Jump to content

Huw Jenkins

Member
  • Content Count

    41
  • Joined

  • Last visited

Posts posted by Huw Jenkins


  1. Would anyone like to upload a couple of canon EOS raw files shot underwater for me look at?

     

    I am currently making a Picture Style for videographers to use underwater. When shooting video, the white balance, contrast, saturation etc, is burnt into the video as it is recorded, rather like when shooting in JPEG. This means that the Picture Style used could be important, often an overlooked detail.

     

    With a variety of raws, I can get a better understanding of how the Picture Styles I create will be effected by different underwater conditions.

     

    Natural light shots would be great, strobe lit shots could certainly be interesting too.


  2. Sorry for the newbie question, but not running a strobe means you were using a filter?

     

    dubstar, because i shot everything in raw, i didn't need to use a red filter. if i needed to tweek the white balance afterwards, i could do this in lightroom with the raw file. i was actually mainly shooting video, so i would set the white balance for each shot with a white slate.

    huw


  3. i think they lag just as much as reflex cameras.

     

    researching this on the web for the GF1 it's 0.072sec, so comparable with reflexes, faster than the 5d(0.075sec) but slower than the 1d (0.051sec). again this could to be verified if someone also knows a reliable resource, this is according to www.impulseadventure.com/photo/shutter-lag.html

     

    auto focus can be slower on the older models, on the tested lens on the GH1 0.2 secs, but i understand that the GH2, the newest panny model has got that down to 0.1 secs, so faster than a lot of dslrs, depending on the lenses used.


  4. I found this both informative and interesting. Couldn't tell whether or not it was a fixed lens or not as they originally had said it would be. Disappointed that it is literally double in price from the original $3,000 they said it would be. I like the size and shape and can just imaging how much the Gates or Amphibico housings will cost for it. Back to being homeless I guess but at least I will have the cam.

    steve

     

    this one is fixed, which is a shame as attachments will never be as good as dedicated lenses. But what might be interesting is that it could be contained in a really small housing, the controls separated into the handles and the lcd screen as a separate entity on a moveable rod.

     

    but the touch screen is worrying a little, are all the basic controls available through a lanc or equivalent?


  5. When you say the smaller size of the rig allowed shots that would be impossible with a larger rig, is that because you were placing the camera in a hole for some of these images? Really like the images, just unsure why they would be impossible with a DSLR.

     

    yes, i should clarify, that i do not think for a moment other shooters would not be able to get the shots with a much larger setup, but the smaller setup just helped me. in the egg cowries for example, i felt i could actually place the camera in between the coral fronds without any fear of touching and damaging them.

     

    it did seem that i could also stick the camera right into any creature's face without it being intimidated so much, but maybe thats just my imagination :)

     

     

    I would be interested in learning more about the advantages of mirrorless cameras vs. DSLR's and especially concerning WA fast moving subjects.

     

    Mike, someone can correct this, but i think they lag just as much as reflex cameras. autofocus can be slower, but on WA fast action shots, i assume the focus is set before hand and locked? thats how us movie people would have to do it lol


  6. thanks

     

    I'm using the Leica 45mm f2.8 lens m43s. It's a great lens, the sharpness is almost the same at the edges as in the center but the macro can be a tad slow to focus. it should work well on the oly too.

    My housing is 10bar, it too has it's problems which i've discussed in other threads here, but it's advantages over the other available housings is it's very small, is aluminium and has a clear back so you can see instantly if one of the 2 o rings is flooding.


  7. here's a small collection of photos taken with one of the new style of mirrorless cameras, more can be seen on my flickr page here:

    http://www.flickr.com/photos/47889331@N05/...57625980295388/

     

    The camera's small sized proved useful for getting shots that i would not have been able to get with the larger form dlsrs. All of these were shot with natural light, so the whole setup added very little in terms of size and weight to my luggage.

     

    C&C welcome!

     

    P1230664.jpg

    P1230324.jpg

    P1240479.jpg

    P1260132.jpg

    P1270098.jpg


  8. i concur with hdvdiver, 4/3s is the best sensor size for me too. it has a more manageable dof than aps-c or the 5d etc.

     

    i think that the af100 with an external recorder like the nano flash will be awesome, but bear in mind that it will be so much larger in the housing than the present hacked cameras, so this could out way the benefits of allowing cranking at 1080p if travel is one of your priorities. plus with the hacked cameras being so cheap now, if you flood one it's not gonna break the bank.


  9. I just got an email to say that I get to play with one on the 1st Dec which will be cool

     

    the days are counting down till the 1st, are you gonna have this underwater or just for topside testing?

    go on... stick it underwater, and share the results :D


  10. unfortunately, when it comes to rotoscoping/keying unless the new background's lighting and angle match perfectly, it'll never look real, let alone the light dappling effect created by shooting underwter. i think even if you use the same background, but change the color of foreground, unless you lightwrap it really well, it's gonna stand out like one of those pictures you get from a photo booth with you and tom cruise / kylie minogue. lol

     

    however if you want to go the leandro blanco route, then this is probably your best bet for easy keying.


  11. Still experimenting with my CX550V and MWB...

    SoCal water can be VERY green. I think I am going to show it as it is. But that also means it absorbs light a lot. Recently, I took a look at my slate on which I had painted red stripes: I could only see black stripes (with my eyes) and I was maybe only 30 feet deep. On the other hand, video lights reach only so far. Therefore there are shots where all red is gone. Color correcting in this case is useless: there is absolutely no information in the red plane of the RGB decomposition.

    I am wondering, and this is my question, whether it is possible in FCE to take information from one of the other planes (say the green one) and after having chroma keyed it in order to isolate a specific area (say, a fish), artificially "paint" this area in red. In other words, define this area with the corresponding information about the green plane as being now the information for the red plane for that area as well.

    To illustrate it with a theoretical example, suppose I have a gray fish in a blue-green water environment, but my camera does not collect any red. The movie will look blue-green just as the fish will. In principle, if I could "cut-out" the fish in the green plane and paste the pixel values of this region of the green plane into the red plane, I could recover a gray fish (rather than a blue-green fish).

    Thanks for your comments or pointers.

    X.

     

    have a go with the 'channel mixer' effect in the channel effects. what it does is to allow you to remap channels... in your case remap the green or blue channel to the red channel. the green channel will always have less noise/artifacts, so it good to start with that, and only add the blue channel if you need too.

     

    it's a very powerful tool, and can be used to put a lot of color 'back' into the image. there probably wont even be a need to do the chromakey/rotoscoping that you mentioned.

     

    however if you think, cool i can remap the green channel to the red channel and the blue channel to get a much better quality image, you'll end up with a black and white image lol


  12. If Thursday's soak test goes well, then I'll take it out to the Red Sea the week after. I don't relish cleaning the dome port 'o' rings again though. :)

     

    i know different people have different views on cleaning o rings, so just a different view here, nothing more.

     

    i haven't had any reason to remove any of the port orings after about 60 dives and 30 snorkles. i probably swap the ports every 3-5 dives. i just check if the oring looks clean, wipe it with a dedicated cleaning cloth, and sometimes add it tiny bit of grease. i keep everything in separate ziplock bags, so no dust / dirt can get on anything while it is being stored / not in use that day.

     

    the back plate oring i remove and clean at the beginning and end of each day, so after 3 camera changes during the day. if one 'pops out' during a battery / card change, i clean it then.

     

    this is my practice, i know people differ on this hugely.

     

    was there a reason to clean everything before you took it into the water the first time? if it is straight from purchase, wasn't it pretty clean when you got it?


  13. "the scene at the museum of extinct animals at Cherbourg, which is a mix of live action on green-key, real sets and 3D animation of large animals and 3D sets"?"the harpoons shot at the whales were deliberately rendered in naive way in order to make it less real" ??"

     

    are these scenes not in the disney version? wow that would be very lame, as these scene are really powerful, and send a better message than any words to people that some sort of action needs to be taken. (i guess when i was writing the word disney, i should have just remembered who disney's target audience is)

     

    Funny you should say that. For the great white breach sequence, I was on the boat when they shot about 2 hours each morning to get the breach using a Arri 435 @ 150fps.

    do you happen to know what stock/film speed they used? it was graded to look early morning, but the shutter speed would have to be 1/300, so did they have a little more light (ie around midday) or use a high iso?


  14. It's acrylic, you should be able to polish it if it's not too deep.

     

    Jack

    thanks jack

     

    one thing to note for anyone purchasing the 10bar housing for the gf1 is the backplate. i have the first release. although i like the housing, i actually hate the back plate! and i am annoyed that the updated backplate cost so much as a replacement. i bought the housing recently, i think i shouldn't have to pay £250 or $250 in hong kong to have it "updated". it was updated for a reason, because it's terrible for non point and shooters, so give it to us at manufacturing and shipping price! ok rant over


  15. - Do you have the latest release of the 10bar housing or the first one? I read that on the first one some controls are shared and some dials doesn't work very well.

     

    hey long john,

    i have the first release. although i like the housing, i actually hate the back plate! and i am annoyed that the updated backplate cost so much as a replacement. i bought the housing recently, i think i shouldn't have to pay £250 or $250 in hong kong to have it "upgraded". it was updated for a reason, because it's terrible for non point and shooters, so give it to us at manufacturing and shipping price! ok rant over

     

    so yes, only buy the new version.

     

    - Do you have also the dome port for the 14-45?

    i do. i've already scratched mine, (60 dives with it) but it's acrylic so i'm gonna micro mesh it to new :)

     

    - Are you using the manual video mode with the GF13 hack?

    yes. it's absolutely necessary. for mjpeg you want to set it at 60fps, and then i lock the auto exposure before starting every shot. so add that to white balancing every shot and moving the point of focus, you've got a lot on your hands.

    but play it back on an hd tv, and the 100mbit is glorious.


  16. They worked very hard to get the right presets for HDCAM to match the film used for seamless grading.

    i agree, and i thought the grading was stunning. quite stylized but so beautiful. the palette appeared to have been restricted hugely, the sky color always seemed to be very early morning, but very elegant.

     

    another massive chunk of the budget that no-one really thinks about is insurance. yup, it's boring as hell, but unfortunately it's needed and ridiculously expensive! would love to get a final figure for that one.

     

    I was on the boat when they shot about 2 hours each morning to get the breach using a Arri 435 @ 150fps.

    man, that must have been cool!


  17. Excuse my ignorance, when I hear numbers like 80 million it just does not make sense. For that money you could buy Wayne Rooney. All joking aside, the figure just seems way too much. I am sorry if I am out of touch with " reality " but I would love to see a breakdown of costs to get to this sum.

     

    Stew

    the film has quite a few fictional parts to it. for example the whales, dolphins, sharks caught in the nets, being finned are animatronics. there's cg in quite a few scenes, the cherbourg museum was extended by cg etc.

     

    new stabilization technology was developed to be able to shoot steadier on zodiacs, mini copters etc.

     

    the storm scene with the huge ship powering through the waves at the end couldn't have been cheap.

     

    the top shots were shot on 35mm. it's gonna rack up the dollars shooting a high shooting ratio on 35mm.

     

    i think it took 6 years to make. so divide that by the number of crew and knock off the equipment, and it probably works out to about 80 grand per person per year. (nope, i'm not good at maths, but you know what i'm getting at)


  18. yes. i've just discovered that the spanish version too is completely different to the american bond version, there is very little commentary, just a sentence here and there to introduce ideas so the scenes feel much longer. this is probably why some people like it much more than the people watching the american version.

     

    try getting a french / spanish version cheap on ebay, you'll see love it. (it doesnt matter if you cant understand it, there's literally one sentence per 5-10 minutes - for example there is no commentary what so ever from the introduction of the seals/comorants hunting, during the great white attack / orca attack, right up till after the blue whale, a little during the night topside shots, and then no commentary during the whole of the night time scene where the mantis attacks the crab etc)


  19. i thought the editing within the scenes was superb. yes the transitions between scenes was hurried, but thats splitting hairs a little. It's a different experience in the cinema, you have people eating popcorn and talking on mobile phones, the pacing should be different to a television documentary. It's a group experience, so cant be so information intensive and often needs to be more fast pace. The sound design was fantastic!

     

    you cant really blame bond, he's just the voice artist and would have read a script. no matter who read it, it would still be the same words read in the same way. (i watched it in spanish and it's the same)


  20. I just reckon it's too expensive for what it is.... Out of interest Drew what would be the difference in low light capability of 4/3's over APC?

    I put this in another thread but I suppose it is relevant here too.

     

    dxo makes it seem like there isn't much difference at low iso's between the gh2 and the sony nex5, with difference growing in favor of the nex at higher isos.

    http://www.diwa-awards.net/wip4/lab-results/l.epl?cid=12157

     

    something i've found with larger sensors is that narrow dof is a tough beast to tame when shooting underwater video marco. you need a lot of light!

    however, for wide angle and non macro, as we've seen with 5d footage, larger sensors do make great use of what light is available.


  21. Looks great, I reckon that is a good example o what the Af100 will be like

    sadly the af100 is recording PH at i believe 24mbits (please correct me if this is wrong). this just cant compete with 100mbits at 4:2:2. yes the af100 is 1080, but thats even more pixels compressed into the PH. however, hooked up to an external recorder, i think the af100 will be awesome!

     

    but for the size, this is tiny, you cant beat this. in it's housing it's smaller than a z1 or hc9. it's cheap so you can use it as a second cam, or in situations where you primary cam is too valuable. and you can stick an insanely expensive piece of glass on the front and get some spectacular quality.

×
×
  • Create New...