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Member Since 04 Jul 2009
Offline Last Active Aug 26 2014 05:08 AM

#348995 Sony Alpha A6000

Posted by A.Y. on 12 June 2014 - 10:38 AM

Did a side-by-side comparison between the Zeiss 12mm and the Sony 10-18mm above water. Not surprisingly the Zeiss 12mm F2.8 being a prime has sharper corners than the 10-18mm @ 12mm F4. For pixel peepers who don't mind noisy AF, the Zeiss 12mm is a great choice. Since the Sony 10-18mm has silent autofocus, smoother video AF performance, noticeably wider FOV, and Optical SteadyShot, it's a more useful lens overall and definitely a better video lens IMO.


The Zeiss 32mm F1.8 is also very good optically just like the 12mm, and its AF is also noisy just like the 12mm - perfect for photography or shooting video without AF. For video overall, the Sony E 35mm F1.8 OSS is a better choise IMO.

#347520 Olympus OM-D E-M1 or wait for Sony A6000

Posted by A.Y. on 10 May 2014 - 06:55 AM


Reality vs myth! :pardon:


I'm happy with the 5R and will definitely upgrade to A6000 for its AF speed. No Contrast Detection AF can even come close to tracking moving subjects like the A6000 at the moment.

#343691 Hero3 Black. How do I take advantage of this high definition camera?

Posted by A.Y. on 22 February 2014 - 02:49 PM

I experienced problems with the GoPro 2 as the automatic WB continuesly try to correct WB what makes it very dificult to correct that in postproduction.

3+ Black Auto WB does the same thing too!

To lock the WB with 3+ Black: Turn "Protune" on in the "Capture Settings" and four WB modes become available: 3000K, 5500K, 6500K, and Cam Raw.
To process the Cam Raw file in GoPro Studio.app you can either choose the ProTune profile (GoPro color profile) and then adjust the White Balance (Temperature and Tint), or adjust everything manually.


Are you using AWB for above GoPro video or CamRaw?

Should've used Cam Raw as AWB shifted the colors too much.

Thanks for the info!

I'll have to do more tests underwater to find the best settings.

#314332 White Balance with Lights? Wide Angle

Posted by A.Y. on 09 August 2012 - 10:53 AM

I think the combination of cyan filter for the light and CWB seems like a very logical solution to balance the light-lit foreground and the sun-lit background colors.

Posted Image

Stills and videos taken with AWB always turn out unnaturally blue so I prefer taking my time to set and fine tune Custom White Balance to ensure the colors come out as close to what I see as possible. Beside, I won't be able to remember the precise colors hours, days, weeks, or months later. Posted Image By the way, I cannot adjust the colors in the above AWB image anywhere close to the CWB, using either Photoshop or Final Cut Pro X. Isn't setting CWB in camera = adjusting colors in RAW before most of the color information is thrown away during the JPEG and video-compression process!

Large sensors' better high-iso performance can make a huge difference, diving early morning and late afternoon when CWB is pushed to the limits. Just saying... Posted Image