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Everything posted by Lionfi2s

  1. Would you consider separating the camera and the monitor systems?
  2. Anybody selling an Atomos Ninja 2 monitor? Looking for monitor only as I have the housing but dropped and destroyed the monitor Thanks
  3. Their reply: "I am afraid the decklink mini monitor does not support HDR HLG flag over HDMI. You will have to look at the new Ultrastuio 4k Mini instead. https://www.blackmagicdesign.com/uk/products/ultrastudio/techspecs/W-DLUS-11 Alternatively you can have a look at the Ultrastudio Extreme 3, or internal PCIe card such as the Decklink Extreme 4K 12G. However the Ultrastudio 4K mini is certainly more affordable."
  4. FYI their new Ultrastudio 4k does support it according to the communication I had with them. So it is an option albeit not a cheap one
  5. Just to make it clear, autofocus works underwater continuous autofocus is miss and hit as it is on land on the GH5. VFR is manual focus only on GH5
  6. What Interceptor said, deep & no lights it doesn't matter if you use RAW or any other format or codec. The information (color) is not there anyway.
  7. Didn't know that hitting a like button is better than saying thank you...
  8. Agreed, if the other tv is not calbrated to the same specs it will look different. That is a known headache even for the big production studios. Like I said if you are a professional you have to invest in the tools you need. If you are not it doesnt matter, just calibrate your tv and for that your footage will look as you want it to look in that particular tv. We still dont have the knowledge to properly use this technology (by we I mean us amateurs and even most professionals). Its very new so yes the safe way to go is Rec709 but experimenting and learning is not bad
  9. Get your color (important) right and your exposure right (more room to adjust than with color) and you are good with HLG. Shoot it, do small changes in an NLE that supports it (don't they all?) and play it on your TV. That is what it was designed for. Use it for what it was intended to do and it works. Monitors: If you are a professional buy the tool, if not calibrate your TV and you are good. If you will be delivering in SDR why bother anyway. It works fine on Resolve. Output through a BM card to your HLG capable tv and you are good to go. At least on MAC. Happy HDRing
  10. Malta is not Eastern Med try Greece or Turkey you ll find the true blue you want. Sorry for the off topic Laval
  11. And it doesnt require a V90 card I rarely if ever do macro but still a monitor is usefull for many reasons. I do have a housing for it.
  12. I have an old Ninja 2 that I use so I can test between them 24 fps All Intra and 24 fps prores. If I buy a new one then it will be a monitor only and not a monitor recorder and that is even before this discussion.
  13. Will need to play with it. and test also between Panasonic All intra and Prores through monitor at same fps
  14. you dont have to use the 179 trick anymore unless you havent updated your camera. This was implemented 2 versions ago I think
  15. So if you shoot All Intra 24 fps and slow it down 50% it will look better than Long GOP 60fps slowed down to fit 24fps timeline?
  16. No scientific test but the light off on my Keldan 4x is way softer and more gradual than the light off on my Dive Pro. The Dive Pro is really harsh at the corners. Some like it because it gives a more clear indication of the light pattern and help them adjust. I am undecided at the moment but wouldnt say no to a bit more gradual light off. In most cases its ok because 2 lights easilly cover the WWL 1 and you dont capture the edge of your light beam but in the center where the beams of the two lights meet I think softer is better. Now I tend to push in the DIve pro a bit more so the edge of the beam doesnt not fall in the middle of the frame.
  17. Spectrum for my taste gives the most natural result. Reef colours look natural. Blues I cant judge there is so much banding due to youtube compression that destroys the blues competely. For the shalow stuff I wouldnt be using any filter in these conditions plenty of natural light to get more natural colour just by custom WB. Between 9 and 15 meters in clear conditions with plenty of light I think is the optimal range and conditions for filters, shallower you dont really need deeper they only cause problems. For me a filter I cant remove is a non starter so UR pro and Magic go out of the door anyway. I didnt understand if you were using ambient filters on the lights or not also are the clips straight out of the camera or graded? I would personally expose a bit brighter to try and get better looking blues but that is personal preference. Also there are some exposure changes during the clips which I guess dont make huge difference but if try to come to a conclusion you might be better served by full manual mode. Once concluded maybe some fiddling around with the picture profile settings you are using bring you exactly where you want it to be. Good analytical job as always. Thanks
  18. You think that if you take 24fps up to 1/60 sec or 30 fps down to 1/50 sec (both underwater) anyone will spot the difference if you know what you are doing in conforming them? Yeah if you run it through ffprob and if you analyse frame by frame yes but who does that outside the purpose of writting a blog post or similar? Its a good think rules are made to be broken
  19. Not everything is in the numbers Many times the theoretical optimum is not the practical optimum. For me the idea is know your "enemy" and adjust accordingly.
  20. 20% is almost 1/4 its not huge but its something. Try it Good discussion!
  21. Re brush and graduated filter use tracking it will follow whatever you want to follow you can do it manually too but the its rotoscoping and we are talking vfx which you can do in fusion or after affects. You can also assign keyframes. The tools are there but it takes time to learn them I agree. Agreed that your best strategy is to think the shot and expose it correctly.
  22. Because you might get footage from different cameras, different locations, different operators etc. Because if it is a bit choppy underwater and you dont want to be on the bottom because its sensitive or because you have to move, that little bit of slow down you get from 30fps to 24fps will help. Because that extra second you might get will make your footage to sync with the music beat. And if done correctly you wont be able to notice the dropped frames (the cause of the problem) if you just go and slow it down then yes you will have bad results. How many they will notice is a different conversation.
  23. Because in the example given you may have 30fps uw footage and 24fps land footage. The 30fps clip to 24fps timeline can be made to work with the technique I told you before without any problem. The 24fps clip to 30fps timeline cant be done effectively.
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