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Flying Eye | April 2003 |
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If
you fancy jumping video, where do you start? How do you choose your
camera? What about the physics of putting it on your head? Cameraflyer
Gary Wainwright answers these questions and more... |
Choosing a Camera
The only criteria that matter when considering a video camera for skydiving
are:
1 Can you lock the focus? (ie, does it have manual focus?)
2 Does it stay locked when you turn the camera off, then back on?
If you can answer 'Yes' to these then your camera will probably be okay. Having said this I know several cameraflyers who use autofocus and are happy with it. The problem I've found with autofocus is a tendency for the camera to 'hunt' for the focus (particularly when facing the sun on exit) and if anything gets on the lens the camera will tend to focus on that.
WHAT
FORMAT?
There are many formats available but they fall into two categories; analogue
and digital. Unless you are on a very tight budget go for digital - if
you can't afford digital then wait until you can!
| Analogue | Digital |
| VHS C | Mini dv |
| Video 8 | Digital 8 (D8) |
| Hi 8 | Micro MV |
Mini
dv
Mini dv is the most established of the digital formats and the most commonly
seen in our sport. The cameras are generally small and lightweight and
are well suited to what we do.
Digital
8
Digital 8 (D8) was invented by Sony a couple of years ago and is a great
option for those wanting digital on a budget. The cameras tend to be bigger
than mini dv and are more traditionally shaped. They aren't particularly
suited to side-mounting because of their size. Please don't think these
cameras are huge though! Most models are no bigger than the Hi8 cameras
everyone was using a few years ago.
Old Hi8 or video8 tapes will play on a D8 camera. The digital standard used by D8 and mini dv is the same, so they both work with a firewire-based computer editing package and you can copy footage from a D8 camera to a mini dv camera (or vice-versa) so long as the camera you are recording onto is 'dv in'. (Don't panic, more on this later.)
Micro
MV
Micro MV is the new kid on the block developed by Sony and these cameras
are tiny! I know very little about this format but I've heard conflicting
opinions on its compatibility with mini dv/D8. It seems users may experience
problems transferring footage to some popular edit systems and you may
not be able to digitally copy footage to or from a mini dv/D8 camera.
I had a look at the Sony IP7 and actually thought it was too small and
fiddly (remember you'll have gloves on when you are using it). The record
button is in an awkward place if you plan on side-mounting.
| WHAT
SHOULD I LOOK FOR? POTENTIAL
PROBLEMS You will want to be able to get to the sockets for downloading your video without having to remove your camera from its mount - check where the sockets are, particularly if you plan on side-mounting. Some cameras don't have the sockets on the camera but on a separate docking station - you will find this to be a pain! None of these problems makes these cameras un-useable - they are just things to consider and design your helmet around if necessary. BELLS
AND WHISTLES |
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DV
In
'Dv-in' is useful; it means you can record digitally from another source
eg, your mate's footage of a dive, with no loss of quality. If you wish
to do computer editing then you will need this feature to get the digital
footage back out of your computer once edited. If the camera is not dv-in
enabled then it may be possible to do this with a 'widget' later - but
this doesn't work with all cameras.
Memory
Stick
Some cameras have a memory stick that you can record stills images onto.
I have found this useful for storing titles, particularly when shooting
tandems as you can add your titles as you go along thereby saving time
later on.
3
Chip
Most cameras have one chip (CCD) that processes all of the information
received through the lens. On a 3 chip camera there are chips that process
red, green and blue separately. The advantage is better quality video.
The disadvantages are cost, weight and bulk. If you regularly sell your
footage to TV stations then it may be worth it. If, like me, most of the
video you shoot is to be dumped down onto VHS tape then it is probably
not worth it. If you do decide to get a 3 chip camera I would steer clear
of the Sony TRV890, 900 and 950 as freefall footage with these three models
will shake unless you set it up very carefully.
LANC
Socket
If you plan on using a cameye then your camera will need a 'LANC' socket.
(A cameye is a gadget that lets you know exactly what your camera is doing
by a series of lights, typically attached to your sight.) If your camera
doesn't have a LANC socket then it should have an external record light
so you know when it's working.
Wide
Angle Lens
Nearly everyone uses a wide-angle lens for shooting skydiving. They increase
your field of view and stabilise your image slightly. Each model will
have a conversion number associated with it - this number is always less
than 1; eg, a Kenko 0.5. The smaller the number, the wider the lens and
the closer you will have to fly. The lens screws onto the end of your
camera. If it doesn't fit you should be able to buy a conversion ring
for common sizes. Hot tip: make sure you can get a conversion ring before
you part with your cash!
SUMMARY
If you buy a Sony mini dv or D8 camera it will work for skydiving without
being badly affected by freefall shake (ask yourself why so many people
jump Sony). The Sony gear is very robust and reliable. Other manufacturers'
gear will work but I'd confidently recommend Sony to anyone (except the
TRV 890, 900, 950). If you can afford it go for a mini dv model with dv-in
capability.
WHAT
WOULD I BUY?
I don't think the 'perfect' skydiving camera exists; it's a case of which
is best suited to what you want to do. I never buy the latest models -
the slightly older range will be much cheaper and still have all the necessary
functions. I also look out for 'Manager's Specials.' If I had to buy a
camera today it would be from the Sony PC range, probably a PC9 because
it's an older model, known to be reliable and is relatively cheap now
that new models are out.
MOUNTING
THE CAMERA
Safety First! At the very minimum you need a C licence and your CCI's
approval before jumping a camera. You should get an experienced cameraflyer
to help you assemble your camera system and have it checked over by a
different experienced cameraflyer before you even think about jumping
it.
Cutaway
Systems
By placing a camera on your helmet you are potentially making a deathtrap
with which to catch lines. If you are going to jump a camera helmet then
you have to be able to get it off quickly in an emergency - preferably
one-handed. Most helmets you can buy do not come with a cutaway system
so it makes sense to think about this. I have seen two types of system
that work well:
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Open
Face System On an open face helmet, use a fabric strap with pop studs. The fabric loop with 3 press studs works because the force at the chin cup is at 90 degrees to the studs. A direct pull on the fabric loop easily removes the helmet; the other side is the same. There are 2 chinstraps here both attached to the same cutaway - one with a chin cup and one that passes under the chin. |
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Full
Face System or Open Face with Chinpiece For a full face helmet or an open-face with a rigid chinpiece use a system using teflon cables and closing loops to detach the hinged part of the helmet. Note the yellow cables which pass through three closing loops which take the place of the bolts in the hinge |
Because of the need for the helmet to come off quickly, it may do so when you don't want it to! For this reason it is obviously worth insuring your camera equipment. Extended warranties are very good. Or ask about putting your camera gear on your house insurance - make sure it's covered for skydiving though.
Cutaway
and Reserve Drills
You need to consider your cutaway and reserve drills, for example, what
you would do in the event of an entanglement. Most cameraflyers say they
would cut away their helmet first before cutting away the canopy and deploying
their reserve. If you jump an RSL most people would recommend detaching
it for camera jumps.
Pay extra attention to your deployment. Get your pilot chute out to arms length before letting go (you should do this anyway but people get lazy!) as camera wings create a lot of burble for your pilot chute to dance about in. Keep symmetrical with your shoulders level and watch the horizon through the deployment, not the canopy. Initially some people hold their head through deployment; this is generally okay and was certainly good advice a few years ago but with extremely high performance canopies this may cause bad openings.
SIDE
OR TOP MOUNT?
There are two main options for mounting video cameras:
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Side-mounting:
The advantages of side-mounting are that it puts your camera more
in line with your eye, they are great for WARP, AFF, one-on-one and
'video logbooks'. Some people say it's easier to fly head-down with
a side-mount. The disadvantage is the increased chance of riser strikes. A helmet designed for very close work (eg, by a WARP coach or AFF instructor) needs different camera angles and wider-angle lenses than a standard camera helmet (for example, side-mounted cameras will give a better field of view for close-up work if angled inwards, and close to level with your natural eye-line - about 5 degrees up). If you are going to regularly jump a side-mount then I would recommend an enclosed helmet such as the FF series produced by 2K Composites. |
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| A
fully enclosed side-mounted system manufactured by 2K Composites,
with a Sony PC9. |
 Sony PC10 top-mounted on a Headhunter Voodoo helmet. Note the supporting bracket, with bungee cord, which also acts as a bracket for a portrait stills camera or flashgun. |
Top-mounting:
If you are going to regularly jump a side-mount then I would recommend an enclosed helmet such as the FF series produced by 2K Composites. |
 Full face system with a Sony PC9 and Nikon F90X front-mounted. (I personally wouldn't have all the weight at the front but as Tony has 4,000 camera jumps I'll let him off!) |
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Pro-Tec Conversion: A great option for your first top-mount camera helmet is to try and convert an old Pro-Tec. They are cheap, most people have one lying around and they will last forever. If you decide that cameraflying is definitely for you, then buy the cool model with the wicked paint job a few years (and hundreds of camera jumps) down the line. The best arrangement for general camerawork is angling the camera mounts up by about 15 degrees from your natural eye-line. This is particularly useful for tandems and any time you want to shoot video from below your subject, especially if you fly face to earth. |
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Pro-tec
with a Sony TRV 10 & Nikon F501. |
 This is a joke, this system was never jumped |
WHAT
WOULD I BUY? If I had to buy a camera helmet today it would probably be a Bonehead Flat Top Pro. They have lots of room to mount stuff and now come with a cutaway system. At $695 they are expensive for a first helmet especially if you decide that cameraflying is not for you!
However you
decide to mount your cameras, please ask for advice from experienced
cameraflyers. Get as many opinions as you can from various people.
Between them they have made all the mistakes that you are about
to make! |
Snag
Points
There are many possible snag points for lines on a camera helmet. Try
to reduce these and have no sharp edges - you may well collide with somebody
else one day.
ADD-ONS
Camera
Sights
Most people would recommend a sight for shooting consistent video, even
if it is just a reinforcing ring on your goggles. But if you only plan
on doing one-on-ones, or are wearing your camera as a video logbook then
you can get away without a proper sight.
Norman Kent advocates mounting your sight on the opposite side of your helmet to your deployment hand - for most people this will be the left hand side of your helmet.
Chin
Cups
A chin cup is probably better than a chin strap as the video image will
be steadier because the camera will not move around on your head. A chin
cup also is less likely to give way under a hard opening. Having said
that then I know people who have thousands of camera jumps using plain
straps who have never had a problem.
BE
CAREFUL WITH MODS!
If you are going to chop bits out of an existing helmet or drill holes
in it, you must consider the effect of the modification. All cuts should
be smooth, all holes should be clean, and any corner should be carefully
radiused. Jagged edges, even small ones, encourage cracks to form, especially
on fibreglass or other brittle materials. Any washers should have a much
bigger diameter than the bolt they attached to. If not, you run the risk
of the bolt being pulled straight through the helmet.
No
Internal Protrusions
Fixings for mounts and so on, eg, bolts, pop-rivets, must be cut as short
as possible, and be covered over with padding. Over-long protrusions inside
the helmet could punch holes in your skull and your head will end up looking
like a bowling ball.
Use
suitable materials
A classic example of this one was the guy who made himself a chin guard
for an open-faced helmet out of aluminium sheet. He got kicked in the
jaw, the 'guard' was crushed into his throat, and he went in still struggling
with it.
GET
IT PROTECTED!?
There are a number of cases on the market designed to protect your camera
(D-Boxes, Roll Cages etc.) I'm sure they do a great job, but they cost
about the same price as the extended warranty you can buy with your camera!
They also tend to be specific to one model of camera so if you do manage
to break your camera and can't get an exact replacement, they probably
won't fit your new model. The extended warranty is the better option -
just make sure it is covered for skydiving. I have had no problems taking
cameras back to Jessops and Dixons.
MORE INFORMATION
Ask
Around
Talk to experienced cameraflyers at your DZ and ask them why they jump
what they jump. You will probably find that they are only too willing
to help once they see you are interested.
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www.skydreams.net This a website set up by Robbie Culver who is an experienced US cameraflyer. He has a wealth of experience and there is lots of good stuff on here. It hasn't been updated for a while so some of the cameras he talks about are now discontinued but it's definitely worth a look. www.dropzone.com
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If you jump a side-mount system, don't jump it without the camera on, leaving just the bracket! Have another helmet for when you don't want to jump video.
Know exactly how your
camera works and practice the following with it on your head whilst wearing
gloves;
1 Turning it on and off
2 Zooming out (so you can check you haven't accidentally zoomed in)
3 Getting the helmet off quickly.
Don't look at your deployment. Don't leave your excess brake line unstowed. Get a copy of Anti-Gravity and watch the slow motion section of the French 8-way cameraman deploying. Look at those loose brake lines snaking all over his cameras - yuk!
And finally... keep your head still!
NB: I have no connection with any of the companies mentioned. You may detect a bias towards Sony cameras; this is purely because these are all I've used. - Swoop
Gary
'Swoop' Wainwright
gary_wainwright_uk@yahoo.com
Thanks to Tony Danbury & Dave McKelvie for input
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