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r4e last won the day on March 13

r4e had the most liked content!

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21 Excellent

About r4e

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    Wolf Eel

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  • Location
    Southern Finland

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  • Camera Model & Brand
    Canon EOS 1DXIII, 1DIV, 5DIII, Sony MC50E
  • Camera Housing
    Aquatica, Nauticam
  • Strobe/Lighting Model & Brand
    2xKeldan 8X CRI95, Salvo 200W HMI, 2xNLS 300W LED, 3-5xNorthern Light Scuba 80W LED, Green Force various LED+HID
  • Accessories
    Keldan u/w color card, Nauticam WACP, various rigs, Ninja V in housing, DPV, vinegar for cleaning E/O connections
  1. Hi, I do already have the same housing. Would you be interested to sell the tethering system (cables, bulkheads etc)? Price incl. shipping to Finland? Best Regards Richard
  2. Just a comment on your disclaimer: most of the internal (hidden) O-rings of Nauticam housings are grey, not black. E.g. the O-rings of all the push button axles and rotary axles are grey. I have no information of whether the oil you suggest, is compatible or not with any of the O-rings. Although O-rings generally speaking are very strong, I have seen cracked, clipped, torn and softened O-rings as a result of extreme weather, misuse, chemical misuse, and wear/tear.
  3. There are also other types of dives where carrying any additional gear, like a tripod, becomes tedious. For example long cave dives. My cave dives are max 3 hours, e.g. 1 kilometer in, 1 kilometer out. In addition to the bulk of gas cylinders, any additional drag with the camera gear does become taxing for the camera man. Luckily in team diving some of my mates understand this, and voluntarily might carry some of my stage tanks part of the way. In cave shooting, I mainly concentrate on shooting scenes on the go instead of static or panning shots. This brings an additionally source of instability: your swim kicks. I does help a lot to learn a perfect trim, also a perfect trim during the kicks, i.e. no "galloping" effect. But even with a perfect trim, you actually accelerate and decelerate with each of your kicks. If I have used image stabilization, I have noticed that it might falsely react to this acceleration/deceleration and create unnecessary IS action which shows as a superfluous wave type wobble. Thus I actually have turned off IS to avoid this. Lights on long arms do stabilize the camera set via their inertia. Also having a float/floats on top and heavier lights below your midline, will stabilize the set to some extent. However, whilst swimming, the floats and lights should be placed so that they create an equal amount of longitudinal drag/resistance for each swim kick. Otherwise your longitudinal kick will cause you set to tilt and lean during each kick. I have noticed that for critical shots, it might be better to change to a modified frog kick or modified flutter kick, which reduces the longitudinal acceleration/deceleration. Of course in tight spaces, this comes naturally. Another problem is that during long cave dives fatigue will affect your concentration resulting in unwanted movement in the footage. The video below is from a 3 hour long cave dive. This actually was shot during ten separate dives of 2-3h duration due to the complexity of setting up stage tanks en route etc. There is no stabilization on the 5DIII camera nor the 16-35mm lense. I do admit that some shots are far from perfect. But for me, the main content of the video is the "being there" mood. https://vimeo.com/176796652 https://vimeo.com/176796652 https://www.vimeo.com/176796652 PS. How do I embed a vimeo video into a posting?
  4. A small update: I just noticed that the Ninja V 10.61 firmware has a fix "to improve signal locking from certain cameras...Use with Z Cam...Use with the Canon EOS -1DX Mark III on 4Kp50 and 60 video". Atomos also added a nice new feature: time lapse recording to ProRes, DNx and ProRes RAW. This included options for capture intervals and total duration. This is a welcome feature to me, because the 1DXIII itself does not have this feature.
  5. Thanks Davide, I first thought you meant S1H. S5 is still quite fresh without a housing. I did look into the S1H. However several reviews mentioned problems with autofocusing. Perhaps I was most bothered by the relatively low bitrate of 200 Mbps at 6K. Effectively LESS than my old MC50E I began with, if you scale the bitrate with the resolution. I just could not understand the reasoning that the S1H bitrate at 6K was half of its bitrate at 4K, i.e.400Mbps. Somehow this sounded like an internal or intentional limitation despite otherwise good video features. I do appreciate the availability of lower bit rates for saving media space. But there still should available an option for best possible quality. Ok, the 1DXIII takes this to an extreme maxing at 2600 mbps and giving various options of 120/230/470/940 mbps for 4K.
  6. This is a summary of thoughts I went through last year in trying to select my next u/w video gear. Ten years ago my first video camera was a Sony MC50E in an Aquatica housing. I really liked the setting for its small size. However, I was bothered by the max videorate of 28 mb/s, 8-bit video with its limitations for smooth color grades of the background, noise, autofocus hunting and finding the right amount of image stabilization. Especially I was missing the full frame look and Canon colors. Then came Canon 5D Mark II which caused a lot of turmoil on the video front and eventually 5D Mark III. I actually made a side track to 1D IV, but I soon realized that its crop factor did not meet my wide angle requirements. An expensive side step. I settled on the 5D Mark III. It had better sensitivity, the video was better than earlier, but still 8 bit, sensitivity was better and the colors were definitely better. However, no image stabilization. I continued to shoot mainly u/w landscape video, with only the occasional stills. During recent years I have tackled major 3D photogrammetry projects in poor visibility and have even sacrificed proper color balance for more pressing matters of repeatabiility of shots from day to day or month to month. I shoot mainly at 16mm, but for some scenery I change to 18-22mm in order to get a more pleasing perspective. However, with the advance of 4K and my desire to be able to create beautiful memories of some the unique sceneries I have visited, I began searching for an upgrade with the following wish list: good optics - with my six L series lenses I had a bias towards Canon, but, I was willing to consider alternatives at a cost minimum 10 bit, 4-2-2 and hopefully more dynamic range, a wish of 14? more sensitivity - I shoot large caves, mines and deep wrecks - there is never enough light - eventhough I have lights with a total of 6 digits in lumens 4K and FullHD. option for slow motion preroll! video compatible with Edius or Davinci Resolve I had been keeping an eye on the Canon cinema cameras. However, the total cost of a Cx00 series camera together with an u/w housing was out of reach for me. I did notice Canon 1DC, but I was not happy about the crop factor. Early last year I did also notice Canon 1DXIII. It did appeal in many ways, but there were also rumours about a forthcoming mirrorless Canon camera... I seriously considered the GH5/GH5s for its video capabilities eventhough it already is a bit old. I did also consider both of the Black Magic pocket cinema cameras, 4K and 6K. The biggest drawback was the crop factor and also the notion that many of the settings (e.g. resolution) would require using the touch screen - impossible underwater. But, I then noticed Z-Cam and that Nauticam would have a housing for it. Z-Cam appeared very innovative. Their E2 base model seemed to tick most of the items on my wish list. Actually it was one of the very few video cameras with a preroll feature. I also liked the idea of an ethernet connection on the camera allowing remote control and transfer of video. The base model seemed to share the same sensor as Panasonic. I noticed that you could set the Kelvins upto 30K. A drawback was that one would need a separate monitor with its separate housing. It took a while for Nauticam to get out the first housing model for E2. Meanwhile Z Cam had already announced the F6 model which would allow full frame Canon glass. Another wait for the right housing as the F6 model would not fit the first housing. Then came the release of Canon R5. A lot of excitement of 8K video and high quality 4K video. But before I put my order in, came the first news about over heating issues. I was sure this would be fixed in a firmware patch. But no, the patch made just slight improvements. Since half of my u/w video recording sessions have been almost continuous shooting of 70-80 minutes (as limited by the batteries of my 5D III and the lights), I would not consider any shorter shooting time. And having to stop shooting even for a minute was definitely a show stopper. Having to circumvent the overheating issue by having to shoot 4K with pixel binning for almost all of my shots just did not make any sense. The R5 overheating issue was a wakening call also concerning Z Cam. I realized that in addition to even getting hold of a F6 camera, there was the possibility of needing to send it back for repairs - all the way to China! In fb there were the regular occasional messages of malfunctioning units until Z Cam began prevalidating all posts under their fb page. For an underwater shooter, the downside of a failed purchase might/would be the total price of all gear, including two housings, one for the camera, one for a separate monitor. Then Sony began making noises with its very long waited A7SIII. A seriously good video camera with (seemingly) dual ISO, the latter being 16000! A slight drawback that best quality video did require an external recorder. For a topside shooter that is just around 600€, but for underwater use it is quadruple that when you include the housing. In December I was seeking for any shop that would have the A7SIII in stock so that I could write the purchase off as expenses for fiscal year 2020 - a 30% tax savings to me. Unfortunately nobody had one in stock. The only "affordable" camera ticking almost all the wish list boxes, and in stock, was the Canon 1DXIII. I then spent a night and day reading everything about it, and read the entire manual (almost 1000 pages) and all the white papers. I realized that eventhough my criteria was video first, I did also appreciate the stills capabilities, e.g. for shooting u/w waves crashing into rocks etc. I purchased the 1DXIII with the tax savings and without needing to invest into Sony glass. All the video modes on the 1DXIII are full frame, some with an option for cropping. I did not quite achieve my wish of a DR of 14, but the raw video gives high enough quality for those rare situations when everything is perfect in the u/w scenery. Then and only then, I would shoot 5.5K raw. Normally I'll be happy with 4K 10bit 4-2-2, and, in poor conditions I might consider less - that's why I think it is essential that you can select the video resolution underwater - not possible in BM. I appreciate the possibility to shoot everything internally and the ability to use the back screen for monitoring purposes. The video focusing and exposure aids are good enough though a bit lacking in a videophile sense. When size and conditions permit, I plan to use a Ninja V as a video monitor. Additionally, it gives the option to record Prores. Even with the best cable, the connection between 1DXIII and Ninja V is not good enough for glitchless 4K50/60. But 4K25 works fine. I yet have to try Gerald Undone's tip of externally HD recording subsampled 4K. Interestingly, the 1DXIII does have an ethernet connection allowing remote control. The Canon software does have some installation quirks, but, I was finally able to remote control the camera. The next item on my shopping list is an u/w cable for this... I already purchased a 28mm lense with the idea of shooting via WACP. Since this is not exactly rectilinear, it will be interesting to see if it still is usable for 3D photogrammetry work. If not, plan B is my 16-35mm lense behind a regular dome. Richard
  7. I would like to think that there are more videographers in WetPixel than you might initially observe from the postings distribution. Videographers basically consume and share any and all stills related information, apart from nitty gritty technical details of flashes. But when it comes time to ask video specific details, it is much more practical to ask those questions in camera specific, recorder specific or editing suite specific forums.
  8. I found from my old notes the same combination with a 50mm extension, or, does this bring the lense to much forward? I wonder which is right. Perhaps could try 55mm?
  9. Hi, 1. There is little difference between optical and electrical cords if they are properly manufactured. Electrical cables might have more physical strength against getting snagged in your other gear. But thereafter the cable might be less reliable. 2. I wouldn't add vacuum pressure for deeper dives. It increases pressure difference between the inside and outside of the housing and thus could slightly reduce MOD for the housing. E.g. a housing with 100m specs and a normal 0.2 bar vacuum, would, in theory, reduce to MOD 98m if you increase the vacuum to 0.4 bar. Increasing vacuum is totally unnecessary unless you have trouble of a vacuum sensor circuit not being temperature compensated. Then you might receive false alarms when descending into colder water, if you pump just to the minimum threshold in room temperature. 3. Strength of small components is not likely to be a limiting factor. 4. Condensation risk is dependent on temperature difference, air moisture (when closing housing) and housing material. A metal housing will conduct heat/cold faster and therefore the metal parts will sooner become cold than the dome, thus collecting the majority of moisture and reducing likelihood of condensation in the dome area. Depth will affect only via water temperature. E.g. here in Finland almost all diving to anything deeper than 30m will be around 4-6 degrees celsius. However, even with a metal housing, condensation is possible if you do not pay attention to closing procedures. E.g. if you are sweating in a 30+ celcius climate and place the camera into the housing with sweaty hands and drip some of your sweat into the housing and then leave the housing in the sun for a while, all that moisture will become partial pressure steam into the air of the housing. If you then make a fast descent to 4 degree water, you might have condensation even inside the dome. (done that). 5. The manufacturer should specify depth ratings for each dome model separately. Please note that there are both glass and acrylic domes that are specified to only 40m. However, the depth rating is for a new dome without scratches and/or microcracks. These faults are likely to decrease depth tolerance. 6. The viewfinder falls under the small components topic. It is the outer glass that takes the pressure difference. In most cases it is straight glass with sufficient thickness. However, I want to point out that in some housing the view finder is attached to an acrylic back window. If you use a longer 45 or 180 degree viewfinder on your housing and you happen to bump a tank against the viewfinder, there will be momentary dynamic forces in addition to the static water pressure. 7. The back window is designed by the housing manufacturer to be thick enough. In most cases it is a straight acrylic sheet without curvature and most of them range between 5-10 mm thickness. In addition to thickness, the critical design question is the surface area. It is often the surface area of the acrylic window that will limit the maximum depth. This is quite apparent for Blackmagic camera housings and some of the monitor/recorder housings, especially one with larger screen size. 8. Different manufacturers have different procedures for this. For example, some manufacturers just perform a test to this nominal depth, but, design and manufacture all the items robust enough for much bigger depths. They just don't claim any higher figures. In Europe/EU there is regulation concerning pressure vessels and how the maximum operational pressure and test pressure should relate to each other. I wonder how many, if any, of the manufacturers have paid attention to these rules. We perform hydrostatic testing for our customers' u/w camera gear and do perform various kinds of tests upto static pressures matching 150m water depth. However, these are static tests. If you bump your acrylic (or glaas) dome into a tank, DPV, ship wreck or solid rock at 150m depth, there will be the combined effect of static and dynamic forces at very small points of contact and an implosion is possible. Some of our customers have been shooting stuff at 150m and I have warned them about this combined risk.
  10. If you are interested in caves and stalactites, central eastern coast is a good destination and dive operator called "Protec Sardinia". There are several extensive cave systems that require cave diving certificates. However, two of them have direct access to the water surface above for the first 50-150 meters and thus you can enter them eventhough you would only have an oper water dive certificate. The entrances are quite photogenic.
  11. Owen, you might have to specify which port you mean, or, for which lense. We, Cerella Oy in Finland, do have in stock the following Aquatica ports: 4" mini dome (glass), 6" dome port (acrylic), 8" dome port (acrylic), 8" dome port (optical glass) plus various extensions and macro ports. The 9.25" mega dome is by custom order only. All items are new, mint in box with normal warranty. We are an official Aquatica dealer. Please contact by email myynti (at) cerella.fi or via facebook/CerellaOy. Some of the product info can be seen at our (old) web pages, but, for uptodate info, please contact us directly. Sales from Finland to U.K. is normal EU sales until brexit. Best Regards Richard
  12. The bitrates for BMPCC6K are max 203 MB/s which is "only" 1624 Mbps, so that is less than with the FP and still 4x the data of GH5s. Thus 1TB disk would give you 1h 20 minutes of shooting time. If I multiply this by e.g. hundred dives per year, the total storage needed plus backups scares me. Obviously with this cost in mind, one would become much more picky of when to record and when not. I guess with a "cinema" camera you are supposed to plan and design your shots instead of just shooting opportunistically whatever you come across. Perhaps the solution would be to have a Paralenz or similar camera rigged on top of your proper camera. This secondary camera would be shooting the entire dive... Another possible solution would be to use the preroll feature of the Z CAM cameras. I have not yet tried it, but there is supposed to be a 5 second preroll. If you keep your camera generally nicely framed with whatever background scenery there is and hit record when there is some emerging action or the scenery otherwise is turning beautiful, you might be able to not miss any opportunistic shots. Plus, you could still shoot the planned shots as well. What I do like about the fp and Nikonos combination is its very small and travel friendly size.
  13. Great list. May I add: Europe / Finland: Cerella Oy Mail address: PL 1120, 00101 Helsinki Visiting address: Mannerheimintie 42 A 3 Phone: +358-9-621 3301 Email: myynti ( at ) cerella.fi Web: www.cerella.fi FB: www.facebook.com/CerellaOy
  14. I am wondering what is the point of the original question? Are you trying to avoid German value added taxes and EU import duties? If not, wouldn't it be easier to purchase directly from any of the many Nauticam dealers in Europe? The dealers pay the same taxes and duties. Since they typically order more than one item from the factory, there is some leverage on the international delivery costs. From what I have compared prices, many of the Nauticam dealers offer same/similar pricing as Nauticam themselves. Some offer even lower prices. Plus the European prices already include all the import duties in their prices whilst if you import yourself, you'll have to add them. Disclaimer: I represent Cerella Oy, a Nauticam dealer in Finland. Thus, my point might seem a bit subjective.
  15. Hi Nicool, I do not quite understand why you would want to have two vacuum valves on the same housing, "for redundancy"?. Installing two valves just doubles the risk that you might have a leak through either valve. Or do you fear that you cannot release the partial vacuum after the dive? Richard
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