Jump to content

Interceptor121

Member
  • Content Count

    3811
  • Joined

  • Last visited

  • Days Won

    153

Everything posted by Interceptor121

  1. How do you place a tripod if you are doing a wall dive exactly? In some places it is forbidden to lay anything on the bottom too
  2. I have been always looking at camera with IBIS for underwater video. There are some little bumps and movements that cannot be avoided especially for close up handheld work Recently however many cinema cameras without IBIS have come on the scene BMPCC4/6 ZCAM and some top range canon models like 1DXIII also do not have IBIS as well as Panasonic GH5s I see lots of footage shot at 60fps and then slowed down to 24/25/30 to mask the instability and wobbles and the difficulty of the diver to hold the camera steady, personally I hate those type of shots as things underwater with some exception do not move fast at all. Water is a liquid after all with dampening effect. I also find that if you need slow motion you would need in excess of 100 better 200 fps to have something really interesting to see So I wonder in 2021 how people feel about IBIS? Are there advances in post production have better results than say 3 years ago (from what I can see artefacts show in water but maybe I do not know the latest and greatest software)?
  3. In your case the monitor is HMDI 1.4 is the camera that has the 2.0 but you don't have a 2.0 cable. Am I correct?
  4. Yes that is why I said nobody is thrilled on this forum. I do not see video creators embracing nikon either
  5. For sure but to be frank I don’t think anybody is thrilled by Nikon Z series here Sent from my iPhone using Tapatalk
  6. Some of your images look better than those review clip that are unimpressive to say the least same was for the S1H from backscatter it was not great
  7. https://www.dpreview.com/interviews/9636338352/interview-nikon-a-flagship-nikon-z-series-mirrorless-camera-can-be-expected-within-the-year 8K video I bet Nikon and Panasonic will use the same sensor in the latest Sony A1 1. Sony obviously 2. Panasonic before the Olympics. Panasonic does not rely on sensor technology for autofocus only need to design ASICs 3. Nikon as they have less experience with video and have their own quirks to lay upon the chip Although I like video I really do not see a point in 8K video right now. The masses are on HD and Instagram is 1080x608
  8. Do you have any clips so I can see your results? I put it against Panasonic because they are the best. I am trying to find alternatives and once I factor my requirements I always find none
  9. I have used Sony for over 10 years starting with camcorders, had not seen that section So 600/60=10/8=1.25 Mb per all I frame vs 2 of Panasonic and 2.35 of Canon For $3,499 The housing though is cost effective with the 28-60mm WWL-1 combo I wonder if the custom white balance still fails? https://www.cined.com/sony-a7s-iii-lab-test-does-it-live-up-to-the-hype/ quote Unfortunately, a similar situation like we encountered with the Sony FX9 in the lab test is happening: it seems that the internal codec XAVC S-I (4:2:2 10bit) with an average bit rate of 250Mbit/s for 25 frames per second is not capable to retain shadow detail without showing nasty chroma noise artefacts. Those large patches of blocky chroma noise cannot be removed effectively by noise reduction.
  10. I know the 1.4 cables had a history of breaking. But I was wondering how the new M28 bulkhead and 2.0 cables are performing? I have an Atomos Ninja V that eventually I would use for prores raw or 50 fps but I am concerned about the track record of this solution Anybody has field experience with this?
  11. It does not say much the shape is professional format instead of small footprint This year after Sony, Nikon and Panasonic will come with new to range I think while Canon has already done with it with the R5 If the Olympics go ahead we will see product releases in April and May
  12. I just checked the movie specifications of this camera HS I guess this is high speed? (4:2:2, 10bit, NTSC) (Approx.): 120p (280Mbps), 60p (200Mbps / 100Mbps), 24p (100Mbps / 50Mbps); 3840 x 2160 (4:2:2, 10bit, PAL) (Approx.): 100p (280Mbps), 50p (200Mbps / 100Mbps), Standard (4:2:2, 10bit, NTSC) (Approx.): 120p (280Mbps), 60p (200Mbps), 30p (140Mbps), 24p (100Mbps); 3840 x 2160 (4:2:2, 10bit, PAL) (Approx.): 100p (280Mbps), 50p (200Mbps), 25p (140Mbps) Sony did not want or could not integrate functionality to provide an all intra high bitrate codec something canon and Panasonic do I would like to understand why they made this choice which limits this camera significantly especially underwater where water is not well managed by your typical IBP h264. I can see the 100 and 200 mbps modes are an interesting tool for some specific shots but frankly I see very limited use for them and the bread and butter still runs at 140 mbps????
  13. The level of contrast is entirely due to the distance and the incident light angle The lens doesn’t come into the mix as it only influences the field of view so the results will be similar perhaps more magnification helps the framing but not the contrast Hence getting as close as possible is a good idea Using a wwl-1 type of solution only works when the dolphins come at you otherwise a rectilinear standard zoom is better for framing. Dolphins are not so big after all Sent from my iPhone using Tapatalk
  14. I have been recently testing ProRes RAW on the Panasonic range. My conclusion is that is not worth it. The primary issue is that the camera only works with a set white balance in RAW. Once you need to do that then there is no longer a benefit in raw in fact the workflow is more time consuming. Other aspects lack of lens corrections etc. How does canon manage those?
  15. So low light matters And the - ev of both those cameras is -3 ev Which means they are very very close So the extrapolation of this metric out of specs in this case is a valid proxy Tracking however does need specific testing Sent from my iPhone using Tapatalk
  16. I did volunteer at the time however the subject becomes quickly very technical and there is no substitute to a good story Macro videos are especially challenging if there are no behaviours they can become a slide show of critter and frankly a set of pictures would be better Video is very hard even on land it’s 2 months that am shooting a project i have terabytes of data and still lacking some scenes! Sent from my iPhone using Tapatalk
  17. Not everybody lives 5’ from blue heron bridge Understanding how things work helps maximising your chances of success especially now that all pools are closed and in essence there is no diving other than your bathtub Sure going and testing is the right thing to do but to make dismissive statements spend more time in the water denotes a lack of understanding and empathy for majority of people that do not have the opportunities that you have and don’t do this as their day job Sorry that was really poor Sent from my iPhone using Tapatalk
  18. Yes but there is also the fact that people that like forum are older and driving traffic through your channel generates some business in a way The videos of BTM are a good example of well executed marketing
  19. There was an interesting survey on dpreview about photos and videos. Surprisingly although people like to take videos with their phones there were many people complaining about the fact the cameras are getting expensive because of video features (!) The reality is that photos are much easier (I know am going to get a beating here) the process of taking a photo, editing and posting can be made very efficient Video is a beast you need still pretty strong hardware but more than anything else you need to tell some story if this is not just for your personal consumption. On the field video is harder because you shoot while moving, you need to manage exposure in thousands of frames not one. So ultimately many people do not undertake the journey at all. Years ago I forecasted that with faster connections video would have become more popular but in reality this has only benefitted Instagram and their 1080x608 videos and vlogging of people doing some form of affiliate business We also need to account that many of the photographers members of a camera club or going for underwater trips are over 60s and they do not understand video at all This does not excuse that wet pixel should make more of an effort on this in my opinion even if this mean talking about gopro
  20. I have recently invested in a Ninja V to start using it with ProRes RAW on my Panasonic S5 Surprisingly for me the product is buggy and has a lot of inconsistencies. So I thought of writing a few tips here 1. Zebra are generally off. They can be off 5% to 10% and in some cases cannot be set for clipping. In general they are over the real value (you can check on the waveform Zebra set to 100% means waveform at 95%...) 2. False color does not scale it is always on the same range 0 to 109 which means if you shoot a standard video signal or log it never ever shows red unlike other monitors like SmallHD. The solution is to use your own false colour LUT or to use a VLOG to Rec709 LUT and then use false colour on that 3. There are issues with prores as this format only allows legal range but Ninja writes a full signal. Lately a legalise option has been supplied for users of all products except DaVinci that can be set to ignore the file flags. There is some level of deterioration with this option but is minimal 4. The monitoring of HDR signals in the Atom HDR is an utter mess. The monitor is just a rec709 10.5 stop screen it does not support display of wide color gamut so when you try and monitor in PQpr HLG it scales the signal and the screen becomes so dark you cannot see a thing. It is better to use your own LUT (see point 2 above) and ignore those settings. I hope this helps prospective and current users of this otherwise pretty decent product
  21. That would be generally possible but it will very much depend on the specific lens. The Canon EF macro lenses focus fast generally they are not sluggish so this is something to consider for sure Personally I would not invest in a Sony system for full frame for a variety of reasons. The Canon RF system instead looks very promising
  22. Yes Olympus specs are for 1.2 prime lens at not very long end so when you look at 2.8 you are at the -4.5 Ev of anybody else in single AF Tracking uses motion vector estimation https://en.wikipedia.org/wiki/Motion_estimation this requires processing of entire frames not just a contrast point which in turns means the camera needs to have full video frames processed to analyse to see if it has lost the plot or not. This in turn means the level of light required are increased. In the mix goes also how fast the lens is to achieve focus. Some lenses like the Olympus 60mm are pretty bad and they have a lot of breathing when you focus. So if you focus it first and then stay around that area it works much better. But the performance compared to a standard zoom lens even at the same aperture is just terrible The ability of the camera to work at low level of illumination together with the ability of the lens to focus quickly determine how effective it is underwater. So going back to the op question assuming the test is performed with lenses of similar aperture (generally this is 2.8 for full frame not less or they may not focus at all) a camera with a rating of -6 Ev will work better than one with -3 Ev which is where this started as a starting point. Then you need to overlay focus speed and accuracy that has also to do with the lens. For tracking there is an additional dimension which is the quality of the motion vector estimation which depends on the processing quality and power of the camera. Sony for example has very good record of tracking in daylight but at the same time a pretty bad reputation of not focussing at all in low light and being slow with macro lenses. If you add a focus light in the mix (obviously this is important because a lot of macro is inside crannies where there is no light and you are much lower than your desk) almost all cameras can focus (eventually) at the focus speed of the system. I would be a bit calm before saying that underwater there is plenty of light there is not. A nudibranch on a rock sitting flat with light hitting it is not the same as trying to shoot a seahorse on a fan at an angle where light is not reflecting. So if I had to look at performance of a lens for macro I look at the following dimensions 1. Camera ability to focus in low light (most cameras are rated -4 Ev and lower and I would say away from anything that says -3 or -2 Ev) 2. Lens time to scan for focus. Before you can even think of engaging tracking you need to pre-focus and that first operation is critical so you can continue I do not look at how good the camera is at motion estimation and this is not a published stat so there is no way to read something and see if this camera will be better than another at tracking Going back to @Architeuthis question. I use the MC21 adapter and metabones like he does. With adapted lenses only Single AF works reliably so tracking is not available. The two criteria above hold. The Sony camera rating of -3 Ev is not convincing for me Among Canon R5, R6 and R the rating is respectively -6, -6.5, -6 but obviously the R6 has a lower megapixel count Having discounted adapted lens if you wanted CAF or tracking you are left with the Canon 85 mm f/2 which is not known to be particularly fast. The reality is that DSLR in this area is still way ahead when it comes to focus speed as the lenses focus really fast. It would be worth to find someone that has tested the Canon RF 85 AND the Sony 90mm to see in real life how those work I would avoid any adapted lens for macro. Perhaps the Sony lens is better than canon and makes up for the camera being less able or you dive with a focus light and you are done with it. I would not invest on a system if there are no native lenses as adapted lenses are always a compromise you can take for wide angle but not for macro in my experience. Hopefully this last post helps Wolfgang making up his mind
  23. Yes that’s what I wrote the camera is focussing with lens wide open but increasing gain ISO increases noise which in turn makes the camera fail sooner when you engage tracking that uses live view not a single AF read I have no issues with my camera focus most of the times the reason I use manual focus is to make sure the macro lens is at maximum magnification If you use autofocus you don’t know if you got close enough until it fails For me the autofocus story is mostly a hype but if someone wanted to compare you need to look at the combination of camera lens and situation Sent from my iPhone using Tapatalk
×
×
  • Create New...