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Interceptor121

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Everything posted by Interceptor121

  1. No I meant the inon uwl-100 and with dome you may find second hand Sent from my iPhone using Tapatalk
  2. There was one guy on scubaboard who tried all the 'cheap' options after spending more money that way he bought a nauticam lens There is no way to shortcut quality. Most of the AOI, Fantasea, etc are made by the same factory in China, while Inon and Nauticam aren't Inon has reported some success with the glass dome this includes Olympus MFT
  3. The fact it is not on the port chart does not mean it doesn’t work. This will depend on the lens design and how close is to the glass port. In general you will not easily find flat ports as most would have a dome Sent from my iPhone using Tapatalk
  4. To me, this statement implies that people are required to write in English, which is (definitely) not the case. I agree that the poster may get less responses, but ultimately, this is their decision, not yours, mine or anyone else's to make... For sure He is obviously translating the page but not bothering translating back Will try myself some posts in italian lets see the response I get Sent from my iPhone using Tapatalk
  5. I was merely suggesting nobody is going to translate to understand what someone writes then he can go on and see what he gets for sure Sent from my iPhone using Tapatalk
  6. I don't see why it would not work however DSLR have port choices for zoom fisheye so would not bother with a WWL-1 that at the end gives less options that Tokina 10-17
  7. ZCAM records prores RAW with ninja you don't need their RAW For me IBIS is important and I am not sure about small format cinema camera. If you had a massive rig with a red monstro that is very stable is one thing on a small housing it even feels you pressing the button so no IBIS no game for me Looking at the histograms of in water footage seems like the dynamic range is limited most times and you can get good quality colour with a mix of lights and filters this is something already dealt with on my side. I am now trying to fine tune my grading not sure if you have seen my very short tutorial
  8. Excellent advice from Richard here. Invest in lights and optics (though you are then locked to a format) is very important and this stuff lasts a long time. Video is at a tipping point now. ProRes RAW will require 1:1 pixel mapping so you need dedicated video sensor and a choice if this is 4K or 6K. We are already seeing it through. 4K is going to be MFT 6K APSC or Full Frame. Unless you want to commit to WACP type of optics cropped remains the way to go when shooting small aperture as the equivalence destroys the benefits of a larger sensor. And at present real 6K options are more specialist suppliers like BMD and ZCAM that do not offer IBIS. 4K APSC from full sensor crop does not make a lot of sense to me. And clearly you don't need 8K. There are not even computer screen there. Right now is common to have a 4K monitor and TV but you need to sit close to see all the pixels. For me there is one research point to be resolved and I have no answer to this: what is the REAL difference between shooting 400 mbps LOG or Gamma corrected video 422 10 bits vs shooting 12 bit raw on MFT. I am suspicious it is not worth it On a full frame camera is 12 bit RAW which is limited to 12 linear stops better or worse than 10 bit log 422? Is log compression more effective than simply operating at 12 bits? As ProRes raw is limited to 12 bits currently this is the real question. Obviously an ARRI alexa with 16 bit sensor hardware log compression and 12 bit container is miles away from 12 bit ProRes raw that is a 12 bit readout
  9. I do not use continuous autofocus nor tracking. For shots that are not super macro I use single point AF sometimes with flexible adjustment (not the same as CAF but in a way similar) However that does not tell me if I have reached maximum magnification for that I use manual focus there is a guide that tells me if I am at the closest focus point and then with peaking and magnify I steady myself. I do not really have many shots out of focus so I never felt the need of anything more I think there is an element of dexterity and situation with macro and you need to steady yourself somehow instead of using tools to counter it if possible Interestingly I have started out of total boredom shooting my macro lens on land with flowers and guess what the same technique applies and the issues with autofocus are similar to underwater.
  10. You can contact Pietro Cremone at fotosub Italy and ask for advice. We were together this summer and he shot it on the LX15 however when he had to give a lens to test to his clients for a 28mm full frame he gave the WWL-1 Of course you can use it on MFT but is really more a tool for 24mm equivalent lenses and those are not the best in any case Worth trying it when he does his nauticam days but I guess it will be next year now
  11. That’s because you have a buoyancy collar once you put on the wwl1 is 160 grams And the lens is softer not suitable if you want the highest quality Sent from my iPhone using Tapatalk
  12. The international tarriff code does not look at aluminum but at digital camera, lenses for digital cameras etc It is charged on the finished product not the commodity that makes it, that part is only relevant in the manufacture
  13. Lol go onto my blog and have a read! Fundamentally cost and weight though some optics remain heavy you are shaving weight Underwater photography is a small aperture game so for prosumer level equivalence matters in fact
  14. I think the point is I am going for an upgrade and should make sufficient allowance for all components of my kit. What is the point to spend £3000 on a camera body and take the same pictures like you did before? I guess is a matter of awareness and committing to your choices. A typical examples are minidomes. Ok they are good in some situations but size does matter and you need to spend on glass. I believe a full education should focus people on what matters i.e. lenses and light not just on the camera body. Cameras have been relatively stagnant in the last 4-5 years but there has been great work on underwater optics that you @Alex_Mustard have pioneered. Let's spread the word I would say
  15. I have seen this lens being used. I has a flat wide shape with an integrated collar in reality it is quite heavy too I think the weight difference in air is 200 grams compared to the original WWL-1 The IQ is not the same and Nauticam markets this wet lens for compacts. I would probably use it as slightly cheaper option on a cheaper MFT camera but the 12-32mm and the oly 12-50 are not attractive options for me anyway considering also a 20% reduction in cost is not like half price The 14-42mm with WWL-1 remains the best option for the GH5 in my view.
  16. There was a lot of speculation at release however you are probably right as Sony does not make any BI APSC sensor for their own line
  17. My point of view a bit more brutal than what expressed by @Alex_Mustard is as follows If you want to go full frame make sure you have budget and are not into compromises: the best quality needs powerful strobes or even dedicated wet optics and this is very expensive. The way underwater photography is constructed around small apertures means that if you are not fully invested in the ultimate quality you are likely to struggle if you then want to cut corners. The cropped sensor planet remains the home of the majority of underwater shooters and will remain as such until cameras exist with cropped sensor....and that is a question mark I know When I see posts here saying I have spent all my money on a Sony A7RIII now I want to take great images with a polycarbonate housing it really makes me wonder why people do not do more research on our activity the camera is important as the rest of your equipment lens ports strobes and of course the housing
  18. I think Nikon will be lucky if they don't go into administration in 2021. Their plan to diversify into other business segments is not working and they not found anyone to fill the gap from Intel which was one of the few part of the business that was actually generating money
  19. Sorry I have been off this thread This is the detailed information on Olympus PDAF @Architeuthis may want to look at this https://www.dpreview.com/forums/thread/4108353 Bill says that the effect only shot in stacking images low light like astrophotography however there are other situations as explained and in some cases you get other artifacts striping and banding there is no solution all PDAF methods have this problem one way or another
  20. @adamhanlon was correct you can never tell with Nikon http://thenewcamera.com/nikon-d580-and-nikon-d880-rumored-specification/ Interesting news if you combine it with the latest financial issues. In essence Nikon path into mirrorless is not all in like canon (who has stopped DSLR) This may be interesting for those wanting an update to their 2016/17 cameras but possibly a recognition they are not that good at mirrorless I suspect this level of indecision may cost dear to Nikon that has lost the intel business which is a major blow to their cash generation
  21. A lot of people say that as the Dunning-Krueger syndrome is extremely wide spread in the underwater imaging world Artistic resources are scarce better go and buy some books instead of web content
  22. I think you need to separate out two things One is how to take underwater video, as with photography this is unfortunately a rather technical activity where you need to know how the equipment works in order to reduce the time you need to become proficient. Second what is that you are trying to accomplish with your videos. This is a much larger issue than it seems because shooting a video needs to have some storyline to it otherwise you end up with a sequence of images that could have been just photograph While underwater video used to be documentary style now there are people doing resorts and trips promos a lot. Though with the current context I guess that activity is near death There are some decent technical resources out there including my blog which is probably the most technical you can find around this will give you a head start on the GH5 and kill the discussion about settings and lenses so you can focus on the art part
  23. I understand that but what am saying is that the teleconverter has issues on its own before you even put it in water The image have green not blue or red fringing so I think the teleconverter is messed up and once it goes in water it is further aggravated Closing down the aperture does fix dome issues because that aberrations is longitudinal but the lens has lateral aberrations of its own combined with the TC Sent from my iPhone using Tapatalk
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