Judging by the number of new and improved helmet cameras that hit the market each year, manufacturers are still trying to find the sweet spot where quality, dependability, usability, and affordability intersect. Over the past three years helmet cameras have moved from disappointing to good-enough to… well, almost exciting. The Drift HD is part of a new crop of helmet cams that just might get you excited about shooting video on the trail again.

The Drift HD from Drift Innovation is the latest and greatest in the line-up which includes the HD170 Action Cam and the X170 Action Cam. Compared to the HD170, the Drift HD beefs up the still camera resolution to 9 megapixels while reducing the length of the camera by 25%. The HD also utilizes the 170-degree wide-angle lens in all shooting modes, unlike the HD170 which limited the lens angle in full HD mode (1080p).

Ok, so after that last paragraph I’ve nearly lost about 70% of you who are considering buying a helmet camera. There’s a lot to keep track of here and the camera companies aren’t doing us any favors by trying to pack in dozens of features many of us will never use. The whole spec-war reminds me of buying a digital camera back in the early 2000s when it was all about megapixels and memory size. What about the majority of us who just want to get out, ride, and make a few short videos on the trail? Read on.

Quality

You’re not going to get cinema-quality footage out of the Drift HD or any other helmet camera out there for that matter. The Drift HD does include features like auto white balance and exposure settings to help you improve video quality but it can be hit or miss. Using the camera in “night mode” my footage actually came out pretty true to life, better than I could have done with a digital still camera (see embedded video below). But on a bright, beautiful fall ride punctuated with blazing red, yellow, and orange canopy, the footage ended up looking washed out and bland.

Dependability

One of my biggest gripes about helmet cameras is how difficult it can be to get a steady shot out of a fast ride. No matter where you mount the camera it seems like the video almost always comes out shaky but the Drift HD makes it possible to lose the shakes.

First, the Drift HD mounting system is solid and locks into place using a wide, rectangular clip into the included helmet, bar, and sticky mounts. On a hardtail mountain bike, mounting a helmet camera to the bars (or any other part of the bike for that matter) is usually a waste of time but I actually got some good footage using this camera. Unlike other systems on the market, the Drift HD includes a vented helmet mount and bar mount right in the box so you can figure out what works best for you. Even better: you can use the quick-lock mounting system to swap between helmet, bars, and other mounting positions with ease.

Using the built-in LCD screen you can watch your recorded footage on the trail to help you quickly dial in the most stable mounting points and interesting camera angles. The best mountain bike videos are made by sessioning features until the rider nails it and the Drift HD allows you to keep rolling and adjusting until you get the right shot. It’s always disappointing to get home and realize your camera was pointed at the ground the whole time because you couldn’t preview the footage!

The rubberized camera body is water resistant and does a good job absorbing the occasional glancing tree branch. After one misty night ride I took my helmet off and realized the Drift HD was dripping wet, as if it had been dunked in a stream. Still, the video footage came out great and I didn’t have any problems with the camera afterward.

 Usability

Drift packed a ton of features into the HD – still camera mode, external mic input, half a dozen video shooting modes, and even a rotating camera lens (helpful depending on how the camera is mounted). Still, this is a very usable camera for those who just want to ride and film their adventures. Drift includes a wireless remote control but I found even mounted on my helmet I could start and stop the camera pretty reliably with gloves on.

Four mounts and a remote control are included with the Drift HD.

For those who like to geek out with settings, the on-screen menus are pretty easy to navigate using the four top side buttons. The battery is rechargeable and the camera includes a removable microSD card. There’s even an HDMI output in case you want to air your unedited footage on an HDTV.

Sample Footage

The video below is a short sample of night riding footage shot with the Drift HD (click here to watch on YouTube).

Also check out this video from the Baker’s Dozen race (bar, helmet mount) and this one from Bent Creek (helmet mount, downhill).

Overall I’m pretty impressed with the Drift HD and have enjoyed using it on the trail. This camera is as close to plug and play as I’ve seen in a helmet camera and it doesn’t take a lot of effort to get decent footage. The Drift HD is available in stores now for $369 MSRP.

The vast majority of mountain biking videos shot with point-of-view cameras really aren’t worth the time it takes to watch them. Despite the access to excellent equipment, there are 2 main reasons for this poor video quality:

1) Unimaginative camera angles.

2) Poor editing.

Hopefully in my last post I was able to provide you with enough camera mounting ideas to get your creative juices flowing, helping you leave behind the same old overused camera mounts.

In this post, I will address the second point, “poor editing,” and will hopefully help you add a little zest to your trail videos.

Software

Whenever I mention to people that I just uploaded a new video or I’m in the process of making a new video, the first question is always: “What program did you use to edit it?” The thing of it is, I just use Windows Movie Maker to edit my videos, and it comes standard on most Windows computers. Even with this basic program I am able to produce decent mountain bike videos that I think are actually enjoyable to watch.  iMovie works even better.

Sure, a fancy video editing package has more options and might be able to do a slightly better job. But as Jeremy Hazard, pro-level photographer and accomplished videographer, commented on the last post: “I think some people miss the point a bit – POV cams are for just that – they’re not intended to capture high quality footage for use in major motion pictures  ” This is all about having fun and creating entertaining videos, and that can definitely be done with an inexpensive editing program.

Purpose

As with any production that borders on the artistic, you must first identify your purpose before you begin. Are you trying to showcase the trail? Are you trying to showcase the rider’s abilities? Or are you just attempting to create an entertaining bike video that’s sort of original? Your purpose will determine how you cut the video.

In my opinion, the major editing error that most helmet cam vids  make is the absolute lack of editing. Those long, continuous 10 minute shots bore me to death! The only time one really long shot for the entire length of the video works is if your sole purpose is to showcase the trail. Even then, if the trail is boring and has some climbs in it, that might still be a bad idea!

Here is a video where I used one long clip, and my purpose was to just show how sweet this entire downhill is:

Cut the Climbing

As a general rule of thumb, when I’m editing, I begin by cutting out all of the climbing. People only want to watch the really interesting parts of your ride, and if you’re grinding uphill for 10 minutes (or even 15 seconds), they are going to get bored. Clip out the climbing.

Since the whole shot (above) is downhill and it’s pretty fast-paced and only a couple of minutes long, I think it still works pretty well. However, bear in mind that if you create a video showcasing a single section of a trail like this, the number of people that will want to watch the video is probably less than if you created a vid featuring cool riding and shooting, unless the trail is truly outstanding.

Camera Angles

Yes, I know that I’ve already spent about a thousand words talking about camera angles. Now’s the time to take what you’ve learned, and apply it. Take all of those different camera angles and incorporate at least 2 or 3 different ones into your next video. And don’t just use one, switch to the second, and then switch to the third at the end. Try varying them throughout the video, utilizing multiple short clips instead of just a few long ones.

Check out this video for a little idea of what the finished product could look like:

Transitions

One thing that annoys the heck out of me when I am watching a mountain bike vid is a large number of cheesy, overdone transitions. A few key transition effects can really make a video pop, but when someone tries to incorporate every single feature that their software package has into one 3 minute video…. it looks cheesy, and distracts from the riding.

Personally, I generally stick with fade in/fade out transitions (black and white), and a simple dissolve. Sometimes, I even incorporate hard cuts from one clip to another. Break the thinking that you need a different transition whenever there’s a new video clip, and you will be well on your way to editing success.

Music

Nothing spells “boring” like a music-less sports video. Music should almost be considered mandatory, unless you’re just posting a raw 30-60 second clip. Music keeps the viewer entertained and engaged, and can add real life to your movie!

When selecting the song that you want to use, trying to choose music that you think your target audience will enjoy may help boost the popularity of your video. However, in my personal experience, there is no way that you can ever satisfy everyone. So instead, I suggest that you choose something that you enjoy. As long as you like your video and are proud of your work, that’s mission accomplished in my book!

Your Turn:

What editing tactics do you think really make a mountain bike video come to life?

With the advent of the many affordable HD helmet camera options on the market (especially the GoPro), the number of point of view (POV) mountain bike videos on the internet has exploded! To be brutally honest, the vast majority of the POV videos uploaded every day aren’t worth the time that it takes to watch them.

There are 2 main reasons for this poor video quality, despite the access to excellent equipment:

1) The camera angle never changes, many shots are shaky, and/or the only perspective used is boring.

2) Poor editing.

In the first half of this two part series, I will analyze a number of popular camera mounting options for mountain biking. Hopefully this will help you add a little extra zest to your next trail video.

Helmet: Top, Facing Forward

Photo Credit: Contour.com

The default camera mounting option for most people seems to be on the top of the helmet, facing forward. This is expected, as these types of point of view cameras are commonly referred to collectively as “helmet cams.”

Unfortunately, this perspective can sometimes be the absolute worst choice for an interesting video. If you are riding solo, this shot tends to create a flag pole-type perspective with nothing in the frame to add depth to the picture. It’s almost impossible to tell how steep the trail actually is or how large the obstacles are as there is nothing else to compare them to. Also, the bike is not in the picture at all, so the viewer has no idea how exactly the rider is handling his bike.

However, if you are filming a chase scene with another rider in front of you, this angle does an excellent job of capturing what the other rider is doing on the trail. This is the only instance when I’d personally recommend this mount.

Helmet: Top, Facing Backward

Again, this angle is really only useful if you are shooting a chase scene. Obviously, it would capture the performance of the rider behind you.

Full Face Helmet:  Side Mount, Facing Forward

This is a pretty popular mount with gravity riders wearing full face helmets. The angle inevitably captures part of the helmet in the picture, and that little section of helmet is usually enough to lend a little bit of perspective to the image. Also, you can usually see the bike a little bit in the bottom of the frame, which is especially cool on jump lines.

Here’s an actual video to give you an idea of what this perspective looks like:

Handle Bars

Photo Credit: GoPro.com

After the forward helmet mount, this is probably the second most common mounting option… unfortunately. Because of the fact that the camera is mounted directly to the bars, it is constantly being jolted and shaken by the smallest bumps in the trail. When I watch videos shot from this perspective I can rarely make out what is going on, and most of the time my head starts hurting and I turn it off. It’s also impossible to see how the rider is working the bike.

The one thing that a bar mount does well is provide a good view of the trail surface, if it is relatively smooth.

Seat Post: Rear View

Photo Credit: GoPro.com

While at first glance you might think that the camera would suffer a lot of shaking mounted in this position, the truth is that this is actually a very stable mount, especially on a full suspension bike. This is a very unique perspective that I find is a lot of fun to watch. When you are riding a bike, you never get to see the trail disappearing behind your tires. But with your camera mounted like this, you can when you get home to your computer!

Also, the rear wheel provides a focal point for viewers to keep things interesting and to provide a little bit of depth to the picture. I also find it fun to watch how the suspension responds to changes in the terrain.

Chest Mount

When I’m riding solo, the chest mount is hands-down my favorite choice! Mounting the camera on your chest avoids the flag pole effect by providing close-up objects in the frame (arms and handlebars) that create perspective.

But the number one reason I enjoy this perspective so much is that the viewer can see exactly what the rider is doing, and how he manipulates the bike.  Everything from shifting to braking to steering is visible to the viewer, making for a much more interesting video, especially if there are no other riders present.

One word of caution: make sure that your camera is aimed high enough to catch the trail out in front, because we don’t want to be staring at the top tube of your bike the entire time!

Get Creative

From ground placements for ride-by shots to having a camera spin around your head, your creativity is really the only limit when it comes to creating a unique perspective for your next trail video!

Coming Up

In the next installment, I’ll cover a few tips to help you edit your videos so they don’t end up in the expansive vault of neglected YouTube videos.

Based on the videos that you’ve watched or created, what is your favorite video camera mounting option?

Bike tune up: check. New hydration pack: check. A better way to capture those Kodak moments: CHECK!

More and more people are using small video cameras to capture the action on the mountain bike trail and last year I wrote about the GoPro HD helmet camera. I’m still loving the camera but even more so now as GoPro continues to step it up in this highly competitive market.

GoPro recently added some premium upgrades to the Helmet Hero HD including an add-on LCD screen called the LCD BacPac and an extended battery called the Battery BacPac. Yes! Now you can preview your shots on the trail or add on a second battery that nearly doubles your shooting time. This really extends the capabilities of this camera, making the GoPro a go-to piece of equipment.

The LCD BacPac comes in a complete kit with the LCD unit and four rear housing options that should cover just about any situation you may encounter (two waterproof and two skeleton doors). For mountain biking I used both the waterproof and skeleton housing since the skeleton tends to pick up better sound.

More than likely you’re going to have to update the firmware on the GoPro if you purchase either BacPac unit. The easy part is downloading the firmware upgrade from GoPro. Do yourself a favor and have your PC handy and follow the tutorial they provide on the site while upgrading the firmware. It is highly recommended to format the SD card and have it blank before loading the updated file. I found I had to follow the directions twice to get it right but rest assured in the end it will work. Once everything was installed on the GoPro, I had no problem getting back in business.

With the LCD BacPac you still get the same great performance when shooting but it’s so much easier to frame your shot. The LCD screen can be turned on and off whenever you need it so I tended to keep the LCD on only when framing. If you decide to keep it on, the screen will consume the battery more quickly and will reduce your shooting time.

Beyond framing shots, the playback feature is super helpful as well. Now I can decide on location if I want to keep the last video I shot which is great if I’m running low on SD card space. Playback features include fast forward, normal speed, and fast reverse for both video and photos. I found that I stumbled a bit at first getting all the buttons sorted out when in playback mode so I kept the instructions handy for a while when using the LCD.

Go Pro probably has the most extensive wearable camera mounting solutions around (I counted more than a dozen on their website). So far my favorite mounts are the Chesty, which holds the camera firmly in place right at chest height, the bar mount, which can be placed in many positions on the bike including the handle bar and seat post, and finally the good old helmet mount. All of which, when mixed together during an epic session, will give you some interesting perspectives and cool videos.

Lately I’ve been finding myself using the GoPro more and more, even for photos. Heck last month on a trip to Jamaica with the family I used the GoPro for everything. It took great underwater shots thanks to the waterproof case. You can get the LCD kit for about $80 and the Battery BacPac for $50. With either one you’re getting a  bunch of flexibility and added functionality on an already good product.

And as if that weren’t enough, GoPro also just released is the new 3D Hero System. I don’t have my hands on one of these yet, but for those of you who are really interested in making eye-popping video and already have a GoPro HD (or two!) this may be of interest. Yep, you’ll need two 1080HD cameras on top of the 3D kit, which sells for $99 by itself. All in you’re looking at about $700 for this 3D video set up which isn’t too bad considering how much it cost to make Avatar. Plus this set-up will be able to go anywhere you dare.

Check out the GoPro website if you have a minute and take a look at all the options. There’s even a daily giveaway contest on the site with cool videos of products in action.

Thanks to the folks at GoPro for providing the accessories camera accessories for review.

photo courtesy gizmodo.

We’re not sure whether to call this totally awesome or completely uncalled for. At CES GoPro announced a 3D version of their popular Helmet HERO helmet camera that promises to record all the action in 3-dimensions. Sadly there’s no info on the official GoPro website yet but from what we’ve read on gizmodo and other gadget sites, the camera is basically two GoPro’s that are synced together to produce 3D video. No word on what type of computer/TV you’ll need to view the videos or whether 3D glasses are included.

GoPro also announced an add-on LCD viewfinder/battery pack that can be attached to a basic (viewfinder-less) helmet camera.

It turns out that GoPro actually isn’t the first company to announce a 3D helmet camera. In fact, Tachyon has been selling the XC for over a year now. The Tachyon XC has two lenses just like the GoPro 3D and you can view the resulting videos on your computer using old-fashioned red and blue 3D glasses.

Now, the question is: who wants a 3D helmet camera?

Helmet cameras for mountain biking are becoming more and more popular every year, thanks to declining costs, smaller form factors, and improved image quality. If you’re in the market for a helmet camera to film your MTB exploits, here’s what you need to know before you buy.

Image Quality: HD or SD?

These days most helmet cameras shoot HD video and there are two levels of HD – 720p and 1080p. If you’re planning on uploading most of your videos to the web, 720p is more than enough quality. Cameras that shoot in standard definition (SD) only are generally inexpensive but the image quality is often grainy, even before it’s posted online. Video quality is also affected by frame rates so look for cameras that shoot at least 30 fps at each resolution. 60 fps is even better and is ideal for capturing fast action (i.e. mountain biking).

Beyond video resolution (i.e. the # of pixels), white balance, colors, and light capture are also important. View as many videos as you can from each camera you’re considering and note how life-like the colors appear. Some cameras do better in bright, sunny conditions while others may “wash out” on blue sky days. Good cameras will adjust the image balance based on the light conditions (for transitioning from open areas to canopy-covered trails).

Many helmet cameras offer multiple shooting modes: SD, 720p, and/or 1080p. Lower image quality modes allow you to conserve memory (see next section).

Memory and Battery Life

Helmet camera manufacturers may brag about the amount of memory included in their cameras but don’t worry too much about this stat. Good cameras will include a memory card slot so you can buy an inexpensive, larger memory card if necessary (prices are falling all the time). Besides, the main constraint on filming is often battery life.

Batteries will either be built-in, rechargeable types or replaceable. There are pros and cons to each choice. Built-in batteries are convenient but once they run out on the trail, you’re done filming for the day. If your camera uses replaceable batteries, we strongly recommend packing extra batteries and springing for the more expensive lithium alkaline variety for maximum life.

Size Matters

Obviously helmet cameras need to be as portable as possible so look for small, compact units. Most helmet cameras are “one-piece” while others require the use of a cable/battery pack. Also consider the form factor of the camera itself: aerodynamic, “bullet-style” cameras tend to work well for mountain biking.

Mounting Options

Helmet cameras aren’t just for helmets and many manufacturers include additional mounting hardware in the box. Consider the type of helmet you’ll be wearing (vented vs. skate-style/full-face) and whether you’d like to experiment with different camera angles. Handlebar, wrist, chest, and frame mounts are also available, sometimes at an additional cost.

Camera Controls and Viewfinders

photo courtesy vio-pov.com.

Most helmet cameras keep their controls simple enough to operate with a gloved hand but it’s still a good idea to play around with the controls before you buy. Multiple buttons can be confusing, especially when the camera is on your head and you can’t see what you’re pressing. Some cameras offer remote control units, either included or sold separately.

Due to their small sizes, most helmet cameras don’t include an LCD viewfinder like you’d find on a regular digital camera. This can make it difficult to line up your shot and we’ve often returned home to find hours of footage of our handlebars. Some manufacturers have added laser sights to their cameras while others offer remote (either cabled or wireless) screens.

Lenses

The best helmet cameras have wide angle lenses to avoid the “tunnel vision” effect you’d get with a standard lens. Keep in mind that if the lens is “too wide,” you’ll get a fish eye effect (cool for some stuff, but annoying if that’s all you have). Lenses on consumer-level helmet cams are not typically replaceable so you’ll usually be stuck with whatever lens is included.

Audio Quality

Ever notice how most mountain bike videos posted online have a catchy song playing in the background? That’s because the audio quality sucks from most helmet cameras, though in defense of the cameras it’s really not their fault. Wind noise is tough to filter out and besides, the only other sounds on the trail are often bikes clanging, creaking, and squeaking or riders huffing and puffing. Occasionally you’ll catch a well timed comment or expletive but that’s about it. If audio quality is important to you, seek out sample videos posted online from each camera you’re considering.

Software

Most helmet cameras ship with video editing software which is generally mediocre at best so don’t make your decision based on the software included. Instead, plan to use inexpensive editing software like iMovie for Mac or Windows Movie Maker. These days, online video editing is becoming a viable option as well.

Other Considerations

Helmet cameras aren’t always the best way to capture action on the trail or at the slopes. While the first-person perspective is convenient to film, it can get stale after a while. Consider using small portable cameras like the Flip trail-side or even cell phones and digital cameras with built-in video capabilities. Splice your helmet camera footage with trail shots and you’re on your way to the film festival circuit!

Most helmet cameras also allow you to take digital still shots, though in our experience those features are seldom used. Some cameras allow you to take a timed series of pics which is good for taking trail pics without harshing your flow.

Recommendations

Keeping in mind that every helmet camera has its own set of pros and cons, the list below should be a good starting point for mountain bikers looking to go viral. Now that you know what to look for, you should be able to pick the best helmet camera for your style!

• ContourHD: Simple bullet-style camera body, laser alignment, full HD, rechargeable battery, and microSD memory card slot for around $300. Contour also offers the ContourGPS that adds GPS data collection and Bluetooth.
• GoPro HD Helmet Hero: Waterproof/shockproof casing, rechargeable batteries, and multiple mounts included. Two HD versions available – the $299 full HD and $179 HD Hero 960 which doesn’t shoot in 1080p.
• Drift Innovation HD170: 1.5″ LCD viewfinder and remote control included. Rechargeable batteries, auto white balance, and 1080p. Drift also offers a less expensive SD version called the X170.
• V.I.O. POV.HD: Professional level camera system ($599 MSRP) with remote and cabled battery pack/viewfinder. V.I.O. also offers less expensive, lower resolution versions with the same pro form factor.
• Epic HD: Replaceable batteries and multiple mount options. The entry level Epic Action camera is available starting at $129 MSRP.

Read more in-depth helmet camera reviews from the singletracks crew and see which helmet cameras singletracks members like the best. And don’t forget to post your best videos to singletracks!

The Consumer Electronics Show (CES) is happening in Las Vegas this week and we caught wind of a few tech items that may be of interest to mountain bikers.

Bluetooth-enabled ContourGPS Helmet Camera

Yesterday Contour, makers of the ContourGPS helmet camera, announced the ability to stream audio and video from the camera to bluetooth-enabled smartphones. The inclusion of a bluetooth chip in the camera also opens up the possibilities for other accessories as well – remotes and mobile accessories.

We’ve been using the ContourHD for over a year now and our *only* complaint has been there’s no viewfinder to preview video when out on the trail. Paired with an iPhone or Android phone, the user can check camera angles and session features until they get the perfect shot. You can also use the mobile app to configure camera settings which is way better than trying to interpret beeps and flashing LEDs like it’s 1982. Some may recall that we actually suggested using bluetooth-paired remote screens for helmet cam video previews way back in 2007 – just sayin’…

Wahoo Fitness’s fisica Sensors Pairs ANT+ Devices with iPhone

ANT+ is a wireless data protocol that’s used by many cycling-specific devices like heart rate monitors, cadence sensors, speedometers, and power meters but up until now, you’ve needed a cycling computer or GPS unit to collect and view the data. Wahoo Fitness just announced the fisica device that allows you to view real time stats from all your ANT+ devices in compatible iPhone apps so there’s no need for a separate head unit. Convergence is such a sweet thing!

More Apps to Turn Smartphones Into Trail GPS Units

We posted about this on the forums earlier this week but in case you missed it, Garmin announced at CES that they’ll be releasing robust navigation apps for the iPhone in the near future. Could we see a mountain bike specific app that builds on the Edge features one day soon? We say yes.

Data Crunching Mountain Bikes

OK, so this one may be a little further out but here’s the idea: Wagner has created ski sensors called vLinks that record all kinds of data that help the company create the perfect custom ski for each skier. Wired Magazine describes the sensors as “essentially souped-up optical mouses that grab data 6,500 times per second to track movement along X, Y, and Z axes, capturing pitch, roll, and yaw.” The thinking is that each skier has unique technique and physical characteristics that impact the skis’ performance on the slopes.

Which got us thinking – why isn’t there a data-crunching mountain bike rig out there? Bikes are WAY more complex and nuanced than skis and by understanding the impacts individual riders place on their rigs, custom bikes could be configured to a tee to maximize rider strengths while minimizing weaknesses. We already have many of the tools – power meters, speedometers, and stress gauges – why not put them together, along with other high tech sensors to measure acceleration and pitch to get a true picture of each rider’s profile? The data could also be used to help mountain bikers improve their technique. Forget demo days at the trail – come out to create your digital riding signature!

In case you hadn’t noticed, here at singletracks we’re pretty serious about documenting mountain bike trails around the world with photos, videos, maps, and reviews. So we were pretty excited when we heard about the newest helmet camera from Contour, the ContourGPS. It’s the first wearable action sports video camera to integrate a GPS which makes documenting mountain bike trails pretty much a done deal. Talk about a virtual reality trail experience!

Here’s one of the first videos the Contour folks created using the new camera. Beyond the cool tech, I gotta know what trail this is – looks sick!

One of the things I like about tying GPS data to video is that it means you can’t speed up the tape to make yourself look faster (your actual speed is recorded by the GPS). Admittedly it’s a little tough to watch the map and the video at the same time but still, it’s pretty interesting from a tech perspective.

I’ve always wondered why more digital (still) cameras don’t include GPS for easy geo-tagging, though I never really thought about adding GPS to a video camera. Perhaps someone will come up with a slick iPhone app to do the same, though they’ll need to ship an innovative helmet mount along with the app. Thankfully the ContourGPS sticks with the same versatile design as the original ContourHD and the whole unit weighs in just under 5 ounces.

Of course the video is still high def and we can tell you the ContourHD was already one of the best video cameras for mountain biking. No word on when exactly the ContourGPS will be shipping but you can pre-order it at Amazon.com for $349.99. How would you use a GPS-enabled helmet cam?

One cool thing that has taken the mountain bike world by storm is the use of video cameras on the trail. GoPro, one of the original action sports helmet camera companies, has really stepped up once again with the new GoPro HD Helmet HERO. At $299 MSRP you’re looking at a good value with all the features and accessories you need included in the box. Here’s what you get: the video camera (5 megapixel) with 1100mAh Li-Ion battery, protective case with a fully enclosed waterproof backing and a vented back plate (perfect for MTB), 6 mounts (2 flat adhesive, 2 curved adhesive, one headlamp style and one for a vented helmet), a pivot hinge to angle the Hero just right off your helmet or bike, 1 component cable (HDTV), 1 composite video cable + audio, and a USB cable. Phew!

Before you start filming you’ll need to prep the camera and get a few items in order. First off, get yourself the highest class SDHC card you can find. This is important and isn’t stressed enough in the manual. The memory card class rating will directly affect the performance of your camera. GoPro recommends at least Class 4 media but I have found that Class 8 works the best; the GoPro HD accepts memory cards up to 32GB. After you get a memory card, install the battery and charge the camera fully before using. In my tests a full charge took 4 hours to complete via the USB connection.

It’s a good thing the battery takes 4 hours to charge – that was about how much time I needed to get comfortable with the controls and menus on the GoPro. The GoPro utilizes a two button control system but depending on how long you press them, buttons will either change from one mode to the next or change up a setting. You really need to read the owners manual that is supplied but don’t fret if you lose it – the manual is available online as well.

I recommend playing with the menus and settings to find which of the five video and two exposure settings work best. Remember the higher the resolution or frames per second (FPS), the quicker the GoPro eats up memory. As an example, at maximum resolution and 30 FPS, an 8GB card will give you less than an hour of recording time.

Once you get the hang of using the GoPro you get decent video and nice 5MP photos. In video mode there are 5 format choices: WVGA @ 60FPS (low res, fast action), 720p @ 30FPS (medium res, regular speed), 720p @ 60FPS (medium res, enhanced for slow motion), 960p @ 30FPS (high res, regular speed), and finally the highest resolution of 1080p @ 30FPS (full HD, 127-degree field of vision). I opted to do most of my shooting in standard 960p mode and tried 720p @ 30FPS for longer sessions. In the settings menu (something I didn’t use often) you can also choose how the camera shoots (single shot, triple shot, shot every X seconds, and timer). This is great if you want to snap pics of the trail automatically without having to stop periodically to click the camera.

On the trails I found the best way to avoid Blare Witch style footage is to mount the camera on the helmet. Initially I tried clamping the handlebar mount to the seat post and frame but found the playback a little too jerky.

The two control buttons are easy enough to get use with gloves on, but remembering which button to press is another story when the camera is on top of your head. It also takes some trial and error to set the camera at the correct angle when shooting at 720p but at 960p it’s not a real issue.

When traveling fast through dark brush and into bright clearings I found the GoPro HD takes a second or two to adjust to the lighting conditions so I enabled spot metering and that really helped. I also changed over to the vented backing and found that it improved sound quality tremendously. The GoPro HD recorded what I was saying along with the sounds of the trail without a ton of wind noise. After crashing more than once I’m pleased to say the camera doesn’t show any signs of damage.

Now the GoPro does not come with video editing software so this is where it’s up to you to choose what you want to use. With the proper software you can edit in slow motion, clear up shakiness, change exposure levels, and much more. Basic video software like Windows Live Movie Maker or Final Cut will allow you to clip and arrange the video plus add titles, photos, and music. Do yourself a favor though and only get as much software as you need. You don’t have to spend your hard-earned money on features that you will never use plus expensive programs add to the complexity of video editing.

I would have to say for a go-anywhere adventure video camera that includes everything you need, the GoPro HD is the one to buy. The GoPro website also has additional accessories to make that perfect shot possible!

Specs from GoPro

Camera Optics

* Lens Type: Fixed Focus (2ft/.6m – ?), glass
* Aperture: f/2.8 (high performance in low-light situations)
* Angle of View: 170º ultra wide angle in WVGA, 720p, or 960p mode
* Angle of View: 127º wide angle in 1080p mode

Video

* HD Video Resolution Modes: (subject to change, pending final firmware release)
o 1080p = 1920×1080 pixels (16:9), 30 fps, 15 Mbit/s data rate
o 960p = 1280×960 pixels (4:3), 30 fps, 12 Mbit/s data rate
o 720p = 1280×720 pixels (16:9), 60 fps, 15 Mbit/s data rate
o 720p = 1280×720 pixels (16:9), 30 fps, 8 Mbit/s data rate
o WVGA = 848×480 pixels (16:9), 60 fps, 8 Mbit/s data rate
* Sensor Type: 1/2.5″ HD CMOS, 2.2µm-sized pixels
* Light Sensitivity: Super low-light sensitivity (>1.4 V/lux-sec)
* Video Format: H.264 compression, saved as Windows- & Mac-compatible MPEG4 (.mp4) file
* Exposure Control: Auto with user selectable center weighted average and spot metering settings
* White Balance: Auto

Audio

* Microphone: Built-in, mono with AGC (automatic gain control)
* Audio Format: 48 kHz, AAC audio compression

Photo

* Resolution: 5 megapixel
* Capture Modes: Single shot, photo every 2, 5, 10, 30 or 60 secs.; 3 photo burst; self-timer

Storage

* Memory: SD card, up to 32GB capacity (SDHC)
* Average recording times (using 32GB SD card):
o 1080p (30 fps): 4h 21m
o 960p (30 fps): 5h 26m
o 720p (60 fps): 4h 21
o 720p (30 fps): 8h 09m
o WVGA (60 fps): 8h 09m

Power & Battery

* Battery Type: Rechargeable 1100 mAh lithium-ion
* Battery Life: Approx. 2.5 hrs
* Charging: via USB to computer or optional power adapter
* Charge Time: 80% capacity after 1 hour with optional power adapter; or 2 hours with a computer’s USB port

Waterproof Camera Housing

* Depth Rating: Up to 180 feet / 60 meters
* Construction: Polycarbonate and stainless steel
* Hardware: Stainless steel

Size & Weight

* Dimensions (H x W x D): 1.6″ x 2.4″ x 1.2″ (42mm x 60mm x 30mm)
* Weight: 3.3oz (94g) incl. battery, 5.9oz (167g) incl. housing

I would like to thanks the folks at GoPro for providing the HD Helmet HERO for a review.

The Drift Innovation X170 cam is a recent addition to the world of portable cameras for action sports. I found this camera to be flexible, easy to use, and a really fun way capture my moments on the mountain bike trail.

For starters I really appreciated the mounting options included with the camera: a small velcro strap mount, a handlebar mount, a multi-purpose elastic band mount, and two or three adhesive patch mounts. Between all the options, I was able to mount the camera about a hundred different ways, in any way I wanted on my bike or on my person. See the humongous display of included attachments below.

The X170 succeeds not only in the numerous mounting options, but in overall simplicity. It takes normal AA batteries, a standard SD card (up to 16GB), and features the usual mini USB connector to retrieve all your pics and videos. You can even playback straight to a TV with the composite video output. This is one of those pieces of electronics that you don’t need to read the manual – just pick it up and start recording. It’s that awesome. Most of the features on this camera are available in competing products but the X170 stands out in two distinct ways.

The first is the 1.5” color LCD preview screen which is surprisingly useful when you’re shooting on the go. Having the preview did a lot to help fine tune the angle and position when I was mounting the camera so I could get the shot I wanted, and it was also useful for immediately reviewing a clip after a run down a trail. This could be an especially useful feature for downhillers and freeriders who might like to session a run until it looks perfect. The LCD screen can also be turned off to preserve battery life.

The second cool feature is the wireless RF control button. I didn’t get too creative using this feature myself but I imagine people could make it useful in various ways. Basically the little remote can be attached anywhere on your person or bike, and it serves as an alternate record/stop button for the camera as long as the camera is within 5m of the remote. If you’re bombing down a trail and suddenly realize that you want to be recording, having to stop and fiddle with your device would be a nuisance – so having a handlebar mounted record button at your fingertips is convenient. Since the controller uses radio frequencies to activate the camera, it doesn’t need line of sight, like your TV remote control would. Here I’ve turned the RF control button into a watch.

Physical attributes and attachment options aside, the camera’s video recording quality is quite acceptable for the size and price. The automatic white balance seemed to work quickly though not instantaneously; it was fast enough to adjust for dramatic changes in light when going from tree cover to the bright sun. Still, the camera thrived in medium light conditions, especially where conditions were maintained consistently. But like any video camera, if the light was too dark the video got grainy and when the light was too bright (or aimed at the sun) the video got washed out. As long as you’re mindful of your shot, this should not be a problem.

Here’s a test video with the X170 mounted on my handlebars. It should be noted that the raw .avi video taken straight from the camera was of slightly higher quality than the compressed video you see here.

What you may notice is that the camera lens is adjusted sideways, and I have rotated the video to be “tallscreen” rather than the native widescreen. I did that on purpose. The lens itself rotates so that you can mount the camera in any position on the bike and still have the video oriented properly. There is a little notch on the top of the lens that tells you which side is “up,” but you can also use the LCD preview to see that too. I like the “tallscreen” format because it shows more of the trail and really gives you an impression of how tight some of the singletrack can be. Also, it exaggerates the lens’s fisheye effect.

Here’s another video with the camera mounted on my helmet. This clip also features raw footage with no post-production adjustments other than the rotation of the video.

Altogether, the X170 met my expectations for technical performance given the price and far surpassed them in terms of convenient simplicity and the surprising amount of options that were built in. The issues I had with the camera were with the white balance in varied terrain and the internal mic sensitivity but both of these were fixable with some trial and error by finagling with the settings menu.

You don’t have to be a digital film guru to get video of your mountain biking adventures and you don’t have to take out a second mortgage to finance it either. The X170 cam is a simple and affordable way to get into filming your epic XC rides, your insane FR stunts, or your death defying DH runs. If you’re shopping in the sub-$200 price range, this cam should be at the top of your short list.

Read more about the X170 at Drift Innovation.

Raw camera specs

• Video resolution: 720 x 480 pixels (this is normal standard definition 3:2 widescreen format, but you can also choose 16:9 widescreen or 4:3 non-widescreen)
• Lens angle: 170° (huge and awesome)
• Built-in microphone & speaker
• Video format: MP4 or MJPEG AVI (user selectable)
• Frames per second: 30 fps
• Batteries: 2x 1.5V AA batteries (Lithium recommended)
• Built-in memory: 32 MB
• SD memory capacity: Supports memory cards up to 16 GB
• Photo resolution: 5 Megapixel
• LCD screen: 1.5” colour TFT
• Lens focal range: 0.5m to infinity
• Dimensions: Camera – 133 (L) x 50 (D) x 33 (W) mm / Remote Control – 52 (L) x 40 (W) x 13 (D) mm
• Power: Camera – DC 3V, 2x AA batteries (included) / Remote control: DC 3C, 1x CR2032 battery (included)
• RF: Receiver (Camera): 433.92MHz ISM band / Transmitter (Remote): 433.92MHz ISM band
• Weight: Camera – 128g / Remote control – 19g
• Built in mic and speaker
• Waterproof to 0.5m
• Cost: ~$180.00

Check out this video from CNN.com:

Poor guy commuting on his mountain bike nearly gets hit by cars on multiple occasions. He says he rides with the helmet camera now as a witness because he’s had so many near misses and it seems like a good idea to us. Maybe he should try riding with flashing red and blue lights to get drivers’ attention.

These days anyone can star in their own mountain bike video thanks to powerful and affordable digital video cameras. With a compact form factor and easy set up, helmet cams allow mountain bikers to give a first-person perspective of the trail.

The Epic Wide helmet camera (MSRP $209) features a 168°degree viewing angle and is lightweight (2.5 oz) and small enough that it can fit almost anywhere on your bike or your person.  Almost everything you need comes in the package, including batteries, 2GB SD card, 2 adhesive mounts, one swivel mount, a strap mount, a waterproof shell,  and for an additional $19.99, a handlebar mount. You even get all the cables necessary for connecting the camera to your PC. That being said, the Epic Wide doesn’t include software for editing your movies so the choice of video editing software is up to you.

The Epic Wide Stealth Cam sports a two-button operation which, once you read the instructions, is fairly straightforward. Playing around with the camera before you head out is a good idea and should clarify any confusion with the instructions.  This camera shoots video at 640×480 resolution, features a 2X digital zoom, and includes audio recording as well. At 30 frames per second, the Epic Wide captures decent footage, even in fast action (read crash). The Epic can also take photos in a burst sequence, allowing you to capture still images in three different resolutions.

Getting the camera out of the box and onto the helmet took just a few minutes. It may take you a few moments to decide where to place the mounts (on your helmet or on the bike). With the variety of mounts you get, try a few on your helmet and maybe one on your bike. Don’t worry if you’re not happy with your initial choices; you can easily get yourself replacement double sided tape at a Lowe’s or Home Depot (I found the exact same double-sided tape in the tape isle near the painting accessories).

On the trails with the Epic I found that it worked well enough. Mounting it on the visor of my helmets (THE ONE, Giro Xen) I could honestly say that it was so light that once I turned on the camera I couldn’t even tell it was there. Turning it on and pressing record was easy enough and I didn’t have to look at the camera to get things rolling.  It did take some time to get used to the other controls and I found myself referring to the manual frequently to remember the button sequence to get the Epic to shoot in different resolutions. After playing around with different settings I found that sticking with the standard 640×480 resolution worked best.

After using the Epic a few times and looking at the playback, I decided to keep the camera in the waterproof container because without the container the microphone picked up a bit of wind noise. In fact I ended drilling two 1/2 inch holes in the back of the container which was a decent balance of picking up ambient sound while minimizing wind noise. That being said, the audio quality still wasn’t that great.

The Epic’s overall video performance was decent but depended heavily on light conditions. As with many digital cameras, I found that in lower light levels it did not do to well; the picture came out a bit dark and needed to be brightened with editing software. On sunny days with some cloud cover the camera was fine and the picture came out clear when mounted on the helmet. Mounting the camera on my handlebars produced shaky video that gave me motion sickness on playback, so perhaps that’s not a great idea. Mounting the camera on the frame was still a touch shaky but not bad compared to the Blair Witch feeling you get with the handlebar mount.

The 168° degree lens tends to flatten out the picture on playback, taking a bit of the ohhh away from those drops. Nevertheless, you do get a lot in the screen at one time and the wide field of view eliminates the “tunnel vision” effect you might see with other cameras. Of course you can spice up your video in post production, adding music and clever editing to recreate the rush of bombing a slope.

The Epic Wide is incredibly durable. During testing, the camera survived without a scratch even after I cased a drop down really bad. According to my good friend who was taking pics at the time, he said it was the best, most perfect 720ºdegree crash he has ever seen!

Here is that crash one more time. I didn’t tank it the second time (just in case you’re wondering).

If you take a look at the videos embedded here, the video quality basically speaks for itself. For the money the Epic is a decent camera and is one of the smaller units out there which is perfect for folks who want a compact camera. The Epic took some serious abuse and survived without a hint of damage which is a big plus in my book. The lack of editing software and the inability to adjust to lower lighting levels could be an issue for those who find themselves riding in lower lighting often (indoors, at dusk, etc.). Most video editing software can compensate for the lighting issues so all is not lost.

Epic also just released an HD version of this camera at Sea Otter this year. The HD camera has the same small body but an improved image sensor. Hopefully I can get you all the skinny on that as well.

Camera specs

• 640 x 480 Digital Video with Audio
• 30 FPS
• Two button operation
• Multiple mount application
• comes with everything you need batteries and a 2GB SD card
• Less than 3 Oz

A quick thanks to the folks at Epic Stealth Cams for the chance at testing out their video camera.