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pablo

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  1. U/W VIDEO SYSTEM FOR SALE (Minus SR1 Camera - if Camera Wanted, Add $700) System Used on 2 Dive Trips ---------------------------------------------- 1396 Ikelite Model #6038.90 Housing (for Sony HDR-SR1 Camera) 45 Ikelite Red Color Correction Filter to Fit Standard Port 300 Ikelite W-20 Wide Angle Lens w/Carrying Pouch, Covers 85 Ikelite Red Color Correction Filter to Fit W-20 1200 2 Fisheye HG20DX Halogen U/W Lites w/Spare Battery for Each 100 2 Daylight Temperature Color Filters for Fisheye Lights 150 Inon UCL 330 U/W Closeup Lens w/Carrying Pouch, Covers 100 Expodisc W/B Custom U/W Sealed Mount for Standard Port 350 Expodisc W/B Custom U/W Sealed Mount for W/A Lens 110 Pelican #1610 Hard Case for Camera and All Equipment 100 Misc Caps, GorillaPod, etc. ===== ============================================================= 3936 Total Spent Please make an offer. This rig works great, is less than 1 1/2 yrs old. (Giving up diving due to wife's situation.) Contact Info: Paul Sharp 1218 S. 1300 E. Salt Lake City, UT 84105 801-463-7940 111@kream.com
  2. Thanks - couldn't find my post this morning but looked around until I found it here. Wonder what I should ask for the whole thing?
  3. I want to sell my complete rig (except for the camera, unless the buyer wants that too). Adding a list and what I paid. What kind of percentage of the amount would those of you with more expereience recommend to ask based on what was paid/market conditions, etc.? And is there a separate forum to list for sale rigs? U/W VIDEO SYSTEM FOR SALE (Minus SR1 Camera - if Camera Wanted, Add $800) System Used on 2 Dive Trips ---------------------------------------------- 1396 Ikelite Model #6038.90 Housing for Sony HDR-SR1 Hard Disk (30 GB) Drive Camera 45 Ikelite Red Color Correction Filter to Fit Standard Port 300 Ikelite W-20 Wide Angle Lens w/Carrying Pouch, Covers 85 Ikelite Red Color Correction Filter to Fit W-20 1200 2 Fisheye HG20DX Halogen U/W Lites w/Spare Battery for Each 100 2 Daylight Temperature Color Filters for Fisheye Lights 150 Inon UCL 330 U/W Closeup Lens w/Carrying Pouch, Covers 100 Expodisc W/B Custom U/W Sealed Mount for Standard Port 350 Expodisc W/B Custom U/W Sealed Mount for W/A Lens 110 Pelican #1610 Hard Case for Camera and All Equipment 100 Misc Caps, GorillaPod, etc. ===== ============================================================= 3936 Approximate Total Spent
  4. I put it all in the NLE and looked at it. I couldn't detect any except with the Ike W/A W-20 on top of the Inon 330 C/U lens.
  5. Well thanks for the input. I'll be finding out here in about 3 weeks. It will be interesting to see.
  6. Still wondering if some of you experts could mention what differences, if any, I might expect to see in vignetting and W/A imaging underwater v. the on-land tests I mentioned in the previous message.
  7. Here's an update. I finally got the pieces (including one of those nifty small tripods everyone has been talking about here and getting a custom milled piece to mount it on my main horizontal housing bracket). Unfortunately, due to schedule and other factors I wasn't able to run tests in the pool itself. I did run some tests on dry land though (in my house, i.e.). Here's the list of components used: - Sony SR1 AVCHD Camera - Ikelite SR1 Housing (#6038.90) - Ikelite W-20 W/A Lens - Inon UCL-330 Closeup Lens 1 - I tested with just the Ikelite W-20 W/S lens on the housing, and saw no vignetting or edge distortion - which is the same I observed on my last dive trip where I first used the rig (all U/W shots were taken with the W/A lens). So the Ike W/A W-20 lens works well with this housing and camera combination, for any that are interested in knowing that. It does have the usual W/A distortion from the middle outwards - so if you test like I did with a square sign you see the difference, but that's what I'd expect from any W/A lens. 2 - I then tested with just the Inon UCL-330 closeup lens. That looked good at full wide, and zoomed in as far as I could go I could get focus around 6-8 inches from the lens. I saw no vignetting - even at full wide. 3 - Then I screwed the Ike W-20 W/A lens onto the Inon C/U lens. With that combination I got vignetting like crazy at full wide and quite a ways down into C/U zoom. However, I could zoom in tight and really get a monstrous magnification of something v-e-r-y small only 3 inches away! So that's something to remember if I were to come across a need for it. ================= I have a big question for those with more experience: what might I expect to have seen different if I were to have run these same tests underwater?
  8. Well I certainly hope you are right. But too many of the TSA (and FAA, too) people are nincompoops who don't read, don't understand, and simply do what the latest interpreter of rules tells them. In my experience, the "interpreters" are also closed-minded. Generally, if you want to refer to any copy of the rules with these people, you've probably already in a situation where you're going to lose. I am a pilot and have found over many years' experience that the FAA is one of the worst, absolute worst government bureaucracies in existence. My experience with the TSA hasn't given me any faith in their being better.
  9. I admit not having read the actual rule, but the sites I've checked all say you can only care 2 spare batteries - not just a limit of 25 whatever it is in ratings. To me that means it doesn't matter if 50 batteries are under the rating limit - you can only have 2 spares, period! This is as asinine as most other stuff from the TSA and FAA.
  10. Where you go may influence your choice of using the Pelican or other similar cases. They "advertise" something expensive that's easily stolen. There have been some serious problems at some locations such as San Juan, PR. After reading some of the horror stories, I've left my "Pelican-like" case at home and taken the serious (expensive) stuff with me as far as I can in carry-on luggage. I have insurance, but it's far more trouble and expense replacing the stuff than it would be worth to me if I had to make a claim compared to not having things stolen int he first place. Just a thought.
  11. OK - I think I get what you're saying now. In some cases you can get a WB if there was one earlier on, whereas right down from the top you might not be able to get it. I can see where that could happen as the differences hitting the algorithm might be too great for it to even try. Thanks.
  12. I was trying to say what I was thinking - possibly "dangerous" as my wife might say. I meant that if you leave it on AWB then the camera is continually correcting, isn't it? But if you (with the camera in manual mode) do a MWB, then it just makes a correction matching the instantaneous conditions? Probably shouldn't have thrown that in as it muddies the question. My overall question is if the camera reads the conditions and makes a correction based on preconceived algorithms in the software which react to what is seen through the lens to the CCDs (or whatever receiving device the lens sends it to), I can't understand why it would make any difference whether you did it 10 times each ten feet along the way down to 100 feet or just did it once at 100 feet - if the scene and lighting were exactly the same at the 100-foot mark why should it make any difference? And I'm assuming the balance being set on the same white medium in this example - everything the same except that you do it a few times on the way down v. once when you get there and MWB in every case (no AWB in this case to foul up the experiment). Why would it make a difference how often you did a MWB on the way down v. once at the target depth? Please - not questioning your experience or veracity. The questions are spawned from my ignorance; in fact I remember reading similar input from someone else on the forum. I've learned a great deal from reading what you and others here have posted. In this case I'm trying to understand what the physical phenomenon is that would make the difference. PAUL
  13. My Ike housing is a fairly new model, having come out just last November (one year ago), but I don't know if they made any "modifications" WRT the port and W/A stuff. I'm going to the pool for a practice session in early January. I'll try to get a card or something that will show sharpness around the edges (if anyone has a suggestion as to what to use and where to get it I'd appreciate thoughts on that) - or fuzziness as the case may be. I'll do some shots with and without the Ike W-20 W/A, then add the Inon closeup filter to the W/A lens and shoot again. Then I can post here and all can see what I get. (I'm shooting HD with a Sony SR1.)
  14. I have a question, Nick, on what you said about big jumps in MWB. I can't imagine what the technical reason is for that. Can you explain it? It would seem that if you do a WB you get "balanced" and why should the camera have a problem with it whether it's a big jump or a little one? Don't the electronics react the same way every time? I've read this before here on the forum but have never understood it. Why would Auto WB make any difference other than it continually corrects while MWB does an instant in time?
  15. I have the Ikelite W/A lens that I bought from them: W20 I believe the model number is. I haven't noticed any softness around the edges. I am no expert, though, and only used it on one trip to Tahiti so far. But nothing I saw showed fuzziness. I don't know how it would look if I were to shoot a focus card or something like that.
  16. Nick, I appreciate the input very much. It seems that one of the first things to do is zoom in a little - at least enough to eliminate or minimize the vignetting; then I'll work on playing with distances from subject, etc. I'll have to practice with it - doing a pool session just before the next trip, so that may be a good time to experiment. I did buy one of the "SLR Zoom" model Gorillapods, and am having a small mounting piece added to the housing bracket, so I hope to be able to get steady enough. Roger - thanks. I looked around the Nexus site. They really have a lot of equipment! Anyway after I play with the Inon UCL 330 I may want to get some other strengths, and the push-on items might bge a good choice. I'll have to see if I can do any good work in the macro world to start with, this being my first foray into macro. Thanks for taking the time to get the info and respond again.
  17. Thanks for the help. I decided to try one of the Inons (330). And thanks to all for their suggestions and help.
  18. I did some searching around on the net before Craig's last reply. The Inon lens seem a good choice since they are evidently designed to be used wet, in water (up to around 200' it would seem) as well as on land. On the CamerasUnderwater site it says that the Inon UCL 330 is +3.03 diopters in air or water (flat ext. optical surfaces), and that the UCL 165 is +7.37 in air and +6.06 in water (has sealed internal air space). I also saw them in stock for $124.95, either model, at DiverVision.com. If I were to buy just one to start with, which would likely be more practical for the "usual" macro?
  19. Thanks for all the input in your replies - - - Nick: Ikelite says the flat port (the one I use to attach their W-2 W/A wet lens) has standard 67mm threads. So that would seem to indicate that I should be able to buy something like those Keene of Inon closeup 67mm #4 "filters" (I'm assuming when it says "Close Up Filter Kit" that those aren't just thread adapters but actual lenses of various diopters?). Craig: Where does one get the Inon 67mm diopter lenses (or whatever you call them if not "lenses")? It sounds like the same type of thing Nick mentioned but a different brand? Would you also think that something like a +4 would be a good start? (I guess if I got a kit like the Keene I would have 3 choices, for that matter...) Roger: I'll watch for further info if you can find out more on the push-on version your wife uses. Since it is called "wet" should I surmise that it might work differently from some of the others discussed above which probably were designed for "dry" use? (What a great forum - so much experience and willing to help...thanks!)
  20. I have an Ikelite housing for my Sony SR1. I find it works pretty well for me with their W/A lens. It is zoom-thru and I can get a focused shot with full zoom at a minimum of about 18". Maybe that's sort of "half macro" or something like that? The W-20 Ikelite W/A lens is a wet lens so you can install or take it off any time during a dive. The port on the housing is a flat port. Does anyone know of a wet macro lens? Do they make such a thing? If so could it be adapted to fit in the port threads I have? Maybe a dumb question, but I'd like to be able to do something like that if it's a possibility.
  21. I have the SR1 with Ikelite housing. I like it a lot. It may not do for the real *pro* stuff many here are into (such as selling to a network), but it is very nice and the footage I've gotton so far is very good. Unfortunately the underwater trip I took with it was during awful weather in Tahiti so wasn't much to see. I have used it topside as well. I did have a lot of sorting out to do in terms of the software and hardware and all that. Here's a thread that lists lots of the info, including the 2-month oddysey I went through to be able to edit and burn AVCHD files (I burn to HDDVD and not AVCHD although I have that capability). http://www.sonyhdvinfo.com/showthread.php?t=9694
  22. Sorry about that last post - managed to get a quote with no input of mine... If you're in the production business you've probably seen the boom mics that have a large windscreen surrounding them so that they can be used outdoors. I don't know if the boat is going to be moving at any rate as the people fish, which could affect the capability of the best of windscreens. I've seen brand-produced windscreens for shotguns, but they are only effective in the lightest of winds in my experience. Usually having a close-mounted windscreen inside a larger, space-protected shell windscreen works best (compared to one windscreen only). If you can get higher and look down you may get better sound if the wind isn't a problem. Down low you may get lots of foot shuffling and clunking along the deck, although you didn't say how "low" the gunwhales might be on this boat. Another problem may be the sync of what sounds you get with the picture. I'm not talking about timecode but the thought that you may have a visual of one fisherman and sounds of very different actions by others on the tape and have a hard time getting the two together. From the description you listed of 50' boat size, it would seem to me that there could be a lot going on. Will there be more than one camera? It sounds like a challenging assignment from an audio point of view. Robert Altman used to record 8 channels with different mics and then cut in the audio track he wanted as applicable. He was the only one crazy enough to do that regularly, and that is probably beyond your budget among other things of course, but is illustrative of the problem of not shooting direct visual/audio units on a 1-on1 basis. Another way to do things might be with some good RF mics; at least it would alleviate potential cabling problems. Hope a little discussion on this is of some help.
  23. I always back up anything critical to 2 storage devices, whether hard drive or other disc or even some old tapes. Seems we're stuck with that kind of 2-level requirement no matter what kind of technology is involved. For really crucial things I make a third copy and store it offsite.
  24. Here's what I did, being new to U/W photography - from the Backscatter website - there's a guy there that writes excellent articles for beginners. I realize that this technique may not be of much use to many on this site that are really into this stuff in a semi-pro or pro level, but it worked really great for me: When you get in the water, don't go very deep without setting the focus, so you still have good light and contrast. Set it by putting it on AutoFocus, zoom to full wide, and then focus on something stable about 2 feet or 18 " away. Then use the focus "Lock" function to lock it. From then on just about anything non-macro that you shoot will be in focus (assuming a standard type of lens) and there won't be any hunting done by the camera. Letting the camera do the initial autofocus means it will be sharp because it can do it much better than you can using the LCD. The when you lock it you have focus set for the stuff you shoot thereafter. I did that on my very first trip and all of my footage was good from a focus standpoint (other things were, well, in need of practice but overall I was pretty pleased). I also did a practice session in a swimming pool where I got used to the MWB process with my camera (I have the SR1 but I think the menus and focus stuff and etc. are very similar) and it really helped. I made a small checkilist of initial settings and went through that each time before I mounted the camera in the housing. I started the list using the settings the housing manufacturer recommended and then made a few modifications to suit personal preferences. As I say, all of the foootage was good and usable - I have to practice on movement, framing, and etc.
  25. "I think we have to define the media format first..." I was referring, of course, to the AVCHD format the SR1 records so far as HD goes, and whatever it's using when it records in SD mode. Anyone interested can divide the drive size by the GB or mbps they need to figure the amount/time.
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