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Whipauee last won the day on January 8

Whipauee had the most liked content!

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About Whipauee

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    Murfreesboro TN

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    United States
  • Camera Model & Brand
    Sony A7s3
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  1. That makes sense to me about the Nauticam a1 housing being capable of handling the a7s3 camera. I might have gone that route but the a1 was not available when I made my initial purchases. Still getting a feel for both cameras topside but I'm leaning to the a7s3 underwater because of the large sensor and low light gathering capabilities. I'll still use external light mostly for color. It will be tempting to take the a1 down but there is so much to get comfortable with for many dives that I honestly hope to resist for at least awhile. Thank goodness both these bodies us the same menuing systems so thats becoming pretty automatic when I want to make a setting change. I have settled on Slog3 gamma3 as the color profile. Still not sure about the ETTR philosophy to avoid noise in the dark areas, which has merit UW. Topside using the Same LUTs in both cameras and sequentially white balancing them the color space looks to be nicely matched.
  2. A bit of news, I just picked up a Sony a1 and all the buttons work in the controls work a7s3 Nauticam Housing. Except for the controls on the left top for Still frame rate and focus, Continuous, Single and DMF and Manual.I got the a1 for surface work not UW but just tried it for fun and was soo surprised. The same experiment with the a7r4 was not as successful in the Nauticam housing. I was on the way to test the a7s3 with 16-35mm in a 180 dome (Nauticam) for balance and buoyancy in this configuration. Bad weather prevented a real field test. But this configuration balances better than the WWL-1 with a flat port and 35mm prime in fresh water IMHO. I'm back in salt water in 2 weeks, was hoping to narrow down my flying travel field kit but maybe I'll take everything! UGH!
  3. I have the Sony a7s3/Nauticam housing plus Keldan 4x lights. I really love it. Finished my first UW field shoot edit recently. Took a while to edit because I shot in 3 codecs (Slog 3, HGL3 and no profile) And that was a challenge in post for cc. I also did not have the CF express card which can encode in camera a XAVC S I 4K codec which does playback nicely without proxies in post. So work flow is faster and simpler on my old 2013 MacPro. My next dive in 2 weeks will use the CF express card and I'll shot in SLog 3, Cine gamma3, Also a new lens configuration. I can say that shooting Natural light, looks OK if you white balance and it is easy. I configured the C4 button, on the lower right back, so I could hold a grey card in my left hand and WB with my right AND hold the housing. But I prefer a least a bit of light on the subjects for some color pop. So here is a link to my first a7s3 edit. Youtube AdventureArtists - Lucayan Archipelago https://youtu.be/RyJvsaV2MeU
  4. Interesting yet illusive, "vibe of ISO 12800" If you can shoot XAVC S-I 4K your post system may have less computational work to play back the clip. It's true in my post system, I shot SLog Cine3 to a more compressed format and my post system had to work harder than I preferred to get things done or even play back a simple unadorned clip. Using XAVC S-I 4k my playback on an old loaded MacPro was acceptable for playback and editing. To use that format the cards are pricey. But I now have 2 for several 3 tank day trips in my future. I have found trying to use nat light is less than ideal for color work. But the a7s3 with a truly lowlight base line provides a lot of creative opportunities. If you like here is my first edit on a a7s3 shot in November 2020 in the Lucayan Archipelago. Fancy name for region between Bahamas and Turks and Caicos. YouTube Link: https://youtu.be/RyJvsaV2MeU
  5. Several of you have expressed interest in the WWL-1 and accessories. I guess I willing to break the entire package into 2 parts. The WWL-1 package I’m asking $1200. Plus shipping and insurance if applicable. Retail looks to be a little over $1700. The following are the items again. na-38703: Nauticam N50 Short Port with Bayonet Mount to use with WWL-1 na-83201: Nauticam Wet Wide Lens 1 (WWL-1) 130 Degree FOV na-83225: Nauticam Buoyancy Collar for WWL-1 Lens na-83224: Nauticam Hard Cap for WWL-1 Lens Padded Travel Case for WWL-1 Thanks for the interest.
  6. I got my a7s3 and Nauticam gear just before a big dive trip in the Caribbean in late November. Shot three Sony Profiles settings, sLog3/SGamut3.Cine, HGL3 and No profile. File format:XAVC S 4K at 60fps10 bit 4:2:2 for all profiles. Customize the C4 function for white balance (So I could execute WB in right hand UW and hold Grey slate and later chip chart with left hand). I used official Sony LUTs and Leeming LUTs in post for evaluation of clips. Will edit in FCP and finish color in Resolve. It was a well balanced neutrally buoyant rig with Keldan 4x Lights, red and blue filters were consistently used. I was hoping because of the lowlight capability of this sensor to shoot with no lights so as to not scare off fish. In field evaluation I sensed that just a bit of light made a huge difference in color accuracy and saturation. So after a 3 dive and no lights I shot the remaining 20+ dive with light. My takeaways: 1- Love the setup, would choose sLog3 if time in post permits CC, If not post time then I would go with no profile. You lose 1 maybe 1.5 stops of latitude but generally clips were nicely saturated and accurate. I understand some people think the sony color science is to be avoided but I saw no issues. In also I preferred Sonys LUTs over Leeming LUTs for 90% of the shots. Whats my experience in Video color science? 40Plus years surface shooting and a successful life doing so. UW shooting is just my hobby, 2- I used SDHD cards for the XAVC s 4K file format and they bogged down a Late 2013 Mac Pro with 32GB Ram and top end graphics cards. Had to use proxy's to not go crazy in post. I did buy and have tested the new Sony CFExpress Tough card and "I think" it performs well enough to be able to avoid proxies in post. This is because the CPU has to do less calculations than with a codec that has more compression. I did a surface shoot yesterday (Birds in Flight) using sLog3 S&Q settings for 120fps with XAVC S I 4K and I filled a 160GB card in well, not very long. Luckily I had a laptop to download to continue shooting. Take Away 2.1 if you want 120FPS you better mean it! Or have lotsa expensive cards. Moving them into post and seeing performance will take place in a couple days (I hope). Apologies on long post, but a couple further observations. Cost, yea I'd say camera "May" be a1/3 of the get in the water costs. so, lights and floats, buy the best you can. Housings often are sacrificed if you go for a new camera, but odd note here, I have an a7R4 and it goes in the a7s3 housing. Most of the buttons on the top work but the only button on the back at seemed to work was the Disp button. I am exceptionally happy with this my 3rd rig. Should be able to last the rest of my life. Knock on wood!
  7. Selling this great Nauticam kit as a package for 2000.00. Used for approximately 50 dives. Thoroughly soaked an rinsed after each trip. Never been flooded. Polycarbonate window on housing back has minor scratches that I don’t see in the water. Great little set up, 40% off of MSRP. na-17424p: Nauticam NA-RX100VII Pro Package (Inc. flexitray, right handle, two mounting balls, M14 vacuum valve, shutter extension) na-38703: Nauticam N50 Short Port with Bayonet Mount to use with WWL-1 na-83201: Nauticam Wet Wide Lens 1 (WWL-1) 130 Degree FOV na-83225: Nauticam Buoyancy Collar for WWL-1 Lens na-83224: Nauticam Hard Cap for WWL-1 Lens Spare O-rings Allen key Set Padded Travel Case for NA-RX100Vll Padded Travel Case for WWL-1 William@birdsinflight.gallery
  8. So the answer is no. I think I will enjoy the 60fps internal capability in post. Raw and big data space is a challenge for many, I have a 7TB raid and its a concern with my surface work and whats in the can with my lowly RX100VII UW material. I'm just making a small step up with the A7s3, not looking for a job with the BBC. Bigger issues to me, would be good light and proper focus. Anyway this is topic drift, maybe back to 12K fun.
  9. Yea, but you asked about heat dissipation. I'm really not serious about anything to be honest, just about having fun these days. (Made my living shooting video on the surface, retired now, back to my fine arts training, drawing, sculpting, and yes UW video for fun and non-profit. Question can the GH5 do 60 fps @ 10 bit 4:2:2?
  10. Well, I should have a real world test of heat dispersion of the A7s3 in a Nauticam housing after a lot of diving at the end of November. I forgot about that issue with mirrorless. I have been using/playing with the A7s3 on the surface, no issues, but in a housing, don't know, my shooting style UW has been to power down unless there is a shot, but that was to save battery charge (RX100VII) I think I'll be able/will leave power on for an entire dive with this new setup. I suppose when I get the housing I can record a long video and see whats up in air, then say again in a bathtub.
  11. We've been talking about something like this. Worth the 300 bucks just to try, if nothing else probably an acceptable backup for a recreational diver. Well "If" it works? didn't see the demo trying to use the touch screen, which is good.
  12. Thanks again for the perspectives, I am looking at the Zen DP-170 170mm Fisheye Dome Port. it weights a .32 Kg less than the 180mm Nauticam equivalent and is about 400 US dollars cheaper. There port charts do not show a path to the any 24-70mm glass but that, I think, just requires a bit more digging. I am almost there in choosing this first direction to 24-70mm as my entry in FF UW! About Raw, Chris you are right, RAW provides more room in still work and the same can be said in video. If you can get it. The body I have while expanding the “Data space” recorded to 10bit 4:2:2. It does not do internal RAW. It can do 16bit ProRes RAW video over HDMI at 4K/60P. Now it does do some amazing high frame rate recording which can be very useful ( up to 120P that is easy to get to via the new menu system) And I expect to use a lot. Of interest in low light shooting is the peculiar 16000 ISO setting that seems to have virtually no noise, I’m interested in seeing how that may be valuable UW. <gobiodon>, thanks for the link on the BBC’s use of tech in low light situations. Made me smile about shooting bird behavior at the gloaming of the day. So, so true. I looked at both of your online portfolios and well, they just made me want to get back in the water, such a beautiful world. Can you mention what lessons you’ve learned shooting macro’s and Chris, specifically what environments or structure UW that indicate that you might find Nudibranchs? I see your in Australia and when the world opens up again, I’m heading to Sydney and and ports north to dive & shoot. Fair winds and following seas.
  13. Thanks for the feedback Chris, Good thoughts to ponder. Yes the WWL-1 is a beast to carry around UW. A 24-70mm is truly my preference for covering a wider variety of shots. My solution for that was remarkably more money than I wanted to spend after the recent cost of the body and housing. But you would have me lean to what I called the wide angle zoom solution (28-70mm), and so would I. Yet I think, I need to find out if a camera like the Sony A7s3 can truly handle low light without lights and not chase creatures off. (Typically I don’t care to dive more than 15m) and I always know i’ll have at least one Keldan available. And I was hoping to find this out without a major lens/port investment that I might later feel the need to upgrade. Makes me feel I should just go “chips in” and order up the Sony 28-70mm w/Wide angle conversion-WAC-1. Side note really , I prefer to say that with sony lenses from my experience have spot on autofocus and little to no lens wandering. I also shoot birds in fight and Sony has been a step above in focus performance for me over several other top manufacturers over anything produced in the last 5 years. I was hoping that would be true UW as well. It has been with the little RX100VII but when slicing pixels, its small sensor and color are difficult to manage in post. Color science, ahh, truly a heady subject, I’ve heard that Cannon is best for UW. But things do change, and the Sony with its low light and spectacular autofocus, IMHO, is worth a try. The significant jump in sensor size and kind of sensor should be a marvelous improvement over the RX100VII. And If I am understanding Daniel Keller right a bigger sensor will “generally” have better color acquisition (CRI). There is hope for a new player in color science. Also ones video skills in post color correction will be pivotal as well, if there is reasonable data space to work with (ie: 10 bit, 4:2:2. (To drift here I’m moving to FCPX for rough cuts and DaVinci Resolve for color correction). So a question I sort of posed earlier, about the using the Sony 90mm lens, which is a macro, can it be used as a fish portrait lens? I know the more water between the camera and subject is fraught with issues. Maybe I answered my own question there. But I know I’ll want to shoot macro in the future, just didn’t think it should be my first choice. Anyway, I do have time to sleep on this, my next dive is on a repositioning live aboard from Miami to the Turks and Caicos at the end of November.
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