Jump Camera for FS

Fancy being in the camera pool for the FS Nationals? 

If so, Steve Freedman has some friendly advice...

FS competitions have improved since the introduction of judging by air-to-air video. Generally teams get a fairer, more accurate score and a bit of cloud around the opening point doesn't interfere with the judging as it used to in the old days of telemeters.

However, it is not quite all roses in the garden. The ability of the judges to score a dive depends on the cameraflyer doing their job correctly. Although most teams now have their own videographer, there are still many which don't, usually the teams of least experience. Thus at competitions we need a pool of capable cameramen and women, who have to be very switched on.

A videographer jumping regularly with a team is familiar with the team's exit, pace and 'down the tube' ability. The poor old pool cameraflyer however has to work with variations in the count, deal with a pace that goes up and down like a yo-yo and follow groups all over the sky as they slip and slide from one block to the next. This can lead to problems in filming and, at worst, end up in a bust or a rejump. Not a very satisfactory situation, especially when we all know who gets the blame - that's right, the poor cameraflyer. Let this happen a couple of times and he or she ends up sitting on the ground for the rest of the meet or having to buy loads of beer.

The aim of this article is to improve the general standard of the camera-operators and reduce the number of problems caused by non judgeable tapes. I assume that you already jump camera and you are very familiar with your equipment.

Photo by Gus Wing

Camera problems Before we get involved in the flying side of things I want to look at three camera problems which have caused rejumps. They may seem a bit obvious, but I guarantee they have happened all too often! 1. Switched-off camera - teams do not appreciate being asked on a Nationals jump run if there is a red light showing or if the tape spools are going round! You have to be certain that your camera is on and running at least 15 seconds before climb-out. Either buy or make a reliable 'video running' indicator. You can buy them from Swardy, but they are easy to make if you can handle a soldering iron. I made my own, which has proved very reliable and I can send you a circuit diagram with construction details for no fee other than a pint when you see me in the bar at Hibaldstow.   Always make sure that you cycle your batteries to avoid developing a memory effect. If there is any doubt about the state of your battery, then don't bring it with you. This is probably the most common cause of video malfunction - pathetic isn't it!

2. Run out of tape - I do know of a case where a rejump was given because the tape ran out five seconds into the dive. Put a fresh tape in at the start of the competition or at least make sure you have enough tape remaining. Some videos have an indicator built into them. If not, you can film a digital stop watch.

3. Condensation - misting up of the front of your camera lens will obviously cause problems for the judges. This problem can occur even on a blue sky day. You can minimise the risk by using a good antimist spray. Also, try to keep the lens warm in the aircraft. Use of a UV filter fitted to the lens helps to reduce misting as well as protecting the front element from scratches. Raindrops on the front of the lens can't be avoided, unless you abort the jump until the weather improves - a decision not usually taken by the cameraperson even though you risk ruining your camera equipment. Make sure the lens is set on manual focus and the image should still be okay. If you set the camera for auto-focus, it will try to focus on the drops on the lens front and give you a very blurred image of the team.

Flying skills

I don't want to get involved in the choice of helmet, jumpsuits, cameras etc. because I assume you are already fixed up with gear and have experience jumping camera although not necessarily at competition level. Unlike videoing tandems, where you need to show the passenger's happy smiling face, the judges need to see the team from above, at as steep an angle as you can manage. This is a skill which must be practised before a live competition.

If you do not feel comfortable flying in the team's burble, then fly on the edge of it. You need to be able to see all the back-packs. You also need to fill at least 70% of the frame with your subject, but do not get so close that you chop important bits off the image like grips. Judges cannot assume the grip was still there if they cannot see it.

Exits

Exits are what really sorts the wheat from the chaff. This is the point where you as the videographer need to have your wits about you. Make sure that you know what kind of count or rock the team will give. Try to go over to the aircraft with them so you don't get any surprises on the dive. If they are using one of the invisible kinds of pulse, then remind them - diplomatically! - that it would be in their best interests to exaggerate the rock so at least you have a due when they might release.

The degree of difficulty in filming an exit depends much on the aircraft used. Generally, the further back you can get, the better. The best method is to hug dose to the fuselage, go with the team on exit, but as you release, grab air with your wings and track forward at the same time. This allows you to stay above the team's back as the relative wind changes, but still keeps you close to them. Do it wrong and the four way team has a fifth member and you will be the talk of the bar that night.

A safer method is to hang low off the rail, keep your head turned away from the aircraft but keep your eyes on the team for the pulse. As the team releases they will flow into the view of the camera and you can release a tad late, keeping your camera on the team, allowing your body to follow and lining up with your head. This is the peel-off method and there's very little risk of colliding with the group. However, don't get flat on the team - you must be able to see all the back--packs through the exit.

After exit

Once you are all in the skydive proper, things get a little easier, but don't relax too much. With a wide angle lens you have to stay close above them. If the pace picks up a bit, the image will rapidly dwindle in size. Judges hate peering at dots on the screen. Stay in amongst the action. On the other hand, don't get too carried away, fall into the burble and take the team out.

On transition, you must keep all the groups in frame - not a problem with experienced teams, but the others can make you work very hard! Rise away from the team if necessary to keep all the pairs/individuals in the frame.

Break-off

Make sure the team understands that you will be very angry if someone throws a pilot chute at you. They must have a clear break-off at the right height and ALL of the team must track. As soon as you see them go, pull. Do not under any circumstances go tracking off after one of them. A close friend of mine was killed doing that trick.

Once you have landed you still have work to do. At the Nationals you will immediately hand your helmet in for the tape to be dubbed off for the judges. If necessary, put your batteries on charge, then go and pack before you have a cup of tea. Also, it helps to let the manifest know you are packed and ready in case there is a problem at their end.

Article by Steve Freedman

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