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Found 6 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. Has anyone any experience of the Anglerfish Remote Trigger? http://www.anglerfishlighting.ca/remote-trigger-v30.html This looks like an excellent solution for the irritating problem of trying to keep a snoot into the right position. I'd want to be able to fire an Inon Z240 optically - and I'm currently using Inon fibre optic cables. Thanks!
  3. Fiber optic port NOT included I am selling two Ikelite Remote Optical Slave Converters (from 2014). They are used but fully working, there is no fiber optic port that normally screws on the front included. I have more than I need so am selling. Connector protection included. Can sell singularly or as bulk - £50.00 each ONO. Information from Ikelite: "Trigger your Ikelite DS-series strobe off any camera or strobe flash. The Optical Slave Converter simply attaches to the strobe's electrical bulkhead in place of a sync cord connector. The enlarged slave window provides approximately 90 degrees field of view for remote triggering. Recommended if wireless slave triggering is your primary application. The Optical Slave Converter can be extended using the optional 3-foot Extension Cord for creative backlighting in wrecks, caves, and pool studio set-ups. It can also be used above water for studio photography work. The Optical Slave Converter supports manual exposure modes as set on the attached DS strobe. TTL exposure mode is not supported. An individual Optical Slave Converter is needed for each strobe. Use of multiple strobes requires one Optical Slave Converter per strobe. The Optical Slave Converter supports DS50, DS51, DS125, DS160 and DS161 strobes."
  4. Hello! I am interested in doing some remote strobe work but I haven't been able to find a way to trigger my strobes remotely. I have read reviews on the Triggerfish and Seacam remote triggers, but they don't seem to be available for purchase. I use Sea&Sea YS-D1 or YS-D2 strobes. Ideally, I would like an optical trigger that will plug into the bulkhead using a sync cable. A fiber optic cable would work as well, but either solution would have to mate with my Sea&Sea strobes. I am not opposed to purchasing a dedicated strobe for this purpose, as I have heard that the INON Z240's have an optical sensor, but also that they might fire unexpectedly or not at all, depending on how light reaches the sensor. Is there a remote strobe solution out there? Does anyone have one they are no longer using for sale? Any other ideas? (BTW, I'm not interested in using continuous light, such as video lights unless it is my last and only hope.)
  5. Soon you'll be able to monitor your GoPro etc. on the surface over wifi, while it's underwater. http://www.newsshooter.com/2015/11/24/interbee-2015-lumica-underwater-wifi-extension-unit-for-action-cameras/
  6. Preferences Preferences x I have my underwater photo equipment for sale. It means SeaCam housing with a Canon EOS 1Ds Mark III camera (body only) and lots of other stuff. It means altogether: - Canon EOS 1Ds Mark III Camera (body only) with manual, dual charger, 2* batteries, camera strap in original package - Seacam Silver housing - S45 sportsfinder with neoprencap - S180 sportsfinder with neoprencap - FP fisheyeport - SD superdome with optical coating and neoprencap - P120 macroport with optical coating - PVL 25 portextension - PVL 55 portextension - PVL 70 portextension - Diopter 77 - Wet diopter set (1 and 2 in a bag) - Zoom lens gear CANON EF II for EF 16-35 - Zoom lens gear CANON EF II for EF 24-70 - 2* Seaflash 150 digital with battery and neoprencover - 2* spare battery - tripod set (underwater) - remote socket, remote control release, 3m shutter cable - 2* flash arm 50/150/300/M8/bag - service kit (O-ring set Seacam Seaflash 150D, 2*Mounting set seacam sportsfinder, O ring set Seacam Canon EOS1D) I used them during only three diving trips. It means appr. 70 dives altogether. In 2011 I sent all of the equipment back to SeaCam for a full service (changing O-rings, etc). When I got it back I couldn't go to dive. So it seems as a brand new at the moment as you can see on the photos. I can send an Excel sheet contains all of the parts of my equipment if you are interested in. I would like to get only about 55% of the original price which is 13,975EUR or 11,501GBP or 19,230USD (shipping, insurance is not included). I attached a few photos of them but I could send you more if you need it. Some photos as a reference took by this equipment: http://seacam.com/en/focus/references/europe/istvan-juhasz I will ship the package from Hungary where my company is the Seacam distributor. Preferences Preferences
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