who still use them. Most DZs I have seen that use analog boards use either Panasonic or Videonics mixers.
In Panasonic, you have a few models from their semi-pro and pro lines. All available on the used market (many of them from wedding videographers that have long since moved on to NLE systems). Search e-bay for WJ-AVE5 and WJ-AVE7 (consumer models) or WJ-MX10, WJ-MX12, or WJ-MX30 (Pro models). All include a basic audio mixer. I use the MX-12, but the consumer models have a couple of features that are nice such as effects (freeze-frame) on both busses.
Some people still use the Videonics MX-4 (I think) for video mixing. But you will still need a separate audio mixer with this.
For either brand you will also need a titler. There the videonics titler is decent (TM2000 or TM3000). The Panasonic titlers that plug into their mixers that I have seen are all total crap. -
QuoteWhat about time? Doesn't it take you longer on a pc. I know it does for me!!!!!!!! specially when it comes to burning!
You are right. Using a PC will always take longer than an analog board, unless you are willing to give your customer a video that you haven't seen yourself in real time. Yes you can make a better product with a computer. But it takes me 7 minutes to produce a 7 minute video using my analog board (I don't hang around for the finalization of the disk). Using a computer will take that long, PLUS whatever time you take to capture and edit. No way around it unless you are willing to give your customer something you haven't seen.
Again, you CAN make a better video with a NLE system (I have also seen worse videos, but that is the editor's fault). However, prices paid to videots haven't gone up in real terms at all. So you have to decide whether you are willing to make less money to make a better product. I can see both arguments, but in the end that's gotta be your call. -
QuoteQuick couple of questions though, as this setup seems to be getting more common. How are the openings ? Seems like the Center of gravity is way forward.
On mine it definitely amplifies the openings. In a perfect world I would prefer to have everything up top.QuoteAlso, does the video catch the still camera in the frame ?
No, but that just depends on setting it up correctly in the first place. Remember, you have to allow a little more room than needed during a static test on the ground to allow for your image stabilization to work without catching the SLR lens (i.e. if you move it just barely out of view on the ground, when the EIS kicks in during a jump it will show in the video).
Also, when I put my flash on with this set up, the bulky part of the flash cable that goes on the hot shoe blocks some of my (not my camera's) field of vision. -
QuoteThere are lots of ways to learn video without putting customers at risk - a great one is filming inexperienced RW groups. You'll have lots of fall rate challenges, slides, spins and framing issues that will make you a much better photographer/flyer...
Great advice, particularly small RW groups. This is much more challenging than a really good 4-way team IMHO. Another video challenge if you can find it is an AFF Instructor rating course. Fall rate changes, hosed exits, back sliding, etc. Great for honing your video skills. Just make sure you check with the evaluator before every jump so you know what he will be doing. -
QuoteBut, but, but,...with that setup, your photos are always upside DOWN!!
Seriously, we've had a couple people complain that their photos were upside down (I used to mount my stills the same way)
My camera is mounted upside down too. No big deal when shooting film, but I always batch rotate the digital pics when I download them from the camera (fortunately I shoot film for almost all tandems). -
And communal mouth switches. Yuck. -
QuoteASCAP/BMI license DJ's to play music at parties, bars, restaurants, nightclubs, etc. Has NOTHING to do with replicating music and putting it on YouTube or other UCG sites. ZERO relevance.
On a somewhat related issue,...
The DJ at, say, a wedding, presumably has a license to play music at that wedding. The videographer at that wedding usually has no such license, and if his/her video includes music played by said DJ, he/she IS in violation of copyright laws. It is kind of a tough spot for the videographer who is expected to "capture" the event, but most of the event involves the playing of copyrighted material. -
I have jumped the A1U extensively. It is the only cam in your list that has electronic image stabilization. Which, IMHO, is the best option for freefall. It is relatively small, and is easy to mount and fly. However, I don't think it is that much of a step-up from the HC-5 for aerial work (way better for most ground stuff due to more control of the image and better audio options).
I also have the V1U (pro version of the FX7), but I haven't jumped it and don't plan to. It is a great camera, but the size and OIS rule it out for any freefall work that I do.
Don't know if anyone saw the freefall footage from Everest jumps, but the clips I saw on NBC and CBS were obviously shot using OIS cameras and it was annoying as hell. Maybe in post they can improve the footage for future projects (and I understand I was watching something compressed to get it uploaded quickly to the networks). But in this news media application, whatever they gained in quality by using "higher-end" cameras was lost by the shaky OIS footage that the networks broadcast. -
Quote...I hate going to the city.
bhphoto.com baby. I'll bet you spend less in shipping than you'll spend on gas, parking and sales tax. Plus, when I order from them using standard UPS to Massachusetts, I usually get my stuff the next day. Two at the worst. Hell, you're even closer. Either way, be aware that they are currently closed through the 22nd. -
QuoteI have to say audio is a huge part of most video, but I'm not sure I would say that music is %70 of the video.
A little off topic, but do a little test. Put on a movie and leave the sound off, then put on another movie and leave the screen off. Without sound, you can't follow what's going on. Without image, you can still follow the story line and know what's gong on (or try to watch a movie on a plane without renting the headphones). -
QuoteI have been to this site a number of times over the years with no luck. Pretty frustrating.
Amen. IMHO it is pretty silly to put something on the www that you have to log in to simply view it. I never go to that site because of that. If you wanna make something public, put it on a public site. -
QuoteImaging if your photo turned up on van halen's latest CD cover...
That was a great analogy. Imagine if Starbucks wanted to use a big hit for their ad and all they had to do was spend $10 on a CD to get use of it for they're mega-bucks national campaign. Hell, they're not selling music, they're just selling lattes... -
QuoteYou imagine it, you should be the beneficiary of your design/creation.
Amen. Otherwise, no one has any incentive to invent anything in the first place. And only THEN would everyone truly lose. -
QuoteAll I'm going to do is put the camera in and then turn it on in the plane and forget about it until after I land.
Yeah,... right!!! This has been said dozens of times before. Read the sticky at the top of this forum. -
Quote1 megapixel, 4 megapixels, and full size....25 cents, $1, $10 (at the moment).
Really? Wow. I sell 8x10s for $20 and I figured electronic images would go for way more as the customer could effectively print any size or quantity they want once they have the file. -
I am wondering how many professional videots are selling their images in electronic format to jumpers. I have always been wary of letting my original electronic files slip into the www-ether, although I can totally understand people wanting to purchase electronic files rather than prints (hell, I would prefer them). Not so interested in corporate or magazine use, but more the average Joe-jumper that wants to buy an image for use as a screen saver, X-mas card, etc.
So do you sell electronic files of your images? What do you charge (d'oh, just violated a few collusion laws)? Have you ever been burned?
advice for a newbe but potential peer
in Photography and Video
Yes.
I still do for tandems (hell, I still shoot film for tandems). I am sure I will go over to NLE for tandems in the not too distant future, but for now analog is fast and cheap (my MacPro stays at home, and my notebook is long in the tooth).
Either way though, I agree that buying SD-only gear these days is kinda pointless, and anyone doing so will probably regret it. For now, I love my HC-5, and it goes from Tandems in SD to 100-ways in HD (today) without a hitch.