Posted by tamas970
on 26 September 2016 - 04:04 PM
Olympus is a new player in the video field, they were lagging miles behind Panasonic - a setback, which is difficult to correct in a single move. PRO video is not just an Mbps and a resolution number, it is about pixel (over)sampling, sensor performance (rolling shutter, overheating), codec, clean 10bit HDMI out, video-friendly features like Log, Zebra, easy change of settings while shooting,
To me, quality of the light is at least as important as its intensity. I can't find a cri & r9 value for the bigblue, but being sceptical. If they had 90+, they would advertise...
Color temperature is another issue, in water 1-2000K is "lost" compared to daylight, thus WARM is the right direction, ideally around 4800K. Certainly not the 6500+ values often seen in uw lights.
OK, Soooooooooooo not a great idea. I guess for now I will stay with using my two DS161M Strobes. However at 500 lumens each they don't satisfy my lighting requirements for video. I think after saving up some more money (I spent it all on the camera and housing) I would still like to try adding the BigBlue to my equipment list. I like the specs 1500 lumens with a burn time of 30 hours or 15,000 lumens for 30 minutes, Positive buoyancy 160degree etc. etc. Still interested in your opinions and feedback, Thank you
Jokes apart, it's not soo complicated to combine an LED and a flash in a single housing. One could argue about the benefits, since the electronics (LED driver + flash capacitor+IC) doesn't bring any synergy, just need more sophisticated cooling.
True however, for serious WA video often a pair of 4-5k lumen lights are needed, this cannot be punched together with a flash tube because of the extreme heat generation.
To get the specs you need you will have to buy lights and strobes separately. Combo units are likely to compromise one or both with respect to your needs.
It could be done, but nobody is doing it - or at least the information of the combo units (Subtronic fusion, Ikelite DS161) is limited - btw, other than the Subtronic I haven't seen a high-power LED high-power strobe combination, I'll do some more research on the german forums if there is some experience with it.
Agreed with most above. Stills need huge amount of light, there is a reason why people carry 1+kg strobes in pairs around the world...
According to Interceptor121's calculations, a pair of 20k+ lumen fish-grill/buddy blinder might do the job (f/8 - sharp corners, ISO400 - not much noise, 1/250 sec - no motion blur). However this needs at least 500W highly efficient LED-s for that and a submarine to power them.
The only viable solution I see is the evolution of video lights, where they can flash too. Hybrid systems, such as the subtronic fusion are already available, however I have doubts about their longevity (=too much heat stress from the LED's to the flash tube). The concept of the I-torch symbiosis I like better (strobe and LED-lights are thermally separated), their specs (poor CRI LED, high CT strobe) less so.
...The Rx100iv gives you the opportunity to continue improving your skills and making the connections that may get you that higher-paying work. And you could always invest the money you save into things like an external monitor and video lights, which can have a large impact on the quality of the footage you shoot. If slow motion is what you want, it also gives you great 120fps 1080p and limited 240fps almost 1080p.
Agreed with the points here, filming is a rather closed industry. First one should get a "name" and contacts, maybe some certification from a film school. This is heavy $$, which has to be spent wisely.
First of, as dreifish suggested, I would certainly not start with a state-of-art 4k60p shooting rig at 20k$: learn the technique with a consumer camera, publish great shots on youtube/etc as much as possible. For online, you definitely don't need a 10k$+rig, there are tons of amazing gopro footage out there! Furthermore, your 4k60p camera + housing will worth ~1/5th of its value when you are really going to need it (embarking on an expedition where you are the payed cameraman).
Scuba is a low paying industry with high investment, just take a look, how much dive instructors earn after ~500-1000 dives, probably ~20k$ invested not all for fun. (Maldives is ridiculous, if you have a "life", you definietly need side financing there, which is tedious after 4+dives a day, 7 days a week...) As suggested, I'd also pick up the RX100mkIV in the economical Fantasea housing and put on a WWL-1 and a pair of realistically priced lights from ebay. Important to note here, that handling an increasingly complex system is something one has to learn through many dives in different - sometimes challenging conditions. Obviously you don't want to loose a full 20k rig while filming mantas in the maldives in a 5 knot current.
Having shot both a Nikon D800 full-frame system and a GH4 underwater, I think there are real differences between the two, both when it comes to image quality and ergonomics/usibility.
For macro shooting, the D800+105mm macro produces much more detailed files than the GH4 + olympus 60mm. And the tonality is more pleasing. For wide angle, the differences are a bit more subtle since you can shoot the GH4 at wider apertures than the full-frame camera, but I think they're still there, especially when it comes to dynamic range. This can be noticeable when you have large gradations in illumination in different areas of the picture (shooting portrait orientation on a wall dive, for example).
The biggest difference for me though is the autofocus system. The D800 3d tracking is sooo much faster and more accurate for focus & recompose work with moving subjects than any of the equivalent "lock-on" modes I've tried on the GH4 and the Olympus OM-1. Perhaps the new Sony A7RII comes closer--I'd be interested to hear from someone who has shot the A7RII and a Nikon full-frame underwater.
True, full-frame should provide you much better detail&dynamic range than m4/3. However ports and optics are at least as important for the resolution as the sensor. Regarding AF: true, DSLR-s are leading here. However mirrorless is coming up tremendously.
After looking at several reviews and browsing through a big pile of forums I concluded that the A7sII should be the coming king of UW foto+videography.
4k video on the 7rII is crippled by the faulty binning algorithm when shooting full-frame. Super35 is usable, however that crops ~half the sensor.
As for stills, in most waters I dive, I doubt that the added resolution of the A7rII would materialize, probably I'd also need a perfectly focused nikonos lens for that too and someone, who filters all slit and sh&@t from the water...
On land it is 140° AFAIK, but the flat port kills it as well as the corner IQ. Actually doing more research I ended up buying the g140, unpacked it yesterday. At first look it appears to have an aspheric element, which is key for good IQ across the entire frame and which is missing from all "cheap" solutions (domes, simple air lenses such as the meikon wide wet lens). I'll come back with tests as soon as I receive the compatible dive housing and can lay my hands on some waterproof iso resolution charts.