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Everything posted by Whipauee

  1. 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
  2. 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!
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. Nauticam NA-RX100VII Pro Package (Inc. flexitray, right handle, two mounting balls, M14 vacuum valve, shutter extension) 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. Spare O-rings Allen key Set Padded Travel Case for NA-RX100Vll Asking $1000, includes shipping insurance and transaction fees.
  13. Selling WWL-1 Package above for 900.00!
  14. I have an old airport international and a Tenba Photo/computer bag. I've pulled all the dividers out of the airport and Domke padded wrappers on everything. All components are broken down to smallest unit. I do put one body in the housing. Generally camera, lenses, computer and ipad go in the Tenba. Housing, ports, 4x Keldans go in the Airport. I also pack my reg and dive watch in this arraignment. My checked bags looks like I pulled it behind me on a gravel road but weights only 6lbs empty, I load it up with everything but a parachute to 49.5 lbs. I use a good scale. My international and Tenba packed out weigh 50lbs! But the airport has two wheels so I can look quite nonchalant getting thru the various airport stuff. By smiling and looking effortless will do you no harm avoiding closer scrutiny. I've air traveled all over the world in all sorts of planes, the international almost universally fit in the overhead. OK not the 15 seaters or pontoon planes but the gear was never in a hold on those occasions. The only time I was ever stopped was in Sydney and I had to check the international for weight, but it was packed assuming the worst and nothing happened. I have added a super lightweight photo vest with enormous pockets that is stowed on the outside of the International in case I run into someone having a bad day and no amount of smiles might correct.
  15. I have force fins, 3 pair. First pair at list price subsequent ones on ebay. Replaced straps with bungee straps. I use different sizes for various boots in colder water. I prefer just a dive sock and the fin. All the positives above are true for me. The exceptional features are small light weight for travel and so easy to take off. Thats a big deal to me at 70 and after a hour in the water not doing much, my legs stiffen getting back on a boat. You can turn on a dime with these fins, great for maneuvering for the best angle and light on a creature. Very easy to frog kick, seems like a completely natural move. Been in some currents not much of an issue. and on a emergency diver recall I beat 2, 26 yr olds and a 50 yr old back to the ladder.
  16. I put a piece of white tape from Home depot on a fin. That was OK, I prefer to use a grey card (X-rite color checker w/Neutral Grey) at depth and multiple times when profile changes. Have a thin bungee cord thru the card and can slip on wrist or secure to BC when I'm done white balancing and shooting the color pallet. I really haven't used the color pallet in post yet. I hear I could build a color profile based on the x-rite in Resolve. Maybe one day.
  17. It looks like on the a7s3 you can come close to what you’re asking for and one would hope the a1 as well. Start by Turning off touch monitor, Set camera on manual focus, Pick a focus area other than wide, Use the multi selector button to move your focus point, finally press the AF-On button to acquire subject focus. Its a good technique if you’re in lower light conditions where focus might wander. I’m still becoming one with these cameras so I have auto focus set to wide and use a f14 - f22 aperture range and 90% of the shots are in focus. I’ll start opening up the aperture on the next dives to allow for more ambient light shooting. Might need to use this manual focus technique. I think you could program a function button to toggle between auto and manual focus.
  18. Good stable shots when shooting video is a significant factor for a shot to be a keeper. The current crop of Sony cameras have darn good , WB and AF tracking. I use both the a7s3 and the a1 underwater and for birds in flight. I personally have evolved from a Sony RX100 VII in a Nauticam housing to current rigs for multiple reasons but one was the challenge of creating good buoyancy and trim, the smaller config's sinks like a rock. My current rigs achieve about 45 grams of negative buoyancy in fresh water and I’m working to fine tune even this negative number which is still ever so slightly negative in the ocean. It is so much more fun to shoot with a reasonable balanced and stable rig. Curious to me is the shooting for birds in flight and the relative difficulty of shooting burst stills compared to full motion video. The full motion attempts are so much more difficult it has amazed me. I have fluid heads, monopods, gimbals and none of it is of value when the wildlife is unpredictable and fast moving. I’m diving again next week and plan to hone my skills with a Sony 90mm lens. Not specifically on true macro but the intermediate setting to capture fish behavior from a non intimidating distance to the fish. My use of wide-angle close ups only go so far and I am trying to shoot smaller and faster fish. All basically hand held. I'll also try and move back to ambient lighting if conditions permit. Again not to disturb the fish, and yes I do hold my breath, and have looked into an tested CCR's. The Sony Catalyst software does look interesting and may take on that challenge to my post workflow one day but maybe not anytime soon.
  19. Dave, I have shot with the a7s3 and WWL-1 last fall. I used a 35mm prime. My goals are different than yours in that I shoot fish portraits and coral. Glad to know there is an option with the Sony kit lens (28-60) I did a quick scan of the lens features and the one that requires additional investigation is the word “Retraction” That may require close evaluation of the flat port you use that a WWL can attach to and give you the zoom range. I have a Nauticam solution. Another thought is the speed and accuracy of the kit lens, These new Sony Mirrorless focus systems are amazing and a big help me locking on to a moving target. I moved away from the WWL-1 solution because wide angle shots are not my preference but a point worthy of consideration is the WWL can throw off the buoyancy/balance of your kit. Its heavy and the buoyancy collar was ok but not perfect. Maybe the WWL-1B collar is better, don’t know. Again I have become a big fan of a balanced rig and I went to a dome solution for the 16mm-35mm lens and added air for buoyancy. I think the travel weight difference is negligible when you add in the port extensions and adaptors. That being said, a housing with the small lens and WWL is way more compact in the water than a dome solution. Good Luck.
  20. Thani, Love your piece. Color, composition and focus. You are very good at this craft. I get the low visibility challenge but in many shots it works to diffuse the light nicely. Seems I should craft-up to document a changing world. Simple question, Did you White Balance for nearly every scene change?
  21. rgilkes, What a good point about the a1, I just change the Auto Temp setting to High, The default is set to Standard. I then checked my a7s3 and it is /was set to standard but I changed it to high as well. Of note the a7s3 in standard temp mode never showed the temp warning where the a1 did. I'll be curious to see how that adjustment will show or not show the temp warning on my next set of dives. July 4th out of Miami to the Bahamas on the Juliet Sailing liveaboard. Note to self: Take a dang wrist slate down and after white balance shoot slate with particulars of that dives set up. I can figure lot out with the limited metadata in FCPX for video, but its not quite like the metadata you get shooting stills and reviewing in Capture 1. After 25 dives things can get a bit jumbled.
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