Jump to content

Interceptor121

Member
  • Content Count

    3626
  • Joined

  • Last visited

  • Days Won

    140

Everything posted by Interceptor121

  1. Apologies I was talking about the full shebang with RAW Details which is what bring the most benefit, also suggesting their own RAW processing is not that good if there are details that can be revealed? If you base your comparison on the ACR RAW processing am sure you will see benefits However when I say it does not work that well I am comparing with a TIFF produced by DxO that is way sharper than any image lightroom can produce. So the path DxO or RawTherapee or other RAW to TIFF and then a sharpener works better for me than processing a RAW in Adobe products and this feature is not really making me change the workflow especially once I factor in all the issues with color rendering and exposure that adobe introduces when it normalises a camera
  2. Adobe ACR does not do a particularly good job in terms of image sharpness compared to other raw converters The engine has been updated a lot since you reprocessed your shots from 10 years ago and the improvement are likely to be connected to the new processing logic not so much to super resolution There are plenty of examples out there where super resolution does not provide any benefit compared to other software and today there are many solutions for scaling including Topaz products for example or a combination of a better RAW processor with photoshop enhance details In addition super resolution only works on RAW not on TIFF files which is another limitation
  3. I just recently sold some (land) prints and I tried to use this feature it was disappointing. I got better results with preserve details 2.0 This was a smaller upscale from 5184 to 6000 and yet the new feature did not do that well and added quite a few artefacts. In general however you really don't need more than 20-24 megapixels as you can print fine at 200 DPI and printing lab upscaling is very impressive I print 30" wide and most people do not have room for larger frames in their houses unless they are the kind of people that would not typically buy a wildlife image There are conflicting reports on super resolution but the general message of this video aka you are good with a 20-24 megapixel camera remains valid
  4. Yours looks like traditional super contrasty Sony footage with a lot of clipping that I have learnt not to like The footage of the lady with desaturated look works much better for my liking
  5. Even more interesting. If you force youtube to h264 there are no glitches conclusion their vp9 codec has some playback problems of some description!
  6. YouTube is introducing around 1 glitch per day. The clip was uploaded 10 days ago and checked no issues. On day 1 was fine too. On day 2 had 1 glitch and on day 3 it has 2 glitches very interesting trend. I wrote them about it not sure I will get a reply. Even more interesting if I download the video or I scrub it in the editor there are no issues, perhaps they have a playback problem? No voiceover is intentional I didn’t want to do a documentary just to relive my walks I used quite a few lenses the bulk is with 50-200 sometimes with teleconverter some of the closer shots 200mm + 2 TC All on monopod I only used tripods for some of the landscape shots Sent from my iPhone using Tapatalk
  7. Some people have gone the bathtub route but I decided to expand my horizons to land wildlife photography. It has been a journey and although the challenges of long lens work are not exactly the same stability and field work is fundamental like it is underwater a bit like buoyancy. Hopefully makes for a pleasant and relaxing watch while we wait for things to pick up again Stay safe
  8. Why would you want to have an anamorphic lens underwater? Anamorphic lenses give specific look and flares that underwater are generally not desired (we are all fighting flare) as it reduces contrast Water has already a dampening and contrast reducing effect on the image it does not really need any help? I am a bit confused by the purpose of this experiment.
  9. To my knowledge this metadata can only read by catalyst the Sony provided application but may be wrong Obviously it crops... Sent from my iPhone using Tapatalk
  10. https://interceptor121.com/2014/03/15/floats-and-float-arms/ I have tables for all the arms and set ups combined. You Z330 with dome may be neutral so check them individually
  11. I am not sure about the stabilisation issue. I generally do not stabilise my videos and the A7S has IBIS so am not clear what is going on. Someone said the camera captures gyroscope information if it does that on a log base this would be fairly easy to stabilise? Not sure if this lovely lady has the technical background to answer the kind of questions you or I might have
  12. Lots of slow motion and a wide lens are not exactly the proof of the pudding
  13. The dome is too small for wide lenses.It is really for maximum 12mm. You need the 7" for wider lenses however with this lens being so small it would most likely vignette It would be better to try a shorter port like the 4.33 dome
  14. There are some conflicting views on this lens. Things to consider 1. It has only 5 aperture blades this is intentional to make sunstars 5 rays but this creates really bad background how would it work in water 2. A guy I know bought it this lens has tons of flare how would it work behind a dome especially not coated in acrylic
  15. in general the filters have to match each other that is the most important aspect I have studied the absorption curves and this is how you find your match I have a whole load of rolls in my loft including green water but I do not even remember what I set it on The filters used for green water have higher transmission however the number of particles etc makes it really suitable only for close up work and therefore it is questionable if this is the right path as once you are close there is no benefit over just using lights Ambient filters are for wide shots where subject come towards the light they are not for widespread general use nor close up work
  16. With ProRes RAW you need to either set a custom white balance or set a color temperature. The camera no longer works in auto as it does not keep a dynamic metadata file. You then can edit the color temperature but not the tint So at the end when you need to white balance anyway there is limited benefit of ProRes RAW. I have spent a few weeks testing it with the S5 and it is not actually the leap I was hoping to get. It also does not support lens corrections, noise reduction etc so each clips has to go into neat video the moment is a bit dark. The BMPCC and ZCAM however do not have any lens corrections anyway...
  17. I didn’t want to be negative on this video She is a lovely lady and a good diver underwater video however is very technical and the set up of this video with lag and unclear audio was not great Perhaps a recording would have been better? Sent from my iPhone using Tapatalk
  18. Sony is using stacked since years on their full frame It is a question mark if this is going to be allowed to 3rd parties So far it hasn’t Stacked sensors are important for burst and video however they are not required for underwater stills Sony themselves makes their video focussed camera out of the exmor R line We are no longer in a situation where the market is booming so catching up is harder when you are lagging behind and have no money I think the biggest issue for underwater photographers is that for most the audience is made of older users who like a DSLR so they are the ones who will adopt whatever comes as late as possible What will this rumoured camera going to do for those guys? Sent from my iPhone using Tapatalk
  19. Large camcorders big box style housings from gates et co have been around a while and also Nauticam has some Once your rig has inertia is good to provide stability unless you are in the current and that big box takes off with you Those solutions however are not existing for digital camera form factor which as you noted is probably the worst in terms of trim With the zcam though you always have a monitor though that is going to throw things out Dean spreakman has done some really nice footage with zcam e2 but now has moved on Sent from my iPhone using Tapatalk
  20. I think she is using log simply because it gives the vibe of ISO 12800 or whatever it is and then no LUT is applied aka she is editing manually Sony applies extensive noise reduction and sharpening to log footage in this camera so doesn’t look like the log of other manufacturers When we measured low light performance and dr for raw this camera did worse than Panasonic s1h and s5 but with artificial illumination DR is not a consideration and frankly almost never is underwater Sent from my iPhone using Tapatalk
  21. Yours are dreifish are good and so are some other holiday divers here in the gallery show case I have made note of a few The videos of Adamson etc are excellent the way he controls the light but I am not a fan of critters slideshows What I do not like are the stereotypes that we seem to be victim. Cinematic style? Or just a way to hide buoyancy flaws and other issues I also think like you said we have a fundamental question in terms of story telling vs documentary fish id type
  22. The Z cam work is the typical 60 fps slow down that is painful to watch Ripping current and where is it? Slowing down half speed or more completely removes the drama from the clip
  23. Dustin Adamson is not a holiday maker He must have spent over 100 days diving abroad in the years he was so prolific Why did he do that if he had no ambition to be a pro I don’t know There are many people that do 7-10 trips per year with the objective of winning some competitions On tripod shots for sure IBIS doesn’t matter but if you asked Nick Hope between GH4 and GH5 I am sure the answer would be GH5 Macro/ critter video is not my main focus I prefer wide angle this goes also for my photography so I have to admit in the last years I have not been particularly focussed ok stabilised rigs On land to work on a tripod I use a fluid head however this is based on a ball bearing and would not work underwater so all your underwater shots tend to be very static while on land tilt and pan makes things more interesting when things move assuming you are able to follow focus Sent from my iPhone using Tapatalk
  24. No IBIS doesn’t react at all to finning it only compensates micro shakes I use it for panning shots on monopod. Electronic stabilisation instead creates all sort of issues. Am talking about a 5 axis well implemented IBIS here not all cameras are equalThe issue affecting cave divers with edge pulling is due to lens correction that when combined with IBIS gives side effects on extremely wide rectilinear lensesThis problem affects real estate videographers that use gimbals and in general if you want to use a rectilinear lens in caves you do need to turn IBIS off IBIS today is much more sophisticated than it used to be and I have it always on with my monopod and my tripod Those are shots at 560mm equivalent to give an idea Daily Roll 26 February 2021 For me a wildlife underwater camera without IBIS is worthless. If I don’t need it I can turn it off but I like it to be there it makes a significant difference to the keeper rate Sent from my iPhone using Tapatalk I
  25. What are you saying Ben? That a tripod is better than handheld? That is obvious Those guys are trade not holiday makers and Nick has been both resident on a boat and local They are not a representative case for a holiday diver and none of this means IBIS is not required Or are you saying all dives are suited to a tripod approach??
×
×
  • Create New...