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Lionfi2s last won the day on June 11

Lionfi2s had the most liked content!

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About Lionfi2s

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    Sting Ray

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    United Arab Emirates
  • Camera Model & Brand
    RX100 mk IV
  • Camera Housing
  • Strobe/Lighting Model & Brand
    Sealife 2xSeadragon 2k lm

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  1. Thats is strange. Anyway here is a link with photos https://1drv.ms/u/s!AumJI_6jIwvKxHOw-dQVpAM3ApH4?e=bNqSMA
  2. And Nauticam is bringing out a housing for the Shinobi. I dont know how much sense it makes compared to the Ninja V though.
  3. For sale a Nauticam Atomos Ninja 2 housing. Recently serviced by Nauticam and HDMI cable replaced with new one. In excellent condition. 800 Euros ONO Item located in Dubai UAE but can ship worldwide on buyers expense. Pictures available on request
  4. I ll sent to you but it is nothing special. Basic adjustments plus NR and a quick sharpening.
  5. So my thoughts so far... 1. You cant beat physics no matter what codec you use. If you have no lights and you are deep you have no colors. 2. Artificially trying to bring colors back with the use of filters does not work if you are deep. Soonest you try to bring out that red you think is there you bringing out ugly artifacts. Again regardless of codec. 3. BRAW is not a magic bullet. Yes it gives you room to play, more room than other 8 bit files, compared to a solid 10bit 422 codec (Prores, Prores HQ, Panasonic ALL I) I dont know if you get any advantage. The highlights roll off is very good though. (I dont know if it the camera or the codec but it is good). You still have to take care of exposure though. 4. The time spent working on BRAW and the correction nodes/layers needed to grade it is way more compared to Prores or PANA ALL i. Same goes with the editing. Any flavor of Prores or PANA ALL i I can edit and play on my Mac without the need to convert to optimised media/proxies. With BRAW I couldn't. So you need more hard drive space and more importantly time to create proxies, edit etc. 5. Like everything you need time to unlock its full potential, so most probably there might be more to take out of the camera and the grading. Below is a very quick grade with standard youtube export settings on resolve. I could do more most probably but didnt have the time, maybe a MK2 version later. Thanks again Glasshouse for the footage!
  6. Thank you very much Glasshouse I will have a play with them
  7. Thanks a lot, wide angle would be good as it is where you need to push more. Macro is easier to grade as you have plenty of light and color from the lights.
  8. Anyone using BMPCC4K underwater and would like to share some clips? Trying to compare how they hold grading compared to Prores and Panasonic 10bit All-i Thanks
  9. It is indeed encouraging for the results and ease of use. With more sensible grading the results will be even better. I shot HLG by standard I mean no modifications to the HLG profile. I was filming some more important footage that I didn't want to experiment with and my v90 card was full so at the end of some dives I played with HLG.
  10. Not to open another HLG thread, I have found the time and worked on some HLG files that were sitting on my hard drive since 2018. There are nothing special in terms of content or editing but I just wanted to see how they behave and how much I can push them. These were graded and edited on REC 2100 HLG color space and gamut on the free version of Davinci Resolve using only the scopes as reference as I dont have an HDR monitor. No secret sauce on exporting etc, just followed youtube recommendations for HDR content. I intentionally pushed the files way more that I normally do to have an idea of how much they can be abused and to my surprise and contrary to what I read they handled it well. If this is was a commercial shoot I would have pushed way less the footage to make it more compatible for SDR devices. If you are watching on an SDR monitor you will notice the abuse more but it is only a matter of the monitor color space, watch it in an HDR tv and you ll see the difference. For sure there is more room to play with as HDR and its workflow still holds secrets and requires some extra equipment but I think if you are a bit careful when shooting the footage HLG is a viable and quick solution to have HDR and acceptable SDR content. PS not LUTS have been used or abused during the making of this clip
  11. John I really cant understand your priorities here. You are looking for a camera that does very well in low light conditions and its really small? That is my understanding so far. If that is what you are interested in and nothing else matters because for some reason you cant go around with a camera bag, then get a gopro and a very good noise reduction software. The image will be bad anyway if you are shooting dark/deep with no lights. I travel with my complete GH5 rig including lights and WWL1 lens in the case that Nauticam use to ship their housing. Only the float arms go to checked luggage. Anyway for the shake of discussion, ISO 12800, many cameras get clean image at this ISO these days. The Fp sensor is the same one used on the S1/H as Interceptor has already said. I dont know what kind of scenes you shoot but in dark underwater environments if you dont use lights you are pretty much done. Where dark you can also consider deep. I shoot in deep water, inside wrecks, inside caves and I dont think I would have any kind of usable image without lights no matter how good the camera sensor would be. REC 2020, agreed it is coming quicker and quicker and if you want to be future proof then for sure you want something that covers more than REC709. Now enter log format and you got a wider color space. You dont have to have RAW to have a wide gamut color space. RAW advantage is mostly in color manipulation and WB and to a less extent (compared to stills) to highlight recovery. Depth of field, no matter how good the lens is if the subject is not focused then... you get the idea. I dont know how easy it will be to completely manually focus on the small screen of the camera. Does the Fp have focus peaking? How well it is implemented? Nothing to say about Pawel, his work speaks of himself. But do not compare professional film productions with amateur productions. We are putting ergonomics in completely different end of the scale. Stability is key. You can have the best image quality in the world if the shot is shaky its rejected. For me ergonomics are very important, diving deep where every minute counts is not the place to have a camera with no good ergonomics or gives you limited options to configure it in a way that works for you and your shooting workflow. Sorry DNG is not the gold standard by any means, it is just an adobe attempt to have something that works well with their software. I am not saying it is bad (though it has its flaws) but it is not the gold standard. Not easy to reply to your question on what else is out there, because your required specifications (4k,6k small form factor, 12bit raw, Nikonos) seem to paint the specific camera. So I guess this is your best option. I chose my camera based on which system fitted my requirements best at the budget I had. I am afraid I am missing something on what China has done to us.
  12. Full frame sensor (not the best option for shooting video underwater at the consumer or prosumer level), no IBIS, small size, small monitor, limited options in terms of button customization, battery life, limited lens, ports, housing options, ergonomics. Trade all these for what? 24K DNG raw and Rec 2020? (which you ll have to invest time and money to be able to fully exploit) Not a good option IMHO or might be an option but for very specific things. If you have money and time to spend wait for Canon R5 (if the specs come true), or go for a cinema camera (Canon, Panasonic) or the DX mk III. My 2 dirhams
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