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Davide DB

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Everything posted by Davide DB

  1. The 12-35 extends a lot when it is at 35 mm. This I think is the main reason why it cannot be used behind the flat port and therefore with a wet lens. The 12mm also perhaps posed a few more problems. The 14-42 mm has minimal excursion at both ends, but still at 42 mm the front lens has a different position than the 14 mm. Could this be the reason for the poorer quality? I have seen land tests on the 14-42mm and there is no such pronounced drop in quality at 42mm. It would be interesting to know if the same happens with the 14-42 mm PZ aka pancake.
  2. WWL-1 on 14-42 mm Panasonic is muddy at 42mm. Pana 12-35 mm behind 6" dome was far better. Razor sharp
  3. Just browse Amazon for EVA box, case. You will find something of the right size
  4. Maybe using a proper (angled) underwater viewfinder is another story. i tried with the plain flat hoing hole and IMHO no way. Then of course everything is possible but the success ratio is very low. This is coming from someone who did macro for a year without a monitor... What did I do wrong to deserve this?
  5. Huge NO for me. It's feasible only on mid water subjects AKA WA shots. Between EVF and your eye-cup you have housing glass and mask glass. To hold the housing as close to the eye as possible, you exert a force with your wrists that ends up crating a tremor that is reflected in the footage. This is partially true when using the display too. The best position is having your arms relaxed at chest height.
  6. Thank you all guys, I would be very curious to test it in Mediterranean waters. Unfortunately (or fortunately for my pocket) my Luna 8 CRI lightheads are not compatible. Maybe with some custom gel but they are definitely too weak. Shallow shots with this technique are on another league.
  7. Guys I'm not sure I followed you on everything... Where I can find a definitive guide to how to use these filters? I'm not meaning an explanation of how a car works but an explanation how to use a car: open the door, turn the key.... :)
  8. Finally habemus papam!!! Looking forward to see some underwater clip.
  9. https://www.scubadivermag.com/breaking-news-socorro-vortex-liveaboard-runs-aground/ https://www.divephotoguide.com/underwater-photography-scuba-ocean-news/breaking-news-socorro-vortex-runs-aground-near-socorro-island-mexico/
  10. Reading the article and looking at the camera, it seems to me a sort of Nikon RS 2.0 made with Red camera? http://24x7.com.au/3Deep/index.htm
  11. Other manufacturers published prices for their upcoming housings already. No one had a steep increase like Nauticam. We will see. Regarding port and lens adapters I see several different solutions in you photos. Except smc and cmc, are DIY or custom adapters?
  12. The film heavily features underwater scenes, actually filmed underwater with the cast in a new form of aquatic performance capture. Blending underwater filming and performance capture such as this has never been accomplished before, it took the Weta team a year and a half to develop a new motion capture system. https://www.fxguide.com/quicktakes/avatar-the-way-of-water-does-it-seem-it-was-worth-the-wait/
  13. Here you have several examples of shallow focus shots. GH5S + Lumix 12-35mm F2.8. From 40" onwards. My buddy is a pro!
  14. It's a pity that Nauticam didn't use the "cinema" style also for the GH6 which is a camera totally video oriented. After so many years we are still victims of the Canon lock-in. https://www.nauticam.com/collections/canon-mirrorless-housings/products/na-r5c-housing-for-canon-eos-r5-c-camera
  15. Gear type and usual shooting environment would help
  16. Well, video, like underwater photography, has some very specific and simple rules and yet I don't seem to see as many photos out there as Alex Mustard or video like Howard Hall. The relationship between framerate and shutter speed is a rule that affects moving objects. On Youtube you can find many examples of how to respect or break it. For the rest you adjust everything manually taking into account the limits of your equipment. Usually only those who have no reason to worry about ISO are concerned. ISO paranoia is a BS inherited from underwater photography but let's say that yes, you try to keep them low compatibly with the aperture. The claim that you can't use apertures below F8/F11 with the WWL-1 is also photographically derived paranoia. In video, ISO and aperture have a different impact, i.e. they are less binding than in classic photography.
  17. Effectively the WB is crap but I do not think it is irrecoverable, in fact I've seen worse and this seems anything but irrecoverable. More than anything else I'm amazed that the camera doesn't have a meter while shooting video. Sometimes the devil is in the details. I've said it before, I've always worked in AWB with Panasonic but all my videos are shot under 50 meters. Yet I have plenty of clips at a few feet with a mix of ambient/artificial light that are perfect for my taste. I wonder what the Z7 II clips would look like on the wreck if shot in AWB. However, I understand your concerns. I personally wouldn't be a guinea pig with that kind of financial investment. The Z9 may be a monster but Nikon is new to the underwater shooting game so IMHO Canon all the way. To say, Sony has been in the game forever and yet not only does it not seem to have solved its problems with underwater video color but it also seems to not give a damn (we are still a small niche). Despite Backscatter claiming in their reviews that the A7SIII is the first camera to have completely solved its problems with underwater video color, just yesterday I came across this video. I have to say I was blown. I've seen very nice videos shot in Log here but it always seemed like overkill when a simple flat profile would suffice. TL;DR Buy Canon
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