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Interceptor121

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Interceptor121 last won the day on November 10

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About Interceptor121

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    http://interceptor121.com

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    Male
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    Woburn Sands, UK

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    United Kingdom
  • Camera Model & Brand
    Panasonic GH5
  • Camera Housing
    Nauticam NA-GH5
  • Strobe/Lighting Model & Brand
    2x Sea and Sea YS-D2, 2x Inon Z240
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    Too many

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  1. If I had to get a single rig for the best still images it will have to be the Nikon D850 While in terms of pure image quality there are other options on the mirrorless full frame camp and the choice of lenses and ports is catching up too on the ergonomics and shooting performance a traditional DSLr is still much stronger and considering how complex is to take pictures underwater this is a deciding factor Sent from my iPhone using Tapatalk
  2. I posted this specific point in the video section because I didn’t want it to become a generic discussion on white balance yes or no for RAW images The video workflow is totally different from stills and even if you white balance you still perform adjustment in the final stage of your edit so clearly having footage that can withstand color manipulation helps however raw video is not mainstream and even if you can get to 50000 K in post if you were too off during capture it looks weird exactly as it does with still images and this is one of the reasons I am advocating the use of filters in ambient light shots and white balance in capture So am aligned with what Adam says in terms of not being too far off whilst in terms of correcting in post it is not an issue because you typically have homogeneous clips that are short in duration and this is just the way it works in video Sent from my iPhone using Tapatalk
  3. Adam I wanted to make the point that lens choice at least for some scenarios is not a limitation but that doesn’t make that the preferred choice! It was just to enrich the discussion... Sent from my iPhone using Tapatalk
  4. John we are talking video here not stills so WB is required. I do not know what RAW is inside a camera like BMPCC 4K however I doubt it is uncompressed RAW and therefore white balance will certainly not hurt there either
  5. One of the issues when converting files between Lightroom and Photolab is that the colors are not retained. Apparently Photolab saves all color channel separately in a DNG while Lightroom does not. The conversion only works using TIFF however in this case I needed to process the raw file in photolab first as that is where I can alter the geometry corrections when I then get to lightroom and use DNG the colours go off so I am not able to reproduce anymore the same set up of the image I processed few months ago! For what concerns the image and the geometry correction there is what it seems a crop stronger in lightroom and to a lesser extent in the corrected photolab file, no crop in the uncorrected What I understand is happening here is as follows: 1. DSLR lenses have a profile for correction and you can decide as user if you want to apply it or not. Typically a DSLR wide angle lens of good quality has a distortion of 3.5% so in effect nobody corrects it and lightroom by default does not propose a correction even if a lens profile is available. 2. Mirrorless lenses have a smaller sensor and the error is higher than 5% (5.2% Panasonic 7-14 mm 6.6% Pana 8-18 7.2% Olympus 7-14) the manufacturers run a test on a grid and then put some parameters in the lens. This level of distortion IS visible on land images I will try and post some examples when I get back What lightroom does is to apply the correction parameters in the lens (you cannot disable) and then crop the edges and upscale the image. So even if you have full resolution of your camera the reality that it has lost around 2 Megapixels this is mostly in the corners that look badly The uncorrected image has those 2 megapixels more and if you were shooting a straight line you would see it is bent (i have done it and it looks horrid) underwater it is harder to see even if the lens has 6.6% distortion as in my example The corrected image from DxO looses less pixels than lightroom and still achieves a straight line what is good is that you can set the correction to 100% which is completely corrected or less all the way down to zero where you have all your pixels back depending on having or not straight lines in the image. So if you have them and it is important you correct them, if not you can leave uncorrected and keep the full sensor resolution generally it is not possible to really notice a 5-7% unless there is a straight line in the frame
  6. The metabones adapter Canon EF to Sony has no optical element is just a physical adapter to make sure the flange distance is the same. The person I met on the boat actually posted the pictures here on wetpixel this is the post As the Sony autofocus is great and @benignor says there is no difference using the metabones I can conclude positively that the adapter plays no role in the performance at least of this system it is however true that the Sony has on average autofocus of 0.25 seconds vs 0.08 of a Nikon D850 so clearly there is a gap there but it is the same on land and in water and adapters do not make this worse
  7. I am abroad for work at present so I had no time to update the post I will do that when I get back You can definitely load the LUT if you have a monitor I do not have one at present however the settings for CineLike D are just Noise Sharpness and Saturation -5 nothing particular and CineLike is REC709 compliant the highlight clip is at 100% not at 75% or 90% like VLOG or HLG so I am not sure there would be any benefit. In terms of contrast cinelike D gamma curve is stretched but it is not a difference between night and day like VLOG. Once you get the LUT on the camera profile this is just a baseline for grading the contrast is not affected so you still need to work it to bring it where you want it to be. I use the Pro Quickies and find the Film settings to work quite well in most cases. Using a filter naturally increase saturation so also on that front I tend to use the automatic setting for color in FCPX pro after the LUT is applied and then finally I look at the LUMA and Saturation curves for clipping. I have to say almost never I clip the highlight as I tend to underexpose -2/3 to -1 as recommended by magic filters however this has to be checked now that the GH5 has a highlight priority mode as this may not be necessary anymore When I have the pictures of the white balance card lanyard I will update this post to let you know
  8. I use the canon on my micro four thirds A guy I met on a boat had a Nauticam set up you need an N100 to N120 adapters then you get a 30 mm extension ring and a fisheye dome His images were great and he did not have focus issues Sent from my iPhone using Tapatalk
  9. Ah. The 10-18 mm is constant aperture? How big is your dome? Sent from my iPhone using Tapatalk
  10. I would keep the 16-50 if you have a dome well designed and placed you can shoot even wider Obviously that may not be the case but I can go all the way down to f/2.8 in a 180mm dome with a MFT so f/4 would be a possibility for sure I have been looking at malapascua for the last 10 years and so far i have not taken the plunge It is fairly blue so maybe a good one for black and white Sent from my iPhone using Tapatalk
  11. If you have a wet wide angle lens set the focus at beginning with your on something at 1 meter and then switch to manual Also at f/5.6 the scene will be fairly dark this is only a 1” sensor you can let the camera go wider Sent from my iPhone using Tapatalk
  12. Hey trimix Your pictures are pretty good I fully agree that the 16 mpix older sensor is not on par but the EM1 GH5 and EM5 III have a 20 mpix sensor And no am not saying that at the same ISO the EM1 performs like a DX What am saying is that when the Nikon says it is at ISO 1600 it really is 1250 when the Olympus says 3200 it really is 1250 too. DX and the MFT sensor differ more on dynamic range and to some extent colors You then have to consider that you need to close the aperture one stop between DX and MFT so at the end is similar With FX equally there are two stops but you loose them with dome sizes What is true is that a raw file from a sony a7 3 or a nikon d850 will recover much more shadows highlights etc as it is more iso invariant Anyway this is way to technical! Sent from my iPhone using Tapatalk
  13. The low light performance of the OMD EM1 MKII is pretty much identical to a DX camera. However the Olympus ISO is well known to be inaccurate when it says 3200 is around 1300 800 is less than 400 It is a marketing trick that creates issus to many. If you shoot at nominal ISO 3200 is like a nikon at 1600 which is also inflated but only a few hundreds Sent from my iPhone using Tapatalk
  14. I use a clip with a soft edge as otherwise it cuts the card but you are making a good point I will add a picture I just heard Keldan is coming up with a checker card and I will receive it for prototype testing
  15. The way I work is to use filter in the first 12 meters where the color rendering is good. Actually the URPRO can go deeper however you have a great housing with a flip which means you can get rid of the filter and use the lights The ambient filter becomes useful in situations where you are at shallow depth and are in the shadow or you want to have colors in the foreground and background that are homegenous For a close up you are going to use the lights as primary source so take filters off because you can If you keep the filter on at close range on both you need to make sure you white balance for the dominant light not on ambient because the light with the filter will be predominant. For example you are at 10 meters and your ambient filter is 12 if you balance for environment you set for 10 but at close range it will be like 12 meters because of the lights and you end up with cool colors or cast which is what happened to you With a housing like the gates you have the flexibility required use the ambient filter only in mixed light situation and skip otherwise
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