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Please watch my latest video “Scuba Diving in the Red Sea, Egypt, Sinai”, which will bring you to the best dive sites and shipwrecks of the Red Sea, and show what you can expect to see underwater during a 7-day long “Sinai Wrecks & Reefs” diving safari. This trip took place in August 2022, and it was organized and led by Massimo Franzese (aka Interceptor121) for underwater photographers and videographers, hence the name “2022 Image Makers Liveaboard”. We have to complement Massimo for the success of this trip. He used to work in this region as a dive instructor, which, combined with his underwater photography and videography skills, helped him to choose the best time for each dive. One of the great benefits of this trip was that every evening Massimo would review our photos and footage, and give us advice on how to improve. Our boat, the Snefro Pearl, with its fantastic crew always eager to help, made our trip very comfortable and enjoyable. With respect to marine life, we were pleasantly surprised how healthy the corrals were, with absolutely no signs of coral bleaching. The water was warm, crystal clear and unbelievably blue. The most unforgettable part of this trip was snorkeling and diving with a family of wild dolphins. I counted 21 of them. Diving the Thistlegorm shipwreck was very interesting as well. Overall, this Image Makers Liveaboard trip exceeded my expectations. I hope that Massimo will keep organizing Underwater Image Makers Trips in the future so I can join him for more fun diving and continue improving my videography skills. Underwater Video Equipment used: Camera: Sony camcorder PXW Z90 Housing: Gates AX700 / Z90 with Gates GP34A Wide Angle Port and internal UR Pro Red Filter Video Lights: Keldan Video 8X 11000 Lumen, CRI 92 (5400K) Keldan Ambient Filter M1 (10-20m) for 4X/8X Camera Settings: 4K, 30 FPS Picture Profile: PP10 (HLG); Gamma: HLG2; Color Mode: BT2020 Above water camera: iPhone 13 Max Pro I will greatly appreciate your comments, including constructive criticism. https://youtu.be/-YfjesgYRdg

Here is my latest Video Trip Report about diving in Fiji's Rainbow Reef.If you enjoyed the video, please LIKE it and SUBSCRIBE to my YouTube Channel for more exciting travel videos! Underwater Video Equipment used: Camera: Sony camcorder PXW Z90 Housing: Gates AX700 / Z90 with Gates GP34A Wide Angle Port and internal UR Pro Red Filter Video Lights: Keldan Video 8X 11000 Lumen, CRI 92 (5400K) Keldan Ambient Filter M1 (10-20m) for 4X/8X Camera Settings: 4K, 30 FPS Picture Profile: PP10;Gamma: HLG2; Color Mode: BT2020 Drone: DJI Mavic 3 Above water camera: iPhone 13 Max Pro

Just wanted to share and discuss with other video shooters using A7SIII. Until this trip I have been shooting always in SLOG3, however for this last weekend I tweaked a HLG profile and shot exclusively with that. I found it fine to use, although colours can be a bit odd to my eye. Always keen to hear from and learn other Sony shooters settings for underwater video. Enjoying the process. All shot in 4K 4:2:2 10 bit, 60fps, PP10, HLG, with A7SIII, 28mm F2 inside WWL-1, using a combination of nitescuba NSV80 lights which I'm currently testing, and my existing Keldan lights.

Sony/Gates AX-100 4K video camera and housing, all you see in the photo included as well as shipping to the lower 48 of the US, please inquire about international shipping. Items listed below. I have some of the best amateur footage with this rig, I have won several awards including best video, I have traveled all over the world with this rig. This was bought brand new from Backscatter in Ca, it has been recently service and has 12 dives on the new overhaul. The wide angle lens was cleaned up by Gates directly a few months ago, all records on file by backscatter and I can provide on request. I have moved toward cinema and have a 25k rig now and need to sell this one. I have included a rebuild kit, spare o rings, original manuals for both Sony and Gates. Here is a sample video shot with this rig just 2 months ago in Socorro. This rig retails right now for $6334 as you see it, Im willing to let it go for $3990. I am willing to offer tutorials on this set up post sale as I am passionate about what I do, and would love to see this unit be used as well as it has been to me. Thank you. 1. Sony AX-100 2. Gates AX-100 3. Saga Macro lenses X5 and X10 4. Carry handle or GoPro mount both included 5. 6 Sony batteries, 1 wall charger, 1 corded charger 6. Gates GP34A wide angle dome port IMG_7265.HEIC IMG_7266.HEIC IMG_7267.HEIC IMG_7268.HEIC

I'm changing again so am offering up this recent top-notch GH5 video and stills set-up in a SEACAM housing with all accessories needed to get you shooting macro and wide angle stills and video in 4k. For sale is: Lumix GH5 body with 4 x batteries (2 x Panasonic, 2 x after market), Charger, Manuals and leads etc. All boxed and ready to go. €890 OLYMPUS M.Zuiko Digital ED 60mm F2.8 Macro Lens €350 PANASONIC LUMIX G FISHEYE Lens, 8MM, F3.5 €500 Olympus Digital 1-42mm 3.5-5.6 IIR with seacam Zoom gear €180 SEACAM Silver housing for GH5. Bought new in 2020 and has a maximum of 50 dives clocked up. Very well cared for, the housing is inexcellent condition with no significant marks, no damage and no defects. Complete with 2 x S6 bulkhead connectors and leak alarm. The housing has 2 x M14 bulkhead sockets for fitting HDMI port or vacuum system etc. €2,200 SEACAM macro port 120 €120 SEACAM Compact port for Lumix 8mm fisheye €600 SEACAM Pro G Viewfinder €280 Total combined price (excluding shipping ) €5,120. I'm open to reasonable offers if sold as one lot. + Shipping. Equipment is located in Republic of Ireland (EU). Payment via bank transfer or by Revolut. Questions welcome, just message me.

Please find the following link to my new 4K video "COLORS OF RAJA AMPAT IN HDR", in which I was trying to show magnificent colors of the Raja Ampat's marine life, biodiversity of which is the highest recorded on Earth. It's simply overwhelming. You could watch the video in SDR quality or in HDR quality on an HDR-enabled television, tablets, phones or computer screens. All footage of this video was shot in 4K using Sony Camcorder HXR-NX80 with picture profile Hybrid Log Gamma (HLG). For camera setting, I followed recommendations of the following article: AX700-Z90-Housing-Recommended-Settings-R2: https://www.gateshousings.com/wp-co...AX700-Z90-Housing-Recommended-Settings-R2.pdf: Camera Settings: 4K, 30 FPS; Picture Profile: PP10; Gamma: HLG2; Color Mode: BT2020 Thank you for watching, and please let me know if you have any questions or comments.

Selling ZCam E2 Nauticam Housing Note that this is not the ZCam E2 flagship housing. This is for the original ZCam E2. Housing was purchased new spring 2020, used over the summer approximately 1 month. Freshwater only. Housing is in great shape, functions like new, hardly any blemishes notable ones are at the M16 screws and 1/4 mounting screw at bottom, all pictured here https://imgur.com/a/tIRhZr9 Comes with original bag, box and strap. As well as the spare o-ring and set of allen wrenches. Does not come with vacuum port. Selling for $2600 including insured shipping within ConUS and including PP fees. Thanks for looking let me know if you have questions!

This is a summary of thoughts I went through last year in trying to select my next u/w video gear. Ten years ago my first video camera was a Sony MC50E in an Aquatica housing. I really liked the setting for its small size. However, I was bothered by the max videorate of 28 mb/s, 8-bit video with its limitations for smooth color grades of the background, noise, autofocus hunting and finding the right amount of image stabilization. Especially I was missing the full frame look and Canon colors. Then came Canon 5D Mark II which caused a lot of turmoil on the video front and eventually 5D Mark III. I actually made a side track to 1D IV, but I soon realized that its crop factor did not meet my wide angle requirements. An expensive side step. I settled on the 5D Mark III. It had better sensitivity, the video was better than earlier, but still 8 bit, sensitivity was better and the colors were definitely better. However, no image stabilization. I continued to shoot mainly u/w landscape video, with only the occasional stills. During recent years I have tackled major 3D photogrammetry projects in poor visibility and have even sacrificed proper color balance for more pressing matters of repeatabiility of shots from day to day or month to month. I shoot mainly at 16mm, but for some scenery I change to 18-22mm in order to get a more pleasing perspective. However, with the advance of 4K and my desire to be able to create beautiful memories of some the unique sceneries I have visited, I began searching for an upgrade with the following wish list: good optics - with my six L series lenses I had a bias towards Canon, but, I was willing to consider alternatives at a cost minimum 10 bit, 4-2-2 and hopefully more dynamic range, a wish of 14? more sensitivity - I shoot large caves, mines and deep wrecks - there is never enough light - eventhough I have lights with a total of 6 digits in lumens 4K and FullHD. option for slow motion preroll! video compatible with Edius or Davinci Resolve I had been keeping an eye on the Canon cinema cameras. However, the total cost of a Cx00 series camera together with an u/w housing was out of reach for me. I did notice Canon 1DC, but I was not happy about the crop factor. Early last year I did also notice Canon 1DXIII. It did appeal in many ways, but there were also rumours about a forthcoming mirrorless Canon camera... I seriously considered the GH5/GH5s for its video capabilities eventhough it already is a bit old. I did also consider both of the Black Magic pocket cinema cameras, 4K and 6K. The biggest drawback was the crop factor and also the notion that many of the settings (e.g. resolution) would require using the touch screen - impossible underwater. But, I then noticed Z-Cam and that Nauticam would have a housing for it. Z-Cam appeared very innovative. Their E2 base model seemed to tick most of the items on my wish list. Actually it was one of the very few video cameras with a preroll feature. I also liked the idea of an ethernet connection on the camera allowing remote control and transfer of video. The base model seemed to share the same sensor as Panasonic. I noticed that you could set the Kelvins upto 30K. A drawback was that one would need a separate monitor with its separate housing. It took a while for Nauticam to get out the first housing model for E2. Meanwhile Z Cam had already announced the F6 model which would allow full frame Canon glass. Another wait for the right housing as the F6 model would not fit the first housing. Then came the release of Canon R5. A lot of excitement of 8K video and high quality 4K video. But before I put my order in, came the first news about over heating issues. I was sure this would be fixed in a firmware patch. But no, the patch made just slight improvements. Since half of my u/w video recording sessions have been almost continuous shooting of 70-80 minutes (as limited by the batteries of my 5D III and the lights), I would not consider any shorter shooting time. And having to stop shooting even for a minute was definitely a show stopper. Having to circumvent the overheating issue by having to shoot 4K with pixel binning for almost all of my shots just did not make any sense. The R5 overheating issue was a wakening call also concerning Z Cam. I realized that in addition to even getting hold of a F6 camera, there was the possibility of needing to send it back for repairs - all the way to China! In fb there were the regular occasional messages of malfunctioning units until Z Cam began prevalidating all posts under their fb page. For an underwater shooter, the downside of a failed purchase might/would be the total price of all gear, including two housings, one for the camera, one for a separate monitor. Then Sony began making noises with its very long waited A7SIII. A seriously good video camera with (seemingly) dual ISO, the latter being 16000! A slight drawback that best quality video did require an external recorder. For a topside shooter that is just around 600€, but for underwater use it is quadruple that when you include the housing. In December I was seeking for any shop that would have the A7SIII in stock so that I could write the purchase off as expenses for fiscal year 2020 - a 30% tax savings to me. Unfortunately nobody had one in stock. The only "affordable" camera ticking almost all the wish list boxes, and in stock, was the Canon 1DXIII. I then spent a night and day reading everything about it, and read the entire manual (almost 1000 pages) and all the white papers. I realized that eventhough my criteria was video first, I did also appreciate the stills capabilities, e.g. for shooting u/w waves crashing into rocks etc. I purchased the 1DXIII with the tax savings and without needing to invest into Sony glass. All the video modes on the 1DXIII are full frame, some with an option for cropping. I did not quite achieve my wish of a DR of 14, but the raw video gives high enough quality for those rare situations when everything is perfect in the u/w scenery. Then and only then, I would shoot 5.5K raw. Normally I'll be happy with 4K 10bit 4-2-2, and, in poor conditions I might consider less - that's why I think it is essential that you can select the video resolution underwater - not possible in BM. I appreciate the possibility to shoot everything internally and the ability to use the back screen for monitoring purposes. The video focusing and exposure aids are good enough though a bit lacking in a videophile sense. When size and conditions permit, I plan to use a Ninja V as a video monitor. Additionally, it gives the option to record Prores. Even with the best cable, the connection between 1DXIII and Ninja V is not good enough for glitchless 4K50/60. But 4K25 works fine. I yet have to try Gerald Undone's tip of externally HD recording subsampled 4K. Interestingly, the 1DXIII does have an ethernet connection allowing remote control. The Canon software does have some installation quirks, but, I was finally able to remote control the camera. The next item on my shopping list is an u/w cable for this... I already purchased a 28mm lense with the idea of shooting via WACP. Since this is not exactly rectilinear, it will be interesting to see if it still is usable for 3D photogrammetry work. If not, plan B is my 16-35mm lense behind a regular dome. Richard

Looking to turnover my complete 4K Black Magic Cinema Camera kit. This package is turnkey and ready to rip. In great condition. Paid $7900 for complete package, excluding the external power source, which I will throw in for free ($150 value). Asking $5750. Serious offers only, these packages are hard to get. Camera & Panasonic 12-35 Lumix 2.8 Lens included. Nauticam housing for BMCC 4K Nauticam zoom gear for Panasonic 12-35 Lumix 2.8 Nauticam focus gear for Panasonic 12-35 Lumix 2.8 Nauticam N85 6" Wide Angle Port with Focus Knob Here's some footage I shot with this amazing set-up this passed winter: https://vimeo.com/381059446 Receipts & Package photos available upon request! Thanks, Wiley

Hi everyone, you want to discover new diving destinations? Enjoy some of the most beautiful marine life encounters? Take a seat and get prepared Bruno

After many attempts, I finally saw a dugong in the Red Sea: [media] [media] The rest of the video is just the usual Red Sea stuff, mostly in the 10-20m range so ambient light/manual white balance/red filter. For GH5 owners: the lizard fish (2'32") is what happens when you insert a 6K photo/video file (i.e. 18 megapixels at 30 fps) into a 50 fps video. The porcupine fish (2'13") was in a place that looked very dark, 15m down under an overhang. However I dropped the frame rate to 25 fps, and shutter to 25 too, with ISO at 1600. Quite good low light capability, at least for something that isn't moving fast. All constructive comments and criticisms welcome! Cheers, Matt

I've uploaded a short video from a snorkeling trip I took last Thursday, Nov 1, 2018, off San Diego CA. We ran into some baitballs and I shot this using my GoPro Hero 7 and Phantom 4 Drone. -Roger Uzun rogeruzun@gmail.com

I posted a short video of a snorkeling session I had on Nov 6, 2018 in La Jolla Cove with some California Sea Lions, primarily to test out the Hero 7. It's on Vimeo here - -Roger Uzun rogeruzun@gmail.com

Hi fellows, I’d like to share with you my test for the GH5s. The primary focus was to test how would the camera produce colors with just ambient light. The secondary was to test the autofocus in challenging conditions. The clips were taking around 25m in bad visibility and with a lot of particles. Thirdly, I wanted to test the low light performance. The amount of light in summer at 25m in our seas is relatively dim. And it presented a good test for the light sensitivity of the camera which I sat to variable with a maximum of iso 6400. This is a result of two dives on the same day. My rig still needs balancing. I am quite pleased with the camera ability to produce such good color rendition when white balanced on a gray card with a red filter. My gray gloves which are a shade darker than the 10% gray card produced more pleasing colors and needed little or no color grading in post beside exposure adjustment. The autofocus, despite the challenging conditions with bad visibility and numerous particles, was really good and definitely much more better than my aging eyes it is fair to say that it can do the job more than 90% of the times. The low light performance was good which resulted in better exposure, color production and autofocus. I know many would prefer the GH5 over the GH5s due to the lack of IBIS. Honestly, I have not tried IBIS underwater and I have read mixed reviews. However, the color rendition of this camera in ambient light is beyond the capability of the GH5 and overweighs the IBIS in my opinion. The setup: Nuaticam housing with 7” dome, Dive and See 5.5 monitor, Panasonic 12-35mm 2.8 version ii, Red filter, Standard picture profile, Variable ISO with maximum 6400 https://youtu.be/X1fKNylMj74

Selling a Nauticam LX7 housing on eBay. http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575378759&campid=5338273189&customid=&icep_item=223027497366&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg&toolid=11111 Anthony

Selling my Gates AX-100 housing, Sony FDR-100 4K video camera with all the accessories: (2) Sola 2500 lights, arms, charger. $3500. OBO

Up for sale Sony AX-100 4K video camera Gates Housing to fit 1- Flat port 1- Wide Angle port SubSea flip away close lens holder 2- Oversize batteries Lock line video light arms Backscatter Vacum pump and gauge $3000 USD Buyer pays shipping world wide PayPal or USPS Money Order Pic 2 pic 3 pic 4 pic 5

Hi all Anyone know if a HDMI recorder for 4K 60fps exists in a small and cheap packages? No monitor is required. The Atomos shugon records well, but is very expensive and so are the housings. It must be possible to get just a recorder, no monitor, fair battery life, low price, that will record as soon as it get a record signal from maybe the GH5 or other cameras. I imaging there would be a lot of us that would like to find such one. Any ideas?

Here's a short video I made showing the recent Tuna Crab Invasion at La Jolla Shores and Cove in San Diego CA. This video shows the disruption all these crab have on other species in the area. Shot in March of 2018 using a Panasonic GH5 camera, Nauticam Housing and Panasonic 14-42mm lens.

Hi all I am new here, and still looking to buy the right equipment for me. I am used to record video in 2.7K and 60fps. This is to me the smallest format that still looks very good on a 4K TV. But it is a must for me to record with 60fps, i get frustrated by the vibrations when looking at video recorded in 30fps and the camera is turning to follow an animal or just giving a panoramic view of the divesite. Sony has for long used 4K with 30fps at 100mbit and yes they have had a lot of heating problems, but on their new mirrorless cameras it should no longer be a problem. Now that it works it should not be a challenge for them or most other brands to set the software up for 2.7K with 60fps, the power usage should be about the same. Does anyone know why they do not include this format at all? Not even in 30fps. Is it possible to inform Sony and the other brands that it would be a good investment as it would make their existing cameras able to record 60fps just with a firmware update? I hope you will join the debate and maybe send a msg to Sony, Canon and so on.

Just posted a brief video showing California Lizardfish feeding on Anchovy off La Jolla Shores in San Diego, CA. Shot with a Panasonic GH5, Keldan Luna 4 Video Lights and a Panasonic 14-42mm lens.

I am new to underwater cinematography, and have purchased a Sony a7s II and am getting familiar with it before an important trip to Raja Ampat in October. I have many questions, and wonder if there are others in the community that are shooting with this camera that I can learn from, and compare notes with. 1. Picture Profile? Any thoughts on the advisable "picture profile" for shooting? sLog 2, sLog 3, Cine4? 2. Grading and LUTS? If one shoots with a flat picture profile, how does one properly grade or color correct? I have been doing as much internet research as I can, and this remains a bit of a mystery. I want to start collecting great clips in the proper picture profile. 3. White balance issues? On my first trip with this camera, to Cozumel, I believe that I properly manually white balanced the camera, at a fairly deep depth, but nevertheless experienced a strong magenta cast. Is anyone else having white balance issues with this camera? Is the camera known to be poor in that area, or acceptable, or does it have known challenges that require a work around? It would be great to possess the state of the art knowledge in this area so I can improve my results. I have posted my first "tests" with the camera, and the results are quite primitive, but they can be reviewed in this Vimeo clip. Anyone that wants to see some raw 4K footage of the first tests, to help me diagnose what is happening, can send me their email address and I will give them access to some raw footage. Many thanks for your help. George L. Paul

With a heavy heart we must sell our full turnkey RED Epic Dragon 6k camera setup for above and below water filming. We have taken a long-term contract in PNG which does not involve much filming so our full setup is not getting enough use and want it to go to a better home. It has been well looked after, stored in pelican cases and will be dearly missed. Interested buyers can email me on info@migrationmedia.com.au to discuss pricing and options, I have lots more photos of the gear and accessories but limited to uploading only 1MB here. I will be in Australia in March so can arrange shipping from there. System includes the following but lots of addition extra: FOR TOPSIDE: RED EPIC Dragon Brain (new sensor and I/O Board) RED 1.8" 512GB SSD's x2 with anti-static cases and soft case REDMAG 1.8" Media Station RED Switchblade-M & REDMOTE PagLink PL96e 96KW Batteries x2 (can connect to achieve 192KW) PagLink PL16 Smart Charger & PagLink Travel Charger RED BOMB EVF with Mounting Assembly RED 5" Touchscreen Monitor RED Low Light OLPF Wooden Camera Lens Support RED Tactical Top Plate, Handles & other mounting solutions RED Adaptor Module, +1 Adaptor Module & RED Quickplate Module Wooden Camera A-Box Audio Module RED DSMC Nikon Lens Mount FOR UNDERWATER: ACHTEL DEEP-X Underwater Camera Housing 15mm, 28mm and 35mm Underwater Nikonos Lenses Helix Macro 1:2, 1:1 & 2:1 Extensions for close-up macro work with 28mm and 35mm Nikonos lenses Small HD 502 & DP4 Monitor Nauticam Small HD DP4 External Monitor Housing Achtel True Blue OLPF Underwater Hydrophone Vacuum Pump and Meter for secure underwater use Custom Pelican Case 1" Ball Mounts for video lights For those that do not know about this housing, it is super precision lightweight housing with titanium handles and controls that allow use of the specialized Nikonos Underwater Lenses which are distortion free capable of out resolving the RED Epic sensors removing the need for glass ports and extensions.These lenses offer the highest quality for underwater filming and have aperture and focus adjustment on the lens itself. Pawel Achtel has won several prestigious awards for this innovative design housing which is incredibly easy to use, streamlined through the water and available to use as carry on luggage through custom Pelican case. See below link for full details. You will have a Small HD 502 monitor connected through SDI connection inside the housing and then the Small HD DP4 monitor connected through HDMI with external Nauticam monitor housing allowing various false colour, focus peaking and RAW viewing options. http://24x7.com.au/DeepX/index.htm In addition for those interested, I have a DJI Ronin with Cinegears Expresso Follow Focus system and Paralinx Arrow which allows full control of RED Epic, lens focus and framing by a second operator/director/producer. Please email me if interested in this also for pictures and for information.

Selling my video equipment: - Sony FS700ER (4K ready) (Batteries, charger, etc) - Sony 10-18 mm - Sony 90mm macro - Sony 18-200 mm - Amphibico Genesis 700 Housing - 8' dome port - Macro port - Atomos Shogun 4K Monitor/recorder - Nauticam NA Shogun Just need change HDMI plugins to SD SDI. And hardware for Nauticam Monitor fixed in the Genesis. (easy) 12000 € plus shipping. No separate sold. Photos soon.

I'm starting to experiment with a GH4. Right now I'm just interested in a 1080p output but a lot of doubts and questions arises... On several articles and posts on the net I read that converting from 4K to 1080 results in a far "better" image and colors. IIRC I even read that I could get a 1080 4:2:2 clips from a 4K 4:2:0 clips. Mumble Mumble... Could you elaborate on this and share your current workflow? If I'm not interested in crop i could create a 1080p project and throw 4K clips at it. I could create a 4K project, eventually take advantage of some crop and finally export everything at 1080p. I made some test with the two above scenarios and frankly I couldn't find substantial differences between the two. I use Edius so I have no transcoding. I just edit directly the original 4K clips as usual. Of course the 4K project is slower than the 1080p one. Thank you in advance