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Showing content with the highest reputation on 03/27/21 in all areas

  1. 1 point
    Hey Davide, Gerald Undone's technical explanations are great. I have watched this particular video a while ago when it first came out. In this case though, it doesn't really answer my question. Let me rephrase it: when it comes to shooting underwater, is the R5's video raw codec a true raw codec that preserves your ability to fully adjust WB in post from, say, 2500K to 50000k just like you can in camera? As Gerald mentions, when it comes to video, not all raw formats are alike, and not all preserve the same flexibility as a raw photo. So I'm actually asking if you don't set a proper white balance at the time of shooting with the R5 but record in Canon Raw, do you have the same latitude to adjust the white balance in post as you would've had had you simply set it correctly in camera? A true raw format would allow you to have that flexibility in post. Some compressed raw formats don't though -- e.g. the current implementation of Prores Raw on the Ninja 5 recorder for the Sony A7S3 doesn't give you this possibility to adjust the colour temperature in post in degrees Kelvin in Final Cut. For the Panasonic S5 and S1H, Prores raw does include kelvin controls in Final Cut I believe (Interceptor21 can jump in here to correct me), but the range of adjustment only goes up to 10000k, not beyond? I would expect the raw format the R5 uses for video to be true raw with full flexibility over white balance, but would like someone with the camera who can confirm. Especially when it comes to underwater ambient light shots where the 'correct' kelvin WB temperature ends up at the extreme end of the scale.
  2. 1 point
    @Architeuthis Interesting question: in all the times I've used it I never really concerned myself with this (because the aiming light doesn't show up in the images...). Tomorrow I'll do a check - in a couple of the videos I've seen it looks like the aiming light turns off right as the strobe is firing [the image is not lit by anything the immediate moment following the strobe firing - then the aiming light will come back on).
  3. 1 point
    Interesting yet illusive, "vibe of ISO 12800" If you can shoot XAVC S-I 4K your post system may have less computational work to play back the clip. It's true in my post system, I shot SLog Cine3 to a more compressed format and my post system had to work harder than I preferred to get things done or even play back a simple unadorned clip. Using XAVC S-I 4k my playback on an old loaded MacPro was acceptable for playback and editing. To use that format the cards are pricey. But I now have 2 for several 3 tank day trips in my future. I have found trying to use nat light is less than ideal for color work. But the a7s3 with a truly lowlight base line provides a lot of creative opportunities. If you like here is my first edit on a a7s3 shot in November 2020 in the Lucayan Archipelago. Fancy name for region between Bahamas and Turks and Caicos. YouTube Link: https://youtu.be/RyJvsaV2MeU
  4. 1 point
    I came across this new camera mount from Dive-Xtras. Two version: a lightweight for action cam & mirrorless and a pro version for bigger rigs. The interesting thing is that it could be used as tripod and the light one has a ball mount! Never seen before underwater.
  5. 1 point
    I have been ask a bunch of questions about all things A7C and today my 4000 word review has posted in UWPMAG.com issue #119. This is a free PDF download and I suggest you read the review if you have an interest in the Sony A7C. I intensely did my review using only the Sony FE 28-60mm "kit" lens with the WWL-1, WACP and one and two CMC-1 lenses. Some of the macro is in this thread. After reading the review I would be happy to answer any questions. The attached image is with the 28-60 at 28 using the WACP. This is an A/V light shot at ISO-400, F10, 1/125th sec.
  6. 1 point
    bvanant (Bill), above, recommends diy cables, and I agree with him, as my diy cables have worked just fine for some years now, with Sea&Sea YS-D1 and YS-D2J strobes. This Wetpixel post from multiple contributors describes how to make one's own fiber optic cable, using Amazon supplies: "DIY fiber optic writeup with parts. http://wetpixel.com/forums/index.php?showtopic=60564." I use of grommets to connect my DIY Toslink f.o. cables to S&S YS-D2J strobes, they work just fine. The grommets can be fitted with 7 x 1 mm O-rings from The O Ring Store, or just used bare. https://www.amazon.com/gp/product/B00XBG5U82/ref=oh_aui_detailpage_o03_s01?ie=UTF8&psc=1 The Toslink cable, 3 or 4 mm od, from eBay, can be shaved with a razor blade if too thick, so it fits thru the grommet. It can be glued into the grommet with rubber cement or ABS plumbers glue, then the end cut to refresh it.

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