Davide DB

This cable gland brand is used in several rebreather. And I used in a couple of DIY projects. It exists in different diameter: http://www.rutab.com/products/cable-glands/cable-glands-brass/metric-thread/1470510

Hummm I don't know for photos but for video many of us disable the classic half press focus and we use the powerful features offered by the AF-Lock function. Is it possible to control it via the housing?

Don't be touchy. I called it an endless discussion because it touched on an infinite number of completely different topics and by the end it was no longer clear what the requirements of this elusive camera were. I've only seen remote surface connections used in film productions and ethernet connections only in large multi-camera TV productions. So I wanted to understand if you were James Cameron in disguise

John I lost myself in this endless discussion. Which kind of dives do you do? Which kind of video productions are you after? Did you already shoot underwater video?

I'll let you know shortly

I couldn't say better. Applause

No. I don't like living dangerously. Rebreather

IBIS is a very personal matter. For me it is certainly a very useful tool for small units with the classic camera form factor. But I wonder: how did we survive without it until now? Simple: a lot of care in trim, a lot of practice and a lot of patience. Without forgetting that to be a good operator you must first of all be a good diver. Good diving skills and a perfect trim are fundamental. For larger units with the classic camera form factor, the problem is certainly less. It seems to me that the Z-Cam housing definitely falls into this category. They are also easier to set up as long as they have plenty of space and ad hoc arrangements for weights. I happened to play with a Canon C300 in a Seacam housing. Impossible to get a shaky shot!

I can't blame Nauticam for anything. The housing is guaranteed 100 meters and up to exactly 100 meters it works! But I am really disappointed that at 103 meters the AF-Lock and the shutter release lever no longer works. I can shot video with the back button but without autofocus I'm f***d. I'm shooting at 105 meters and got screwed for 2 meters. With the 7-14mm I solved it by doing a pre-focus a few meters above and then working in hyperfoca as usual but with the 35mm or 45mm in macro I have no chance. Nauticam can modify the buttons and levers for 120 or 130 meters but the operation costs a lot and I would have to stay without my housing for who knows how long. I'm sorry because I've had better luck with my previous housings for the GH2 GH3 and GH4. I took them all to over 110 meters and they were great.

I do not know if those rumors are true but certainly before investing a lot of money on a housing and all the accessories I would think 10 times. Who knows maybe with the new U.S. president the trade tensions with China will not be resolved but at least alleviated. For the moment I am very happy with my GH5. Not so much with the housing.

I don't know if they have an official dealer in Italy right now. Main problem with Chinese manufacturers: they always sell you goods directly regardless of existing country dealers. So it's nearly impossible to have exclusive agreement for the sale of goods. Maybe they suffer the Mediterranean water color or maybe their quality control is not that good so lights leave the factory with different specs. But back to Keldans. If I had unlimited funds - I’ll be there :-) I keep mine as a son

Hi RIchard, this time I have to disagree with you My buddy bought a pair of G18+'s about two/three years ago (if I remember the model correctly). The company had recently changed their name. It used to be called Jaunt. Also I have a pair of small MP10 snoot lights (Jaunt branded) that I use for macro. Although Divepro claims they are CRI 95 the color quality of the G18+ is nowhere near as good as my Keldan. We've done a lot of dives and several videos using them side by side and they have a greenish tint to them. I have wasted so much time color correcting clips shot with these lights! With the Keldan I basically adjust the tones slightly and the clips are pretty much perfect. I have never spent this much time color correcting with the old FIX lights either. After a few months one light started to flicker. At the time there was no Italian importer so the only solution was to send it back to China with costs equal to that of the lamps. After 2 years both switches stopped working. Warranty expired and we were able to repair them ourselves. That type of switch is used by virtually all Chinese manufacturers and is bound to give problems in the future. Maybe we were unlucky but I would never recommend them to a friend. For my little MP10s after a year I lost a little piece of the snoot. I went to their website and found that they had a new model of Snoot with a lens inside. I tried to ask if it was possible to get the new snoot or just the little piece I had lost. They basically asked me for the price of the new lamp. Crazy stuff. We're talking about a 1 cm piece of aluminum. I refused and 3d printed by myself. Now back to the Keldan. I have had the Luna 8 CRI since 2013. At the time the CRI model had 5000 lumen LEDs. Fantastic light. Nowadays 5000 Lumen is low so a year ago I bought just the 8000 Lumen Led modules for a very honest price and now I have new lights after 7 years. I know that their reflector and dome is bulky but you can swap the module while with their most powerful models you cannot swap the Led module. Of course, in those 7 years I had a few little problems: 3 years ago I broke a magnetic switch while on a liveaboard. I wrote an email to Daniel from the boat asking what I could do to fix it while on the trip. Within half an hour he set up a Skype video call showing me how to temporarily fix the problem. A week after I got home I had the replacement part in the mail Two months ago I broke the plastic U-bracket that holds the lamp (the only real weak point in the design).I wrote to Daniel to buy the replacement but he shipped me via DHL the replacement part at no cost. What more can I ask for? P.S.. To be honest the old 5000 Lumen Led module was composed of a series of LEDs that gave a very high quality light.The new 8K LED module is a COB type and although the quality is very high, I do not find it up to the previous one. I don't have any scientific data to support my thesis. It's just my impression. Last but not least: I believe that Keldan is one of the rare companies that indicates the real lumens of their lamps, or the lumens emitted at the current at which the LED is driven and not the maximum current at which it is possible to drive the LED. Basically if the Divepro G18+ emit 18K lumen I am John Wayne To see the NA-E2 in action see this thread (if you missed it). Maybe Brian can give additional info about its use. Regarding Z-Cam, watch out to some rumors: http://www.personal-view.com/talks/discussion/24341/z-cam-e2-cameras-lineup-production-can-suddenly-stop/p2

Which lens do you have for your GH5? Do you shoot photos or video?

Hi Brian, I will do it for you Really a clean and nice work. I would like to copy the idea but on my GH5 setup I have the opposite problem: I have a policarbonate dome port so it tends to rotate "nose up". I had to put an ankle weight on it as a collar and then add a lot of buoyancy on top. How do you feel with it? Do you like the camera? Which port do you use? I know they have a proprietary raw codec. Is it heavy to edit? Bye

I see that other users have flooded you with great links and tips. I'll try to have my say. There is practically nothing in underwater video that is not true for film or documentary in general. So any tutorial, course, book on these aspects also applies underwater. Surely underwater cinematography has its formats like other types of visual stories. That's why your request for sources of inspiration is a bit vague. The question is, what are your interests? Are you interested in advertising for tour operators, resorts, liveaboard? Are you an environmentalist committed to raising people's awareness about environmental issues? Do you "simply" want to tell your diving adventures or your diving vacations? Each of these sectors now has its own format (*) but we could say the same for terrestrial cinematography. However, previous members have given you many examples for each of these formats. Being Italian, I find myself much more in European storytelling. Years ago, starting from a very famous TV series that continues to bewilder us every year, I wrote a post in which I also talk about this dichotomy between US and European documentary storytelling: Among the many links that have reported to you I recommend Laurent Ballesta. Given his young age, I think that in the not too distant future he could be considered as a communicator in the marine environment on a par with Cousteau or Attenborough. He only has to close the linguistic gap. Apart from his films, that can be found on the web, copyright permitting, take a look at his various blog style short videos. They are perfect examples of how to combine nowadays beautiful images, scientific journalism and exploration. Last but not least: from your profile I can see that you are in the Canaries. There you have Rafa Herrero, a long-time WP member. When I started filming underwater with his spectacular videos, he was the person who influenced me the most. The rest is just a matter of skills in terms of mastery of the equipment. But even here I personally would give it a 20% importance. Just look at the categories of the various film competitions dedicated to smartphones or action cameras. If you have something to say original it will certainly not be your equipment to prevent it. Now I don't want to belittle the commitment of the many people here (including me) who try to have "pixel perfect" images but the importance of the equipment depends on the purpose of your work, in other words your target. The Internet is full of people with frighteningly expensive equipment changed every year who have never filmed anything but their cat or test gears in the backyard. They too have their place in today's ecosystem. (*) nothing prevents you from inventing your own format: BTM have practically invented a new format for the advertising of tour operators, resorts, liveaboard. Advertising somehow masked by environmental and wildlife themes. They are gifted with great skill and resources but lately IMHO they are victims of what I call "Harrison Ford syndrome" or prisoners of their role. I hope soon to see their long format not directly related to commercial actors. Byeeee