@Nando Diver : DIVE mode as permanent setting for video footage is also applicable for photo mode?

When I get still with GP12 and wide angle wet lens I see the corners...

Bye Giacomo

Ive never use Photo underwater with Gopro, i will try next weekend.

ps: looks like you got reply from gopro labs 😀

I did, David told me it's a bug

Recap:

DIVE is not applicable in PHOTO mode

wide angle wet lens cause vignetting with wide mode for pictures

I've chosen linear mode with zoom in while taking stills.

That's all at the moment

Edited October 13Oct 13 by Gmsalterego

Today i found this 😀

Underwater photogrammetry is the process of creating 3D models of submerged objects or environments from overlapping underwater photographs. This work involves acquiring images underwater, transferring them to a computer, and using specialized software to process the images into a high-accuracy, detailed 3D model. The applications are diverse, including archaeological documentation, environmental monitoring, and creating digital records of wrecks, as well as geological and scientific studies.

Source : For beta testers https://hive.curtin.edu.au/Research/GoProUP/

Source: https://hive.curtin.edu.au

WOW 😀

Hello @Nando Diver gopro has delivered the latest update for GP12, HERO12 Black v.2.40.

Il I reinstall the latest 2024 goprolabs update, the official 2.40 will be overwritten, I mean.

It's a pity ....

Edited October 26Oct 26 by Gmsalterego

I dont see any advantage to use the FW stock version for underwater.. it doesn't have wide=1, 200Mbps Bitrate or white balance lock

Hi @Nando Diver I've chosen labs fw of course.

For underwater purposes, with high bitrate (BITR=170) what about NR01 settings? I do not process the footage in post by the way.

Edited November 2Nov 2 by Gmsalterego

5 hours ago, Gmsalterego said:

Hi @Nando Diver I've chosen labs fw of course.

For underwater purposes, with high bitrate (BITR=170) what about NR01 settings? I do not process the footage in post by the way.

if i need to use Denoise video i would do it in davinci (no longer available in free version)

Heres video (60 seconds Fish, Macro, Ambient ) from past week where i participate ( for fun) in CMAS underwater Porto Santo & Madeira 2025

i had no macro lens with me ☹️

1 hour ago, Nando Diver said:

Heres video (60 seconds Fish, Macro, Ambient ) from past week where i participate ( for fun) in CMAS underwater Porto Santo & Madeira 2025

i had no macro lens with me ☹️

Great video! Did you manage it in post?

Bye

@Gmsalterego yes.. i send the video to visual category ( 60 seconds) but the top three winners had proper visual macro and better ambient..

The competition rules are strict, like the 3 categories need to be presented separated , clean cuts, no transitions, no text, no pictures, macro needs to be 70% of image, original music, no copyright...30m maximum depth and 90m maximum each dive.

From 8 diving spots, i was only was familiar with one, other divers that take this competition more serious, spend weeks diving in those spots before the competition, this year they about 80 participants.

Its very good to share experiences and techniques.

Edited November 2Nov 2 by Nando Diver

On 11/1/2025 at 7:50 PM, Gmsalterego said:

I completed survey, as @lambee01 said, I'm over 60 but I will continue until my health is fine.

By the way, after 58 years old I noticed more fatigue using heavy equipment 😉

Hello @Nando Diver .

Other question about gopro labs fw.

Have you ever tried WBDV command and if yes in which way?

Bye Giacomo

3 hours ago, Gmsalterego said:

Hello @Nando Diver .

Other question about gopro labs fw.

Have you ever tried WBDV command and if yes in which way?

Bye Giacomo

Yes, WBDV it acts has a red filter (see first page of this topic)

It can work well at 20m depth, but the same profile will have to much reddish at surface/shallow water.

I though to use different WBDV profiles to different depths but i think the WBLK is enough and we have more control.

Imagine you going to Malta and film purely wrecks at 30m/40m.. perfect..but if someone point some dive light to what you are filming... the filming will have excess of red. its very experimental..

Hello @Nando Diver did you try EXPL to lock exposure? I didnt find the command within QRControl app...

On 11/23/2025 at 11:26 AM, Gmsalterego said:

Hello @Nando Diver did you try EXPL to lock exposure? I didnt find the command within QRControl app...

Never try it..

its here

DAMP=0.1 to 1000

https://gopro.github.io/labs/control/extensions/

Heres another test with Gopro labs firmware this time i added the Wide Color Gamut for underwater filming

Gopro Labs Firmware

* Wide=1 Wide color Gamut

* Bitr=190Mbps Bitrate

* Dive=1 optimized for water refraction (No corner distortion)

WIDE - only touches the color gamut, not the transfer function (curve). So you can shoot Natural + WIDE=1 if you want (although weird, it works.) With WIDE off (0), the camera saturates color to the Rec709 gamut (basically sRGB), so some extreme real-world color saturations are clipped by the gamut. With WIDE=1, the gamut is sensor native, not Rec709, not Rec2020, just what the sensor sees. This is like white balance set to Native - the difference is WIDE=1 leaves the white balancing active, making color correction a little easier and using more of the available bits (8/10-bit).

The reason i want to try Wide color Gamut its because sometimes the Video was a little soft, with loss of detail in shadows, i was prepared to turn off Noise reduction with Gopro labs and later i could use Neat video 6 or Davinci Resolve Denoise.

After some underwater Filming I've test different Luts in Davinci to convert the Labs Wide to Rec709, some of them had mix results and was bit frustrating and time consuming.

Then i decide to opt for GP-TUNE Transform IDT (21€) but didn't realise its for the Davinci resolve Studio paid version, but luckily this year the Xtremestuff they released the GP-Tune Plugin (26€) that works brilliant with free version of davinci resolve.

The GP-Tune Plugin is prepared to work with Normal Gopro firmware but also with the Labs firmware, and in terms of color grading is much faster to get correct calibration.

The results in my opinion is a step forward to more quality.

Edited yesterday at 12:43 PM1 day by Nando Diver

Ive got better results using Wide + Flat, in terms of sharpness/crisp/color and specially more details in dark parts...

Heres another example

Regarding the GP-TUNE plugin its very easy to use, but its important to read the Manual and their tutorial to make sure you get the correct profile settings in davinci.

https://xtremestuff.net/gp-tune-plugin-manual/

DaVinci Resolve

ACEScc or ACEScct

Using the GP-Tune plugin inside an ACES workflow is fairly straightforward. Any source media must firstly be set to have No Input Transform. The plugin can then be added into the Node structure of the designated clip. The To Gamma must be set to the required ACEScc(t) parameter as per the project settings. The To Color Space will automatically change to ACES AP0 as a result.

DaVinci YRGB & YRGB Color Managed

When editing in DaVinci YRGB Color Managed workflows, the source media’s Input Color Space must be set to Bypassor Same as Timeline depending on the version of Resolve. The To Color Space and To Gamma must also match the settings of the project appropriately. In a Color Managed workflow, these parameters will be dependent on the project Timeline color settings. In a Non-Color Managed workflow, these will be dependent on the Output color settings.

In Resolve 16 and below, the default timeline option is normally Rec.709 for Color Space and Gamma 2.4 for Gamma. In Resolve 17 and above, the default gamma option will vary between Gamma 2.4 and Scene, depending on whether the installation is completely new or updated from earlier versions.

There are additional caveats to be aware of when using Resolve 17 and above. In Color Managed workflows, Resolve will now set Tone and Gamut mapping on input and output settings by default – these are referred to as Input DRT and Output DRT. Enabling DRT may have adverse impacts to the scene before it is normalized. To avoid issues with tone and gamut mapping when using SDR presets, it is recommended to select the Custom preset and to disable the Input DRT by selecting None. One may also choose to select the the DaVinci Wide Gamut preset first before changing to Custom and output to an SDR format such as Rec.709. This preset will expand the project to a wider Color Gamut and Dynamic Range, similar to an ACES workflow. Regardless, it is recommended that Input DRT be explicitly disabled across all projects.

Edited yesterday at 12:40 PM1 day by Nando Diver