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Barry C

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Everything posted by Barry C

  1. The Underwater 3D Channel is a channel I started a handful of years ago which is primarily dedicated to, as the name would imply, to underwater 3D films. I also will at times put 2D versions on as well as I realize that we 3D lovers are sort of a rare breed and many people don't have 3D capability. Occasionally, I have also put non underwater films on the channel, but this is rare. I now have other linked channels for the other types of films I make, some 3D and some not- the most recent being: By Sunlight, By Moonlight, By Starlight (2D 4K), on the linked Yosemite Channel. I don't monetize the channels but do it as a labor of love for the art-form. A few films do have adds as that was the trade off to the copyright holder for using their music. I've always loved 3D and got my first 3D camera- a 35mm Realist- in the early 1970s. In the 90s, I did some medium format pro work using the lenticular 3D still format. I have a professional background in various forms of photography including studio- non video- special effects, wildlife photography, digital wildlife fantasy art for posters, gallery prints, calendars, collector plates, etc. I am now happily retired and enjoy spending my time making films for fun and being a full time dad to my teenage son who dives and travels with me when we make our Yosemite & outdoor films.
  2. This 3D film was shot off Cozumel over a 7 day period in July for the Underwater 3D Channel and was done almost entirely with a Gopro Dual Hero.
  3. This was shot over a 7 day period in July in Cozumel. It features the beautiful colorful coral reefs and abundant sea life which inhabits them. It was filmed in native 3D for The Underwater 3D Channel but is also on the channel in a 2D version. 2D: 3D:
  4. Here is this year's Cozumel 3D video which I just completed editing. All but about 30 seconds of this approx. 15 minute film was shot with the Gopro Dual Hero. This year I shot it with the Protune color setting at flat in addition to the RAW white balance setting I used last year. I couldn't be happier. The flexibility I had in post with color management was a real joy!
  5. Other than the camera issue, all went really well. I think I got some of the best 3D footage on this trip I've ever taken. Conditions were great and great scenery and fish were abundant. Some years, I've really had to sift through the clips and do a lot of post processing to come up with enough good content for a 15 minute film. This year may be exactly the opposite. Just so much great 3D material to work with. There may be enough for two films. I'm hoping to be able to start on it in the next couple of weeks. For the last month, I've been spending almost 6 hours a day in the post faze of the timelapse & 4K Yosemite & high Sierra project I started filming last March and just finished filming last month. Hope to have it done and on YouTube by the end of next week. Then, after a few days break, it will be time to start on the Cozumel project. I like to have everything finished by the start of ski season! Did you have a chance to try out your new rig yet? If so, how did it work out?
  6. I'm leaving Cozumel today after 7 days of diving. Somehow- not sure how or why- I got water in one of my 2 Dual housings. Miraculously, one of the cameras survived but one did not. I generally shoot with one Dual set to medium FOV and the other wide. Givin the choice with only one housing, I'll shoot medium, unless I'm doing wrecks. Then wide is preferable. Shooting medium FOV at 2.7K allows easy cropping to narrow while still maintaining true 1080 res. Last year, I had Protune at raw WB but still used GP color setting. This year, color is also set to flat. Much better workflow, IMO. WAY BETTER control in post for adjusting color combined with increased dynamic range. Furthermore, there is clearly less hassle with compensating for the purplish water that can sometimes come from the red filter. In fact, just making some preliminary adjustments on my laptop, this issue now seems to be nonexistant. So, from now on, color will always be set to flat in Protune along with the raw WB.
  7. I don't think it matters, unless you're into extreme macro. I just align to either one and it works out fine.
  8. Also keep in mind, as I mentioned in a previous post, I would strongly recommend a stabilization solution and not just using the Dual stand alone without a stabilizer of some kind.
  9. Here are a couple pictures. The camera is currently in an open frame but can be just as easily put in an underwater housing on the mount. The back inside has Velcro which attaches to the corresponding piece on the back of the Dual. The hole in the back is so that I can see the flashing LED which is on when the camera is filming.
  10. Go for it! Just one slight correction on the dimensions I previously provided. It is actually 2 inches wide x 2 1/4 inches up the back x 2 inches over the top with a 90 degree bend between the back and the top. The 2" at the top is perfect for placing a Gopro adhesive mount which will allow for the adjustment of the GP4 Silver's viewfinder to coincide with the view from your GP Dual. After you make it, just go to Home Depot or elsewhere and buy some wide Velcro to put on the inside of your mount and the backside of the Dual. I also put a couple of small Velcro tabs on the top as well, for further stability.
  11. I'm with you. It would have been great if they'd made a Dual for the Silver. Actually, a lot of people, myself included, were hoping that they would do a firmware revision for the 4 Black which would be all that is needed for it to work in the housing. But, as you say, "alas," The sad thing about 3D is that, when they rolled it out in 2010-11, they royally *!^%//ed it up!! They put out a lot of inferior products which weren't ready for prime time and soured the general public on it. Then, just as it was really starting to get really good, they ran from it as fast as they could and on to the next big thing, 4K. So, the way I look at it is that we 3D true believers are like lepers, or Rodney Dangerfield- no respect. I don't expect any manufacturer to give us any love or new products for the foreseeable future- with perhaps the exception being very expensive 360 degree cameras for VR devices. So, we just have to make the best of it. Fortunately, when used well, things like the Dual really do a pretty good job! I got my first 3D camera- 35mm Realist- in the early 70s and in the early 90s was using a rail system solo camera medium format lenticular 3D system. The pattern seems to be something new in 3D every 15 or 20 years. Sure would be nice if they'd speed it up a bit. How about 4K 3D camcorders with adjustable IA, timelapse capability, and 3D slomo!! As for trying to adapt two GPs which aren't synced- genlocked- through the cable, I know several folks who have tried this. The main reason they had was they wanted a wider IA (interaxial separation between the lenses). The problem which they all discovered was that no matter what they did, there was always at least 1/2 frame or so difference between the 2 cameras. When shooting a static subject, this is not a problem, however, when shooting anything in motion, it's a HUGE problem. They finally gave up and decided to try to adapt the cable to make it a bit longer. They also ran into the problem when they did increase the separation too much, was any near objects looked eye crossingly terrible. Bottom line was another 10mm, or so, was OK but much more than that created issues. I've never had much desire to mess with the IA as I believe that GP did a pretty good job on setting it where it is and, if used well, works just fine for the majority of situations where 3D can be used.
  12. Yep, when it comes to stability in the water, its all about weight & mass. Actually, if you have sufficient mass, the weight is less crucial. On land, for hand held, weight is definitely important. That being said, I recall you saying that you don't like to do a lot of work in post. I would urge you to rethink this and really make friends with your NLE While shooting good content is indeed half the story, effective editing in post along with taking advantage of the amazing tools that are out there, is the other half. For instance, when it comes to stabilization, there is some absolutely AMAZING software out there. While I always try to be as careful as possible with the initial handheld shooting, its the post software fine tuning which really gets it over the top in many cases. There is a short 3D skiing video on my channel where I was testing the Dual helmet mounted. You can well imagine what the vibrations were like. I ran the clips through Mercalli V4 Sal which was nothing short of miraculous. My NLE, Edius, also has a good stabilizer, but sometimes, for the really heavy lifting, Mercalli 4 is the ticket! It will take a somewhat shaky hand held pan and often turn it smooth as butter. And for vibrations, it just kills them. It's available as a stand alone app and also a plugin for Edius. The advantage to the plugin is that it will process the paired clips, whereas with the stand alone version, you have to run the left and right through separately. Of course, the main thing to avoid is jerky movements, since there is nothing that will help there. The other trick you can do in post, which can help in addition to stabilization on some clips is applying a bit of slowmo, as that can also help smooth things out. For me, I really love working in post as it gives me projects to do after the shooting is done. I get really bored when I don't have a project. This summer, besides spending 8 days shooting 3D in Cozumel, I'm planning on at least 4 Yosemite trips for a daytime and nighttime timelapse project. I'll be quite happy if I can get enough good content for at least a couple of months of post work. Regarding astro through a telescope, I used to do a bit of it back in the early 90s when I was using the moon composited into some magazine and poster projects I had going, but now its just through the camera lens. On another note, if you get a GP4 Silver for your viewfinder, you will need to make a mounting platform for it. If you decide to go this route, let me know and I'll give you the specs for one which you can have made at your local plastic fab shop. Actually, as I recall, it's a piece of about 1/16th inch thick plastic which is 2" wide and is 2" at the top and 2 3/8" up the back with a 90 degree bend. I also cut a hole in it so I can see the flashing LED. It attaches to the Dual with Velcro and has a Gopro adhesive backed mount on the top. The thing to do is preaim it to coincide with the camera view. You can do this by using the live view in the phone app. Then, once aimed, tighten the mount nob tight. That way, every time you put it on, you won't have to readjust it. Regarding the A7SII sensor, it really is hard to believe how far we've come. And, I'm with you in wondering where we'll be in 5 years! Regards, Barry
  13. I've never used the Dual housing underwater as a stand alone and probably never will. I do, however, regularly use it as a stand alone on land, I've used it there with the 4 Silver mounted on top for the viewfinder as well as with an optical viewfinder I bought and made another plastic L bracket for so that it can be mounted on top. Both work quite well. Of course, I can't use the optical viewfinder underwater and will use the 4 Silver top mounted for that when I use it with the fin stabilizer. Again, if you're shooting underwater for things you really care about, I wouldn't recommend it stand alone. I just don't think you'll be happy. On land, I also don't use it while walking. I have a friend who recently started using it with a gimbal for that. As for iso, I'm with you, 400 is my limit on these small sensor cameras. I recently bought a Sony A7S2 with full frame sensor for some high end motion controlled- non underwater- timelapse projects I'm planning. I'm getting really spoiled since it shoots squeaky clean up to iso 12800 and with quite usable- after some post corrections- content up to about iso 51000! Needless to say, I'm planning on doing a fair amount of astro timelapse and lowlight 4K video with it.
  14. On the Gopros in Protune mode, you have the option of setting the iso to auto with a max of 400, or a max of 1600. I use the max of 400 setting. Actually, when diving in a place with good sunlight and clear water, if you used the max 1600 setting, I would expect, even 100,' would be possible. However, you might have to do some denoising in post. As for stabilization, I would strongly suggest you don't use it as a stand alone. I just don't think you'll be happy with it, since you sound like a perfectionist like I am about such things. Besides using the main housing for stability and LCD viewfinder alignment, there is another solution which I failed to mention when I wrote about my stabilizer fin. You need to buy a Gopro 4 Silver. It has a built in LCD. I had a very simple L shaped plastic mount made that attaches to the Dual housing with Velcro. It has a GP mount on top of it so that the GP Silver can mount to it. This allows you to use the Silvers viewfinder on top of the Dual. It works quite well! Cheers!
  15. Steve, the GP holds up pretty well at depth. 50-80 feet are no problem as long as it's not a real cloudy day overhead. The water doesn't have to be perfectly clear either, but it certainly helps. Alot of these types of imperfections can be cleaned up nicely in post. The other cool thing about shooting 3D, is that backscatter- I'm not referring to the type caught in video lights which I never use- is actually your friend. It is often close to the camera in the negative parallax zone and helps create a good 3D effect. As far as the best way to watch 3D Youtube and if you can on your TV, I just can't say, not being familiar with your setup. I do no know that it can be very inconsistant. The way I watch it is through my HTPC using Cyberlink Power DVD as a software player. Power DVD will only play 3D at 720p but it usually looks quite good. I think that HTML5 through a browser will also work, but I haven't messed with it much. Wish I could be more help. Regarding buying 3+ Blacks, the main thing is to buy from somewhere that will accept returns without a lot of hassle. Hopefully, you won't have to return them, but you might. I actually had to return 6 of them to Amazon. If you get an older pair, not from last production run, you might do quite well. If the only problem is mild vertical lens alignment disparity and the WB and sharpness are otherwise consistant between the 2 cameras, you might want to just correct that in post, and put up with it. It's really a fairly simple correction. However, if there is severe misalignment, then I wouldn't put up with it.
  16. Even on land, if you feel that negative parallax would be desirable- which it definitely isn't in many scenes- I think under 5 feet would be much better. I would suggest from under 1' to 3' for best results. Shooting with the GP Dual, whether in water or dry land, is interesting for 3D. I think it's ACTUAL TRUE 3D zone is probably out to about 75' at the most. However, due to its propensity to push the window quite far back, it gives the perception of depth out to infinity. Of course, the objects that far back aren't really in true 3D but will appear to be due to the window pushback effect. Forinstance, when I'm using it to shoot landscapes for my Yosemite Channel, I frame the shots so that there are distinct foreground and middle ground objects within 10 to 50 feet or so and by doing this, the far away mountains, etc., will seem to be carried into the actual 3D zone. I call this hybrid 3D. But, with this camera, it is quite effective. What's nice about this, is that it gives a pleasing 3D effect with landscape views which have both near and far elements. The advantage to this is that in order to shoot true 3D of a distant object, your interaxial- actual lens separation- would have to be 1 meter, or more. This creates problems for any objects that are closer than your distant subject as they will appear to be quite miniturized, like little toys. So, I find the GP with its somewhere around 33mm interaxial, seems to be kind of a sweet spot for most common 3D shooting situations. If you want to see this type of effect, watch the May Lake 3D video on my Yosemite Channel which is linked to the Underwater 3D Channel. That video was shot entirely with the GP at 2.7K medium FOV.
  17. As for optimal distance, that would depend on the subject matter and what you want to accomplish. It would also depend on the FOV you're shooting at. Additionally, IMO, all GP Dual content will require Y axis stereoscopic adjustment in post. What I mean is that Dual content is pushed quite deep into the window and will need to be brought forward which is generally accomplished by moving the horizontal Y axis slider to the right. I have found that when shooting underwater, and trying to get nearby swimming fish in negative parallax, you will need to be under 4 feet from them. There is no problem with the GP even shooting at under 1 foot when trying to achieve negative P. Furthermore, if necessary, you can always push the window back in post with a left stereoscopic Y axis move.
  18. Another thing to consider when shooting 3D- or 2D, for that matter- with the GP is stabilization. Shaky 3D doesn't look too swift. My way of minimizing it, in addition to VERY careful shooting, is to mount the GPs on the larger JVCTD1 housing. I recently designed and had a plastic house fabricate a stabilizer fin for stand alone use of the GP at times when I choose not to mount it on the TD1 housing. It looks kind of like a small diving fin with a large bottom vertical rudder. It, hopefully, will provide good stability for both vertical and lateral movement. I'll be testing it in Cozumel this summer. There are some really good software stabilization solutions, as well. But, it's best to try to get stable content and then fine tune in post. Anyway, give it some thought in advance.
  19. Steve, I'm not certain how you're defining "3D effect." Are you referring to negative parallax- aka popout, or the overall sense of depth of the scene, without regard to negative parallax? I find both medium FOV & wide FOV quite useful for underwater work. It just depends on the scene. For non UW work, I'm no fan of the wide FOV with its horrible barrel distortion- which, of course, can be corrected in post. I just don't have much use for it and ALL my non UW shooting is at medium FOV. That being said, underwater, the wide FOV is quite good and, due to the optical qualities of water, the view isn't as wide and the barrel distortion is almost non existant. In the Bahamas video I posted on Youtube, the entire second chapter- Shipwrecks- was shot at wide FOV. So, that might give you some idea of how it looks. As for negative parallax, again, you will need to be quite close to your subject, the wider you get. With wide FOV, perhaps 2 feet and less. Regarding buying GP 3+ Blacks, I need to give you a heads up on this. I've found that a VERY HIGH percentage of late manufacturered cameras have vertical alignment issues. I actually had to send several back to Amazon. My first 4 cameras were purchased several months before they were discontinued and didn't have this issue. But, I assume these later ones, which were new, we're manufactured at the end of the product cycle. I also ran into a few instances of white balance disparities between 2 different cameras from this group- although this anomaly was less frequent than the vertical alignment issue. As for this problem, if someone was only using 1 camera, this wouldn't be a factor, but it is when paired with a second camera in the housing. Generally, this alignment can be corrected in post with stereoscopic adjustment tools, but check to see if this looks severe after you've paired the clips and put them on the timeline. Also, check your white balance to see if the cameras are consistant. In addition, check to make sure your lenses are both equally sharp, as I ran into one camera which was just slightly soft, when compared to the other camera. When underwater, you should shoot at WB raw, so this might not be an issue there, but could be for dryland use when you may want to use the auto WB. Regards, Barry
  20. Here is a Amazon link to the filter. http://www.amazon.com/GoPro-Camera-ADV3D-301-Filter-System/dp/B00J9RO2BI/ref=sr_1_1?ie=UTF8&qid=1460436594&sr=8-1&keywords=gopro+dual+red+filter
  21. IMO, 2.7K gives you the very best the 3+ Black has to offer. I always end up rendering it as 1080 29.97p, however. Downscaling the 2.7K I think gives a better result than shooting in 1080 natively. In 2.7K, mode more of the sensor is used. It's really the sweet spot of these cameras. Again, just my opinion. As for the 3D effect, this much depends on how you set up your shot. The best 3D comes from distinct foreground, middle, & background elements. In order to get good negative parallax- aka popout- you need to have foreground elements at 4 feet or less from the port. This works very well for fish. At over 4 feet, or so, you'll still get a very good sense of depth, kind of like looking out a window, but you won't get the popout type of 3D. Of course, you can't expect that in every scene anyway, nor should you. You mentioned that you once tried a Sony TD10 but didn't like the narrow FOV. My standard setup is the GPs mounted on a JVCTD1 housing. The TD1 also has a very narrow FOV, but, when used well, can also have advantages. It's actually somewhat easier to get strong negative parallax with it than the wider FOV GPs. But, the GP picture quality at that 2.7K mode runs circles around the JVC and has a MUCH better dynamic range with far fewer clipped highlights as well as being progressive as oppossed to interlaced. (I'm not a big fan of interlaced) The other advantage to shooting at 2.7 is the cropping potential. You can crop quite a bit and still come out with true 1080 res. The only negative about shooting at that res is that when the files are paired- I use Edius as my NLE- the timeline really bogs down, so realtime smooth playback is just not in the cards. But, its worth it and there are workarounds.
  22. Hi, Steve. I believe a red filter is a must! Gopro actually makes a red filter for the Dual housing. As for white balance, you really need to set the cameras in Protune mode and set the WB to RAW, which is an option in the Protune menu. If not, you may end up dealing with slight WB disparities between the 2 cameras in post, which would be no fun. The RAW setting is really very easy to work with in post. Regards, Barry
  23. Hi Wolfgang,I'm using a i7 4790K Haswell based system. The graphic card is a Nvidia 970, which seems just fine. If you're going to build a new system, the 4790K Haswells are quite good, or you could go with a new Skylake 6700K. For me, one significant thing about using Edius with the GP .mp4 files is the ability to take advantage of Intel Quick Sync for rendering. It is about a 400% speed increase. Also, Edius 8 adds Quick Sync support to timeline playback as well as rendering. I shoot everything at 2.7K in Protune mode, so working with paired clips is a slow process. Once you've added some filters, you just must accept the fact that you won't get realtime playback, but there are some work arounds for this. I would also advise that you shoot all underwater content at the Protune white balance raw setting, otherwise you may run into some post headaches in trying to match the white balance of the 2 cameras. Cheers
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