Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Whipauee last won the day on January 8 2021

Whipauee had the most liked content!

Community Reputation

13 Good

About Whipauee

  • Rank

Contact Methods

  • Website URL

Profile Information

  • Gender
  • Location
    Murfreesboro TN

Additional Info

  • Show Country Flag:
    United States
  • Camera Model & Brand
    Sony A7s3
  • Camera Housing
  • Strobe/Lighting Model & Brand

Recent Profile Visitors

846 profile views
  1. I’m selling my low light Underwater system. Everything is in excellent shape. Only used on live-aboard boat dives, never any shore dives. Never had a leak. Meticulous care and cleaning on all components. I have sold a few nice pieces in the past here at Wet Pixel, positive feedback. It was a pleasure diving and shooting with this package. Items are price individually but the Subal to Nauticam adaptor and Sub Dome have to be sold together. I am starting with only grouped images by use, if you would like to see more detail pics let me know. All gear near Nashville TN. Come by and inspect & test. Amounts shown do not include shipping and insurance. Venmo is the transaction service I use. Item Nauticam NA-A7s-III, with vacuum port & travel case 3000.00 Sony a7S III Mirrorless Digital Camera Body, Black 12.1MP, 2 batteries, 2700.00 Subal DP-FE4, And Subal DP-FE4 to Nauticam N120 Adaptor with two neoprene covers 1350.00 Nauticam N100 to N120 Port Adapter with Focus Knob 520.00 Nauticam Extension Ring 60 with Lock 300.00 Nauticam Focus Gear for Sony 16-35mm F4 Lens 180.00 Nauticam Focus Gear for Sony 24-70mm F2.8 Lens 190.00 Sony FE 24-70mm f/2.8 GM Full-Frame Autofocus Lens for E-Mount, Black {82} SEL2470GM 1200.00 Sony FE 16-35mm f/2.8 GM Full-Frame Autofocus Lens for E-Mount, Black {82} SEL2470GM 1400.00 Nauticam N100 Macro port 105 for Sony FE 90mm F2.8 Macro G OSS 410.00 Nauticam SE90-F Focus Gear: Sony FE 90mm F2.8 Macro G OSS Lens 230.00 Nauticam N100 Flat Port 23 340.00 Keldan Video 4X 9K Lumen Underwater Video Light, with one battery & charger, float, extra o-rings 1000.00 Keldan Spare Battery 260.00 Keldan 67mm Spectrum filter SF-2 110.00 Keldan 82mm Spectrum filter SF-2 110.00 Keldan Blue Ambient Filter AF 12 B for Keldan 4X & 8X Underwater Video Lights 210.00 2@ Nauticam 70x200mm Carbon Fiber Aluminum Double 1-inch Ball Float Arm 220.00 4@ NAUTICAM STANDARD CLAMP 140.00 2@ Nauticam Triple Clamp 100.00 CINEBAGS SQUARE GROUPER XL BAG 150.00
  2. Just catching up with this thread. I too have the a7s3 and a1. I am using a nauticam a7s3 housing that I got when the a7s3 came out. Then I picked up the a1 when it was first released and happily it works quite nicely in the as73 housing. That may be a variant to your overheating problems of the a1. Also I have the Auto power OFF temp setting set to High, not standard. Really on both cameras. I also only use the LCD underwater (Have to), I don’t want even more gear lugging around airports or underwater, but my neck hates me! I shoot XAVC HS 4K and recently XAVC HS 8K, writing to the internal 160GB CFExpress A card, (700MB/s write speed) The picture profile I prefer is S-Log3, S-Gamut3, Typically overexposed at 1 to 1.3 stops. I shoot mostly in the Caribbean where it is warm. I could go on about my keldans and filters, lenses, ports and post production but they are irrelevant to the overheating issue. The only time my a1 has over heated was on the last live aboard trip where I decided to shoot XAVC HS 8K. Surprised me, It only happened when I was doing a long take looking for that moment! But I shut the camera down for just a couple of minutes then power up into standby and then just shot no more than one minute clips (Which is my normal strategy) I was all good then, even in 8K. So possible causes 1) difference in nauticam housings if you have an nauticam a1 housing (Maybe some other housing?), 2- and more likely, the temp setting set to normal. I never saw a downside to the high temp setting unless its camera wear. And I felt the downside to normal temp setting was to possibly miss the shot because of the camera shutting down due to heat. To look at some of my underwater pieces you can go to https://www.youtube.com/@prayers4theplanet
  3. I too have a luggage addiction! I manage one 49.9lb checked bag in a nondescript eagle creek rolling bag. It weights in at 7.5lbs. My two carry ons are an Airport 2 International and a Tebna shoulder bag. They carry my cameras (2), lenses, typically 4, housing, ports, dome, batteries and regulator. The total weight across both of those bags is close to 55lbs. I move like it weights nothing. Been searched but no issues. I also worry about local international flights weighing my airport 2 carryon. More than a little dismayed that Mexico and now, maybe, Indonesia see a new form of revenue. I've boycotted Mexico, and had planned to return to the coral triangle next year. Maybe migrate to an iPhone and housing with a Keldan light and call it a day for underwater shooting!
  4. The fellow in that video was shooting HLG3 and when I last checked that Codec was prone to error. This was when the a7s3 first came out and I was hunting for the best possible Codec to use. That sorted itself for me to using the Slog 3 Gamma 3, which requires more work in post than I suspect the HLG3 Codec needed. But I never got the color shift while shooting UW. Not with the a7s3 or the a1. I used this Codec with manual WB for nearly 200 dives. My last trip in November I did try the AWB setting on both cameras, seemed fine on footage review aboard the ship I was on. But eventually went back to Manual, while more a PITA it just felt better, probably because I knew that worked reliably.
  5. The a1 and a7s3 are fine UW cameras. IMHO the variances are nuanced and condition dependent. The 12800 ISO in both cameras are fine. the bigger micron sensor of the a7s3 is just a touch more light sensitive. Thats all.
  6. I have and shoot the a1 and a7s3, they both fit in the Nauticam housing for the a7s3. My last trip (November) I used the both bodies typically at a depth of 25 to 60 ft. I would like to stick with a 35mm prime lens but using a 24-70mm G Master with glass dome provided better neutral buoyancy and adaptability to shooting situations. In the past I WB about every 10 feet (Keldan grey card) or when the light changes. This time I decided to go AWB in both bodies and was surprised with the accuracy in both bodies. I suppose the key difference for me is that with the a1 really has a large range of clean ISO’s and with the a7s3 just 640 and 12800 that are clean from most noise. The a7s3 is a stop or 2 more light sensitive which is a real benefit in twilight environments. I still draw on a pair of Keldan 4x lights but try to use as little as possible since I am after fish behavior these days. I did shoot a bunch of 8k 30fps, s-log3 gamma 3, 422 10bit footage on the a1 and it’s worth mentioning that for a long clip say 5 to 10 mins runtime the camera will overheat in the housing. But shutting it down for a couple of minutes it will work just fine. I usually only shoot 30 sec clips so that does not involve any overheating. I love both, love the Sony eco system of lenses. If I had to choose I’d pick the a1, but if shooting natural light the a7s3 in twilight situations is what I would prefer.
  7. Recently posted my latest underwater video shot in the southern Caribbean. My YouTube channel page is: youtube.com/@prayers4theplanet The project name is Routan, Honduras If you enjoy please subscribe.
  8. I did this in Hawaii as well. It was fabulous watch the strangest creature rise to the surface. BUT Kinda felt like bait hanging form the boat at 15 to 30 feet with lights!! So completely black.
  9. I have a personal articles policy with State Farm and they do not cover water damage. After covering everything under the sun with the DAN recommended H2OInsurance and then missed one lens that in fact did get damage but wasn’t covered anywhere. My bad. But I realized that the cost of repair was not so bad on things in my likely scenario that would get wet but not submerged in water. So now State Farm gets everything but the camera bodies themselves that I do cover with H2Oinsurance. I have a Nauticam housing and talked with the folks in West Palm and discussed the likely cost of repair for a housing slightly wet and it wasn’t so bad that I would feel the need to water insure. IT can be all about ones comfort with risk and if you have the means to quasi self insure.
  10. I agree in general, that's why I prefer to just shoot ambient as long as the sun is not near the horizon. I guess if I do try and light things up a bit I don't bother with the blue filters. My stuff is mostly fish portraits and details, not too many wide angles unless I feel the need for an establishment shot. My cameras are pretty good at gathering light so sometimes just a bit may make a difference. Also s-log helps if you can get to slightly overexposed. A sadness for me is the gloaming part of the day is when there is interesting fish activity. More light would help but then that can often just bother the fish/creature and they depart. Really I vary my kit depending on conditions. I do love quickly locking in a clip/action but I also like what ever flexibility I can take down with me. But mostly simpler is better.
  11. I’ve wanted to weigh in on this topic for a while and have just been a bit to busy to organize my thoughts. First, my base line is I shoot a Sony A1 or A7s3 in a Nauticam housing. Lenses ports and domes for 16mm thru a 90mm macro. Keldan 4X lights with Kedlan red camera filters and blue filters for the lights. I am a big believer in the grey card WB and color chip reference at depth, and redone as depth and conditions change. I typically shoot from surface to 15 meters. Much deeper and lights are required. Next dive I might shoot that fixed 500k light solution for grins and giggles. My preferred rig when going down is ambient light video shooting with the A7s3 at 4K with somewhere between 60 and 120 fps at the high ISO that is clean for noise. (128000? I forget exactly) Lens choice is typically 35 prime with flat port or 16-35mm with a dome. I also shoot with the S-Gamut3/S-Log 3 profile. I also shoot 1.7 f-stops over exposed. On the mixed lighting question, again contrary to what other have posted as process I do my WB with ambient and the lights at the same time for a given dive, depth and conditions. I have made my living on the surface shooting pro video and have always done WB with the final lighting solution. So I follow that protocol underwater as well. I now prefer to keep my UW kit as simple as possible, so that I enjoy the diving with out fiddling with gear all the time. I enjoy diving and observing as much as shooting. Now I have noticed that the 4x Keldans with the blue filter do not add a sufficient amount of light to make a difference. Probably a 8X light would be better but I suspect they would add so much weight and volume to my travel kit that that my carefully arraigned carryon and checked bag solutions would be seriously messed up. Yes, it’s that close in specs for international travel with legal carry ons and one checked bag. I color grade in DaVinci Resolve and no longer use LUTs. Prefer to just “work it” and with the ambient light and flat profile and I have remarkable flexibility.
  12. I've done a couple of dives with Sony a7s3 or a1 with a 90mm. Even with darn good buoyancy control and a balanced rig handheld keeper footage is in the in the range of a 1 sec out of a couple minutes and then, sometimes never. I learned to really lighten my grip on the housing to minimize to minimize muscle twitches. If I do macro or even quasi macro shots I try and shoot at 120fps which can have a nice feel when slowed down. Or if I have the a1 and my 24-70mm kit (Which is my go to arraignment) and a macro opportunity shows up I'll go to 8K and work it in post but its only 30fps so still needs to be steady with spot auto focus. I also rely on stabilization in my post environment which starts in FCPX. Someday I'll get on board with Resolve for working color and grain.
  • Create New...