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Everything posted by Whipauee

  1. 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.
  2. 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.
  3. Selling WWL-1 Package above for 900.00!
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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?
  11. 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.
  12. Wira, My solution is a bit of a Rube Goldberg. Starts with a N100 to N120 Port Adaptor, then a Extension ring 60, and last a piece that adapts the Nauticam system to a subal system that allows me to use my Subal 1800 Dome. I talked with Phil at Nauticam in Ft Lauderdale and he first suggested a Extension ring 70. I pointed out the the Nauticam to Subal adaptor was about 10mm so we decided on the 60. The rest of the setup included 2 Keldan 4X video lights and 2 Nauticam 70x250mmm Carbon Fiber floats. This was targeted to use the Sony 16mm-35mm lens. The rig was near perfect in salt water. I tested in fresh water and when submerged it weight about a pound. In salt water a curious phenomena seemed to take place, at the surface down to 10 feet the rig was slightly positive, then at about 30 feet and 10 mins into a dive it would be neutral or slightly negative. System is vacuumed pumped as well. I have no Idea why that would be the case since nothing compresses, maybe temperature was an influence, who knows. After importing the footage shoot in SLog 3 Gamma 3 with AutoFocus, the results were rather good. Most everything was in focus using the wide auto focus setting. I have found that most effective when trying to shoot video of unpredictable movement. On import into FCPX I applied the Sony Camera LUT to the footage and on cursorily checking the parade waveform I suspect very little adjustment in Color correction will be necessary. Oh, and yea, White balance at shooting depth with a Keldan grey card that flips over to shoot a small chip chart.
  13. Back from diving a week around Roatan. Have not imported or analyzed footage yet. but the a1 seemed to consistently display the overheat icon in the a7s3 housing while shooting clips underwater. The a1 never did shut down.
  14. 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.
  15. 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!
  16. 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
  17. 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
  18. 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.
  19. 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!
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