Skydiving helmet cam recommendation for super 8
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jaxshooter
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- Joined: Mon Jun 28, 2004 10:52 pm
- Real name: Marty Hamrick
- Location: Windsor, Ontario
Skydiving helmet cam recommendation for super 8
Small,flatbased cameras aren't too hard to come by, but one with a few features needed for skydiving can be a bit trying.I'm looking for one with a wide angle to short telephoto (use will be between 5mm to 12mm for the most part), so one that takes the aspheron attachment might do, and some multiple speeds.24,36,48 and 54 and anything higher would be needed as well as manual iris.Anything anyone know of fit the bill?
Marty Hamrick
Cinematographer
Windsor, Ontario
Cinematographer
Windsor, Ontario
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jaxshooter
- Posts: 739
- Joined: Mon Jun 28, 2004 10:52 pm
- Real name: Marty Hamrick
- Location: Windsor, Ontario
Perhaps a Leicina?
Although, I wouldn't want to strap something that expensive on my head and jump out of an airplane. Maybe look for something a little more "disposable" in case it comes off mid-flight/fall.
I don't think sharpness is a huge issue here as you will be moving quite fast and not really controlling the camera as you do. (Auto-exposure might be a good thing?)
(P.S. Are you the one jumping?)
Although, I wouldn't want to strap something that expensive on my head and jump out of an airplane. Maybe look for something a little more "disposable" in case it comes off mid-flight/fall.
I don't think sharpness is a huge issue here as you will be moving quite fast and not really controlling the camera as you do. (Auto-exposure might be a good thing?)
(P.S. Are you the one jumping?)
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jaxshooter
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- Joined: Mon Jun 28, 2004 10:52 pm
- Real name: Marty Hamrick
- Location: Windsor, Ontario
Yes, I'm the one jumping.Auto exposure is bad for two reasons,1)You're limited to the stocks you can shoot, one of which isn't made anymore, 2)The sky can be a contrasty subject,looking down into clouds can cause an auto iris to go uts, better to lock it down.TronX wrote:Perhaps a Leicina?
Although, I wouldn't want to strap something that expensive on my head and jump out of an airplane. Maybe look for something a little more "disposable" in case it comes off mid-flight/fall.
I don't think sharpness is a huge issue here as you will be moving quite fast and not really controlling the camera as you do. (Auto-exposure might be a good thing?)
(P.S. Are you the one jumping?)
Not too worried about it coming off in mid flight.Biggest challenge here is to get a camera that can fit a Bonehead cam helmet, which is designed to accomodate a small DV cam.
Marty Hamrick
Cinematographer
Windsor, Ontario
Cinematographer
Windsor, Ontario
Hi,
you might want to get yourself a B&H MS30/45: Since you can exchange the control panel(s), you might be able to construct yourself an "extension cord" from the control-panel (fixed to your arm) to the camera (on the helmet). This way you might be able to change frame rate, exposure, ... "in flight".
At least the MS45 did have an optional "autofocus attachment", too. This might be great if you want to film other parachuters rather than the ground.
Just an idea,
Jörg
you might want to get yourself a B&H MS30/45: Since you can exchange the control panel(s), you might be able to construct yourself an "extension cord" from the control-panel (fixed to your arm) to the camera (on the helmet). This way you might be able to change frame rate, exposure, ... "in flight".
At least the MS45 did have an optional "autofocus attachment", too. This might be great if you want to film other parachuters rather than the ground.
Just an idea,
Jörg
Marty,
I think you may be asking for a bit too much. Finding a cam small/light enogh to fit your helmet with all of the desired features may be an impossible dream. It seems that most (if not all) of the cameras that feature rich are big and bulky, and sometimes a bit challenging to operate, let alone operate in freefall.
I think the way to go is small, light, wide, autoexposure, and simple. I might try a Minolta XL401 and see how you like it. It only has 18fps, but it might be a worthwhile experiment. You can probably pick one up on eBay for $30-$40.
BTW, I start static line training in April.
Blue Skies,
Scott
I think you may be asking for a bit too much. Finding a cam small/light enogh to fit your helmet with all of the desired features may be an impossible dream. It seems that most (if not all) of the cameras that feature rich are big and bulky, and sometimes a bit challenging to operate, let alone operate in freefall.
I think the way to go is small, light, wide, autoexposure, and simple. I might try a Minolta XL401 and see how you like it. It only has 18fps, but it might be a worthwhile experiment. You can probably pick one up on eBay for $30-$40.
BTW, I start static line training in April.
Blue Skies,
Scott
Independent Filmmaker
http://www.lytewave.com/
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David A. Goldfarb
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jaxshooter
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I may end up with a Beaulieu with a fixed lens or a single 8 camera.My memory seems to be jogged by a single 8 camera that could be suited.I really need extra speeds and a manual over ride on the iris.scott wrote:Marty,
I think you may be asking for a bit too much. Finding a cam small/light enogh to fit your helmet with all of the desired features may be an impossible dream. It seems that most (if not all) of the cameras that feature rich are big and bulky, and sometimes a bit challenging to operate, let alone operate in freefall.
BTW, I start static line training in April.
Blue Skies,
Scott
Good luck on your static line jump,Scott.If you get hooked, you gonna go AFF?
Marty Hamrick
Cinematographer
Windsor, Ontario
Cinematographer
Windsor, Ontario
A Beaulieu 4008 with a wide angle would fit the bill, I suppose. I had a 5008MS for a while and really liked it, but it was fairly bulky. Heck, rent an A-Minima and shoot S16.
My local dropzone doesn't offer AFF. That doesn't really bother me, as the traditional static line training can be done for a bit less money, or at least less money per jump. Also, I tend to favor the traditional, as do many still shooting super 8, I would guess. Experiencing freefall right away would be nice, but I imagine stepping out the door the first time will be exciting enough.
Scott
My local dropzone doesn't offer AFF. That doesn't really bother me, as the traditional static line training can be done for a bit less money, or at least less money per jump. Also, I tend to favor the traditional, as do many still shooting super 8, I would guess. Experiencing freefall right away would be nice, but I imagine stepping out the door the first time will be exciting enough.
Scott
Independent Filmmaker
http://www.lytewave.com/
http://www.lytewave.com/
Hi Jaxshooter,
great link Goldfarb!
I dont know how much skydiving u've done before, so excuse me if u've already considered what I write, but from my experience you can divide most jumps up into the nutty freefall stage (less than a minute) and then the equally awe-inspiring bit once uve got ur shoot (ha ha) open of perhaps 3/4/5 mins duration.....These are two very different filmshooting opportunities...
A two cam solution might work, subject to finding two cams that are light enuf etc: ie freefall at say 54 fps, one cam, one film, second stage with the shoot open (and when u've got some time to enjoy some special super8 shooting !) at 25fps with the second cam .....(sods law says one of the cams isnt going to work anyway, so this might not be a bad insurance policy...
My ideal set-up would be as follows:
On top / side of helmet: Leicina Special. The Optivaron makes the camera way too heavy, but the Cinegon would make it a possible contender here. 54fps, and with power and control etc from a remote ST1 control unit tucked away somewhere nice and warm (temperature is another consideration here!). This would be for ur freefall stage, and even with a 50 second freefall u could afford to start the cam AS U LEAVE THE PLANE...giving u one less thing to think about...and hopefully some great shots!!!
The second cam: Things are relaxed now, the shoots open and its time to explore super8 at altitude..this ones a bit wacky but I'd opt for something very lightweight cam (maybe a PMA equipped Eumig) and GAFFER TAPE THE CAMERA TO MY HAND...literally point and shoot...the camera is somewhere where u can see it and therefore see what ur shooting and I think with a bit of thought could be positioned where it wouldnt cause a lot of probs...(ur gonna have ur head full trying to land and save the Leicina anyway!)
Better still, get one of the guys ur jumping with to take up another cam to do the same..
Good luck with the jump and hope to see some shots soon,
ade
great link Goldfarb!
I dont know how much skydiving u've done before, so excuse me if u've already considered what I write, but from my experience you can divide most jumps up into the nutty freefall stage (less than a minute) and then the equally awe-inspiring bit once uve got ur shoot (ha ha) open of perhaps 3/4/5 mins duration.....These are two very different filmshooting opportunities...
A two cam solution might work, subject to finding two cams that are light enuf etc: ie freefall at say 54 fps, one cam, one film, second stage with the shoot open (and when u've got some time to enjoy some special super8 shooting !) at 25fps with the second cam .....(sods law says one of the cams isnt going to work anyway, so this might not be a bad insurance policy...
My ideal set-up would be as follows:
On top / side of helmet: Leicina Special. The Optivaron makes the camera way too heavy, but the Cinegon would make it a possible contender here. 54fps, and with power and control etc from a remote ST1 control unit tucked away somewhere nice and warm (temperature is another consideration here!). This would be for ur freefall stage, and even with a 50 second freefall u could afford to start the cam AS U LEAVE THE PLANE...giving u one less thing to think about...and hopefully some great shots!!!
The second cam: Things are relaxed now, the shoots open and its time to explore super8 at altitude..this ones a bit wacky but I'd opt for something very lightweight cam (maybe a PMA equipped Eumig) and GAFFER TAPE THE CAMERA TO MY HAND...literally point and shoot...the camera is somewhere where u can see it and therefore see what ur shooting and I think with a bit of thought could be positioned where it wouldnt cause a lot of probs...(ur gonna have ur head full trying to land and save the Leicina anyway!)
Better still, get one of the guys ur jumping with to take up another cam to do the same..
Good luck with the jump and hope to see some shots soon,
ade
Why is shooting at 54fps so important? It's not like he is filming a bullet piercing an apple. All motion filmed in freefall will likely be of other skydivers, who relative to him are basically stationary. I know, some slow motion might be nice, but go over to skydivingmovies.com and watch a few of the higher rated vids. There isn't a whole lot of slow-mo in those videos, because in freefall everything happens pretty slowly anyway, in relative terms.
As far as gaffer taping a camera to your hand, I don't think so. It would really suck to have a camera in the way if you need to pull your reserve. Also, you need your hands free in order to steer yur canopy.
Scott
As far as gaffer taping a camera to your hand, I don't think so. It would really suck to have a camera in the way if you need to pull your reserve. Also, you need your hands free in order to steer yur canopy.
Scott
Independent Filmmaker
http://www.lytewave.com/
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jaxshooter
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- Real name: Marty Hamrick
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Exit shots from the plane as the cameraman is leaving look particularly spectacular in super slow mo as do shots of opening canopies.I like to be able to do at least 32 or 48.32 would be about average.scott wrote:Why is shooting at 54fps so important?
Scott
Brent Finley's reel is particularly impressive, thanks for sharing the link!Made me really horny to jump again as I haven't jumped in a few years.His 200 fps 16mm and 80 fps 35mm shots are beautiful.
Raise a glass for Carl Boenish (Ripcord TV series, Gypsy Moths, Masters of the Sky, Wings and Skydive! My big inspirations) may he rest in peace!
Marty Hamrick
Cinematographer
Windsor, Ontario
Cinematographer
Windsor, Ontario
Maybe this is crazy, but I think taping the camera might work if it wasn't attached to your hand. Two cameras would allow you the luxury of possibly capturing all of your flight.
Here's a picture of how you might mount it:
set up
Arm Cam
Helmet Cam
Shooting with arm cam
If you did it this way for an arm mounted cam, (as your B camera), I'd suggest one of the Kodak XLs because of their shape. (My example uses a fake camera shaped like a Kodak XL)
A Kodak XL55
(P.S. Do you like my jump jacket?)
Here's a picture of how you might mount it:
set up
Arm Cam
Helmet Cam
Shooting with arm cam
If you did it this way for an arm mounted cam, (as your B camera), I'd suggest one of the Kodak XLs because of their shape. (My example uses a fake camera shaped like a Kodak XL)
A Kodak XL55
(P.S. Do you like my jump jacket?)
Wow TronX!
U beat me to the mock up and pictures!!! Top gear wardrobe, excellent experiMENTALISM! I was on the brink of taping my camera to my motorcycle helmet to see quite how unbalanced it would be....I did consider the arm based idea but I was picturing a Eumig with the detachable handle removed (for streamlining) and placed under the wrist...
If you were to use a Leicina Jaxshooter, I remember reading somewhere that the 54fps setting is closer to 48 in reality in some cameras anyway. By the way, I was assuming you were jumping tandem. Do you have a solo ticket? Cool if you do. If not, a side-helmet cam may be more suitable if you're jumping as a pair. No disrespect to Scott, but speaking from my freefall experience, whilst your memories may be traumatic- car-accident style time-stretched afterwards, in reality everything IS REALLY HAPPENING AT OVER 100MPH and therefore slomotion footage correlates more closely with perception and a desire to capture and record as much detail as possible...
ps what about shooting a roll to record the journey UP as well....the dawning realisation on peoples faces as they come to terms with the idea that they wont actually be landing in the plane, but jumping out of the door and into the sky instead could make some entertaining images.
U beat me to the mock up and pictures!!! Top gear wardrobe, excellent experiMENTALISM! I was on the brink of taping my camera to my motorcycle helmet to see quite how unbalanced it would be....I did consider the arm based idea but I was picturing a Eumig with the detachable handle removed (for streamlining) and placed under the wrist...
If you were to use a Leicina Jaxshooter, I remember reading somewhere that the 54fps setting is closer to 48 in reality in some cameras anyway. By the way, I was assuming you were jumping tandem. Do you have a solo ticket? Cool if you do. If not, a side-helmet cam may be more suitable if you're jumping as a pair. No disrespect to Scott, but speaking from my freefall experience, whilst your memories may be traumatic- car-accident style time-stretched afterwards, in reality everything IS REALLY HAPPENING AT OVER 100MPH and therefore slomotion footage correlates more closely with perception and a desire to capture and record as much detail as possible...
ps what about shooting a roll to record the journey UP as well....the dawning realisation on peoples faces as they come to terms with the idea that they wont actually be landing in the plane, but jumping out of the door and into the sky instead could make some entertaining images.