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Everything posted by thetrickster

  1. The image quality, be it 10Bit ProRes or 12Bit CNG are not a million miles away from the already good image coming from the GH5/GH5s - The numerous online videos comparing the BMPCC4K to the GH5/GH5s all attest to this, its better, but not by much - not $5k better? Plus as Lionfi2s said, there seems to be some real qwerts to the FW at the moment too. Even with the GH5, XT3 or A7iii and the like etc - they all produce a lovely image - we really are spoiled with the choice. If I didn't already own a GH5, Inferno, housing etc - Definitely the BMPCC4K setup would be a good choice out of the bunch today, in terms of value and quality - the $1200 price for the body is a steal, and you get access to RAW recording etc etc Although as a side note - now we have Nauticam going M24 for the HDMI bulkhead on even newer cameras (XT3) - I wouldn't buy a housing now without it - RAW over HDMI seems to be happening... Andrea you know this better than anyone here at the moment lighting seems to be a powerful key factor to underwater video, more than 12Bit CNG, ISO3200 performance or skin tones - I can see for myself going from 5000lm to 12000lm lights - this came home to me, on my last trip to Truk, where I had to leave my GH5/GH5s at home and I picked up a Hero7 at the airport (due to luggage constraints) - even that gave me incredible video, when it was lit correctly. I was really disappointed how lacking the GH5s upgrade was for me - hence selling it on and staying with the GH5, and as the BMPCC4K and GH5s are so so similar - I think you will feel the same with the BMPCC4K once you've dropped $5k on it. I know a lot of people harp on about IBIS, but that was a big factor for me (bigger than I imagined) for staying with the GH5, even with my rig being completely neutral underwater (and heavy with the Inferno monitor) - the IBIS definitely add that extra bit of 'something' to the video, I no longer add any post stabilisation etc. I'm all for spending (and wasting) my cash on new cameras (I have Alex at Nauticam on direct dial LOL) but i really feel if you own a GH5 or cameras of its generation, money would be better spent on more lights (but you have that covered with 4x Jaunts or keeping the money for the wave of 8K cameras inbound in 2020. Just my 2c
  2. Coming from a GH5 (and buying a GH5s) there hasnt been a big improvement to move - yet. Weve been really spoiled by IBIS. Its something I cant do without now. I sold the GH5s as I kept reaching for the GH5. Might of. If the BM has ibis
  3. looks like a new n85 port too... Can't find any reference to a port with a cold shoe and extended focus knob on Nauticam.com
  4. You know I got confused! Its the PZ that fits the 29mm port, not the MKII So we would need a 40mm (or bigger..) port for the 14-42mm II for it to work with a screw in filter. Apologises to all for the confusion...
  5. I 3d designed and printed a gel holder for the 14-42mm II for exactly the magic filter, to enable you to use it in the 29mm port. https://www.tinkercad.com/things/2dlEK40xkKQ It fits like a lens hood, but has a lip on it to hold a circular cut magic filter. Alex @ UWVisions in the UK has (or did have) stock of the WWL Keldan filter
  6. The 29mm port wont work with the 14-42mm II and an filter attached inside (perhaps with the 35mm port it would?) But URPro are probably the best ones - never got on well with the MagicFilter ones However... if you are using the WWL with the bayonet fitting, Keldan sell an acrylic filter disk especially made for the WWL1 that fits inbetween the rear of the WWL1 and the port - so enabling you to even remove underwater. I personally think we are beyond needing filters as lights are getting more powerful and editing software is able to balance the RGB channels from ambient shooting, however for my own curiosity I purchased one to give it a try - alas not got it wet yet...
  7. Are you able to make custom cabling to work with Nauticam Monitors? Interested...
  8. I thought this too, so I hot glued the micro hdmi cable into the bulkhead receiver - alas it still went faulty. Dave loops his differently to me, I have my going about the drive dial and then down - will have a look at how Dave has done his.
  9. I had Keldan Lights (back when, if you wanted good lights it was either Gates or Keldan) - when I came to buy my current V6Kpros I did look at the newer Keldan's but the price / performance - I just couldn't justify it - I got 4 V6KPro's for the price of ONE Keldan light I was looking at... In the end, as others have stated - they all use COB Arrays these days from a very few select manufactures, and also the 18650 batteries used are much of a muchness. So it comes down to build quality, heat management and electrical engineering quality. All of which it seems the Chinese brands seem to get done well enough these days - enough to make them last in seawater anyway... Perhaps the finish isn't as good or the nice padded bag they come in, but I can't see how this can incur the $1000+ premium per light on most of equivalent lights from the Chinese manufacturers vs the big brands. Looking at the GT14, it seems it shares the same diameter cob array as the Jaunt? Perhaps Gates should swap out the older arrays and we could see a GT36 - then perhaps its worth the price difference
  10. Gee, we are some way off... Thanks Dreifish - another great illustrative example showing real world differences. You are lucky to have access to all these toys Yes we have some way to go to match flash power, however saying that it was only 3-4yrs ago we had the OrcaLight 22,000lm, which was/is a massive corded light with a massive battery pack - now we have 18,000lm in a relatively small body.
  11. I've been reading up on this issue (as a tangent on how the Red H2O OLPF works..) it seems that most cameras use the most dominant channel to balance the others (so for Panasonic etc, its using Blue to top up the Red) where as Canon is using a more balanced approach of utilising both Green and Blue. Thats my basic understanding... whatever special sauce Canon use - it works
  12. The VL33000P is only CRI75 - so not something I would consider, looking at the other offerings... The Jaunt G18+ looks like the light to buy 'today' if I was looking at a set. Will be a very interesting year, as I'm sure there will be other options coming as the power and quality just seems to be getting better and better (and the price is amazing on some of these) - and hopefully less beam angle. No idea why they want us to have > 90' - very odd... I wonder if there is a way to modify the current V6K (with internally reflective snoots or similar - or even replace the front element) to narrow the beam, yet not loose any power. I have to say for the V6K, that even the 1 stop less power isn't that overly 'worse' - I was expecting the different to be more dramatic.
  13. That is mega test - Thank you for spending your time doing it. Very easy to understand the power difference in stops, more than lumens / lux etc... your results speak for themselves. Impressed with them all from this!
  14. Not to go off on a tangent... The native ISO (the one where the SNR has been optimised) for the GH5 and GH5s (in Auto or Low mode) is ISO400 - which is where you will get 11-13stops, depending who you speak too. If you set the camera to show SS/Gain instead of ISO, you will find that 0 Db is equivalent to ISO400. Changing the gain either + or - you will lose dynamic range, so ideally you want to fix that and either play with lighting or aperture. As Dreifish mentions - ambient light is still bright! the last dive I did over Christmas period, I was shocked how much ambient light there was, as I was running the camera at C4K@30, 1/60, 0Db - and was having to go to f8/f11 to get correct exposure on my waveforms.
  15. Red Cameras have / had this issue, hence why they developed the H2O OLFP Filter - which in all intents and purposes seems just a very strong UV block filter Never used a UV filter underwater, so no idea if it would help other cameras.
  16. Those Jaunt G18 - look great! Great size too. The V6K would be pretty stellar with a flat port option too, its shame its a sealed unit so we can't replace the dome with a flat port. Agreed 120 v 90. I personally would prefer a couple of 90's instead of the 120 I have now. I see Jaunt do ($$$$) a 30,000lm light also, a little warmer at 5000k and only CRI90, but 98' in water - crikey 30,000lm!!!!
  17. I replaced the bolts with the same style, but 10mm shorter and replaced the turning handle part (sorry, not sure on the right name!) with a loctight nut on the pieces where I won't be moving or adjusting them: The nuts are the ones with the rubber/plastic gasket inside, any local hardware store would have them in either A2 or A4 (316)
  18. Very impressive..! Wow! I would look at replacing the clamp arms with loctight nuts and wrenching them down really tight - and bridging the gap between the two V6K’s to give even more strength. These clamps aren’t great are they for heavy stuff :-( The other thing would be to looking at the really big jumbo arms from Nauticam the 90x200 (I think) and replacing some of the smaller foam ones
  19. From my very basis understanding, you want a dome port to counteract the refraction of the water to provide the same beam angle as above the water, so I would presume the reverse is also true for your flat ported DM60. Its 110 in air and 82.5' in water. https://www.lightandmotion.com/under-one-roof/articles/the-sola-dome-port-optic/
  20. A flat port version would be epic - and would be 90' underwater (I would hope)
  21. As the front of the lights are domed, they are probably still 120-110’ underwater as you won’t be affected by refraction compared to them being behind a flat port. Sent from my iPhone using Tapatalk
  22. Keep me updated on this, if you find one. [emoji1303] Sent from my iPhone using Tapatalk
  23. Glad to see it’s not just me then. (Not glad it’s such a big problem...) I think I’ll order a spare micro to micro bulkhead also. I’ve been testing with lots of other cables and adaptors and I’m 95% sure it’s just the internal cable that’s gone. The slightest movement - ‘No signal’ flickers on the monitor. Grr. What’s annoying is it’s not all the time either, so can’t even figure out where in the cable the problem lies, reading the internet, most issues are at the connector end and poor soldiering of the terminals more than in cable issues. I think you’re right about GH5 cable being too long and having to kink it around the left drive dial to get it to fit - but looking at mine, yes it’s kinked, but the bend radius are not extreme. So surprised if that caused the issue. The main 0.75m housing cable (which was replaced FoC when I got the housing) I’ve hardly used and after much testing I’m confident it’s okay. For me having to replace or keep spare a $50-100 cable isn’t an issue - my issue is the Shogun cables are $300!!!! For what reason I have no idea. They aren’t even HDMI 2.0 I’ve seen a couple of posts on FB also asking if anyone has spare DP4 cables as they have broken on trips (someone mentioning they were on their 4th!) They should at least swap to mini not micro for the connectors. It’s just too fragile. I’m with Adam, for a hobby where the gear isn’t used day to day and I bet cared for like I do, to have it just ‘break’ for no reason the next time you come to use it, is really off putting - it makes me question, the investment and if I should just get GoPros and not worry anymore and if it breaks just buy another. This Nauticam setup I cannot. Sent from my iPhone using Tapatalk
  24. So packing my GH5 and Atomos housing for a trip, with previous HDMI cables going faulty previously with the Ninja2 and having the Inferno cable being DOA - I’m very gentle with any cables. Alas the internal micro to full size cable from Nauticam for my GH5 seems to have gone intermittent [emoji20] So another £40 needed. Is it just me who is having really bad reliability with Nauticam HDMI cables? Sent from my iPhone using Tapatalk
  25. The GH5s also has (can't remember if the GH5 also has) E-Stablisation which is like a builtin warp stabiliser, no idea how it works, if there is some IMU detecting moving, of its just as bad as the old EIS of older cameras.
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