Transcript Preparing: O-2215 Preparing for an Imaging Sortie Prepare Planning, Briefing and Critical Factors for Success Conduct Transfer Bag & Tag Publish.

Preparing: O-2215
Preparing for an
Imaging Sortie
Prepare
Planning, Briefing and
Critical Factors for Success
Conduct
Transfer
Bag & Tag
Publish
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Agenda
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Determine Customer Requirements and Expectations
Mission Staff Briefing
Sortie Planning
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Planning Considerations
Potential Imaging Patterns
Imaging Sortie Techniques
Critical Factors for Success
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Preparation
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The key to a successful imaging
mission is preparation, planning,
patience and practice!
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Use consistent processes for
repeatable results
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Do your homework before you fly
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Train like you fly, fly like you train
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Briefing – Customer Requirements (1)
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Know the customer requirements on your
imaging content and deliverables
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Get it right the first time
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Meet/exceed customer expectations
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Saves time & cost
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Briefing – Customer Requirements (2)
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If customer requirements aren’t
specified:
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The mission briefer (or aircrew) must
ask enough questions to ensure the
customer gets what they really want
If no further info is available:
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Develop potential scenarios on
deliverables by applying your
experience and “Best Practices”
Obtain consensus on mission
requirements within your team
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Briefing – Customer Requirements (3)
Examples of information you need:
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What and where is the target?
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Get the exact location of the target(s).
Get a good verbal description of the target
How should the target and surrounding features
be imaged?
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Single target images or area/timed images for mosaic
Single feature of interest or collection of features
Close ups, wide perspectives
Areas to include, surrounding features, infrastructure,
etc.
Altitude and/or lookdown angle requirements
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Briefing – Customer Requirements (4)
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Does the customer care about lighting
conditions over the target area?
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The customer may not want photos taken under a
heavy overcast, or in early morning or late
afternoon light
What information do they want to accompany
the images?, e.g.:
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Altitude (MSL or AGL, or both)
Latitude and Longitude
Time (local or Zulu)
Distance from target (nautical or statue miles)
Direction to target (e.g., looking South)
Angle to target (e.g., 45°)
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Briefing – Customer Requirements (5)
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What image format ( JPG, TIF, Raw) & quality
(Hi, Med, Low) do they want?
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Do they mind if you crop images, if needed?
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This also helps you determine how large (or how many) media
cards you will need for the sortie
E.g. cropping out unwanted features – wheel, etc.
Do they mind if you adjust the image, if needed?
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E.g. adjusting the image brightness, contrast, due to
poor lighting conditions, etc.
Getting the requirements right helps prevent
you having to re-fly
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Briefing – Customer Requirements (6)
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Do they want you to add text or symbols to the
photos with some of the above info?
Is CAP branding (e.g. CAP Shield) OK?
How do they want you to name the image
files?
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E.g. subject, time, sequence number, etc.?
How do they want you to send the photos? If
Email?
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May affect photo format & quality (file sizes)
Addressing, Subject and remarks, CC/BCC, etc.?
Call after sending?
Any anti-spam issues?
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Mission Staff Briefing
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For complex missions, the mission staff
may use a target control list to put
together the briefing packages for the
aircrews
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The staff should also be careful not to
pair an inexperienced pilot with an
inexperienced photographer
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In addition to the briefing items specific
to the imaging mission, briefing
information should include:
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Terrain, obstacles and ground cover around the
target (s)
Weather (local and target area)
Time format (local or Zulu)
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Use of Target Cards
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For complex missions and multiple targets, target
cards may be used to identify target names in a
sequence of photos, etc.
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3x5 index cards (or similar) with the common name of each target
Written with sharpie or magic marker to make them more legible.
May contain coordinates, mission/sortie numbers, etc.
The AP will photograph the applicable card just
before taking photos of each target
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Planning Considerations (1)
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Teamwork during the planning and execution
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Planning the type of pattern(s) to be flown based on
requirements, terrain and weather
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Reviewing the communications between the pilot and AP
Plan for an ID Pass (e.g. 10 mins) to assess the
target/weather situation and make any planning
adjustments
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Target sketches may be required for briefing
Capture all the data, e.g., lat/long of all entry and turning points
Decide the best altitudes, angles and directions
Determine any mission impacts like fuel stops, etc.
Plan for plenty of time to obtain photos
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Allow time for extra photo passes and aircraft repositioning
Maintain Flexibility to Adapt to Unplanned Conditions
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Planning Considerations (2)
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Crew Roles
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The AP is normally the Mission
Commander when in vicinity of the
target
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MP retains responsibility for the safety
of the flight as Aircraft Commander
The MO assists in keeping a photo
log, monitoring the scene,
maintaining situational awareness
and communications with ground
assets, etc.
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Google Earth
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An excellent tool to use for pre-flight
briefing and post flight photo processing
preparation
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Pre-flight: Using satellite imagery,
inspect target area, terrain features &
plan photo patterns, etc.
Post-flight: confirm/refine target location
and image direction
Import graphics (e.g. search grids,
waypoints, etc.) via KML files
Import photos w/GPS location
Import & overlay flight tracks from GPS
and/or G1000 SD data card
Export or email graphics, map images
and geotagged photos
Can also overlay other maps such as
VFR sectionals, USGS Topo, etc.
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Imaging Flight Pattern Types
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Four Square
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Birds Eye (Overview)
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Shows details between structures or a long series of
vertical photos along roads, etc.
Circling
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Standard most stable pattern for most missions
Good for quick shots of multiple targets or wide areas of
damage for future mission planning purposes, etc.
45° Angle to Target
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Used for fixed angle photos & based on customer
requests
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Pattern Execution Considerations
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Every imaging pattern starts with an “ID Pass”
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Generally, an overview photo is required to provide the
customer “context” of the target and its location relative to
surrounding landmarks, etc.
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Wide angle shot to show sufficient landmarks, ingress routes, etc.
May have to reposition aircraft for optimum view
Aircraft Maneuvering
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Verify the target and note its coordinates (MO)
Determine best aircraft positioning & altitude for proper framing
Additional planning passes may be required
The approach to the imaging pattern / photo run should be stable
& allow enough time to analyze approach for best framing results
Fly slowly enough for multiple photos
Before leaving, capture any final photos, notes or
sketches to aid in debriefing
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Circling Imaging Flight Pattern
ID Pass
½ NM
Alt > 1k ft AGL
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Circling to Look for Best Shot
(Intersection of two high-voltage electrical lines)
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4-Square Imaging Flight Pattern
Flying technique for
repeatable results on each
leg (adjusting for wind):
- Overfly target to record
position
- Fly pattern @ 90kts &
use true HDG if possible
- Select a cardinal
direction & fly first leg
- When abeam to pilot’s
shoulder, start 35 sec
counter
- At 35 secs, begin right
270° standard turn for
next leg & repeat
1,000 ft Offset Example
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4-Square Imaging Pattern
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Four perspectives on same target, 90° apart
Usually at cardinal directions to help photo interpretation
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Bird’s Eye Imaging Flight Pattern
1) Circle target to find
best altitude &
direction for photo
Alt > 1k ft AGL
2) Can use 10° bank
and opposite rudder
to increase available
lookdown angle
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Bird’s Eye of Gas Facility
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45° Angle to Target Flight Pattern
(or any fixed angle as required)
Slant Range
45 Lookdown Angle
SR
2k ft
45
2k ft
AGL
NM @ 45°
1,000
0.23
1,500
0.35
2,000
0.46
2,500
0.58
3,000
0.70
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45° of Stadium
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Flexibility & Improvisation (1)
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Unique Missions may require
flexibility & improvisation
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Aircrew needs to adapt basic
patterns to fit mission
requirements or environmental
conditions
Examples:
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Massive storm damage, e.g.
hurricanes, tornados, heavy
snowfall, flooding etc.
Natural disasters, e.g. fire, oil
spills, etc.
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Flexibility & Improvisation (2)
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These may be complex missions
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Multiple crews and sorties to image same
event on same day/successive days using
the same equipment & aircraft
Photo capturing, logging and processing
requirements very formalized & systematic
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Potentially 100,000+ images collected in a
mosaic for a single event, e,g, Hurricane
Sandy, Gulf Oil spill, etc.
Processing tasks may be done by dedicated
resources other than the aircrew – requires
precise photo logging
These may be single customer, survey
missions
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Pima County watershed / flood plane
analysis
Specific photo requirements on track,
sequencing, overlaps, delivery format, etc.
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Flexibility & Improvisation (3)
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Can use special
equipment &
combinations of photo &
visual search pattern
techniques
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Mosaic requirements
Timer, part of ADIS Kit
Window Camera Mount
http://www.capvolunteernow.com/todays-features/?necessity_prompts_invention_by_ohio_wing_aerial_photographer&show=news&newsID=16893#
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Imaging Sortie Techniques (1)
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The first pass by the target is very important to
confirm:
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You are at the correct altitude (angle) for best results
You are looking in the right direction for best results
You are at the correct distance from the target
You are flying at the correct speed
The GPS is locked on and tracking (if applicable)
If any of these conditions aren’t met:
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20- 45
Have the pilot turn around
Correct the problem
Redo the first pass
1,000 ft AGL
<< Spacing >> Camera
Target
Position
Position
1/2nm = 20
1/6nm = 45
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Imaging Sortie Techniques (2)
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For a target shot, the MP must be as close as
possible to the target while still allowing the AP to
properly frame the target:
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At 1kt AGL, typically offset by 1kft to 3kft horizontally (20° to
45° lookdown angle), zoom <135mm
If at 3kft offset you are too close to the target, gain altitude
rather than moving away horizontally
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The MP must always strive to keep the AP in the
proper position for a shot on successive passes
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Small adjustments (maybe not obvious to the pilot)
must often be made to get the right angle or position
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Lifting the wing, moving the strut out of the frame or making
minor course (heading) changes are the most common
adjustments
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Imaging Sortie Techniques (3)
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The AP must know how to direct the pilot:
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Keep the directions clear and simple, e.g.:
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The pilot also needs positive feedback,
especially if you are shooting out of the rightside windows.
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Finding the target: “Target at 10 o’clock”
Final alignment on a pass: “Lift your wing” or “Move
the strut forward” or “Left 10°”
Use simple words such as “Good, good” to let the
pilot know they’re on the right track and speed
Finally, tell the pilot when you are done taking
photos on that pass
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By saying something like “OK, I have the shots”
Be Directive - Then Descriptive
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Imaging Sortie Techniques (4)
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Notes:
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Sometimes wind direction/speed forces the pilot to
tilt the wings or crab so much (in order to maintain
the planned flight path) that the photographer can’t
properly frame all of the photos as planned
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In this case, try taking the photos from another
direction (e.g., from the northwest rather from the
north) or note the difficulty and discuss it during
debriefing
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Imaging Sortie Techniques (5)
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The AP must decide whether the pictures satisfy all
mission requirements
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Don’t be afraid to admit that you didn’t get a particular
shot, and ask the MP to reposition for another try.
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Never hesitate to make another pass or to reposition the
aircraft to ensure a good photo
Don’t let any other crewmember rush you.
Remember, you should take as many photos as you
think you need to fulfill mission requirements
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Extra photos are better than extra flights
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Factors Affecting Success (1)
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Artificial Deadline or Impatience
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If you don’t plan sufficient time for all
phases of your sortie
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If you get impatient during any phase
of your sortie, you almost guarantee
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Hurried shots and risk returning to base
without good photos
That all your photos won’t be quality
photos
Or that some photos will be missed
Returning without quality photos of
all your targets is a waste of time and
effort
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Another crew will have to be sent out to
complete your sortie.
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Factors Affecting Success (2)
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Vibration comes from the airplane, its engine
and air turbulence
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To reduce the effects of vibration:
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Hold your camera properly
Don't rest any part of the camera or your body
against the airframe
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Keep your arms and elbows from coming in contact with the
window sill or armrest
Ideally, the only part of the airframe that will be in contact with
your body is the seat cushion
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Factors Affecting Success (3)
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Haze and fog are the most likely limits to visibility you
have to deal with
Ways to deal with haze and fog are:
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During the ID Pass, see if there is a difference between
looking straight down at the target and looking at a lower
lookdown angle
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For the best shot, put the sun behind the camera (i.e. behind
the photographer’s head)
May try adjusting White Balance to compensate
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With haze, higher lookdown angles to the target may be better. With
fog, the reverse may be true…
Be sure to reset to Auto when finished
If possible, wait for the best visibility instead of
shooting through thick haze or other obscuring
conditions
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Factors Affecting Success (4)
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Focus. Your distance from the ground (altitude)
stays roughly the same
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When using Autofocus (AF), try using the “A”
position. Alternates:
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“S” - This focuses each shot before the shutter will release,
even if you change the zoom setting
“C” – This continuously focus the lens, no interlock with shutter
release – focus may change from shot to shot
If you must use Manual focus (e.g. camera won’t auto
focus), set the lens at the “Infinity” stop
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Unless you're using a lens longer than 200 mm or are at less than
1,000' AGL
Most AF lenses can focus past infinity and have to be focused with
the AF system
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Factors Affecting Success (5)
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The wind will knock your camera around if you
let a telephoto lens extend even a little bit out
the window
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You have to make a conscious effort to lean
back away from the window to keep your lens
inside
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Inventory the Equipment Before Departure (1)
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Perform an inventory to make sure you have everything
you need to accomplish the mission:
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Camera/GPS batteries charged (including spares)
 Spare battery terminals must be protected to prevent
shorting & fire
Memory cards with sufficient capacity (including spares)
Filters; a UV filter should be installed to protect the lens
Working condition of the camera and lens cap straps
Photo/Recon Log, Target Cards, Recon Sketch Sheet, and
Image Pattern Planning sheets (along with a good clipboard)
Cleaning supplies
Seat cushion (to improve your position when shooting through
the rear left window photo window)
If necessary, something to use as a “portable darkroom” for
reviewing images on the LCD screen (e.g. cloth to cover your
head & camera or cardboard to shade the light)
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Inventory the Equipment Before Departure (2)
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Adjust Camera:
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Turn on the camera and check status.
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Follow the checklist to set up the camera
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Look for a full battery charge, sufficient space on the
media card, and other settings as listed below
Set the exposure mode, usually Auto/No-Flash
Know your shooting mode (Single or Burst)
Ensure image type, quality & resolution are set to meet
mission requirements
Example checklists in backup material
Take a sample picture to ensure correct
camera/GPS operation
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Inventory the Equipment Before Departure (3)
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Adjust GPS Settings – D90 &
D7100:
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Connect the GPS unit to the camera
and ensure it locks onto the
satellites.
Check Camera & GPS set to
current time (Zulu recommended)
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Can use the Nikon Photo Transfer
program to sync the camera to the
PC (if PC is also on Zulu time)
Check GPS time zone setting and
set time zone accordingly
Take & check a test photo to ensure
everything works
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Inventory the Equipment Before Departure (4)
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Adjust GPS Settings (D200):
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Connect the portable GPS unit to
the camera and ensure it locks
onto the satellites.
Synchronize your camera’s time to
that of the GPS (suggest Zulu
time).
Ensure the GPS is in the “tracking”
mode.
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Prepare the Aircraft
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If you know a lookdown angle that works best for you,
consider putting a piece of tape on the strut so the pilot
can use it to help line up the airplane for photo passes
(work together to properly locate the tape)
Clean the aircraft windows before you leave
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Note: For complex missions, a shot of the aircraft ‘N’
number with the camera provides a good “starting image”
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Make sure you have cleaning supplies on board, particularly for
multiple sorties
Particularly if there are images on your media card from a previous sortie.
Can also take a photo of your sortie card (the one with mission & sortie numbers).
Final check that all the imaging equipment is loaded
Arrange your equipment for easy access & safely stowed
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Backup Material
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Eye-Fi SD Card
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Eye-Fi SD card (or equivalent, ~$20-$80) creates a WiFi
hotspot that will download copies of photos real time to
your PED (Free iOS or Android app required)
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Enables immediate review of photos on larger PED screen to
ensure optimal capture of objective (framing, focus, exposure, etc.)
Also can be used to zoom in on objective for real time target
analysis by the crew
Quality SD/CF card adapters may work for CF card slots on D200
w/correct camera settings? – not tested…
Photos saved
into Camera
Roll
Open & zoom in for details
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Look Down Angle
20
30
45
Side View - 45 isn’t easy!
Camera View – 18mm
Note: Wheel perspective
Camera View – 125mm
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Look Down Angle – Ground Practice
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If your airplane parks at the same location everyday, you can mark the
lookdown angle targets on the ground for crew training / familiarization.
Alternatively, for temporary parking, you can fashion some blocks of
wood cut at the appropriate angles for a sight gage
Camera window center @ 4’ 8”
20°
Wood
Block
45°
30°
20°
4’ 8”
8’
12’ 10”
= Look down angle
= Horizontal distance
from window
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D90/D7100 - Key Controls Summary
Shooting Display Screens
Playback
Button:
• Press MSC up/down
for Shooting Display
screens
• Press MSC L/R to
cycle thru photos
(GPS data displayed
if recorded)
Menu Button
• Use MSC & OK
Button to navigate
thru screens and
select settings
Multi-Selector (MSC)
Control
• Up/Down
• Left/Right
OK Button
• Selects a menu item or
setting
Shooting Menu
Screen
More info on SQ website, or:
CAP D90 Op Manual:
http://www.capmembers.com/emergency_services/operations_support/advanced-technologies/
Nikon D90 Op Manual
https://support.nikonusa.com/app/answers/detail/a_id/16087
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Camera Switch Settings
Power On
Mode Sw: Auto/No Flash
Lens AF: AF
Optical Stab.: On
Camera AF: AF
Camera display
should look
something like this
when set up
correctly
Shutter Release
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Shooting Menu Settings
Single Frame
(One release/press)
AF-Auto
Camera time set to ZULU TIME!
(Focused before release)
ISO: 800
Image Size:
Large
Image Quality:
Normal
Press Info for display
Focus Area Selector Lock: L
Use Shooting Menu to Reset to Above Settings If Necessary
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Example Checklists – D90/D7100 (1)
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Example Checklists – D90/D7100 (2)
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Example Checklists – D200 (1)
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Example Checklists – D200 (2)