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Posts posted by Whipauee

  1. 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


    Nauticam Package.jpg

    • Like 1

  2. 13 minutes ago, Interceptor121 said:

    Not internally but at 200 mbps H264 422 60fps I can tell you is a waste of time anyway. Panasonic IBP implementation at 60fps 8 bits is 150 mbps and is much more efficient, 4K 10 bit 422 is 150 mbps and that feels light

    The codecs of this A7SIII camera are terrible especially as Sony only uses IP frames. I wonder why a company has to produce a £3,800 camera just to destroy it in some software implementation. Perhaps they think anybody will get a recorder but ProRes RAW 12 bit can only support 30 fps with HDMI 2.0 and Ninja so it will require different hardware altogether assuming the HDMI port can manage

    I also think that there are no underwater cables going past HDMI 2.0 anyway so 12 bit raw at 30 fps is currently as far as it goes

    I do not shoot any 50/60 fps underwater anyway as it does not need it really fish moves slow so I would focus more on the ProRes RAW 12 bits 24/25/30 as that is where it is really interesting

    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.

  3. 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?

  4. 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. 

  5. 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.

  6. 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.

  7. I've been shooting with a Sony RX100VII in a Nauticam housing, Wet lens WWL-1 with Keldan 4x lights for a year now. While quite nice, I'm moving on an upgrade. First decisions already made, Sony A7s3 and Nauticam housing. Camera in hand and Housing on order. I'm keeping the Keldans. Ah but the lens and port configurations, I think I know but I'm tossing this out to see if I missed something.

    First, I shoot video, no stills. I really hate guessing what to set up for a dive, macro, wide angle or fish portraits. I gravitate to fish portraits, simplest setup, IMHO. Another reason I'm changing is I want to shoot with natural light and white balance with no lights, because I'm working at capturing creature behavior and besides bubbles, light also seems to spook those that are indigenous to the deep.  

    I see 3 roadmaps, a prime wide angle solution, a macro solution, and a wide angle zoom solution. The macro solution is really its own purpose setup and I will move that direction later, I think, unless someone says its great for fish portraits. Now the wide angle zoom, while offering the greatest UW flexibility it is 6 times the cost of the fixed prime solution. (Sony 28-70mm w/Wide angle conversion-WAC-1). I may go there one day but not his year.

    So on to fixed primes, I'm looking at a 28mm f2, 35mm f2.8 and 55mm f1.8. Most info I have gathered say the 55mm is like stuck in the middle, possibly fish portrait only, I understand. The 28mm and 35mm can both be set up to mount a WWL-1(which I own, already) Because of that I'm leaning to the 35mm which if needed the WWL-1 could hauled down below for a reasonable wide angle shot. The 35mm seems to be a bit of a compromise to fish portraits but clearly not as wide angle as the 28mm, but will do a better job of filling frame with the subject.  Ultimately weight is also a consideration, luggage and air travel to distant worlds, well maybe again in 2021 or 2022, sigh. The Caribbean is relatively open and I've been this year and going again in late november. The point being I may not even carry the WWL-1 because of weight and limited use. So my thinking is getting the 35mm with a flat port and jump in.

    Observations and thoughts are welcome.

    Fair winds and following seas.

    • Like 1

  8. I have a pair of Keldan 4x Lights and I'm happy with them. Smooth light spread with a variable control that is easy to work while diving. Batteries are removable for charging. Rugged too, I took a nose dive into the sand and surf on a shore dive exit and both lights were severely jammed with sand. Started soaking and working the variable control which was badly stuck on both lights and got one freed up quickly the other took more time and I thought I had busted the control and would need to send in for repair. Talked with Reef Photo & Video in Ft Lauderdale and nice tech diagnosed what I could do before sending it in and it worked. So both lights are happily back in my kit.

  9. Hi, I'm new to wetpixel. I have both the A7r4 and A7s3 bodies. Been shooting UW video with a Sony RX100 Vii with Nauticam housing for a year or more and plan to upgrade to theA7s3. When I talked with Nauticam 2 weeks ago they felt the Nauticam housing for the A7r4 would not work with the A7s3 body. On a close visual inspection the Video trigger on the A7s3 looks to be ever so slightly larger than the C1 button (Same location) on the A7r4. It really looks like the 2 bodies are the same size, but I don't really have a way to measure to the degree I think is needed for assurances. Also the ports on the left side are different on each camera body if you were going to connect something external that can be a factor. 

    Anyway I'm about to pull the trigger on the Nauticam A7s3 housing as soon as I get comfortable on the lens and port configuration that suits me best. When I do have the housing (Available but on backorder for 2-3 weeks) I will be able to physically put the bodies into the A7s3 housing and see what shakes.

    • Like 1

  10. Hello, My name is William and I love diving. Made my living shooting video for 45 years, now I am retired and I'm still shooting. For grins and giggles I started shooting Birds in Flight, above ground. I have been diving for 6 years and added a gopro 3 years into diving. My current set up for a year or so has been Sony RX100 VII in a Nauticam Housing with Keldan 4x Video lights.  Looking to move forward, yet again, with the Sony A7s3 and a TBD lens and port configurations.  I have been fortunate to travel the world diving and look forward to doing so again someday. I'm currently limited to the Caribbean, my home is in Tennessee.

    Fair Winds and Following Seas


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