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Everything posted by Interceptor121

  1. I would also add that for video a zoom lens with wet lenses is always better than a prime where all shots are fixed Sent from my iPhone using Tapatalk
  2. Just wanted to make everyone aware that the DMW-FL70 miniflash no longer works with the GH5M2 and therefore you need a trigger I have tried the Nauticam trigger with both my Inon and Sea and Sea and it works fine all the way to 1/400 No idea about TTL triggers etc but I think they will work I have logged the issue with panasonic as I think this is software related but I am not sure I will have any joy
  3. The 45mm supports dual IS in case you had any wish to do macro handheld (not recommended) In terms of differences mostly it is about working distance the 45mm has closer working distance than the 60mm This also means that if you use a CMC type wet lens the 60mm will achieve more magnification but for video that will be very hard anyway
  4. The shorter extension means the field of view of the fisheye is getting reduced and the port will have additional barrel distortion. It would be difficult to notice this as the corners that are already compressed are affected so the only consequence is the loss of FOV. if this was a rectilinear lens the adverse effect would show more. You can test that taking a shot dry in the sink and then keeping the camera exactly in the same point take the shot in water. The field of view will reduce and the lens will not longer have the fisheye diagonal Probably the tokina set up is the most portable compromise considering it takes an acrylic port however I doubt the optical quality can compare with the canon. For sure this set up you have is good for WAM but I do not shoot any of that so for me this was not a deciding factor and as I have a 180mm dome for rectilinear I have given up the idea of just one bag for my equipment long time ago!
  5. The print lab I use requires sRGB or Adobe and do the optimisation themselves to the printer you can switch it off if you prefer I don't have a canon prograf 2000 like they do and neither have the exact drivers but it has been working fine so far
  6. I am aware of ICC profiles however in the case I had problems I was printing on cotton canvas through a lab. I very rarely print on paper as now all club competitions are PDI. I don’t think the el cheapo printer A4 I have at home has ICC profiles available but I can check Sent from my iPhone using Tapatalk
  7. I use soft proofing of sRGB however if you wanted to be really precise you needed to press simulate paper and ink however that option is usually greyed out unless you load printers profiles Soft proofing only shows out or in gamut and out or in display gamut for sRGB displayp3 and adobergb however doesn’t really simulate paper unless you tick the option Consider that the mid point should not really move after proofing but when the paper has less DR than the sRGB space (which mostly it does) it looses on the bright tones. So in effect you should adapt the editing accordingly to consider 6-7 stops. On images with a lot of DR you should try and do some tone mapping to fit it. You can of course try do reduce your display brightness but this is not very effective In the majority of cases I have had no issues in some shots with a lot of DR it struggles a bit Sent from my iPhone using Tapatalk
  8. I don’t want to make my monitor look like paper. It is just a matter if understanding how the print will come out Paper has less DR than the screen so it is normal to have some compression. I had only one or two occasions where the iMage came a tad dark but in general is not an issue Sent from my iPhone using Tapatalk
  9. It has to do most likely with the fact that all back and menu are customisable and the shutter isn't so each time you take a custom button is like you are using one function at time and you can't have both at the same time if that makes sense?
  10. I produce sRGB 2048 pixels wide images for facebook and 1080 wide for instagram I also print on sRGB actually and to be frank I never had an issue of loss of quality or color. While in some cases the issue was the brightness when you go and print compared to what you had on the screen As long as you proof your images in sRGB and use decent equipment I do not see major issues for the average home user that occasionally sells a print (I do and nobody complained ever)
  11. No. The lens is very large and needs an extension If I wanted something smaller would go with tokina and speedboster Sent from my iPhone using Tapatalk
  12. Yesterday I did a video call with the lumix experience managed here in UK The camera casing is the same the only difference is that as result of the new software platform based on the S series the button labels in some cases have changed for example f2 is now Q The LCD usable size is smaller but the display has more contrast As result all existing GH5 housings now fit GH5, GH5s and GH5M2 Good news for all housing owners and not so good news I guess for housing manufacturers I am getting my camera end of June and will provide some test data from a UK diving location or my bath tub!
  13. The larger sensors is more forgiving if you get the exposure wrong you can adjust more (latitude) Because your total dr is 2 stops higher you can get the exposure 2 stops wrong However the scene DR was limited to start with So I understand your point Sent from my iPhone using Tapatalk
  14. When they say high speed sensor it means the ADC have to be faster Currently the sensor in the GH5 has a max readout of 15 gbps. In order to read 120 fps this needs to go to 30 gbps or thereabout This is their key issue. Once fast readout happens 5.7K 60 fps is possible as you only need 18 gps to read the whole thing However if the image processing pipeline is able to process 420 or 422 depends on the rest of the hardware. The S1H does 5.9K@30 420 but is limited by both readout and compression and has fans to keep it cool. MFT does not run that hot but will still need to deal with a lot of compression as no doubt it will be H265 10 bit 420 H265 is hardware accelerated in both write and read and I bet there won't be 422 but this is just my guess at current state of the are and does not include any aces panasonic may have up their sleeve that they don't tell us about If ProRes RAW is enabled you need a ninja but bandwidth required in the camera goes to low value and all becomes possible
  15. dynamic range underwater is totally overrated. Look at the histogram of your shots and you will see many are lacking contrast and in some cases the blue channel has a gamut clip The issue is lack of light which means noise. Smaller sensor more noise. However smaller sensor requires 1/4 of the strobe power to get the same depth of field so at the end if you have good strobes and video light your MFT cameras goes further
  16. Panasonic updates this 3 years old camera with ProRes RAW compatibility with Ninja V This brings the GH5s to the same level of the Zcam and will deliver RAW video up to 60 fps 12 bits If you don't need IBIS this a pretty strong proposition although ProRes RAW does need noise reduction in post you can also white balance in post https://www.panasonic.com/uk/corporate/news/articles/panasonic-announces-new-firmware-updates-for-its-lumix-g-series-cameras.html Firmware released 9th June
  17. For close up and macro lens even weak lights can be effective When they are not effective you switch them off and go ambient Powerful wide lights increase the chance of using them more Ambient light filters require 15000 lumens as they cut power and are not an option for small lights Sent from my iPhone using Tapatalk
  18. When using video lights that are sufficiently powerful you really only cover the foreground anyway so similar to photo you work in auto or set the color temperature
  19. GH5 MARK II has several interesting updates for me 1. Live composite photography 2. Electronic shutter now up to 60 seconds 3. New autofocus engine from S5 The above are most for photos 4. 4k60p 10 bits 420 like the S1H -> this is interesting for those who like slow motion 5. RTP streaming support Those up good for video Now in terms of being disappointed other than better low light performance what are people expecting? I do not need more pixels I need better pixels functionally the camera is still great and with the additions 1-3 except preburst that is useful it has all I need for my photos and video. The dimensions are the same and will fit in the body excellent!
  20. Canon EF flange distance 44mm. MFT 19.25. Difference 24.75. Additional extension needed 24.75-19.25=5.50mm The speedboster is shorter so needs only 30mm extension
  21. 1. I do not recommend the speedboster. You don't need an f/2.8 lens and the field of view is reduced 2. The extension required for flange adapter is 35mm does not matter who makes it. The adapter should not be the same depth of the speedboster or it would crop
  22. 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
  23. 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
  24. 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
  25. 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
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