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#392629 Triton Bay, West Papua with Panasonic GH5

Posted by bubffm on 23 February 2018 - 08:38 AM

Attached a clip of our diving trip to Triton Bay in January 2018.   Dolphins, Whale-sharks, Mobulas, huge schools of fish, incredible soft corals and good macro.

 

For those interested, I used the following lenses:

Panasonic 12mm Summilux

Panaaonic 7-14mm

Panasonic 12-35mm

Olympus 12-50mm (for Macro)

 

Color corrected and edited with Davinci Resolve 14

 

I hope you enjoy. 

 




#402004 Blue Water Mangroves, Jellyfish Lake -- Raja Ampat (GH5)

Posted by dreifish on 29 December 2018 - 04:17 AM

A homage to a truly special part of Indonesia: Raja Ampat, the Four Kings. Home to blue-water mangroves, shark nurseries, lakes filled with stingless jelly-fish, and, of course, some of the most bio-diverse reefs in the Coral Triangle. Filmed aboard the Blue Manta liveaboard.

 




#398906 Blue Shark In The Dark

Posted by EricS on 31 August 2018 - 05:20 PM

Blue shark shot around sunset 20 miles south of Nantucket Island, Massachusetts.  Shot August 24, 2018.

Attached Images

  • Blue_on_Black_Compressed-1.jpg



#395403 Lost In Time (Junkers Ju 52 wreck)

Posted by Davide DB on 15 May 2018 - 02:29 AM

After two years of struggles I finally came back filming. Nothing special, just a short dive on a recently discovered wreck near Capri Island. A good chance to use for the very fisrt time my GH4. Average water visibility but pitch black so I bit the bullet and filmed everything at ISO 1250.

 

The Junkers Ju 52/3m (nicknamed Tante Ju ("Aunt Ju") and Iron Annie) is a German trimotor transport aircraft manufactured from 1931 to 1952. In a military role, it flew with the Luftwaffe as a troop and cargo transport and briefly as a medium bomber. The Ju 52 continued in postwar service with military and civilian air fleets well into the 1980s.
The wreck was discovered in the 2016 and lies at 72m (236ft) on a sandy bottom in the so called "Mouths of Capri", the channel between Capri Island and the mainland ( https://goo.gl/maps/QCha5zKrpa82).
Identification and cause of loss are unknown so far.

 

Shot on a Panasonic GH4 + Lumix 7-14mm; Nauticam Housing, 2x Keldan Luna 8 CRI + 2x Ulixes 12K Lumen lights (ulixesonline.com/).

Music track "Guardian Angel" by Oliver Ledbury, licensed via Audio Network

 

Cover photo by Marco Bartolomucci. You can check his amazing photos from the dive here: https://goo.gl/FgQhwL

 

 




#393630 Anilao 4k

Posted by Pajjpen on 21 March 2018 - 08:00 AM

A video I shot during a weeks stay in Anilao. First ever dedicated macro trip.
I very much welcome constructive criticism!




#388631 Alaska-Jellyfish and Salmon sharks

Posted by benedika on 22 October 2017 - 12:56 AM

Hi,

 

my video from my recent trip to Alaska. 

 

Enjoy!

 

 

 




#387366 SATURATION - Colorful Marine Creatures from Indonesia & The Philippines

Posted by Nick Hope on 06 September 2017 - 10:40 PM

My new video of small critters from the Lembeh Strait and Anilao.

 

Filmed with a Panasonic GH4 in a Nauticam NA-GH4 housing with either 2 x Keldan Luna 4X lights or 2 x FIX Neo 1000 DX SW II lights. I used an Olympus M.Zuiko ED 12-50mm f3.5-6.3 EZ lens and a Olympus M.Zuiko Digital ED 60mm f/2.8 macro lens. On some shots I used a Nauticam Compact Macro Converter CMC-1. Xit404 tripod.

 

The UHD footage was downsampled to 1920x1080, allowing me to crop and zoom. Only the wonderpus shot was stabilized.

 

All feedback is welcome. Particularly, are there any weak shots, or uncomfortable edits? I may submit a refined version to a festival or two.

 




#383389 Anyone happy with their TriPod?

Posted by Nick Hope on 21 April 2017 - 01:13 AM

Could u post a few pics or a little video on how u managed the panning? Would be much appreciated!

 

Excuse the foot! Also, I do sometimes do a panning shot, controlling the rotation of the housing with my thumbs. But more often than not I'm just panning to position the camera for a static shot.

 




#383225 Exploring the Salish Sea

Posted by stphnmartin on 16 April 2017 - 06:09 PM

A video compilation of diving the Salish Sea during the winter. I tried labeling the critters for identification purposes. Comments & critiques are welcome.

 




#357697 Choose your weapon: SLR versus video camera for filmmaking

Posted by SimonSpear on 11 February 2015 - 02:19 AM

Well this was enough to bring me out of hibernation.   

 

I've got to be honest I'm still scratching my head over what I just read.  The internet polarises opinions for sure, but there are SO many inaccuracies that you have to wonder what purpose there was in writing this?  Is it just an anti DSLR bash or an attempt to justify a "small sensor good, large sensor bad" decision?  Are we talking about underwater filming here, or all filming?

Just a few points:

Audio - apart from a few niche situations who is worried about this for underwater use?  Audio on the newer mirrorless cameras and DSLR's is absolutely fine and certainly comparable to the results you'd get from a camcorder's internal microphone.

DoF - not an issue for WA if you choose the correct lens.  For macro we tend to like the shallower DoF and anyway you'd get a similar effect to this using a video camera with diopters.
 

Blue Planet - was filmed mostly on 16mm film.

 

Moire and aliasing - this has NOT become worse on the latest DLSR's, it has virtually disappeared from them.  The first generation were pretty bad at times, but this was never really an issue underwater where you rarely get straight lines or patterns like brickwork or roof tiles.  You did have to be very careful when shooting in a swimming pool though.
 

Colours - Oh my.  The Canon DSLR's produce the most amazing colours underwater.  Far, far better than ANY video camera I have used before or after.  
 

Macro vs WA - If you want to do this properly you will always have a dedicated set up for macro and wide angle on a video camera.  If you want to swim around and film what you come across then a video camera offers an advantage.  Also you can get decent range of zoom through with dome ports on most WA DSLR zooms, which is at least comparible to what you'd get from a standard dome port/dome on a video camera housing.  
 

Documentaries -  Most documentaries these days are filmed with large sensor cameras.  Smaller sensors are now more or less confined to ENG, but even then there are plenty of guys out there using F5's, FS700's, C300's, FS7's for traditional ENG work.
 

Stability -  Yes DSLR housings are not normally initially well balanced, but this can be resolved very easily by adding buoyancy in the same way you'd add trim weights to a traditional video housing.  The only time you should be getting shaky footage is if you can't hold the camera still and if that is the case then you'll get this regardless of what you are using.

 

Cost -  There is a big difference in the set up costs for a DSLR vs a comparable quality video camera.  The DLSR can often be 50% cheaper, which is a big decision when negotiating budgets or when it is coming straight out of your own pocket.

 

Is the article saying that large sensor video cameras are ok, but SLR's with the same size sensor are not, because.......they have a large sensor??  

 

Is the article really supporting the FS100 as a viable alternative to a DSLR for underwater shooting?  Seriously??? 

 

I will admit that filming on a DSLR and getting good results is more difficult than filming on a video camera where you can just set everything to auto and press record.  If you tried to do that on a DSLR you'd be wasting your time so you do need to learn how to film with full manual controls to get the best out of them.  I've seen some truly awful underwater footage filmed on a RED, footage that you'd be utterly embarrassed to show others that you'd shot, while on the flip side I've seen jaw droppingly awesome footage shot on a first generation DSLR.   I've seen awful footage shot on a EX1 while on the same dive amazing footage shot on an GoPro1.   

 

DSLR's and mirrorless cameras have a significant place in the current filmmakers arsenal.  I film on both traditional video cameras and DSLR's and have no bias whatsoever as they both have a role to play.   They are tools to be used as we see fit and we certainly shouldn't be excluding one OR the other.  

 

 




#396930 Mucky Indonesia with the gh4

Posted by Pajjpen on 01 July 2018 - 12:15 PM

Shot a little video in Indonesia last month, in Ambon and lembeh.
Would love some constructive criticism!



#389275 Roatan Honduras with 1dx Mark 2

Posted by Oceanshutter on 10 November 2017 - 06:30 AM

Hi Everyone,

 

Wanted to share my latest.  This was a trip to Roatan Honduras last week.  Hope you all enjoy!

 

 

-Dustin




#388449 Took the GH5 to Komodo

Posted by stphnmartin on 15 October 2017 - 10:13 PM

Back in July I took a trip to Komodo with a virtually brand new GH5 Nauticam setup. I shot either the 8mm Olympus pro fisheye for wide angle and the Olympus 12-50mm 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 really miss the internal flip macro diopter of the L&M Bluefin housing for the CX550. Reaching around to flip the CMC wet diopter into place around the arms on the GH5 setup is a pain comparatively! I was also outfitted with the SmalllHD 501 in a nauticam housing. This allowed me to see much better what I was filming and I could adjust the angle depending upon the shot. The focus and exposure peaking were very helpful.

 

The downside of using the external monitor is it kills the camera battery life as having the HDMI cable connected prevents the GH5 from going into sleep mode. As a result I had to swap out camera batteries after each dive. I could get about 3 dives from the SmallHDs two batteries.

 

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.

 




#387111 Panasonic LUMIX GH5 for underwater video

Posted by Davide DB on 30 August 2017 - 09:18 AM

Game over


Professional 400Mbit ALL-I intraframe codec for 10bit 4K 4:2:2
Open Gate High Resolution Anamorphic Mode (4992 x 3744)
Hybrid Log Gamma with view assist feature for HDR shooting
New and improved autofocus engine for video
Performance optimisations and bug fixes

http://www.eoshd.com...n-2-0-firmware/
http://www.panasonic...5_firmware.html


#368418 I need advice about wet lenses for my NA-RX100IV housing. (please advise)

Posted by troporobo on 19 December 2015 - 05:38 AM

Most direct advice I can offer: the sooner you move past wanting to shoot macro + wide angle + video on the same dive with the same rig, the better.   

 

Yes it is technically possible. No it will not lead to optimal results. Why?  IMO it is more about mindset and technique than equipment.  if you go down wanting to capture everything you come across, your images may be rushed and mediocre.  If you go down configured for a particular scenario, you can make the most of it when you find it and although you will miss some shots you will maximize others. 

 

I tried it for a long time.  When I finally accepted this advise and concentrated on one thing per dive, my satisfaction with the results went up a lot.




#323193 Favourite Image Of 2012

Posted by Torchuck on 24 December 2012 - 03:40 AM

The two main ideas I exploited this year.
Half-water and long exposure.
Philippines. Balicasag.
Posted Image
Thailnd. Sail Rock.
Posted Image


#403692 Rolling in the Deep - Dauin

Posted by Oceanshutter on 21 February 2019 - 10:22 AM

Hi Everyone,

 

Wanted to share my latest Rolling in the Deep episode.  Just returned from Dauin Philippines.  Great Macro there.  Stayed with Atlantis, and they have great guides.

 

As always any critiques are welcome.  Thanks for watching.

-Dustin

 

 

 




#402276 Testing 3 10k+ lumen lights: Gates GT14 vs. Scubalamp V6K vs. Jaunt G18 Plus

Posted by dreifish on 07 January 2019 - 08:01 AM

Thanks to one of our guests this trip, I had the opportunity to do a comparison test between three 10000+ lumen video lights, the Gates GT14, Scubalamp V6K and Jaunt G18 Plus.

 

First, let’s take a look at the advertised specifications (I’ve included the V6K Pro  and the Jaunt G18 models and some other 10k+ lights for comparison purposes):

Screen Shot 2019-01-08 at 4.15.21 PM.jpg

 

A side by side size comparison (the GT14 has a home-made float attached, but is still negative):

WechatIMG152.jpeg WechatIMG150.jpeg

 

Comparison of the chargers, from left to right,  GT14, V6K and G18 Plus. The Jaunt light has the smallest charger, a nice perk for travel.

WechatIMG146.jpeg

 

Field Testing - Beam Coverage, Power, Color Temperature, Run Time

 

I did a simple underwater test in a small cavern at 35m to limit ambient light influence. I mounted 2 GT14s on either side of my camera, one paired with a Jaunt G18 Plus and the other paired with the Scubalamp V6K to compare beam angle coverage, light strength, and color temperature.

 

I used the GH5 with the Panasonic 14-42 II and Nauticam WWL-1 combination and simply took a picture in 4:3 aspect ratio at 14mm, which should produce about a 130 degree diagonal field of view. I then tried to position each light to illuminate the center of the frame to judge difference in beam spread and power. All shots were taken in aperture priority mode at F5.6 with ISO fixed at 200 and AWB. Basically, I wanted to see what the camera would chose for the shutter speed as a measurement of the light strength and for white balance as a measurement of color temperature. 

 

Here are the side by side results:

 

Gates GT14 (left) at F5.6, ISO 200, 1/30s vs Scubalamp V6K (right) at F5.6, ISO 200, 1/15s

20190104-PPAN1071.jpg 20190104-PPAN1072.jpg

The wider beam coverage of the V6K is noticeable, and one light is enough to fully cover the 130 degree diagonal image plane. However, this comes at a cost, as the V6K is a full stop less bright than the GT14. As advertised, the color temperature is also a little cooler on the V6K, registering as 4450K on the V6K vs 4200K on the GT14

 

Gates GT14 (left) at F5.6, ISO 200, 1/25s vs Jaunt G18 Plus (right) at F5.6, ISO 200, 1/25s. 

20190104-PPAN1069.jpg 20190104-PPAN1070.jpg

 

In this case, the GH5 chose identical auto exposures and very similar auto white balance for both lights. Beam coverage appears very similar, as does light strength and color temperature (GT14: 4200k, G18 Plus: 4150k). I’d say they’re more or less interchangeable. 

 

I also tested drain times at full power and found that the V6K and G18 Plus performed exactly as advertised at 30 minutes and 52 minutes respectively. My GT14 battery has gone through maybe 100 cycles already, but still managed 37 minutes (7 longer than advertised). 

 

Additional considerations

  • The V6K has a single (small) push button to operate. Holding the button for a few seconds activates the light. Then, one press gives you full power, another press 50% power, and a third press turns the light off. From full power, pressing and holding the button will reduce the light power in 10% increments. I don’t really like this button as it sometimes is unresponsive.
  • The G18 Plus also has a single push button to operate, but it is larger and more responsive. A single push will turn on the light to Mode 1, which by default is full power. A second push goes to mode 2, which by default is 50%. A third push goes to off. Holding the button in either mode will reduce (and then increase) light intensity by 10% increments, so in practice you can program each mode to retain the power setting you prefer. This is great!
  • The GT14 is operated using a 6 position locking turn-wheel that is both fast to use and reliable. However, aside from a 400 lumen scouting mode, all the other settings range between 7000 lumens and 14000 lumens, so there’s no way to turn the light to less than 50% power without factory reprogramming. 
  • Gates offers an optional accessory for the G14s with 2 52mm filter threads for adding blue filters, for example. Similarly, Scubalamp offers an optional push-on blue filter for the V6Ks for $78 retail. I don’t believe Jaunt offers any blue filter options.
  • With the GT14 and G18 Plus, you can swap batteries while leaving the light attached to your camera via the ball joint. With the V6K, the ball joint is screwed in to the battery compartment, so you have to unclamp the entire light first to swap battery packs or recharge it. 
  • The Pro/Plus version of the Scubalamp and Jaunt lights have battery packs larger than 100Wh, which creates problems for air travel. There is a technical limit of 2 batteries between 100Wh and 160Wh per person, and some airlines may refuse to allow you to bring any at all. 
  • The Gates GT14 has an optional vacuum seal check to ensure proper seal. 

 

[EDIT: Updated the table to include two Big Blue lights (which I believe aren't great options ultimately) and the projected specs for a Scubalamp V6K with a flat front element]




#400267 Anilao - July 2018

Posted by SWink on 21 October 2018 - 05:23 PM

Some highlights of my trip back to Anilao in July this year.

 

I have been playing around with sound design lately and I would appreciate your thoughts.

 

The whole process is quite challenging so any tips or tricks would be most welcome.

 

 

Cheers

Steve

 

 




#396529 Exploring the Salish Sea

Posted by stphnmartin on 17 June 2018 - 08:49 PM

Put together the better clips from diving the Salish Sea this past winter. Cold water does have some beautiful things to offer! Comments and critiques welcome. Gear list is in the video description.