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Stuart Keasley

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Stuart Keasley last won the day on May 15 2016

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About Stuart Keasley

  • Rank
    Sting Ray

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  • Website URL
    http://www.quaycameras.com
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    0

Profile Information

  • Gender
    Male
  • Location
    London

Additional Info

  • Show Country Flag:
    United Kingdom
  • Camera Model & Brand
    Sony A7iii
  • Camera Housing
    Seacam for 5d MkII
  • Strobe/Lighting Model & Brand
    L&M Sola 3000, Inon z240 x 2

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  1. Quick note to say, worked with Jen on a shoot in Barbados a couple of years back (Amazon - Grand Tour : Dumb Fight at the OK Coral), great to work with, definitely one of the good ones
  2. £1,300 : Seacam Canon 5D MkII Housing and Zoom Gears, including - Seacam 5D MkII housing with 2 strobe ports - Canon 16-35 Zoom Gear - Canon 100mm Macro Focus Gear - Canon 24-105mm Zoom Gear - Canon 24-105mm Focus Gear - Spares kit for the 5D Mkii housing Happy to sell items separately if needed. Photos of the kit are available here: https://www.bottlefish.net/for-sale/
  3. Bump : now listed on Ebay with a starting price of £3,000 https://www.ebay.co.uk/itm/263751562607
  4. Both in very good condition, only used a handful of times - 3000 Lumens output - 90 degree diffused flood beam - Run time : 50 mins High (3000 lumens), 100 mins Medium (1500 lumens), 200 mins low (750 lumens) Each supplied with all mount attachment, AC adapter, car charger, soft carry case. £250 per light
  5. £6,500 : SeaLux FS7 Housing Plus Accessories Includes the following SeaLux FS7 Housing (for the original FS7 camera) SeaLux DOM200 Dome Port SeaLux 5" HDMI Monitor SeaLux Underwater Housing Extended Back for FS7-XDCA Adapter 30 metre underwater SDI cable (for top side feed/directors view/raw feed) SeaLux ZR64 Extension Ring Nauticam Vacuum Detection System Peli Storm iM2975 Case with custom foam insert The housing also house a custom plate fitted to the base, allowing weights to be added for trim. Piccies can be seen here: https://drive.google.com/open?id=1yI9doXK-Cnxa1qa1cm9B3nOcFGlN5r3F For full specification of the housing, please visit the SeaLux web site: https://www.sealux.de/…/vide…/special-housings-sony/pxw-fs7/ Price includes shipping, happy to ship worldwide. Please drop me a line if you need any more info Thanks Stuart
  6. Sorry, yep, there are two versions, I didn't realise that! Good luck with it!
  7. It only supports NTSC frame rates (ie multiples of 30p), there's no info on the amount of compression or expected but rate, and there's only a handful of white balance options. I didn't get as far as reading about the automatic underwater function, but if that automatically flicks on the underwater white balance when you get underwater then it'll really ruin your day when you switch on your lights.
  8. As interceptor says, you're not comparing like for like. HD100 uses interframe compression whereas HD200 uses intraframe compression. Both are variable bit rate, so the actual end bit rate returned will depend on the subject and the type of compression applied. A low lit area with lots of dead space and no movement isn't really going to put the compression to the test. Shift your test to a well lit subject with no dead space and lots of movement, you'll see something difference. In terms of your test, your pixel peeking on a single image, so not really a conclusive or comprehensive test when comparing the quality of a moving image across different compression methods and resolutions
  9. Ah, missed the limit on the wide angle on the adapter Again, personal choice, but I wouldn't be too bothered by trying to retro fit a back filter if it means using tape etc... Too much potential for gunk near the sensor and owns workings for my liking. Another option would be to fit a filter step up ring to the outside of the lens hood, then fit a filter to that. Provided that the adapter ring ding sit proud of the lens hood, you wouldn't get any vignette etc, although you would need to ensure the step up ring fitted inside the done port aperture.
  10. Ah, missed the limit on the wide angle on the adapter Again, personal choice, but I wouldn't be too bothered by trying to retro fit a back filter if it means using tape etc... Too much potential for gunk near the sensor and owns workings for my liking. Another option would be to fit a filter step up ring to the outside of the lens hood, then fit a filter to that. Provided that the adapter ring ding sit proud of the lens hood, you wouldn't get any vignette etc, although you would need to ensure the step up ring fitted inside the done port aperture.
  11. How about this? http://dfocussystem.com/adapter-714
  12. As per my suggestion to Etc, I'd personally say record in HD. Everything you may gain from super sampling down from 4K will be more than lost by the relatively higher compression (compared to HD) that onboard on the A7s uses. If however you were pushing out uncompressed to an external recorder, 4K to HD wins by a mile
  13. As per my suggestion to Etc, I'd personally say record in HD. Everything you may gain from super sampling down from 4K will be more than lost by the relatively higher compression (compared to HD) that onboard on the A7s uses. If however you were pushing out uncompressed to an external recorder, 4K to HD wins by a mile
  14. Personally, I wouldn't be overly concerned about different colour temperature light sources, your SOLA's are at circa 6000 Kelvin, so tending towards natural light, and will probably be fairly close once you've had the light and colour fall off from a bit of distance. But more importantly, throwing light in raises over all exposure levels and so gives you something to work with. Trying to grade a noisy and low exposure image is always going to be a nightmare... Again, personally I wouldn't go above 3db of gain (on the GH4), I would try and stick to 0db as much as possible... so that puts you on ISO 800, with circa 1200 as an outside Also, unless you really need 4K, then I'd be inclined to shoot Full HD at 100Mbps instead. Whilst it's possible to supersample 4K to Full HD to improve quality, you're still reliant on decent source footage at the 4K end. Shifting to Full HD @ 100 Mbps, you're effectively reducing compression by a factor of four... the more compression you have, the more you'll see noise and issues in the low lights, so this is going to help. Just ideas and suggestions....
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