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Posts posted by Timccr

  1. Firstly about editing - there is an old editors saying 'If you can't fix it, mix it' so try not to do so many fades and mixes guys and remember to shoot your cutaways when you are down there.


    Secondly and a bit more on topic I reckon the new Inon variable filter combined with some playing around with a colour checker should help us all become better colour graders.

  2. The "deregulated" media is run by people who only care about profit and are happy to broadcast CCTV footage to fill the spaces between the ads, there are media industry people who don't seem to know much about diving, there are divers who don't seem to know much about film making and there are people on sites like this who now have cameras like the GH5 or BM Pocket, software like Davinci Resolve 14, rebreathers and amazing dedication. Of course we all need to sharpen our post production skills, read more theory and criticism and watch more of the good stuff that was done in the past, so does anyone know if Hans Hass's stuff is available on DVD?

  3. I came to the conclusion that 25 metres is as deep as you can really use ambient light in The Red Sea. If you go to 30 it is possible but an awful lot of work in post. So OK for Thistlegorm but as I was only shooting stills I did finally decide that on a wreck you need to do quite a bit of work on the red channel, even on the deck on Thistlegorm, to get a bit of the rust colour.


    I have also tried a bit in the Med but it doesn't work so well and you need definately need a filter in green water.

    • Like 2

  4. I played around with this years ago with a laminated checker for stills. I was basically trying to work out how deep I could shoot with available light in The Red Sea. The problem seems to be that our brains, or maybe optic nerves, do a bit of colour correction when we are underwater so you then have to adjust for this in post when you are out of the water. It's a really interesting excercise though and I learnt a lot from doing it.

    • Like 1

  5. I have just read that very interesting Lensrentals article. Thanks EspenB, it's really interesting and now I know that you can't just believe what the manufacturers say but need to do some serious checks with the actual lens you are going to buy on the actual body you are going to use. Wow. What a good thing I read Wetpixel!

  6. Olympus told me that the 7-14mm is parfocal and as long as they weren't fibbing I am assuming the 12-100 is as well. Why have people moved back to 14-42 and WWl-1? Is it just for more flexibility on a single dive or is it possibly something to do with the large dome port for 7-14 in current?

  7. Because I want good lenses for video as well as stills maybe a constant aperture would be better and parfocal is a bit of a must. Does anyone know if the Pany 8-18 will be parfocal? On the other hand I have seen a few comments that the dome port for the Oly 7-14 can be a pain in current and I dive in the Messina Straits between Sicily and Italy.

  8. I am very excited by the GH5 and starting to wonder about lenses. At the moment I am thinking about the Oly 7-14 and 60mm macro for underwater and not sure about on land. Much as I like primes I want a true hybid setup so perhaps the Oly 12-100 would be a good choice. I think the Oly zooms are both constant aperture and parfocal. I would love to hear other people's thoughts.

  9. I am just wondering about Nick's comments, particularly regarding depth of field. I am eagerly awaiting the GH5 because I want a hybrid camera and thought a m43 sensor was probably a good size for a hybrid, probably better than APSC for documentary style shooting anyway. 35mm for cinema has a frame size of 24 x 18mm I think while the m43 frame size is 18 x 13.5mm and for 16mm is 10.26 x 7.49mm. Obviously a hybrid is going to involve compromises and m43 seems like a reasonable compromise in theory.

  10. Lets hope the specs are true and Panasonic get one to Nauticam pronto and someone posts both still and video samples for us to look at while we wait for the early adopters/beta testers to find any glitches. I really think internal 10bit 422 is a major step forward.

  11. Thanks Adam,

    Having shot Raw for some time now, I don't want to go back to anything less.




    I agree with Adam. I really like the turtle's shell although on my monitor the ghost pipe fish looks a bit weird. I wonder if you would be kind enough to compare RAW with 10bit 422? I am such a lousy colour grader that the samples I have played around with don't prove anything!

  12. A project which started out as a zero budget personal one is now getting out of control. So it looks like I am going to build an edit suite around a 27" imac with Final Cut. It will be shot on a BMPCC with probably a Tascam 60 for audio when out of the water. The obvious stuff for audio mixing would be Pro Tools with an Avid Artist Mix desk. This is getting expensive! Does anyone have any suggestions for alternatives? Thanks.

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