The major problem for shooting from a helicopter is the cyclic variation of lift (over one cycle a blade is advancing upstream (more lift) and then moving down stream (less lift)). Obviously the rotor mechanism is designed to change blade pitch during the cycle (to compensate) and the more blades in the rotor the smoother. No cyclic variation in hover. So it's this cyclic bobbing that you have to smooth out. You can do a lot by hanging the camera on a spring supported mount (bungy cord) -- mass for inertia with low spring rate support.

I can never afford a stabilizer when I am paying for a helicpoter at the same time. This has made for some very exciting shots; hand-held hanging out the door, or standing on the skid trying to not get blown by the propwash.
(I could even tell about the time I had a helpcopter accidentally stall in a steep bank ((so I could get the shot) where he hit his own prop wash, which countered his lift - boy, THAT was a thrill!) (pilot later admitted that he'd never done that before and recovery had him ... "concerned.").
I've only shot with the heavy full BetaSP cams, so I don't know what it would be like with a DV cam with built-in optical stabilizer, but I'd highly suggest two things: get a mounted stabilizer and/or a larg helicopter. A two-seater like the Robbie R-2 feels every bounce in the air. Fun for a passenger (well, fun for me, anyway) but not fun if you're trying to be a human steadicam. And speaking of that, aim for a calm time of day, like early morning or, if your climent is similar to mine, late in the afternoon when the Earth is cool and not creating drafts. Early mornings are best, though.

My RigPro has a spring-loaded shock absorber.
Anone used this device with success in a helicopter situation?
It may act in a similar fashion to Serena's suggested bungy cord, only the spring is beneath and not above the camera.
An expensive gyro contraption is not in the budget.

You can always use Deshaker with VirtualDub to stabilize the footage. Get it as smooth as you can, then software deshake the clips before putting them on the timeline.

If you're using DV rather than HDV, you could use Dynapel's Steadyhand instead. One thing nice about Steadyhand is that you can set up a batchfile and do all the clips at once without babysitting the process like you have to do with Deshaker.

I guess you're not able to do test runs before your shoot, so any set up you end up using will be a bit unknown in terms of effectiveness. Does your proposed pilot have experience in this type of work? The worst case will be a helo with two bladed rotor. Could he introduce you to other DPs who can advise you from their own experience? How about talking to local TV news video guys (who do a lot of this)? How important is it for the video to be professionally smooth, because people are generally used to helo shots with some cyclic motion (put in rotor beat). If you need the aerial view but not necessarily tracking, shoot some footage in hover.
What you want to achieve is a camera moving steadily in space while you and the helo is bumping about. Make sure you're properly strapped in so you only have to worry about your photography -- sitting in the doorway is a common position (consider the effects of wind on the camera and that is also strapped - the pilot doesn't want to be hit by a flying camera if he gets into a mjroddy situation!). The basic system is a spring supported mass, the mass providing inertia for steady motion supported by springs whose spring rates are such that the system has a natural frequency displaced from the disturbing frequency (lift cycle).
These springs can be your arms, your RigPro might do (although has only one direction of movement) or bungy cord to one or more points on the doorframe or other fittings. I think your RigPro (being mounted on you) might transmit too much to the camera. Maybe you can try some evaluations from a car, remembering that that isn't much like the real thing.
Keep things smooth and the suggested software fixes will probably solve any left over unwanted motions. Good luck -- looking foward to your report on the experience. Mjroddy has already provided good pointers to minimising flight problems.

Matthew's pointers are similar to Jody Eldred's comments regarding shooting the Z1 from a 2 blade helicopter. He handheld all the JAG and CSI stuff, but also had a body harness that allowed him to "float" quite a bit. He commented that Steadicams were effectively useless in this environment, and that his arms were able to act as shock absorbers. He claimed the heavy mattebox helped balance out the lighter weight cam.
Haven't ever shot with a DVcam from a heli, so don't know what it feels like.

I recently shot from a helicopter using the kenyon labs gyro. It helps but only a small amount. Using 1 gyro stabilizes in two axis. This leaves 1 axis unbalanced. It takes 3 gyros to stabilize all axis.
I have in the past used a spring loaded mount that I created, this worked as well as the gyro.
Remember that you can do slow motion in post. This will help. Shoot in the AM if you can, better air.
See if the pilot can give you a 15 minute test ride. shoot the entire time and experiment with your shooting style.
Depending on your shot needs, a small plane will give you a very stable platform to shoot from. A Super Cub can fly at 50 knots all day long. A Cesnna 210 is the best , no wing strut, but minimum safe air speed is more like 80 to 90 knots.
Good luck, fly safe. JM

Have done a fair bit of aerial photography (airplanes, balloons, choppers) - over cities and towns for promotional purposes. I use a PD 170 without any kind of stabalization device and have had taken some great shots with minimal shake.

In all cases the cost of the "ride" was covered, so I was able to have a test run and get the shots I needed on subsequent lifts (3 total for chopper) without having to worry about time = big$.

Depending on how much footage you need for each municipality segment, you might be able to do just fine using the video from your test, plus one extra run. Is there any way you can get them to cover some of this expense? That's geting away from your original question, but I believe a bit of practice to end up with a good product is the key here if you end up using just hand-held as I do. It may surprise you to know how strong the winds can be and how little room to maneuvre, etc. etc. Test run highly recommended.
P.S. Aerial jobs are fun - good luck!

Here are some points and tips to help make your helicopter shoot, more successful.

SEATING POSITION: Depending on the type of helicopter that you will be shooting from - your seating position may affect your available shooting position. Sitting in the open door, knees out, at a 90 degree angle will allow for the best camera movement.

SAFETY HARNESS: If shooting open door as described above - you will need to be harnessed and tethered to the interior of the helicopter. The helicopter operator should supply this harness for you and the pilot will perform a safety check before lift-off.

CAMERA HARNESS: Your camera should also have a separate tethering strap - secured to the helicopter.

HELICOPTER AS TRIPOD: The helicopter will serve as your flying tripod. With proper communications with the pilot - you can make the helicopter do everything a tripod can do and more.

PILOT COMMANDS: The pilot will work for you if he or she knows what you want. Learn these copter movement terms and compare them to camera / tripod movements:

YAW = PAN: If you need the nose of the copter to move right or left like a pan - ask the pilot to "Yaw" right or left.

TRACK = LINE of FLIGHT: Regardless of the "Yaw" position of the nose of the copter - you can ask the pilot to "Track" the ground path of the copter's movement in a particular direction. Or, perhaps "Track In" or "Track Out" from what you are shooting.

CIRCLING: When circling an object to shoot - instruct the pilot to "Set Up" on a 45 degree oblique angle to it. Then, make your track adjustments in or out.

SHOT SELECTION: Unless you are using a gyro stabilized mount or lens - you should keep your tight shots at medium. Very tight shots will exagerate the vertical movement and shake of the copter.

GLOVES: Depending on the outside air temperature - you may want to pick up a pair of thin gloves with fingertip cut outs.

WIND NOISE: Your camera mic is subject to wind noise. Use a foam cover

Summary: If you can get a chance to sit in the copter ahead of time and visualize your angles and movements - this will serve you well.

Your body and mind need to become accustomed to the pressures and challenges of sitting in an open door of a flying helicopter while shooting. The body has a natural instinct for survival and this affects your comfort, while shooting in high places.

I have well over 5000 hours of experience flying helicopter camera platforms of every type in over a dozen different types of helicopters for motion pictures, films, commercials, entertainment programs and TV news.

Good Luck With the Shoot!

Jay Mitchell
SCVUG
FootageWorks

It's been a while since I've been in a glider but they are great for shooting from, rock steady, no vibration etc.
Only problem is I don't know how you stand getting permission to fly them over built up areas, one with a motor might be a better bet as you're not relying on lift, the motor can be shut down for shooting.
Ballons / blimps are another excellent platform, again permits to fly could be an issue.
Bob.

Wow,

Thanks to everyone for your advice.
We will take it all into consideration.
This forum rocks, 'cause it really works.
Vegas folks are genereous with their knowledge.
Was beginning to wonder after 2 days and only three replies.
But knew the Vegas crew would come through.
And wasn't disappointed,---AGAIN!
Will post a clip if I get any good footage.

Curious to know Jay,---did (do) you use a stablizaing device of any sort using the helicopter-as-a-tripod method?
Also was it a DV camera (I have the DVX 100a) you use(d). Shoulder mounted larger cams may be easier to steady in this situation,---right.

Just to add to the list of platforms, a Tiger Moth is very nice. Bi-plane, two open cockpits, slow. Around here they're popular for tourist joy-rides so often used for economical aerial photography. Low wing-loading, so bumpy in turbulent air.

Thanks Serena.
Can't rule out a fix wing aircraft.
I'm sure the rental would be cheaper, thoug I haven't checked that out.
R-22 rents for about 4 hundred cdn an hour with pilot
Might have to be a bit of a contortionist to shoot from that sort of platform.
And I would think the wing(s) would be an obstacle with a bi-plane.
As for the glider suggestion from farss. Smooth quiet ride, but not much control as you have to depend on thremals to ascend and descend.

Quite right. In fact when you stick your nose out from behind the tiny windscreen you're working in gale force winds. Really only a choice for minimum cost. Much better to use a high wing monoplane where you can have the door removed. Then you have similar shooting freedom to that described for helos, trading smoother flight for inability to fly yawed.

Canon makes a 2/3" mount, gyro-stabilized lens that fits larger DVCAM camcorders - such as a D30 or DSR 500 series. We have used these very sucessfully for shooting TV news. I do not believe that they are available for 1/4 or 1/3" lenses.

If you are going to use your DVX100 - then, I would recommend that you use a "Mighty Wonder Cam" or other similar shoulder mounted device for stability. Look for one with a pistol grip, record on/off and zoom controls. Look at the Varizoom.com website for ideas.

Using the shoulder mount setup will allow you to use your free arm to help steady yourself against the helicopter's door frame and reduce shake.

If your budget only allows for an R22 - Then this setup should work out nicely.

Jay Mitchell
SCVUG
FootageWorks