boo radley Posted September 21, 2006 Share Posted September 21, 2006 *Awesome* shot, though seeing the muzzle like that makes me cringe a tad... How are you - or any of the photographers here - getting these shots with the POV in front of the shooter? Using telephotos, and just setting up in the right place? Link to comment Share on other sites More sharing options...
JFlowers Posted September 21, 2006 Share Posted September 21, 2006 Why not approach Sprint/Nextel to be a match sponsor with their high-speed internet via cell service cards? Actually providing the cards (which will be returned) and the connectivity for 5 days is a negligible investment for them. I'm sure webcams could then be setup on each stage with that connectivity. But a normal webcam will not give the best picture over an area the size of a stage. James Link to comment Share on other sites More sharing options...
EricW Posted September 21, 2006 Author Share Posted September 21, 2006 Holy crap Yamil! You got some stellar shots off the nats! Link to comment Share on other sites More sharing options...
Nik Habicht Posted September 21, 2006 Share Posted September 21, 2006 *Awesome* shot, though seeing the muzzle like that makes me cringe a tad...How are you - or any of the photographers here - getting these shots with the POV in front of the shooter? Using telephotos, and just setting up in the right place? When I shot the Area 8 Factory Gun in 2002, I set up a camera with a wide-angle and radio remote trigger on a tripod downrange of the shooter. Then, while shooting the action with a second handheld camera from the behind the line, I hit the button on the transmitter when the shooter came into range of the remote camera. Add in 8 frames per second (those are .125 splits) and it's possible to get good stuff. Seriously, it takes work and some talent and learning how, but I don't think it's much harder than becoming a master anything else ---- from carpenter to shooter..... Oh, and Yamil ---- Nice Job! Link to comment Share on other sites More sharing options...
ysued Posted September 21, 2006 Share Posted September 21, 2006 Thanks!! What camera you have?? Canon or Nikon! I shot these with a D2X, I also used a D2H for the fast shots!! Y *Awesome* shot, though seeing the muzzle like that makes me cringe a tad... How are you - or any of the photographers here - getting these shots with the POV in front of the shooter? Using telephotos, and just setting up in the right place? When I shot the Area 8 Factory Gun in 2002, I set up a camera with a wide-angle and radio remote trigger on a tripod downrange of the shooter. Then, while shooting the action with a second handheld camera from the behind the line, I hit the button on the transmitter when the shooter came into range of the remote camera. Add in 8 frames per second (those are .125 splits) and it's possible to get good stuff. Seriously, it takes work and some talent and learning how, but I don't think it's much harder than becoming a master anything else ---- from carpenter to shooter..... Oh, and Yamil ---- Nice Job! Link to comment Share on other sites More sharing options...
ysued Posted September 21, 2006 Share Posted September 21, 2006 *Awesome* shot, though seeing the muzzle like that makes me cringe a tad...How are you - or any of the photographers here - getting these shots with the POV in front of the shooter? Using telephotos, and just setting up in the right place? We use Remotes (Radio & Infrared) we also push the 180 to the limit!! Most stages in the past few years are friendlier to the Handheld Shooters, in 04's are 3 I shot a great shot of JJ and it was handheld from the Cones!! Y Link to comment Share on other sites More sharing options...
vettman1 Posted September 21, 2006 Share Posted September 21, 2006 I'm going on a limb here but I have to state this. Every time I turn on ESPN2 and see a paintball match being covered I just shake my head. If PAINTBALL can get coverage, why can't we? Looking at all of the valuable demographics that they collected about the participants of our sport, I would think that they could convince SOMEONE to cover our shooting sport based on that alone. Even if USPSA has to pay someone to cover it, I think that they should! If you want to attract more people, you need exposure and what better way to do it than on TV. I'd even consider doing a pay per view of the super squad if it was available. Link to comment Share on other sites More sharing options...
ysued Posted September 22, 2006 Share Posted September 22, 2006 That is what Jim Scouten is for!!! He will be at Tulsa. And now with Shooting USA at the Outdoor Channel, ther will be more and better exposure for our sport!! Y I'm going on a limb here but I have to state this. Every time I turn on ESPN2 and see a paintball match being covered I just shake my head. If PAINTBALL can get coverage, why can't we? Looking at all of the valuable demographics that they collected about the participants of our sport, I would think that they could convince SOMEONE to cover our shooting sport based on that alone. Even if USPSA has to pay someone to cover it, I think that they should! If you want to attract more people, you need exposure and what better way to do it than on TV. I'd even consider doing a pay per view of the super squad if it was available. Link to comment Share on other sites More sharing options...
Round_Gun_Shooter Posted September 22, 2006 Share Posted September 22, 2006 That is what Jim Scouten is for!!!He will be at Tulsa. And now with Shooting USA at the Outdoor Channel, ther will be more and better exposure for our sport!! Y Unfortunately, Shooting USA is usually a year or 2 behind the times. (For IDPA, he is still airing the 2002 S&W Winter Championship match) Jim does a great presentation but they don't hit the air for a year or more. Then, the Outdoor Channel bounces his schedule around so much, you can never find the show. We need a better venue for showing our sport that is timely and stable. Regards, Link to comment Share on other sites More sharing options...
ysued Posted September 22, 2006 Share Posted September 22, 2006 This will be the first year on the Outdoor Channel for Shooting USA, This should be a more stable Venue for this program!! Y Unfortunately, Shooting USA is usually a year or 2 behind the times. (For IDPA, he is still airing the 2002 S&W Winter Championship match)Jim does a great presentation but they don't hit the air for a year or more. Then, the Outdoor Channel bounces his schedule around so much, you can never find the show. We need a better venue for showing our sport that is timely and stable. Regards, Link to comment Share on other sites More sharing options...
Sharyn Posted October 16, 2006 Share Posted October 16, 2006 I think it would be very difficult to video the match and shoot it... that's a lot of added pressure in an already stressful environment. Sorry I was unable to supply any coverage... see quote above. Link to comment Share on other sites More sharing options...
BritinUSA Posted October 17, 2006 Share Posted October 17, 2006 But on the plus side, this means that no-one gets to be photo-shopped I didn't see you at Nationals, where did you finish ? Link to comment Share on other sites More sharing options...
Sharyn Posted October 17, 2006 Share Posted October 17, 2006 But on the plus side, this means that no-one gets to be photo-shopped I almost mentioned that... I didn't see you at Nationals, where did you finish ? 156th... 0.65% below my class. Just shy of my goal, but better than last year! Link to comment Share on other sites More sharing options...
BSeevers Posted October 17, 2006 Share Posted October 17, 2006 Me too I shot my class % B Link to comment Share on other sites More sharing options...
George Posted October 17, 2006 Share Posted October 17, 2006 Just want to chime in on what it takes to do video-taping and put it right back at an audience within a short turn time. We do this for a living and rent the systems to do that. It is a full time job to shoot good video and trying to get decent video coverage and shoot a serious match would be a real big Loser IMO. One camera jockey and one assistant tech can get great footage with a set of fixed camers and one handheld, or POV cam. Now comes the slow/hard part. Pro-sumer DVCPro footage captures into an editing system at a speed that is NOT instantaneous. Getting it into a computer takes a good bit of time. Once this footage is inside a powerful enough computer (or at least on a HD attached to one) it now needs to be scrubbed through and logged. 5-6 hours of raw footage is gonna taks some time to scan. Then edit decisions have to be made and a set of edits performed. All this is measured in hours, not minutes and not a small number of them. Now we have some nice footage at 720x480 resolution coming down the pike at 30 (or 29.9) frames per second. Lets see, 1 hour of footsge like this is about 8GB in file size. No way that uploads to any server and then streams in any viewable manner. The next step is to run a quicktime conversion to make this footage webserver palatable. On my PowerBook G4 1.67Ghz using an external FW-800 HD to render from (faster than the 5400 RPM ATA 133 one inside), it takes almost 2 hours to output a one hour long 320x webmovie at 15 frames a second from FCP Studio using the H.264 codec and a little over 90 minutes if done through Cleaner 6 using the Sorensen video codec plus the 15 minutes the QTDV file takes to export from FCP. This will result in a 80-90MB file size web movie that will take another hour to upload on a typical DSL connection with 128-256 megabits (notice that's bits, not bytes) a second upload speed. Well lessee' it's probably going on 2-3 am by now and the camera crew has to get up in a couple hours to start shooting again ;-) This is why we usually send a separate editor along on corporate gigs where we are doing this type of production so someone can stay in a hotel room and just render, edit, burn and upload 24/7 while the field crew shoots from 6am till 10pm picking up the footage needed to do complete production at any reasonable quality level. Now start thinking about what adding editorial to this mix will take and you see why the typical EFP (Electronic Field Production) team consists of at least 3 people. Two techs and one line producer at a bare minimum. Start asking for a lot of editorial/color stuff and you may need on-camera talent (and their support requirements) and a writer/director along for the ride. It takes a whole heck of a lot more than a pro-sumer camcorder, a laptop and a cellphone to make decent TV in the field and get it out to some viewers. Yes a very talented person could shoot footage all day and spend half the night doing the creative drudgery called post production and repeat that for a couple days and if that person is good enough, that video will be watchable, but typically, field production without real field production knowledge/experience is quite often no more watchable than your relatives home movies. I'm not saying we are NBC, but we do make good TV for a living and it ain't that easy, really, or everyone would be making good TV already. Just take a look at YouTube and you will see what I mean ;-) JMHO, but I do make video for a living and think I am qualified to comment on the viability of making video and shooting a match and trying to do both seriously. Here is the latest project we provided multi-camera live production, broadcast co-ordination and large screen projection for. We provided the portable TV switching/engineering studio, 7 studio cameras providing 720p signal, the HD VTR's and two 30' plus outdoor projection systems at the outdoor audience sites for this recent project. http://www.mercurynews.com/mld/mercurynews...ts/15714732.htm http://www.sfopera.com/p/?mID=110&edID...p;eventtypeid=9 I really do hate it when folks make light of what it takes to create good video content in a field, or studio production environment. Making Jackass level video clips for your friends is one thing, making watchable, informative content for the general public is quite another. It is not all about the gear, there is a lot of incredible creative technique at play in good Television. Pro-sumer video gear has done for video production what desktop publishing did for publishing a while back. It has enabled a lot of folk to think they are designers/directors when they are really not even good camera operators ;-) Good video production is almost always a team effort from a talented group of folks. Very rarely is anything great accomplished by a one person band and never on a consistent basis. Regards, BTW, here is my favorite Jackass clip of all time (FYI, it is 28 seconds long, 320x146 pixels at 15fps and it's still 4.7MB is file size). Fast Food Football Link to comment Share on other sites More sharing options...
shred Posted October 17, 2006 Share Posted October 17, 2006 I'm sending this to everybody that whines about butt-shots from now on. In truth, most match videos are only tolerable by people that actually were at the match, or better yet, on the video itself. Put a lot of extra post-production effort into it and they get watchable by shooters that weren't at the match. Taking the step up from there to non-shooters is a biggie.. Link to comment Share on other sites More sharing options...
Wakal Posted October 17, 2006 Share Posted October 17, 2006 Chet Polo does nice work in that regard. I've been passing around some of his match videos (the 2005 Cav Arms match is the big favorite) at the Embassy here; I have managed to get some SASS shooters interested in playing run-and-gun with more up to date equipment, and have at least half a dozen new shooters chomping at the bit to get back to The World. Too bad there is no coverage of USPSA on TV. And too bad a guy with USPSA roots and industry connections like our pal Mike Bane didn't get the "exclusive" USPSA rights, as opposed to a guy and a show with minimal interest in our sport and a HUGE lead time (if ever). Ah, well. Alex Link to comment Share on other sites More sharing options...
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