Jump to content

Search the Community

Showing results for tags 'Raw'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Administration
    • Announcements
    • Feedback
  • The Galley
    • The Galley: General Chat
    • Beginner Forum
    • Photo / Video Showcase
    • Classifieds
  • Gear and Tips
    • Photography Gear and Technique
    • Video Gear and Technique
    • Lights, Strobes, and Lighting Technique
    • Shooting Technique, Workflow and Editing
  • Planet Earth
    • Trip Reports and Travel
    • Conservation and the Environment
    • Critter Identification
  • Other
    • Copyright Issues, Non-Payment, Fraud, Theft

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests


Full Name


E-mail Address


Contact Phone


Mailing Address


Camera Model & Brand


Camera Housing


Strobe/Lighting Model & Brand


Accessories


Industry Affiliation

Found 14 results

  1. 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
  2. Hello, This is my first post on this site, and I hope that your experiences, expertise and suggestions can help me find what I need. I shoot all my pictures in RAW and generally also take some video footage. What I am looking for is the following: Tablet or laptop to backup and view the RAW (i.e., CR2) files Being able to install Lightroom would be great but is not 100% required, as long as I can at least view the images Having a USB port would be great for usign external hard drives, etc. The tablet/laptop should be light The item shouldn't cost more than $400-$500 I currently have the Microsoft Surface RT, which I HATE I am open to Chromebooks with an external drive (unless some have larger storage) but I can't seem to find out if they allow to view CR2 files Thank you very much in advance, I really appreciate your help. Best regards, Stefan
  3. Hi. I love my Olympus TG-5, the macro is insane. However, I'm having some trouble shooting fish, as no matter what I do (iso, aperture, etc) the camera always picks too low a shutter speed when using a flash. I understand that the flash has to be able to sync to the shutter speed but I've had shutter speeds varying from 30-100 when using the flash. All to often this value is 30, creating motion blur in my images. This can be fine for slow, macro creatures but is incredibly unreliable for fish. I'm wondering if there is any hack (to allow me to change shutter speed) or a mode which generally selects higher shutter speeds which still allows me to use underwater white balance as well as shoot in raw. Thanks
  4. Despite almost zero information within the Red colour channel, the R3D files from the Scarlet W still grade up nicely. Took about 12 nodes to get to this point but considering the starting point of this clip, it turned out reasonably well, especially given the conditions. Conditions were tough with maybe 5 metres vis, surgy and lots of floating particles. This shot was about 18 metres deep. Scarlet W, 5k 50fps, Nikon 16-35mm and 8 inch dome on the Gates Pro Action Housing. Graded in Davinci Resolve 14.
  5. I came across this: Underwater Photo Controller Installed as a Function for Correcting Dedicated to Underwater Photography https://silkypix.isl.co.jp/en/product/dsp8/new-features/#marine I am not into still photography these days (contemplating) but I thought this function is useful and very thoughtful indeed. They offer 30 days free trail.
  6. Dear Wetpixel community, I am a newbie to the world of underwater photography, I have recently bought an Oly tg-4 with pt056 housing. I have gone on a few snorkelling trips and after reading in several forums decided to shoot all my pics in RAW. As you can probably tell from my choice of camera I have decided to go for a not too price heavy introduction to this world. I would now like to fool around with some post processing, I have tried out the program that comes with the olympus camera (olympus viewer) but I have found it to be quite slow and not particularly good at balancing the colours when compared to what I have been shown by friends such as photoshop. My pictures were shot between surface and 20 meters, without any stobes lights or filters in the med, so I am sure you can imagine just how blue they are . I have done some research online and have found many sources making a case for adobe lightroom. As I understand it this would be very much on the higher end in terms of quality of tools for post-processing. My issue is that being very much a beginner and only managing a few photo trips a year, I am not sure that it would worth it for me to buy such a program. Otherwise, Gimp looked interesting but it seems that it is not compatible with .ORF (olympus raw format). What do you use? Do you know of any program that is more affordable or dare I say open source, while still having a decent range of functions and not being too slow? Also if you have any tips for someone that is new to post-processing, I would be very grateful to hear them! Thanks in advance, Giuliano
  7. Im using LR/Photoshop a lot but keep running into the same problem repeatedly. Namely, with photos involving a significant tint (ie underwater, manual WB or filter photography), the adobe software gives me substantially different looking images with substantially less editing potential than the same file loaded into Canon digital photo pro (and then exported as a TIFF). Some examples:- Manual white balance at about 4m depth. No editing on RAW Same as above. The situation gets worse the deeper i go. Some filter stuff in the 10-16m range is drastically different. 20m depth, magic filter From Lightroom/ACR the white balance slider is imported as this:- Its an issue because the original JPG looks good, importing the preview jpg (embedded with RAW) displays as per the camera. Then when its thumbnailed and finished importing the lock to the green with maxed out tint and balance settings. It means i can do very little or no colour correcting editing in the Adobe products. Canon DPP imports it looking pretty much as per the JPG with full adjustments allowed. Exporting the RAW from DPP as a TIFF then importing that TIFF into lightroom allows full adjustments to be made. To me it seems as if the Adobe raw engine for Canon is misreading or unable to utilise the full range of data or is importing a setting incorrectly. With strobe lit shot this isn't an issue as there arent the huge tints to deal with. Ive had this problem with RAWs from various canon compacts (S95, S120) and DSLRs (450d, 550d, 70D) and lots of versions of lightroom (from v4 to CC 2014) and photoshop (from CS onwards) and its a consistent problem. Its not a picture style issue as ive tried all the various ones of those - its quite simply my manual WB underwater shots appear far greener and tinted in LR with little or no scope for adjusting than in DPP. Obviously re-exporting all my CR2s as TIFFs from DPP just to import into LR is a fairly annoying extra step editing. So has anyone else noticed this or can suggest a workaround?
  8. Hi all, This is a recent show reel from the 5D3/Magic Lantern Hybrid and whilst it doesn't afford the fastest turn around the results are worth the wait. Enjoy Feedback or discussion on what workflow people find to be the best would be welcomed. Richard Brooks Media Producer-Palau
  9. I've always wanted to try the Canon 5D III with Magic Lantern underwater. In theory I felt shooting in raw would be more beneficial underwater than on land given the issues with accurate white balance and loss of light with every increment of depth. Unfortunately the post workflow is tedious and time consuming. I think once you get the hang of it, it will get faster and to me it was worth it. Below were the results and my workflow in post. Workflow: Canon set to raw module and not MLV (need the speed of CF and not the sound) Clips check and marked in/out thru MLV raw viewer Lightroom/Capture one for correction and enhancements and exported 8-bit tiff Compressor to convert to ProRes 422 FCPX for video editing Motion for text Compressor to convert for upload
  10. Hello fellow Wetpixellers, I am interested in learning more about shooting and editing with the RAW footage available from ML hacked 5Diii's What are people using out there and what seems to be the best solution? I am currently using FCP 7 and PP CS4 so a solution using either of these would be best. I've heard about the RAW2DNG plugin that's available. How does that work? Any help would be appreciated. Many thanks Richard
  11. Hello!!! Is there any disadvantage to image quality and editing ability converting from RAW (NEF) to DNG in Lightroom? If this has been discussed elsewhere the I'd appreciate if you could point the thread out to me as I searched but did not find anything on WP. Thanks!! John
  12. Hello all, New to Wetpixel but have been diving 20 years, a few of them with a little Olympus point and shoot and recently purchased an Olympus OMD E-M5 in Nauticam Housing. Loving the camera and shooting RAW, just find that my current laptop is severely slow when it comes to editing RAW files with the Olympus software. Would like to start working with Lightroom and know my current system will be painfully slow... There isn't much incentive to get creative and explore the possibilities offered by RAW images if my computer is constantly bogged down. Yes, I know I can upgrade the RAM etc. on my current laptop but want a system that I can grow into, as opposed to a band-aid patch to just get by for today... Hopefully someone on this forum has upgraded their system recently, or could suggest minimum requirements to ensure that I can efficiently edit my photos AND grow my skills, possibly expanding into Photoshop etc. When editing takes way more time than actually taking the pictures the files will pile up, and I will never get around to dealing with them. I am embarrassed to admit that other than a first cull I still haven't sorted and edited my MANY pictures from a trip to Kenya in February / March. If I don’t streamline the editing process my pictures will just end up sitting in digital purgatory somewhere on a hard drive :-( Looking for something portable that I can take to work with me, as well as on vacation. That being said, it doesn’t have to be the smallest, lightest, latest and greatest thing out there. As I live on an island and commute by water taxi something with some durability would be a bonus. In addition to photo editing I will be using the laptop for basic MS Office functions such as Word, Excel, Project, as well as playing music, watching movies etc. I am a PC user but would consider Macbooks if the cost / benefit can be justified. Any thoughts? Thank you in advance for your input. Regards, Adam Taylor
  13. I've just been playing with Magic Filters on my S95 but come across a strange problem (im sure its not filter related). Taking a photo, ambient light, manually white balanced, shooting in RAW+JPG mode. The JPG has much more red and less colour cast substantially than the RAW file. BUT when i load into LR5.2 or CS6 RAW editor it initially displays as the jpg (as its reading the embedded preview) but once its rendered properly the colour goes substantially green or blue. I'm unable to process the RAW to look anything like the JPG - the white balance tint is already at the max of 150 and the image is still very green or blue. As the slider appears maxed out already i cant remove this. The result is a JPG off the camera looks fine (if i load this into LR or PS i can do a lot of editing the colours so plenty of room to spare) but a RAW file that appears maxed out. Example below (crap picture due to low light and algae but it gets the point across):- The first is the JPG straight off the camera (sliders on LR are neutral/middle FWIW) and the second is the same RAW file which comes with the tint at +150 maxed out already so no further correction possible. Any idea what/how i can sort this problem out? Its odd i have a lot more potential for JPG editing than i do RAW or is it likely to be an ACR bug in handling the S95 files? FWIW i've tried using DPP and the RAW file displays properly and can be white balanced adjusted in there, it just seems to be adobe RAW handling thats different. For anyone interested in playing themselves i've uploaded the original right off the camera JPG and RAW files here:- Index of /files/2013/wb/originals I know the photo etc is technically useless - it was grabbed on a guided dive purely to prove the point above with no attempt at getting settings or anything correct. WB was set manually with a slate at the same angle/depth a few seconds previously. Depth roughly 17m in fairly dark green water.
  14. Would anyone like to upload a couple of canon EOS raw files shot underwater for me look at? I am currently making a Picture Style for videographers to use underwater. When shooting video, the white balance, contrast, saturation etc, is burnt into the video as it is recorded, rather like when shooting in JPEG. This means that the Picture Style used could be important, often an overlooked detail. With a variety of raws, I can get a better understanding of how the Picture Styles I create will be effected by different underwater conditions. Natural light shots would be great, strobe lit shots could certainly be interesting too.
×
×
  • Create New...