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#400081 Nauticam HDMI Cables - Fragility

Posted by adamtaylor on 13 October 2018 - 05:55 PM

Will be following this thread as I have had multiple problems with my HDMI cables connecting my Nauticam GH5 housing to Nauticam Small HD 502...


Basically if has not worked since May, and I went back and forth with Nauticam for a couple months and am awaiting yet another cable to confirm what specific part / connection is the problem.


Have had nothing but problems with this set up. It is amazing when it actually works, but have spent more time without it working...


My first problem was user error, and the screw down for external cable must have loosened as there was a touch of moisture when I disassembled after a dive. I replaced all parts to be safe and +/- 20 dives later things started acting up.


Intermittent signal problems became almost no signal at all so ordered a new internal cable. That cable arrived the day I left on a week long dive trip and of course the signal was still intermittent...


There had been a 45 degree change in the plug orientation on the replacement bulkhead when installed which in my opinion caused extra strain on the cable or even the bulkead connection itself.


So after a week long trip with no working monitor and weeks of email communications I got tired of inaction and had my local Nauticam deal send the 2 cables and bullkead back for testing. Nauticam USA found that the older cable didn`t work, while the brand new one was OK. The bulkhead was giving intermittent signal and all parts send to Head Office for testing.


Tests came back fine on the bulkhead which I disputed as it didn`t work for me, and was intermittent for Nauticam USA. In the end due to time passed dealing with this they tried to say the bulkhead was beyond the warranty period but I disputed and they replaced the bulkhead, and offered 30% discount on a spare which I purchased for redundancy


I also tried to purchase a spare internal cable but they were OUT OF STOCK which makes me suspect there are more issues with these cables than we users are aware of...


Anyway, received the parts and of course things are not working. Have tried direct connect between the camera and monitor using full-size HDMI and all is good. I do not have mini-mini connections to try alternate cable routing to see where the fault is.


Now I have ordered a new external cable to ensure that isn`t the problem but the clock I ticking on 90 day HDMI cable warranty period...


Am overall unimpressed with how Nauticam has handled this, and disappointed they have not lived up to their reputation for quality products and service. This is my second Nauticam housing, 3rd when the monitor was added and I honestly expected better from them.


Fingers crossed the cable arrives this week so I can try to troubleshoot the issue.


Next stop is a HDMI cable distributer to see if there are alternate options for the internal cable. Besides the high price on the Nauticam one, the length and way it curves inside the housing causes bad kinking. Am hoping to find a 90 degree HDMI plug and shorter cable which would allow a straight line from bulkhead to 90 degree plug.


If I find a workable solution I will post part numbers.


At this point anything would be better than non-functioning Nauticam gear :-(


Sorry for the rant, but I did not spend thousands of dollars on a monitor system to get nickeled and dimed on faulty cables and poor service.






#396760 Oly OM system starting from scratch

Posted by adamtaylor on 25 June 2018 - 08:43 AM

I shot various Oly lenses on my EM5 mk 1 and now my Panasonic GH5 in Nauticam Housing using the Macro Port and 180mm dome.

As stated by others the 12-50mm is a good all-around lens. Good, not great image quality but the flexibility outweighs the minor image quality loss

60mm is a great macro lens

12-40 pro is awesome, not quite wide enough at times, but you can zoom in for medium to reasonably small stuff.

8 Pany fisheye was nice, but sold it to a friend as I didn't like the results with acrylic mini-dome. With my murky local waters the thickness of the dome would often catch the light from strobes (poor placement on my part?)

Recently got the Oly 7-14 Pro for videowork with the GH5 on some deep, dark glass sponge reefs. Had hoped the f2.8 would help gather light as it does with the 12-40 Pro.... Unfortunately with video the corners are garbage below f5.6 or 7. Not even useable if you are relatively close to the subject.

Corners may not be as bad with still images but I would not recommend spending the extra money on the Oly over the Panasonic unless others have had significantly better results.

Good luck with your decisions.



I shoot with the EM-II recently upgraded from the EM5-II.  I have the 60mm macro and recently added the Panasonic 30mm macro.  I shoot mainly in the temperate waters around Sydney and found the 60mm problematic, you had to back off too far for many subjects and when focusing out from a close subject it would tend to lock onto floaties instead of the subject, the 30mm does not seem to do that.  The EM-5 II would do that much more so than the EM1.   Of course in clear tropical waters it will be different and less of an issue.  You will probably want a focus light particularly with the 60mm..
On wide I shoot the 12-40 and Pany 7-14 in the same Zen 170mm type II dome.  If you study the port charts you'll see if you got the N-120 version of that dome it will allow you to shoot the 12-40, both 7-14 lenses and even the 8mm fisheye in the same dome, though you do need to source a custom 30mm N85-N120 adapter which I have seen mentioned in other threads on this forum.  this is theport chart for Zen: 
Again the choice of wide lens depends on what and where you are shooting, the ifsheye is especially challenging, but has its place for things like big animals and CFWA, definitely not a point and shoot lens.    In Sydney I tend to use the 12-40mm lens the most, due to water conditions.

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#391670 Lighting the scene

Posted by adamtaylor on 25 January 2018 - 09:17 AM

Let's see if a mod can split this thread ;)
On WA shots I used to place my light arms more or less at the same height of my camera. Now I try to place them higher than my camera trying to have a light angle coming from above. I like the shadows I get. Of course every reef is different so your mileage may vary.
Now I have 4 lights. Two old Keldan Luna 8 CRI (5K lumen each I guess). Two prototypes built by a friend of mine (12K lumen each). I never mounted them together. IMHO I would get a correctly exposed flat image, nothing more.
When a keen buddy is available I give him the most powerful set. I fill the subject in front of me with my Keldan and my buddy "flies" 1,5 meters above my head trying to light up the scene/subject from above. Then we play with different angles.
I find that in this way you get amazing shadows. Sometime we get a sense of depth impossible to get in other ways.
Sometime we try a different approach: I light up part of the scene in front of me filming my buddy which in turn light up further far away. Sometimes we get clips we like a lot, sometimes just trash.
This video was made from two dives we experimented a lot this technique. I made a lot of mistakes (i.e. I left my lights on while being well far away from the subject getting only a lot of backscatter. The Gerardia Savaglia was completely burnt on the highlights cause I haven't zebra on my GH3) nevertheless you can see several examples of what I'm trying to explain. 

The amphora at 1:12 and 1:24 is light up from my lights and from my buddy above. The same scene at 1:30 is light up only by me and as you can see it's not simply a matter of exposure. The clip at 1:12 has a completely different depth of field.
We used the same "tricks" on most of the clips of this video:

You can see what you can get on a big sponge light up from the opposite at 2:13.
Again the small gerardia savaglia from 2:40 is light up from above even in the close up clip.
At 3:22 you can see my buddy moving upwards while I film the small dendrophyllia and you can see how the reef appears under this kind of light.
At 4:29 an example of me lighting up part of the scene in front of me while my buddy, in turn, lights up further far away. We gently move together giving a great "sense of depth" IMHO.
I understand that I have very particular tastes for UW imaging. I do not pretend to be mainstream and sometime I'm very contentious here ;)
Once you have several lights and some collaborative buddy you can be very creative.
In conclusion... we never get bored underwater.

Following with interest as this lighting technique is what we are experimenting with on glass sponge reefs.

My local waters are often dark & murky near the surface, and clear up somewhat at depth. There are a handful of reefs just within recreation diving limits, but even at +/- 100 feet it is often like twilight down there.

There are larger, and even darker reefs in the 250-300 foot range but I leave those for a technical dive team depth and when lucky a submersible.

Filming another diver lighting up the reef with no lights on camera has reduced backscatter and created a dark, moody scene where the diver is basically a bubble of light travelling through and alien landscape.

3200 ISO gets grainy and 6400 looks terrible. Any suggestions for cleaning up noise appreciated as I am new to video editing.

As was suggested in this thread positioning the camera with lights to illuminate foreground, while dive buddy with second set of lights adds depth additional illumination swimming the reef in the background.

My dream shot is to have multiple divers turn on lights in sequence creating pools of light illuminating the reef off into the distance.

Unfortunately given live boat deployment and site conditions it is difficult to get more than 2-3 divers down in the excact same place.

Will try to upload some sample video later tonight



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#391059 IS IT WORTH IT? GH5s - No Stabilization

Posted by adamtaylor on 09 January 2018 - 09:31 AM

I agree with almost everything everyone is saying.
The lack of IBIS is a major bummer for me, wasn't expecting them to remove that. But it seems its not due to the sensor size or aspect - it seems the target audience for this camera where screaming for the removal of IBIS, as it was ruining in-car, on-gimbal shots - so Panasonic listened.
Pajjen raised a valid point for deep / dark ambient shooting where a clean high ISO would be really useful and where lights wouldn't reach.
If the visibility is right, I really enjoy videoing wreck exteriors, where even super powerful lights wouldn't reach, so potentially having a super high iso - and clean would be cool.
Will find out when the body arrives.

I am also looking forward to any deep & dark dive footage. Deep wreck exteriors would be similar low-light conditions to what I am trying to shoot, and I find the GH5 sorely lacking.

Off-camera lighting helps (filming a diver from a distance) but the dark areas have terrible grain at higher ISO

Still on the fence regarding GH5s



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#390408 Nauticam focus gear for Oly 60mm and Nauticam 12-50 port?

Posted by adamtaylor on 19 December 2017 - 08:39 AM

Thanks for the comments. Mostly for something really small that moves ever so slowly...

Example Costasiella usagi's eye. The AF works. but not knowing which specific part i want precisely. esspecially when we trying to shoot shallow DOF.Yes. that's the reason.Yes. But rocking ur camera front and back doesn't magnify the subject in LCD to confirms which specific part in focus.

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My solution for my old EM5 mk1 was to program the two Function buttons;

1) was to switch to manual focus once autofocus got it close.

2) was for viewfinder zoom to help confirm fine details while rocking camera or turning focus dial.

My GH5 has a pinpoint focus option where it zoom in so you can confirn prior to pulling trigger.

There are many different ways to look at fine-tuning focus. I guess it depends on personal preferemce, and if you have the focus gear. How 'complex' the subject or it's surroundings, and even water clarity / fresh water mixing are usually the determining factors for me when using the 60mm. If there is alot of plankton or silt in the water, or the subject is surrounded by comlex growth autofocus alone doesnt cut it.

Good luck


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#390375 Nauticam focus gear for Oly 60mm and Nauticam 12-50 port?

Posted by adamtaylor on 18 December 2017 - 10:07 AM

Hi, my friend is using an E-M5 mk1 with Olympus 60mm macro lens housed in a Nauticam housing and the port for 12-50mm.

Now, he's thinking of buying a focus gear for his 60mm lens but he's afraid that the macro mode dial on the port will obstruct the O60-F focus gear.

If there is anyone using the O60-F focus gear in the N85 12-50mm port, please let me know. Thanks.

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I use the 60mm with focus gear in the 12-50 macro port and it works fine.

The focus gear is controlled by the knob on the housing, and given the 60mm is a narrower diameter there is no issue with the macro port knob.



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#390204 Underwater Monitor for Panasonic GH5

Posted by adamtaylor on 10 December 2017 - 04:28 PM

As I will occasionally use the monitor topside I have opted for SmallHD 502 (so I can send up a surface feed in the future).

Ordered the housing and just waiting to see if there are any Black Friday / Cyber Monday deals for the monitor.

Will comment after I have tried it out.



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Finally getting my new addition in the water once the Marina closes tonight.


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#389616 GH5 4k 4:2:2 @ 60p recorder monitor

Posted by adamtaylor on 22 November 2017 - 09:25 AM

As we know 4:2:2 is limited to 30p but with the new recorder from Atamos we can record 4:2:2 at 60p ProRes!

The only problem is I can not find any housing for the recorder.

My option is a Canon 1DX Mark II at 3 times the cost to get into camera and housing along with a difficult to use codec out of camera increases my work flow difficulties.

Recorders should become much more popular as the storage options for video footage are limited. If you count how many 128gb SD cards would be needed for long underwater footage a recorded becomes much less expensive and has so many extras that you get at a decent price.

I'd like to find some manufacturer that is going to support the inferno. This thing has been out since March 2017 and we are bound to have many mire cameras coming down the pike at 4k 60p this year, so there is going to be a demand for these housings. 8f6884de7e3e344f5e848ffffa28ee9f.jpgc912fbed218724206ac238f24c49aa12.jpg

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I recently researched monitors for my GH 5. While the Ninja Inferno was my first thought by the time I factored in the cost of housing and mounting hardware I couldn't justify the price for what you gain over GH5 internal recoding.

Perhaps I will revise this opinion in the future and upgrade to Inferno in Nauticam for the reasona you mention. But for now have opted for a Small HD monitor.

Apparently the Nauticam housing for the Shogun also works for the Inferno




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#389574 Underwater Monitor for Panasonic GH5

Posted by adamtaylor on 21 November 2017 - 08:29 AM

So what's the conclusion? The dive and see 5 inch or the small HD 5 inch? Is the colors really not reliable as I read with the dive and see?
And how much problems does the small HD mini hdmi cable give u underwater?
I actually like the features of the small HD more but having usable cables is priority nr1

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As I will occasionally use the monitor topside I have opted for SmallHD 502 (so I can send up a surface feed in the future).

Ordered the housing and just waiting to see if there are any Black Friday / Cyber Monday deals for the monitor.

Will comment after I have tried it out.



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#388479 Took the GH5 to Komodo

Posted by adamtaylor on 16 October 2017 - 06:27 PM

Thanks Adam. I'm still learning. Way more complicated than the Sony and awkward underwater! But the image quality is really good as you know! I'm looking forward to being more capable with the modern tech. I've been doing a lot of practice dives in the puget sound and will eventually post something now that Komodo is out the door ;^) 
I've decided AWB works just fine with my solas and now only custom white balance for ambient light. Previously I was using auto ISO but ended up with too much grain. So I keep that at 800-1200. The fewer things to twiddle underwater the better!

How are you liking the GH5?

Love my GH5

Agree about the grain on Auto ISO. Our dark waters can push ISO too high.

Still learning to edit but enjoying the process and the camera.

Eill need to try Auto WB a bit as I usually use Manual. I Have found that when I manual WB while shooting wide angle with lights things can be a bit off.

Probably asking too much of the camera but if for example I WB on a white plumose anemone 10 feet away (still getting a little bit of articificial light) and then later pan past another, closer white plumose in the foreground it can be purpleish...

That being said decent screenshots can be pulled, and overall performance is night and day compared to my old Olympus EM5



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#388465 Took the GH5 to Komodo

Posted by adamtaylor on 16 October 2017 - 07:12 AM

Back in July I took a trip to Komodo with a virtually brand new GH5 Nauticam setup. I shot either the 7-14 Olympus pro fisheye for wide angle and the Olympus 12-50 for everything else. I recorded 4k60p 8bit and output at 1080p. I like the flexibility of being able to punch into the 4k footage. Although my 10 year old Mac Pro was feeling the pain of the large files. I relied heavily on proxy media when cutting.
I just recently switched to this camera from a Sony CX550 camcorder. So, the techniques and all the buttons were really new to me. I used 2 sola 3000s for lighting and a sola 500 for spot.
On each dive I'd manually white balance for ambient and the solas with a grey card. This worked pretty well and I like I could store the values. Although, I'd sometimes forget which white balance setting I had selected--ambient or solas.
Generally I'm pleased with the results, but learned a lot through making mistakes!
I edited in FCPX. Comments and critiques are very welcome. Oh, and I used a Phantom 4 for the drone footage.

Very nice

I see you have made a gkod transition to the new camera

How are you enjoying it in local waters?



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#388218 4K to 1080 Pros & How To

Posted by adamtaylor on 07 October 2017 - 10:18 AM

Reading this thread encouraged me to try editing a 1080 video from 4K footage.


This was a learn as I go experiment, so I cannot really comment on how things SHOULD be done, simply what I did.


Imported the 4K footage into a 1080p timeline in Premiere Pro. I really enjoyed the flexibility of having x2 the area to work with for framing, crop, zoom and motion. Will definitely change the way I frame some shots in the future if I want to do more of this.


Another thing I noticed is a need for an external monitor. The tiny viewfinder was hard to confirm focus in macro, especially with the housing on a tripod tight to the bottom. The Nauticam CMC2 was also great, but the focal plane is VERY narrow.


Gear was Panasonic GH5, Olypmus 12-50mm lens in Nauticam Housing + Nauticam CMC2. Lights are Archon W41VP


Any comments & suggestions appreciated








#384821 Panasonic LUMIX GH5 for underwater video

Posted by adamtaylor on 07 June 2017 - 06:41 PM

For those interested I posted a couple links to footage from my first dive with GH5 under Editing, Post Production etc.




Constructive criticism would be welcome as I am new to Underwater Video






#384820 Panasonic GH5 first dive

Posted by adamtaylor on 07 June 2017 - 06:29 PM

Hello all,


On both the Mirrorless and Video Gear threads there has been much speculation and desire for information on how the GH5 performs underwater.


I received my Nauticam Housing last week and got the camera in the water for a single dive on Sunday. I used my Olympus 12-40 f2.8 Pro lens in 180mm Nauticam glass dome which I used with my Olympus EM5


Full disclosure I am a rookie at video, and have even less experience editing. I have been shooting stills for 4.5 years and while I enjoyed the EM5 I found it a bit lacking lately with some of my deeper, darker dives doing conservation work on glass sponge reefs. Constructive criticism greatly appreciated.


I am in the process of upgrading both my hard drives and computer system as my old laptop is out of space, and horsepower.


Due to my current computer challenges videos linked below were shot 8 bit 1080p 60fps, and have been run through Windows Movie Maker which converted them to 30fps? (As stated, the technical side is currently beyond me)


No colour grading, exposure or other shifts has been applied. You will note the white plumose anemones are washed out / burnt at times but I really wanted to get a feel for the camera, and judging results on a small camera screen is not that easy. There is some focus hunting, which I honestly think was me hitting AF lock lever trying to re-focus.


Anyway, to keep things simple I shot 1/60, f8, Auto ISO, Manual White Balance and Single Autofocus.


The white balance was remarkably easy, simply hit the thumb lever, then up button to activate viewfinder, point at something white (I used my dry glove, or a white anemone) and hit OK. Perhaps a grey slate would work better? I don't know, this was the first time I have ever performed manual white balance.


Local water conditions can be challenging at times due to river run-off and plankton. This dive had pretty good conditions; decent visibility at depth with suspended particulate and a surprising amount of light considering the top 8 feet was river silt with 2 foot viz, and the next 10+ feet was plankton soup with 5ish foot viz.


Here are a few miscellaneous shots where I tried different scenarios https://youtu.be/ydu2t-w1Vis



Mother octopus grooming eggs (eggs start at 1:06)   https://youtu.be/M7NrIMyTR4o







#384747 Panasonic GH-5 lens selection WWL1 or wide-angle

Posted by adamtaylor on 05 June 2017 - 03:02 PM

Had to use my old camera on Saturday dives as I didnt have a battery for Leak detection system.

But Sunday's five went well.

Need to upgrade my computer before editing 4K and will go through the 1080p 60fps footage in next couple days.

Very impressed with ease of white balance for a rookie like me. 2 octo on eggs was an added bonus

More comments later in week

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