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Interceptor121

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Everything posted by Interceptor121

  1. No he has a Z mirroless and the adapter does not support autofocus It is an issue of all mirrorless full frames and the reason not to buy one lol
  2. I guess he meant to use the nauticam viewfinder on the housing as a tool. Obviously there is no OVF and for macro is not such a good idea either as it would be pitch black most people switch to live view on dslr so they can see something
  3. As the port for your wide angle lens is the same take them all There is not a lot of macro in the red sea but 105mm will work fine for portraits as the water is clear. You don't need the 60mm Sharks would benefit from a wet lens if you cannot afford a WACP is there a fixed 28mm prime you can use with the WWL-1? Results are good You can use your 14-30mm at 18-20mm in shot in clear water with sharks as blurred edges will not be a major concern. This lens however will most likely be bad for reef shots where you will use your fisheye
  4. The nauticam MILC housing have their own viewfinder. In order to benefit from a good view is recommended to go for a camera that has an EVF with high resolution. This pretty much limits you to two models at present from Panasonic as Olympus only makes 2K viewfinder cameras. Panasonic G9 would probably be your best option for photos however it is relatively rare to find second hand housing but there are some great offers on the camera itself. The GH5 also has a high resolution viewfinder. Olympus cameras can be found cheap and the housing costs less and is smaller. EM1MKII is discounted heavily and will work fine however the EVF is average at 2160 dots vs 3680 of Panasonic Lens wise you have a choice of 30,45,60 mm depending on what you shoot plus additional wet lenses to get you closer I have written a lot about many thing for MFT on my blog http://interceptor121.com
  5. Just finished a short write up to cover and compare video, cine and log gamma https://interceptor121.com/2021/02/16/choosing-the-appropriate-gamma-for-your-video-project/ If your camera has all those options and you are confused this may be useful
  6. The fact that Sony performs noise reduction that generates problem is a fact I also said the average user may like that but I do not I am offering my opinion and as such you can disagree with it but you need to accept it I am afraid
  7. I do not own this camera so I do not have direct experience with it but you do not need that you can see some design choices and how they pan out when you understand how a camera functions. Sony applies super strong noise reduction which tends to crush shadows and blacks in log mode. This comes from the fact gain is -10 dB under. It happens in all other modes but with less consequences. This also generates strong chroma noise in shadows so you need to make sure you exposure bright (which as side effect means destroying color accuracy) Probably their approach is to bake in a lot of processing to that the average user gets great results straight out of camera or something that looks like great results. I do not like this approach so I don't buy Sony lots of people are happy though with this I am not as it can't be disabled so I don't buy into Sony in general
  8. I did not say not to use V-LOG. What the article says is that the implementation is camera specific and in some cases does not present benefits especially for smaller sensors. Right now I have a GH5 and S5 from Panasonic and I am in discussion with Nauticam to see if they will make a housing for the S5 that I can use for ProRes RAW. Other than this specific constellation I am not planning any upgrade from the GH5 that meets all my current needs. There is nothing better on the market at that price point and with all the lenses I have
  9. The Nikon cameras have some issues in video and lack most of the exposure tools you will need. I recommend you consider something different unless you have already planned for an external monitor The Sola are daylight temperature around 5.5K typically as this is in the range of the camera auto white balance it is not essential to set it
  10. Some people do dynamic range tests on video there are some issues with the process but results are comparable The canon r5 has the same DR of the GH5 and likewise the R6 In essence the Panasonic Lumix S are the best cameras right now for video followed by Sony A7S3 that has some really bad quirks The rest of new digital consumer cameras are not better than the GH5 BMPCC ZCAM even better but worse ergonomics and no IBIS This is where we are right now if you want the best video orientated digital camera get Panasonic S1H the rest are far far away Sent from my iPhone using Tapatalk
  11. Water reduces sharpness and contrast So there is not much point optimising those factors in the camera The average underwater scene has less dynamic range than what a camera can capture today using a standard mode More important is to have codecs with a lot of bit depth 10 even 12 bits and as ‘RAW’ as possible as many tones are squashed in a very flat image This is why sony or canon cameras without 10 bit 422 video will always be crap compared to the GH5 Now finally there are some 10 bits implementations and also prores raw and blackmagic has 12 bits so there is much more choice Sent from my iPhone using Tapatalk
  12. Sharper on land doesn’t correspond to underwater Operating at constrained depth of field removes advantage of large formats. This is true on land and underwater. With regards to actual sharpness achievable in water there are no studies that I am aware but if people get great result with lenses like tokina which is absolutely horrid and soft it means sharpness drops considerably Wet lenses preserve sharpness so a wet lens and average zoom may be better than a great lens behind a dome Underwater photographers are not usually skilled on physics nor optics so they just look how a picture comes out there is very limited data available Sent from my iPhone using Tapatalk
  13. Allowing more light in always result in higher dynamic range and better performance. You gain at least 2 stops so you have equalised the land benefit of full frame When you operate traditional optics the full frame benefit is essentially zeroed Sent from my iPhone using Tapatalk
  14. The WACP allows you to shoot at wider aperture The cost is very high and the bulk even more so you need to consider that I see it an option for a resident professional guy but not for a hobbyist or someone travelling a lot Sent from my iPhone using Tapatalk
  15. The sigma 17-70 is on the port chart with the 8.5 acrylic port not sure why it would need checking for the extensions. The 180mm dome will work fine as the lens is narrow and is the same radius of others Canon 8-15mm works fine with the 140mm no need for bigger. 180 does not work. 230 is huge try all you can to avoid it
  16. If you use the lens as is 16-35is equivalent to 24-50. This is inadequate for underwater use. I would consider a Sigma 17-70mm it covers most reef shots and a Tokina 10-17mm fisheye zoom for wide work You need a minidome for the Tokina but the Sigma 17-70mm will require a large acrylic dome For macro canon 60mm or sigma 70mm As the camera is super35 you need to look for APSC crop lenses they are more suited to wide angle work and lighter
  17. If you can only record to card GH5 or s have a 400 mbps codec that is excellent Sent from my iPhone using Tapatalk
  18. Yes Alex Ribeiro I remember now I have the canon 8-15 myself is a great lens and its fisheye There are adapters for any of the cameras you mentioned As focal for macro on crop 60mm is enough you will need some form of stabiliser In terms of ergonomics the zcam needs a monitor but records ProRes raw I think also the new sony but I hate Sony ergonomics and would not recommend it Perhaps check what you prefer as output if you use resolve the bmpcc has a 12 bits codec too which is plentiful I would not discount the Panasonic GH5s the 8-15 works very well as fisheye zoom and is cost effective and portable as you can record on card while the other options require power and ssd drives In my experience underwater cropped format do better and those are all crop so it boils down to personal preference. I am surprised about issues with nauticam so perhaps look at the other two options and good luck! Sent from my iPhone using Tapatalk
  19. Most likely countries that are desperate to get tourists will be happy to get you in, there you will find none of your boat crew or resort to be vaccinated. On your return you may be forced to quarantine. It is a bit more complex than just thinking about you
  20. I have finally completed my dissection of Panasonic V-LOG. I have not analysed other formats but I suspect there are similar methods at play https://interceptor121.com/2021/02/07/the-truth-about-v-log/
  21. There is a guy in Indonesia that shoots the BMPCC6K and he is not overly impressed by the ergonomics. 16 for APSC is not that wide and will require a dome I can't recall his name right now when it comes back to me I will repost
  22. Nothing really the full frame use case is low light or extremely high dynamic range for landscapes None of those situations exist underwater. The fluid dampens dynamic range and most times you lack contrast and low light means low no colour so you introduce artificial lighting anyway Once you balance those two and operate at constrained depth of field full frame offers no benefit to the average user than a cropped format Obviously if you remove bulk and start looking at WACP type of equipment the situation changes but just plugging a standard full frame in a dome even large does not really move the needle anywhere
  23. There is really a limited benefit to high megapixel full frame cameras underwater. Although you may get excited when you own one of those toys the reality is most scenes have little to no contrast, not much colour and water destroys resolution So a lower megapixel count cropped format at the end produces same or even better result at lower cost. I don't see this changing any time soon
  24. The 10-17 range us covered and more by the WWL-1 I agree however if you have a tokina you can do several things with it Sent from my iPhone using Tapatalk
  25. The 8-15mm and the 8-18mm are two different solutions for different things I use the 8-15mm as prime wide angle lens for fish it is very flexible like a Tokina on APSC The 8-18mm is good for shots with people, wrecks where lines matter and split shots. In fact it is my favourite lens for splits and the one I I use
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