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Member Since 25 Oct 2013
Offline Last Active Nov 08 2017 09:48 PM

Posts I've Made

In Topic: Underwater Monitor for Panasonic GH5

02 November 2017 - 07:37 PM

I'm about to pull the trigger on either the DNC-7A or the DNC-5A. Any reccomendation as between the two? Phisically, they seem to be roughly the same size, with the 7A being neutral and the 5A 300g negative.

In Topic: Sony 12 - 24 f/4 GMaster.

12 October 2017 - 06:21 AM

My guess is that you're going to get quite significant distortion at 12mm even with a 9" dome (and soft corners). As far as I know, the Nikon 14-24 and the Canon 11-24 don't do particularly well at the extreme wide ends.


I also feel like the 16-35mm lenses are a better choice overall for the focal length versatility. 16mm already feels a little bit too wide for any video where the camera isn't static, imo.

In Topic: Color Checker as refrence

02 August 2017 - 12:35 PM

The editing is the key, if you look at the "Angel of the Deep", at 1:49 and 2:32, any camera can get this kind of shot (DSLR, RED, Point & Shoot), there is nothing special about the color and composition on those specific frame/clip. At the end of the day, it's how you use the clips you shoot, put them together (with the help of appropriate music), and create the right emotion.


A couple years ago I was just obsess about 4K cameras, until recently I just starting to pay attention to use Premiere Pro properly, stop just using fade in fade out transition, try to do complex stuff. I have to say, having more than basic editing skill makes a big difference.


I think that's only partially correct. Both those shots of the threshers are filmed overcranked (at least 60fps, perhaps even 120fps) and slowed down to 24fps for the nice slow-motion effect. And getting that close to the threshers does require a certain level of comfort in the water, good buoyancy, steady hands, etc. But definitely, the two shots in themselves aren't necessarily special, it's the entire piece, the story it tells, and the emotions it invokes.


I'd also argue that focusing on transitions is the wrong place to focus on -- fancy transitions that don't support the overall story you're trying to tell often just come across as gimmicks. Look at Hollywood movies for example -- how often do you see them using fancy transitions between scenes? Usually you want to make your transitions as invisible as possible so you don't distract the viewer from the story or message you're trying to convey.

In Topic: Color Checker as refrence

02 August 2017 - 12:25 PM

That Thislegorm video is very impressive, only thing I can say in terms of the colours is that it appears a fisheye lens was used, so minising the amount of water between camera and wreck which is proving some excellent colours. But still I think we all know it's a canon eh! :-)

As to camera upgrades and equipment. I've gone back for the time being to 1080 but filming at 60fps - this has made a massive difference to the quality of my videos, yes I've now got a GH5, but going to stick with the GH4 for a while and improve my craft using what I have. Been really enjoying filming with a red filter - very little to adjust in post and the foreground colours really do pop.

Hoping we get an answer on how well the xrite survives the water

Regards - Richard


Yes.. definitely a fisheye lens, which means it was a DSLR, which, given the timeframe, probably means a Canon 5D Mark II. No real secret that the Canons have always produced nice white balance results at depth with good noise characteristics too because of the large sensor.


As for the whole equipment vs. skill debate, I think it's definitely true that what you put in front of the camera, the story, and the skill of the camera operator, director and editor ultimately have a much larger impact on the overall production value of a film than any technical characteristics of the camera itself. That said, equipment does impose real limitations -- for example, you won't be able to include nice slow motion sequences if your camera can't shoot at 48 or 60fps, and to get really nice colors at depth you're going to need a camera that can white balance well, powerful video lights, or both.


So I definitely understand why people ask what camera was used to film something -- it can be important information. On the other hand, I do sometimes feel frustrated when others ask me what camera I used to film something because it does feel like less experienced shooters ascribe the overall quality of the finished product to the camera choice -- when in fact other factors make much more of a difference. Hard as a creator to not feel like your skill isn't being unappreciated by the lay public at times.


Regarding Florian's work, I'm pretty sure Angel of the Deep was filmed primarily using a Red Scarlet-W. That said, most of Florian's projects before 2017 were filmed on a GH4 I believe. Actually, going through Florian's work in chronological order is quite interesting. You definitely see the way he's improved over time. And very little of that improvement has to do with gear, IMO.

In Topic: Color Checker as refrence

27 July 2017 - 04:45 AM

Hi all,


I always wanted to share my finding for using a color checker for underwater video. I will detail this in a later edit hence I have to go now :)

Here is a clip:




Thani, any chance you could share the raw footage somewhere? I'd be curious to see how useful it is for adjusting colors in post. What depth was this filmed at, and using what camera?


Also curious to see that even after matching the colors the  sand in the background still has a very pronounced blue tint. Perhaps because the white balance is done for the slate which is a few meters shallower then the sandy bottom?