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‘Technique’ Category


ContourHD Firmware Update!

Happy New Year’s Eve! The folks at VholdR have just announced a new firmware update for the ContourHD. Now you can have all the great features of the ContourHD 1080p, minus the higher resolution.

What This Means

Those of you who have the ContourHD1080p, are already privy to these great features (so you don’t need this update). Now we have a firmware upgrade that brings configurablility to the ContourHD as well.

You will now have the power to configure:

  • The video (bitrate)
  • The lighting (contrast, exposure, sharpness, and metering)
  • The microphone sensitivity

firmwareupdatecontour








How You Do It The Rundown

  1. Download and Install the firmware here
  2. Install the new version of easy edit
  3. Dial in your ContourHD like a pro!


The ContourHD Firmware Upgrade is explained in full on our website with a step by step guide. If you aren’t feeling tech-savvy, have numerous questions, or need additional support, please don’t hesitate to contact us.

Grab the new firmware and check out the upgrade instructions here.


Helmet Camera Central Buyers Guide

Helmet Camera Buyers Guide

Point of view (POV) cameras have gotten more popular over the past few years, and there are a variety of cameras from which to choose. However, figuring out which camera to buy can be confusing. The following article will provide some guidelines to help you make an informed buying decision.

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VIO POV.1.5:POV.1.5 Review – Wired

Filmed using a VIO POV.1.5, more product information is available here.

Great V.I.O. POV.1.5 review from WIRED. “The first movies from a new POV camera released this week seem so stable that it’s as if a leprechaun with film-school experience is perched upon your shoulder.” - WIRED

HCC Launches New Sister Site: Dive Cam Central

Helmet Camera Central is proud to announce the release of our new sister site, Dive Cam Central. DCC is a niche site dedicated to serving the needs of the aquatic video dive community including: Scuba, Free Diving, Snorkling, and Search & Rescue. Wearable video has grown by leaps and bounds the past few years and we are presenting some awesome new products. Dive Cam Central is honored to be carrying the full line of the Liquid Image’s high quality underwater scuba dive masks with full High Definition video cameras integrated into the masks. Take minute or so to check out the new Liquid Image Video Dive Masks at http://www.divecamcentral.com!


Digital vs. Analog? Fully Integrated vs Pieced Together?

Digital vs Analog
A brief update on the current state of traditional camcorder based helmet cam systems.

Traditional analog based helmet cam systems use an off the shelf camcorder with video input capabilities (aka A/V jack) to connect to the “helmet cam”. What’s scary about the analog systems is that Sony and others are completely phasing out camcorders with A/V inputs. In fact, none of Sony’s current camcorder products have simple A/V inputs on them! This leaves analog based users scrounging around on eBay for older used & refurbished camcorders. All the helmet cam vendors know about this trend, and most of them are working diligently to find new solutions.

There are two core parts to a helmet cam system. The Recording Unit and the Camera. All of the systems on the market today can claim they use a “digital” recording unit because all camcorders ultimately record onto “digital” media. They can also claim the cameras are also “digital” because they use digital CCD (some are CMOS) imagers to capture the image.

The PROBLEM with traditional helmet cam systems (not the POV1) is the cable between the camera and recording unit is NOT DIGITAL. The digital ccd image must first be converted to an ANALOG, INTERLACED video signal and transmitted via the standard A/V cable to the camcorder where it is converted back into a digital signal, compressed, and stored onto tape or some other digital medium. The Digital-Analog-Digital process creates quality issues in many areas, I will briefly touch upon two core quality issues.

The first quality atrocity with traditional helmet cam systems (not the POV1) is interlacing a perfectly crisp digital video stream. Have you watched video footage on your computer that was captured directly from a camcorder and noticed those shaky lines in the footage (especially during motion)? If you have read anything about High Definition video, the big buzz is “Progressive Video”. I will not say any more about this, except that Progressive Scan video is WAY nicer than Interlaced video. Check out the WIKI pages on Progressive Scan Video and Interlaced Video for more information and great visual examples.

The second atrocity with traditional helmet cam systems (not the POV1) is converting all that great digital color information into an analog signal. Once a signal is analog and travels along a length of wire information is lost. So, information is lost in the conversion and also lost in the transmission – once it’s gone it is gone. When you couple this loss of information, along with the fact that many helmet cams on the market today are simply security cameras sold as helmet cams – the end result is poor color quality.

The SOLUTION is to not covert the pristine digital video stream into analog. Guess what? The POV1 has solved this, albeit somewhat expensively, by engineering a fully digital cable between the recording unit and the camera imaging sensor. VIO calls this cable the “LDVS Cable”, rightly so, since it is based on the widely used LDVS Standard. Low-voltage differential signaling, or LVDS is used behind the scenes in many high-speed data transfer protocols such as FireWire, Serial ATA, SCSI, and more.

That being said, the digital connection between the camera and recording unit on POV.1 contributes greatly to the overall color and quality of the video produced from this unit. The Viosport POV1 is the first to market with an affordable 100% digital helmet cam system targeted at the consumer market. Kudos VIO – thanks for taking the first leap.

Fully Integrated vs Pieced Together
Again, a brief update on the current state of traditional camcorder based helmet cam systems. The typical helmet cam system on the market in 2007 is generally a hodgepodge of equipment pieced together into a “system”. The hodgepodge generally consists of a recording unit, power system, external camera, microphone, and remote control.

The recording unit is generally a Camcorder with A/V inputs, or more recently, handheld DVR’s such as the various Archos products. These recording units will have their own batteries to charge, power switches, video inputs, and remote control inputs. As noted earlier, many camcorder manufacturers are actually doing away with video inputs all together, which means the market will be forced into the DVR space. The core issue with using camcorders and DVRs in helmet cam systems is that they are not designed to be used in the many ways helmet cams are used. Here is a short list of issues we have encountered with traditional helmet cam systems:

  • Tons of freak’n wires everywhere! A wire from the camera to the recording unit, a wire from the camera to the camera battery, a wire from the recording unit to the remote control, a wire from the recording unit to the microphone – ARGH!
  • Broken A/V connectors and wire connections that fall out or disconnect – duct tape is a typical ingredient in traditional helmet cam systems, and so is LOST footage of amazing escapades
  • Moving parts are bad – tape based camcorders do not like their recording heads to shake, and hard drive based DVR’s do not like shock either

The actual Helmet Cam piece of the system is generally an off the shelf security cam with some simple cable adaptations to connect to various recording devices. Almost all of the cameras out there have extreme low light ratings – this is not because the helmet cam market likes to film in the dark! The external cameras connect into the recording device using standard A/V 1/4″ connectors. These A/V connections on the camcorders where never designed to be “plugged into and stuffed in a backpack”. Hence, the often frustrating loss of video due to broken A/V jacks or simply the connector popping out. Of course, this can be easily remedied with some duct tape. Doh! Lastly, where does the external helmet cam get it’s power from? Not from the A/V jack on the camcorder – These cameras require an external battery to power them. This contributes to the crazy wire mess generally associated with helmet cams.

The standard Remote Control for helmet cameras today is based on the Sony LANC interface. This is a protocol that Sony developed years ago to allow people to control camcorders via a wire based remote. To use a Remote Control on a camcorder based system today requires the camcorder to have a LANC jack (which is another feature that is VERY hard to find on low end camcorders) – hence another wire and connector to duct tape and break. I will mention that there are a few DVR based helmet cam systems on the market today that have integrated the remote and power INLINE with the camera cable, but generally you do not want the remote tied to the camera cable since the cable is travelling towards the recording unit – which is stuffed in a pack somewhere. These DVR based systems also suffer from under engineered connectors that are prone to breaking as well.

Let’s throw in the microphone too. The microphone needs power as well, and usually draws power from the battery powering the camera. This means the microphone wire has to tie into the camera power AND tie back into the recording device as well. Basically, more wires.

Again, the SOLUTION is to engineer a complete system that is “Fully Integrated”. A fully integrated helmet cam system would have meet the following requirements:

  • An easy and efficient user experience
  • A recording unit designed around the uses associated with weareable video. Shock, temperature, water, long recording times.
  • One power source for the whole system, preferrably inside the recording unit to protect it from the elements. This means the camera draws power from the recording unit.
  • Strong and waterproof connectors designed to be beat up – aka duct tape not required.
  • A remote control that interacts with the recording unit and camera.

That being said, the POV.1 has been engineered from the ground up to be “fully integrated.” This is one of the most exciting aspects of this helmet cam system. All of the elements were designed around the same goals and objectives: filming events in extreme conditions. VIO is not the first to market on a fully integrated system, but they are the first to produce fully integrated system that is durable, waterproof out of the box, and has a wireless remote control.


New V.I.O Blog with Some Sweet Videos.

V.I.O, manufacturer of the POV.1 has just released a new blog called ‘The Vio Voice’. The blog has a bunch of cool sample videos and even some tutorials on working with the POV.1. We thought they were pretty nifty so we’ve included some of them in this post.

This first video goes over some mounting strategies:


VIO Mounting & Filming Tips Tutorial from THE VIO VOICE on Vimeo.

Next we have a video on the basic setup steps for a POV.1:


VIO Out Of The Box POV Tutorial from THE VIO VOICE on Vimeo.

And lastly, check out this freakin sweet snowmobile video! These guys are ripping it up! This is a clip from Slednecks 11:


Slednecks 11 – VIO Point of View Shots from THE VIO VOICE on Vimeo.

They have a bunch more content over at THE VIO VOICE so go check it out!


VIO POV.1: Snowboard Footage with Interesting Camera Setup

With all the fresh snow here in Mount Shasta, we’ve been out and about playing with the POV1 from VIO. This video was shot solo by our newest team member, Eric Schweitzer. Eric is an avid outdoor enthusiast – he regularly gets out and hits it hard!

In this video, the camera was mounted on a rigid pole across the top of the helmet, with the camera at the end pointing back at the face. Quite an interesting view!

Note: Revver has compressed this video for web viewing.


Video Sharing on the Internet

Many folks, who like shooting videos, also enjoy sharing them with others. The easiest way to do this, is to upload your movie to a video sharing website like YouTube. Most of these sites limit you to a 10-minute flick, and/or a 100 MB file. Also, these sites will re-compress the video you upload, so in most cases, you are not going to see the same quality on these websites as you would on your computer. So, you may ask, how do I go about uploading the best quality file to a “YouTube”, while remaining within their file size guidelines? I spent a week reading articles about this vary issue.

What I typically do nowadays is to:

  1. Download the original video footage into my computer from my mini DV camcorder.
  2. Create a movie for viewing using video editing software (i.e. Adobe Premiere, Apple FinalCut, Microsoft MovieMaker, etc).
  3. Export the movie as an un-compressed AVI file (DEINTERLACED!)
  4. Use Quicktime Pro ($30) to encode the AVI file into an H.264 (Mpeg-4) movie file.
  5. Upload the movie to a video sharing website.
  6. Done.

You may watch some of my videos on YouTube.com and Blip.tv by searching on the following “helmet camera mikie”. I typically use QuickTime Pro for encoding the final edited AVI file to H264. One tip to help your videos look good on the Internet is to make sure you de-interlace the video when you encode it! Click here for a great article that is very useful in helping you learn how to use various encoding programs like QuickTime, and others. Below is a list of some video sharing websites for your reference.

Some Video Sharing Sites:

Video Sharing Website Rankings & Reviews:

Chao,
Mike Stoll


The Ultimate Helmet Cam Checklists

Ok, these checklists have saved my arse many times. If you cover everything on these lists before filming, you should not miss a minute of action on video – unless of course your helmet camera fogs up!

Read on for the checklists!

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Video Blogger 1.0h for WordPress is now available.

  • Everytime I fix something, youtube breaks it! Fixed youtube integration, again. I wish these guys would figure out a better way to do integration other than their cheesy embed copy/paste approach – or open up their api with having to go through an interview process!

Go here for the download and install page.


Video Blogger 1.0g for WordPress is now available.

  • It’s been forever! 1.0g has some LONG NEEDED (months) major fixes from 1.0f.
  • This version fixes interface changes with Google Video, Youtube, and VSocial. Some logic improvements, strip html tags from descr text.
  • How do I test this stuff?? If it works on my site the way I need it to – it’s tested. :-)
  • Better browser feedback during REFRESHALLPOSTS. Which I highly recommend you do to cleanup cached video information for vlogged posts.
  • Let me know if stuff does not work. Enjoy.

Go here for the download and install page.


Video Blogger 1.0f for WordPress is now available.

  • 1.0f is a minor fix from 1.0e with the YouTube thumbnail finally fixed, and also a fix to the Google Video integration. Enjoy.
  • Fixed YouTube thumbnail url integration – You must do a REFRESHALLPOSTS on the options page to update the cached thumbnail urls!
  • Added thumbnail index support for YouTube.
  • Also, the ThumbnailIndex parameter can now be a URL that points to any image you would like and can be used for gv/yt/vs/dm hosts.
  • Added code in the option page to alert you when a new VideoBlogger version is available.
  • Fixed/Overhauled the Player Width/Height code (It actually should work now.)

Go here for the download and install page.


Video Blogger Plugin for WordPress, aka Vlogger, aka Vlog plugin.

This is the download and documentation page for the Video Blogger plugin I’ve made for Wordpress 2.0. This plugin allows for simple video blogging of content hosted by Google Video, YouTube, DailyMotion and vSocial. Requires Wordpress 2.0. Sorry, these docs are weak. In general the plug-in is pretty weak. It works for my needs. Feel free to improve. Read on for screenshots, installation instructions, and downloads. (more…)

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