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Everything posted by r4e

  1. Hi John, The product code was originally 21314 and then changed to 921314. We have delivered the last from our stock.
  2. We have one of these rare items (9)21314 in stock. 240€ plus shipping from Finland to U.S. You will have to handle U.S. customs yourself. PM if you are interested.
  3. If you shoot video in only 8-bit color space, you just do not have the same vibrancy of colors than a proper stills picture has. However, this gap is diminishing when moving to video with 10-bit or more color resolution. But then your data amounts might grow a lot. With my Canon 1DXIII I am able to fill a 500GB (half a terabyte) card by shooting only 36 minutes of video at maximum quality. In practice and for most of the shots, I use far lower quality. The Canon colors are actually quite beautiful already at 10 bit Clog if you properly color balance and expose your shot before shooting. Related to your second question, the answer is any hybrid camera capable of both video and stills, but minimum 10 bit color space for video. Typically I would shoot either video or stills during a single dive because each shooting method does require a slightly different mind set. But whatever my choice for a particular dive is, I still might take occasional stills or videos if there is a suitable opportunity.
  4. A significant question is the shooting distance. If you use white fins on your own feet, will that white balancing match your actual shooting distance? I have noticed this problem because my white balance card is relatively small and I need to "white balance" it from a very short distance with my WACP wide angle lense. In ambient lighting the difference from actual shooting seems relatively small. But when using videolights, the perfect white balance at short distance does not match that of actual shooting distance. When shooting with videolights, the light has to travel from the lights to subject matter and back to the camera. If the subject matter is at say 2 meters distance, e.g. a ship wreck or other scenery,. the total light travel distance is 4 meters, which is significantly different from shooting a grey card at 0.2 meter distance. Thus the colors of subject matter will not be as vibrant. I like the idea of white or grey fins, but with a wide angle lense they will fill less than 5% of screen area. But, considering that a 130 degree wide angle lense will easily cover an area equivalent to a queensize bed, should I bring with me a queensized white sheet with me?? Ha ha. Obviously this gets more complicated when there is a combination of video light and ambient light. For single picture still photography this might be less of a problem because you might want to let the background to fade to blue or whatever is the dominant background color. But for shooting 3D underwater photogrammetry this is a problem because you would want to use true colors of the subject matter irrespective of the distance. Incidentally the Aquatica/Amphibico metallic white balance card has a prefabricated green/bluish color cast. This does slightly help in matching the final shooting distance for proper white balance. I have just recently learned to appreciate this.
  5. Here is an in-scale visualization of the Protrekker 450 with the NA1DXIII, WACP, 1DXIII and lense. It looks doable, if I remove one handle. For the air travel that is ok. Total weight about 14kg with laptop. Perhaps I'll take with me a plastic bag. If weight or size becomes a problem, I'll check in the empty backpack and carry my gear in a plastic bag;-) The Keldans will have to fit elsewhere, e.g. my coat pockets or carried by a friendly mule...
  6. Thanks for your tip, pbalves. I'll check ProTrekker BP450 model. If it stretches a bit, it might be sufficient. However the 25cm depth exceeds the allowance of half of the airlines I mentioned. Emptying anything significant from the bag might be a bit tricky for me. Yes there is the small 28mm lense, 0.26kg. But then the next item is the 1DX3 which is like a brick in size and will certainly not fit any pockets - perhaps I'll hang it on my neck. And the WACP is the size of a football... Besides I forgot to mention that I might have to stuff some Keldans in my pockets as well.
  7. I am hoping I could air travel inside Europe later this year, but I am facing a dilemma with the limitations of carry on luggage for my combo of NA-1DX3 and WACP even if I would transport the 1DX3 inside the housing: NA-1DX3 36(w)x23.5(h)x14.5(d) cm with handles, or, 26(w)x23.5(h)x14.5(d) cm w/o handles, weight 3.6kg Canon 1DX3 with battery: 1.44kg Canon 28mm f/2.8 IS USM: 0.26kg WACP diameter 19.5 cm, length 17.5 cm, weight 3.9kg Laptop 33x24x2cm, 1.84kg Lightest possible bag: 2kg Total weight: 13.04kg, total value: a bit more... Total size, put together: 32x26x23.5cm, without handles, without any bag yet. Or the housing and WACP separated from each other, but in the same bag: 45.5x23.5x17.5 ... 41x26x19.5cm plus bag. The challenge is to get the gear and bag to fit within the restrictions of the likely air companies I could use for my destinations: Air Baltic Economy: 55x40x23cm PLUS 40x30x10cm, total only 8kg (yikes), but with an additional 12€ total reaches 12kg British Airways: 1 handbag/laptop bag 40x30x15cm max 23kg (luxury!) PLUS 1 additional cabin bag 56x45x25cm max 23kg (more luxury), but the small print says "On busy flights, you may be asked to check in your additional cabin bag, so make sure you have no valuables packed in it". Actually most of the operators have similar text. Finnair carry on economy: 55x40x23cm PLUS small backpack/laptop bag/handbag 40x30x15cm. Total 8kg (useless). Iberia economy: 56x40x25cm PLUS 40x30x15cm Total 10kg "Because of limited capacity in the aircraft cabin, exceptionally on busy flights some carry-on baggage may be removed and stored in the hold at no extra cost. If your carry-on baggage is larger than standard it will be placed in the hold and you may have to pay an additional charge." KLM economy 55x35x25cm PLUS 40x30x15cm, total 12kg. But they warn that the bigger bag might go into the luggage hold... Lufthansa Economy ja Premium economy 55x40x23cm 8kg. I would not risk this, because I have had previous experience of having had my carry on weighed again at the German hub airports. Norwegian LowFare: 38x30x20 cm, max 10kg, LowFare+ 55x40x23 PLUS 38x30x20 Total 10kg, Flex 55x40x23 PLUS 30x20x38 Total 15kg. Let's see how many routes this company operates later this year... Vueling on board 35x20x20cm under seat in front of you. "Bookings made before 10 November: In accordance with recommendations from the authorities, we have to reduce hand luggage on the plane to a minimum so that customers and crew have as little contact with it as possible. All customers in boarding groups 2 and 3, i.e. who do not have a connecting flight or have not booked priority boarding, must check in their hand luggage at the desk, at no extra cost (max. 10 kg and 55x40x20 cm)." I am considering a Tumi Gym Bag (485€) because as a nylon garment bag it looks "light", not like a camera bag and its size might be sufficient 48.4x28x24cm (external) and fairly small weight 1.9kg. I still need to haul my u/w gear to a Tumi shop to check if the gear actually fits into the bag. Plus, a gym bag does not really protect the gear. https://tumi.com/en/alpha-bravo-mccoy-gym-bag/103289-1041.html?cgid=bags_all-bags Or should I purchase a smaller backpack for the housing and laptop only, and carry the WACP in its original padded circular travel case, diameter 24cm and height 25cm = 25x24x24cm, i.e. it will not fit under the seat...? Plus, still the dilemma of having two(2) carry on items. But, as smaller items they might be easier to fit somewhere? Definitely no Pelicase or anything else that already looks heavy. Any recommendations?
  8. Now I had a chance to view your video on my mobile Phone in full screen mode and the binding together with the sound is quite obvious. The rubber friction gear I referred to is the final gear that is the counterpart to the respective camera dial. Irrespective of housing brand, I have fixed many cases where this friction gear slips, sometimes only in one direction. During maintenance one often needs to disassemble other parts as well together with their o rings. I have seen many o rings in excellent condition but also a fair share of cracked, worn or spliced o rings, some from diy cases. In order to guarantee no leaks, it usually makes sense to replace all the o rings at the same time. Also the reputation of better brands is dependent of not having any unnecessary leaks.
  9. Yes there is a crack in plastic gear and it needs fixing. But are you sure that is the root cause to the original problem? It could as well be the rubber friction gear that causes the problem (slipping), or a missing (slipped out of place) compression spring within the front friction assembly. Or some (occasional) jamming elsewhere in the mechanism which in turn caused fatigue in the plastic gear and it cracked. Concerning the screw that got damaged during disassembly, that particular mechanism entity contains several screws of different sizes and shapes. You will need inch based measurement tools in order to measure the screw carefully and then try to find a replacement. -- I do agree with you concerning customer satisfaction. And Aquatica has often exceeded expectations here. Perhaps they just missed your message? The problem however is that for a 10-30 euro part, just the communication and logistics effort is easily beyond 100 euros. Thus it makes a lot more sense to manage slight issues, like fixing the slipping of a dial, as part of a thorough annual/biannual housing service. E.g. as a housing service center we do keep in stock hundreds of types/sizes of inch and mm screws, circlips, spring pins, washers, various springs and other general purpose parts just in case any of these are lost or broken. These are in addition to housing specific maintenance kits. Literally 5 digit euros tied to these. But sorry no, we do not have that particular gear in stock. And in general, the spare parts for camera housings is not a volume business, i.e. it is economically not worth selling parts separately.
  10. Hi Stephan, Returning to my earlier question: Tether kit available separately? Due to the numerous new camera annoucements during the last year. the 1DXII/1DXIII underwater is getting a bit dated. Thus by reducing your asking price of the housing (by separating the tethering kit), you might have a slightly better chance of selling the housing as well... Best Regards Richard
  11. The quality question and readiness to pay for it really depends on how critical the failure is. If I would dive a hundred bio dives per year and I would have one or two failures (and throw the lights into the bin), perhaps I would not mind this and I could even purchase couple of spare ones just to have available when needed. But, a significant amount of my dives are such that there might be just a once per season or even once per lifetime chance to dive and shoot the scenery. In such cases I am very willing to pay whatever sum (within my reach) that gives me good enough confidence that the lights will work when needed, flawlessly and predictably. Example one: once-in-a-lifetime chance to dive the Finnish flagship WWII destroyer at 80m depth, a grave of 300 soldiers. The coordinates of it are a strict state secret and punishable by minimum 6 months of prison even if one only attempts to leak the coordinates. The approximate location is somewhere in the open seas between Finland, Sweden and Estonia. After years of research and working with a number of key navy officers we were granted permission and coordinates to check that the wreck was still in a untouched condition. Nobody had scuba dived this wreck before, and maybe never will again because the coordinates were on a 8" floppy disk. Example two: progressive dives and setup dives to shoot a cave up to 860 meter penetration. I had already studied this cave a year earlier and then called together a team to spend a second week diving just this cave and penetrating each time a bit further. It was the effort of altogether six persons spending a week to get this shot, plus all diving and travel expenses. If the total cost of this expedition is in the range of tens of thousands of euros, why should I risk failure by saving a thousand euros on the lights? Really, why?
  12. 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
  13. 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.
  14. 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?
  15. 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.
  16. 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.
  17. 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
  18. 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.
  19. 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?
  20. 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.
  21. 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.
  22. 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
  23. 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.
  24. 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
  25. 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.
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